2
" Because it begins to seem to me at such times that I am incapable of beginning a life in real life, because it has seemed to me that I have lost all touch, all instinct for the actual, the real; because at last I have cursed myself; because after my fantastic nights I have moments of returning sobriety, which are awful! Meanwhile, you hear the whirl and roar of the crowd in the vortex of life around you; you hear, you see, men living in reality; you see that life for them is not forbidden, that their life does not float away like a dream, like a vision; that their life is being eternally renewed, eternally youthful, and not one hour of it is the same as another; while fancy is so spiritless, monotonous to vulgarity and easily scared, the slave of shadows, of the idea, the slave of the first cloud that shrouds the sun... One feels that this inexhaustible fancy is weary at last and worn out with continual exercise, because one is growing into manhood, outgrowing one's old ideals: they are being shattered into fragments, into dust; if there is no other life one must build one up from the fragments. And meanwhile the soul longs and craves for something else! And in vain the dreamer rakes over his old dreams, as though seeking a spark among the embers, to fan them into flame, to warm his chilled heart by the rekindled fire, and to rouse up in it again all that was so sweet, that touched his heart, that set his blood boiling, drew tears from his eyes, and so luxuriously deceived him! "
― Fyodor Dostoevsky , White Nights
6
" Truth, says instrumentalism, is what works out, that which does what you expect it to do. The judgment is true when you can " bank" on it and not be disappointed. If, when you predict, or when you follow the lead of your idea or plan, it brings you to the ends sought for in the beginning, your judgment is true. It does not consist in agreement of ideas, or the agreement of ideas with an outside reality; neither is it an eternal something which always is, but it is a name given to ways of thinking which get the thinker where he started. As a railroad ticket is a " true" one when it lands the passenger at the station he sought, so is an idea " true," not when it agrees with something outside, but when it gets the thinker successfully to the end of his intellectual journey. Truth, reality, ideas and judgments are not things that stand out eternally " there," whether in the skies above or in the earth beneath; but they are names used to characterize certain vital stages in a process which is ever going on, the process of creation, of evolution. In that process we may speak of reality, this being valuable for our purposes; again, we may speak of truth; later, of ideas; and still again, of judgments; but because we talk about them we should not delude ourselves into thinking we can handle them as something eternally existing as we handle a specimen under the glass. Such a conception of truth and reality, the instrumentalist believes, is in harmony with the general nature of progress. He fails to see how progress, genuine creation, can occur on any other theory on theories of finality, fixity, and authority; but he believes that the idea of creation which we have sketched here gives man a vote in the affairs of the universe, renders him a citizen of the world to aid in the creation of valuable objects in the nature of institutions and principles, encourages him to attempt things " unattempted yet in prose or rhyme," inspires him to the creation of " more stately mansions," and to the forsaking of his " low vaulted past." He believes that the days of authority are over, whether in religion, in rulership, in science, or in philosophy; and he offers this dynamic universe as a challenge to the volition and intelligence of man, a universe to be won or lost at man’s option, a universe not to fall down before and worship as the slave before his master, the subject before his king, the scientist before his principle, the philosopher before his system, but a universe to be controlled, directed, and recreated by man’s intelligence. "
7
" The spirit of bondage works by fear for the slave fears the rod: but love cries, Abba, Father; it disposes us to go to God, and behave ourselves towards God as children; and it gives us clear evidence of our union to God as His children, and so casts out fear. So that it appears that the witness of the Spirit the apostle speaks of, is far from being any whisper, or immediate suggestion or revelation; but that gracious holy effect of the Spirit of God in the hearts of the saints, the disposition and temper of children, appearing in sweet childlike love to God, which casts out fear or a spirit of a slave. "
― Jonathan Edwards , The Religious Affections
10
" I assert most unhesitatingly, that the religion of the south is a mere covering for the most horrid crimes, - a justifier of the most appalling barbarity, - a sanctifier of the most hateful frauds, - and a dark shelter under, which the darkest, foulest, grossest, and most infernal deeds of the slaveholders find the strongest protection. Were I to be again reduced to the chains of slavery, next to enslavement, I should regard being the slave of a religious master the greatest calamity that could befall me. For of all slaveholders with whom I have ever met, religious slaveholders are the worst. I have ever found them the meanest and basest, the most cruel and cowardly, of all others. "
― Frederick Douglass , Narrative of the Life of Frederick Douglass
11
