Anarchists from France

"Imagination is not an empirical or superadded power of consciousness, it is the whole of consciousness as it realizes its freedom."

"He was free, free in every way, free to behave like a fool or a machine, free to accept, free to refuse, free to equivocate; to marry, to give up the game, to drag this death weight about with him for years to come. He could do what he liked, no one had the right to advise him, there would be for him no Good or Evil unless he thought them into being."

"He yawned. He had finished the day and he had also finished with his youth. Various well-bred moralities had already discreetly offered him their services: disillusioned epicureanism, smiling tolerance, resignation, common sense stoicism - all the aids whereby a man may savour, minute by minute, like a connoisseur, the failure of a life."

"What then did you expect when you unbound the gag that muted those black mouths? That they would chant your praises? Did you think that when those heads that our fathers had forcibly bowed down to the ground were raised again, you would find adoration in their eyes?"

"Every age has its own poetry; in every age the circumstances of history choose a nation, a race, a class to take up the torch by creating situations that can be expressed or transcended only through poetry."

"Fascism is not defined by the number of its victims, but by the way it kills them."

"Our responsibility is much greater than we might have supposed, because it involves all mankind."

"To choose this or that is to affirm at the same time the value of what we choose, because we can never choose evil. We always choose the good, and nothing can be good for us without being good for all."

"If literature isn't everything, it's not worth a single hour of someone's trouble."

"We are dealing here with a kind of worker aristocracy; around them would gravitate the people who were to be helped and raised up but who, for the moment, really were inferiors within the context of the working class itself. This translated into the choice of a particular form of unionization. When the time came to raise the issue of forming industrial unions, the skilled workers opted for craft-based organization, because that would exclude the unskilled. Objectively, this gave rise to a particular kind of union struggle that was real enough at the time, because in practice it was enough for the skilled workforce in a factory—the minority—to go on strike for operations to cease, even if the unskilled majority wanted to go on working. The union practice of the time, the kind of self-valuing, the type of struggle and form of organization, corresponded strictly to what those workers were, to what the machine was. We are not saying here that they were wrong or right: they were all that the universal lathe allowed them to be. It was in them, as their superiority; they interiorized it, and this interiorization, or subjectivation, produced the whole phenomenon of anarcho-syndicalism. This was not, as Lukács claims, because they did not grasp the totality of what the working class was and what its struggle was. On the contrary, because they were at the centre of production, they did grasp it as it was at that time. It is true that at that time they were far better qualified than the rest, but it is also true that this led to the development of yellow unions, an aristocracy of labour and a host of fairly aberrant secondary elements reflecting that conception, that interiorization in the form of social superiority, which disappeared wherever work that required training was replaced by semi-automated, then automated machines. But in that epoch they could not have been expected to foresee the existence of such machines, practically and in their struggle. Of course Marx described them in Capital, but he was a theorist, a leader of the International, not a worker who struggles at every instance of his life, someone who is formed by the machine and at the same time internally transforms it. Which means that class consciousness itself has its limits, which are the limits of the situation as long as that situation has not been completely revealed. Should this lead us to describe this type of 'class consciousness' as empty? Should we decide that the anarcho-syndicalists were not the men required? On the contrary, it is because they were aware of their strength, their courage and their worth, because they established unions and specific forms of struggle, that other forms of struggle could emerge in the era when specialized workers appeared. In the course of struggle, the subjective moment, as a way of being inside the objective moment, is absolutely indispensable to the dialectical development of social life and the historical process."

"A writer who takes political, social or literary positions must act only with the means that are his. These means are the written words."

"What I see is teeming cohesion, contained dispersal.... For him, to sculpt is to take the fat off space."

"She believed in nothing; only her skepticism kept her from being an atheist."

"I hate victims who respect their executioners."

"You know how much I admire Che Guevara. In fact, I believe that the man was not only an intellectual but also the most complete human being of our age: as a fighter and as a man, as a theoretician who was able to further the cause of revolution by drawing his theories from his personal experience in battle."

"When you live alone you no longer know what it is to tell a story: the plausible disappears at the same time as the friends. You let events flow by too: you suddenly see people appear who speak and then go away; you plunge into stories of which you can't make head or tail: you'd make a terrible witness."

"People who live in society have learned how to see themselves in mirrors as they appear to their friends. I have no friends. Is that why my flesh is so naked?"

"I think they do it to pass the time, nothing more. But time is too large, it can't be filled up. Everything you plunge into it is stretched and disintegrates."

"As for the square at Meknes, where I used to go every day, it's even simpler: I do not see it at all anymore. All that remains is the vague feeling that it was charming, and these five words that are indivisibly bound together: a charming square at Meknes. ... I don't see anything any more: I can search the past in vain, I can only find these scraps of images and I am not sure what they represent, whether they are memories or just fiction."