" He who becomes the slave of habit,who follows the same routes every day,who never changes pace,who does not risk and change the color of his clothes,who does not speak and does not experience,dies slowly.He or she who shuns passion,who prefers black on white,dotting ones " it’s" rather than a bundle of emotions, the kind that make your eyes glimmer,that turn a yawn into a smile,that make the heart pound in the face of mistakes and feelings,dies slowly.He or she who does not turn things topsy-turvy,who is unhappy at work,who does not risk certainty for uncertainty,to thus follow a dream,those who do not forego sound advice at least once in their lives,die slowly.He who does not travel, who does not read,who does not listen to music,who does not find grace in himself,she who does not find grace in herself,dies slowly.He who slowly destroys his own self-esteem,who does not allow himself to be helped,who spends days on end complaining about his own bad luck, about the rain that never stops,dies slowly.He or she who abandon a project before starting it, who fail to ask questions on subjects he doesn't know, he or she who don't reply when they are asked something they do know,die slowly.Let's try and avoid death in small doses,reminding oneself that being alive requires an effort far greater than the simple fact of breathing.Only a burning patience will leadto the attainment of a splendid happiness. "
12
" I sometimes have moments of such despair, such despair … Because in those moments I start to think that I will never be capable of beginning to live a real life; because I have already begun to think that I have lost all sense of proportion, all sense of the real and the actual; because, what is more, I have cursed myself; because my nights of fantasy are followed by hideous moments of sobering! And all the time one hears the human crowd swirling and thundering around one in the whirlwind of life, one hears, one sees how people live—that they live in reality, that for them life is not something forbidden, that their lives are not scattered for the winds like dreams or visions but are forever in the process of renewal, forever young, and that no two moments in them are ever the same; while how dreary and monotonous to the point of being vulgar is timorous fantasy, the slave of shadow, of the idea... "
― Fyodor Dostoevsky , White Nights
15
" An author who composes while walking, on the other hand, is free from such bonds; his thought is not the slave of other volumes, not swollen with verifications, nor weighted with the thought of others. It contains no explanation owed to anyone: just thought, judgement, decision. It is thought born of a movement, an impulse. In it we can feel the body’s elasticity, the rhythm of a dance. It retains and expresses the energy, the springiness of the body. Here is thought about the thing itself, without the scrambling, the fogginess, the barriers, the customs clearances of culture and tradition. The result will not be long and meticulous exegesis, but thoughts that are light and profound. That is really the challenge: the lighter a thought, the more it rises, and becomes profound by rising – vertiginously – above the thick marshes of conviction, opinion, established thought. While books conceived in the library are on the contrary superficial and heavy. They remain on the level of recopying. "
― Frédéric Gros , A Philosophy of Walking
17
" We are laying the foundation for some new, monstrous civilization. Only now do I realize what price was paid for building the ancient civilizations. The Egyptian pyramids, the temples and Greek statues—what a hideous crime they were! How much blood must have poured on to the Roman roads, the bulwarks, and the city walls. Antiquity—the tremendous concentration camp where the slave was branded on the forehead by his master, and crucified for trying to escape! Antiquity—the conspiracy of the free men against the slaves!
.... If the Germans win the war, what will the world know about us? They will erect huge buildings, highways, factories, soaring monuments. Our hands will be placed under every brick, and our backs will carry the steel rails and the slabs of concrete. They will kill off our families, our sick, our aged. They will murder our children.
And we shall be forgotten, drowned out by the voices of the poets, the jurists, the philosophers, the priests. They will produce their own beauty, virtue, and truth. They will produce religion. "
― Tadeusz Borowski , This Way for the Gas, Ladies and Gentlemen
19
" ...I have sometimes thought that the mere hearing of those songs would do more to impress some minds with the horrible character of slavery, than the reading of whole volumes of philosophy on the subject could do.I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle; so that I neither saw nor heard as those without might see and hear. They told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. The mere recurrence to those songs, even now, afflicts me; and while I am writing these lines, an expression of feeling has already found its way down my cheek. To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds. If any one wishes to be impressed with the soul-killing effects of slavery, let him go to Colonel Lloyd's plantation, and, on allowance-day, place himself in the deep pine woods, and there let him, in silence, analyze the sounds that shall pass through the chambers of his soul, - and if he is not thus impressed, it will only be because " there is no flesh in his obdurate heart." I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion. "