"And we feel that the hero has lived all the details of this night like annunciations, promises, or even that he lived only those that were promises, blind and deaf to all that did not herald adventure. We forget that the future was not yet there; the man was walking in the night without forethought, a night which offered him a choice of dull rich prizes, and he did not make his choice."

"I exist. It is soft, so soft, so slow. And light: it seems as though it suspends in the air. It moves."

"Three o'clock is always too late or too early for anything you want to do."

"Ma pensée, c'est moi: voilà pourquoi je ne peux pas m'arrêter. J'existe parce que je pense ... et je ne peux pas m'empêcher de penser."

"Monsieur ... I do not believe in God; his existence has been disproved by Science. But in the concentration camp, I learned to believe in men."

"I wanted for the moments in my life to follow each other and order themselves like those of a life remembered. It would be just as well to try to catch time by the tail."

"As if there could be true stories: things happen in one way, and we retell them in the opposite way."

"I construct my memories with my present. I am lost, abandoned in the present. I try in vain to rejoin the past: I cannot escape."

"The real nature of the present revealed itself: it was what exists, all that was not present did not exist."

"The past is the luxury of proprietors."

"Who can exhaust a man? Who knows a man's resources?"

"For an occurrence to become an adventure, it is necessary and sufficient for one to recount it."

"For the moment, the jazz is playing; there is no melody, just notes, a myriad of tiny tremors. The notes know no rest, an inflexible order gives birth to them then destroys them, without ever leaving them the chance to recuperate and exist for themselves.... I would like to hold them back, but I know that, if I succeeded in stopping one, there would only remain in my hand a corrupt and languishing sound. I must accept their death; I must even want that death: I know of few more bitter or intense impressions."

"All that I know about my life, it seems, I have learned in books."

"Absurd, irreducible; nothing — not even a profound and secret delirium of nature — could explain it. Obviously I did not know everything, I had not seen the seeds sprout, or the tree grow. But faced with this great wrinkled paw, neither ignorance nor knowledge was important: the world of explanations and reasons is not the world of existence. A circle is not absurd, it is clearly explained by the rotation of a straight segment around one of its extremities. But neither does a circle exist. This root, on the other hand, existed in such a way that I could not explain it."

"How can I, who was not able to retain my own past, hope to save that of another?"

"I exist, that is all, and I find it nauseating."

"I know. I know that I shall never again meet anything or anybody who will inspire me with passion. You know, it's quite a job starting to love somebody. You have to have energy, generosity, blindness. There is even a moment, in the very beginning, when you have to jump across a precipice: if you think about it you don't do it. I know I'll never jump again."

"I grasp at each second, trying to suck it dry: nothing happens which I do not seize, which I do not fix forever in myself, nothing, neither the fugitive tenderness of those lovely eyes, nor the noises of the street, nor the false dawn of early morning: and even so the minute passes and I do not hold it back, I like to see it pass."

"By turning my head slightly, I could see something out of the corner of my eye: it was a hand, the small white hand which slid along the table a little while ago. Now it was resting on its back, relaxed, soft and sensual, it had the indolent nudity of a woman sunning herself after bathing. A brown hairy object approached it, hesitant. It was a thick finger, yellowed by tobacco; inside this hand it had all the grossness of a male sex organ. It stopped for an instant, rigid, pointing at the fragile palm, then suddenly, it timidly began to stroke it. I was not surprised, I was only furious at the Self-Taught Man (L'Autodidacte); couldn't he hold himself back, the fool, didn't he realize the risk he was running? The Self-Taught Man did not look surprised. He must have been expecting this for years. He must have imagined what would happen a hundred times, the day the Corsican would slip up behind him and a furious voice would resound suddenly in his ears. Yet he came back every evening, he feverishly pursued his reading and then, from time to time, like a thief, stroked a white hand or perhaps the leg of a small boy. It was resignation that I read on his face."

"Tout existant naît sans raison, se prolonge par faiblesse et meurt par rencontre."

"If, for example, we consider destruction, we must recognize that it is an activity which doubtless could utilize judgment as an instrument but which can not be defined as uniquely or even primarily judicative. Destruction presents the same structure as "the question." In a sense, certainly, man is the only being by whom a destruction can be accomplished. A geological plication, a storm do not destroy - or at least they do not destroy directly; they merely modify the distribution of masses of beings. There is no less after the storm than before. There is something else. Even this expression is improper, for to posit otherness there must be a witness who can retain the past in some manner and compare it to the present in the form of no longer. In the absence of this witness, there is being before as after the storm that is all. If a cyclone can bring about the death of certain living beings, this death will be destruction only if it is experienced as such. In order for destruction to exist, there must be first a relation of man to being - i.e., a transcendence; and within the limits of this relation, it is necessary that man apprehend one being as destructible. This supposes a limiting cutting into being by a being, which, as we saw in connection with truth, is already a process of nihilation. The being under consideration is that and outside of that nothing. The gunner who has been assigned an objective carefully points his gun in a certain direction excluding all others. But even this would still be nothing unless the being of the gunner's objective is revealed as fragile. And what is fragility if not a certain probability of non - being for a given being under determined circumstances. A being is fragile if it carries in its being a definite possibility of non - being. But once again it is through man that fragility comes into being, for the individualizing limitation which we mentioned earlier is the condition of fragility; one being is fragile and not all being, for the latter is beyond all possible destruction. Thus the relation of individualizing limitation which man enters into with one being on the original basis of his relation to being causes fragility to enter into this being as the appearance of a permanent possibility of non - being. But this is not all."

"Nothingness haunts being."

"Generosity is nothing else than a craze to possess. All which I abandon, all which I give, I enjoy in a higher manner through the fact that I give it away.... To give is to enjoy possessively the object which one gives."

"I am responsible for everything ... except for my very responsibility, for I am not the foundation of my being. Therefore everything takes place as if I were compelled to be responsible. I am abandoned in the world ... in the sense that I find myself suddenly alone and without help, engaged in a world for which I bear the whole responsibility without being able, whatever I do, to tear myself away from this responsibility for an instant."

"To eat is to appropriate by destruction."

"In order to make myself recognized by the Other, I must risk my own life. To risk one's life, in fact, is to reveal oneself as not-bound to the objective form or to any determined existence — as not-bound to life."

"L'existence précède et commande l'essence."

"Je suis condamné à être libre."

"L'homme est une passion inutile."

"Each human reality is at the same time a direct project to metamorphose its own For-itself into an In-itself-For-itself, a project of the appropriation of the world as a totality of being-in-itself, in the form of a fundamental quality. Every human reality is a passion in that it projects losing itself so as to found being and by the same stroke to constitute the In-itself which escapes contingency by being its own foundation, the Ens causa sui, which religions call God. Thus the passion of man is the reverse of that of Christ, for man loses himself as man in order that God may be born. But the idea of God is contradictory and we lose ourselves in vain. Man is a useless passion."

"All human activities are equivalent ... and ... all are on principle doomed to failure."

"Man is condemned to be free; because once thrown into the world, he is responsible for everything he does."

"It is certain that we cannot escape anguish, for we are anguish."

"The For-itself, in fact, is nothing but the pure nihilation of the In-itself; it is like a hole of being at the heart of Being."

"Man is always separated from what he is by all the breadth of the being which he is not. He makes himself known to himself from the other side of the world and he looks from the horizon toward himself to recover his inner being."

"Generally speaking there is no irreducible taste or inclination. They all represent a certain appropriative choice of being. It is up to existential psychoanalysis to compare and classify them. Ontology abandons us here; it has merely enabled us to determine the ultimate ends of human reality, its fundamental possibilities, and the value which haunts it."

"But [your crime] will be there, one hundred times denied, always there, dragging itself behind you. Then you will finally know that you have committed your life with one throw of the die, once and for all, and there is nothing you can do but tug our crime along until your death. Such is the law, just and unjust, of repentance. Then we will see what will become of your young pride."

"Be quiet! Anyone can spit in my face, and call me a criminal and a prostitute. But no one has the right to judge my remorse."

"Fear? If I have gained anything by damning myself, it is that I no longer have anything to fear."

"Admit it, it is your youth that you regret, more even than your crime; it is my youth you hate, even more than my innocence."

"Some men are born committed to action: they do not have a choice, they have been thrown on a path, at the end of that path, an act awaits them, their act."

"They are in bad faith — they are afraid — and fear, bad faith have an aroma that the gods find delicious. Yes, the gods like that, the pitiful souls."

"Ah! Do not judge the gods, young man, they have painful secrets."

"Yes, I am so free. And what a superb absence is my soul."

"You must be afraid, my son. That is how one becomes an honest citizen."

"Her face seems ravaged by both lightning and hail. But on yours there is something like the promise of a storm: one day passion will burn it to the bone."

"I felt less alone when I didn't know you yet: I was waiting for the other. I thought only of his strength and never of my weakness. And now here you are, Orestes, it was you. I look at you and I see that we are two orphans."

"A man who is free is like a mangy sheep in a herd. He will contaminate my entire kingdom and ruin my work."

"Nicias, do you think you can erase with good deeds the wrongs you committed against your mother? What good deed will ever reach her? Her soul is a scorching noon time, without a single breath of a breeze, nothing moves, nothing changes, nothing lives there; a great emaciated sun, an immobile sun eternally consumes her."

"What do I care about Jupiter? Justice is a human issue, and I do not need a god to teach it to me."

"Commoners are weightless. But he was a royal bon vivant who, no matter what, always weighed 125 kilos. I would be very surprised if he didn't have a few pounds left."

"All-powerful god, who am I but the fear that I inspire in others?"

"Blood doubly unites us, for we share the same blood and we have spilled blood."

"Suppose that I wish to deserve the title of "robber of remorse" and that I place in myself all [the townspeople's] repentence?"

"But, if it will help ease your irritated souls, please know, dearly departed, that you have ruined our lives."

"It is for the sake of order that I seduced Clytemnestra, for the sake of order that I killed my king. I wanted for order to rule and that it rule through me. I have lived without desire, without love, without hope: I made order. Oh! terrible and divine passion!"

"Understand me: I wish to be a man from somewhere, a man among men. You see, a slave, when he passes by, weary and surly, carrying a heavy load, limping along and looking down at his feet, only at his feet to avoid falling down; he is in his town, like a leaf in greenery, like a tree in a forest, argos surrounds him, heavy and warm, full of herself; I want to be that slave, Electra, I want to pull the city around me and to roll myself up in it like a blanket. I will not leave."

"I have no need for good souls: an accomplice is what I wanted."

"He is dead, and my hatred has died with him."

"Jupiter: I committed the first crime by creating men as mortals. After that, what more could you do, you the murderers? Aegisteus: Come on; they already had death in them: at most you simply hastened things a little."

"Ah! How I hate the crimes of the new generation: they are dry and sterile as darnel."

"Zeus (Jupiter): Agistheus, you are a king, and it's to your sense of king-ship I appeal, for you enjoy wielding the scepter. Aegistheus: Continue. Zeus: You may hate me, but we are akin; I made you in my image. A king is a god on earth, glorious and terrifying as a god. Aegistheus: You, terrifying? Zeus: Look at me. [A long silence.] I told you you were made in my image. Each keeps order; you in Argos, I in heaven and on earth — and you and I harbor the same dark secret in our hearts. Aegistheus: I have no secret. Zeus: You have. The same as mine. The bane of gods and kings. The bitterness of knowing men are free. Yes, Aegistheus they are free. But your subjects do not know it, and you do."

"Aegistheus, the kings have another secret.... Once liberty has exploded in the soul of a man, the Gods can do nothing against that man. It is a matter for men to handle amongst themselves, and it is up to other men — and to them alone — to let him flee or to destroy him."

"Now I am weary and I can no longer tell good from Evil, and I need someone to show me the way."

"Jupiter: I gave you the liberty to serve me. Orestes: That is possible, but it has turned against you and there is nothing either one of us can do about it."

"I came to claim my kingdom and you refused me because I was not one of you. Now I am one of you, my subjects, we are bound by blood, and I deserve to be your king. Your sins and your remorse, your mighty anguish, I take all upon myself. Fear your dead no more, they are my dead."

"Remember, Orestes: you were part of my herd, you grazed in the fields along with my sheep. Your liberty is nothing but a mange eating away at you, it is nothing but an exile."

"We were too light, Electra. Now our feet press down in the earth like the wheels of a cart in its groove. Come with me, and we will walk heavily, bending under the weight of our heavy load."

"Your entire universe will not be enough to make me guilty. You are the king of the Gods, Jupiter, the king of the stones and of the stars, the king of the waves of the sea. But you are not the king of men."

"Jupiter: I am not your king, impudent larva? Who then has created you? Orestes: You. But you should not have created me free."

"I am a man, Jupiter, and each man must invent his own path."

"You are a tiny little girl, Electra. Other little girls dreamed of being the richest or the most beautiful women of all. And you, fascinated by the horrid destiny of your people, you wished to become the most pained and the most criminal ... At your age, children still play with dolls and they play hopscotch. You, poor child, without toys or playmates, you played murder, because it is a game that one can play alone."

"In a world, man must create his own essence: it is in throwing himself into the world, suffering there, struggling there, that he gradually defines himself."

"Man cannot will unless he has first understood that he must count on no one but himself; that he is alone, abandoned on earth in the midst of his infinite responsibilities, without help, with no other aim than the one he sets himself, with no other destiny than the one he forges for himself on this earth."

"With despair, true optimism begins: the optimism of the man who expects nothing, who knows he has no rights and nothing coming to him, who rejoices in counting on himself alone and in acting alone for the good of all."

"...man first of all exists, encounters himself, surges up in the world – and defines himself afterwards."

"I will take it all: tongs, molten lead, prongs, garrotes, all that burns, all that tears, I want to truly suffer. Better one hundred bites, better the whip, vitriol, than this suffering in the head, this ghost of suffering which grazes and caresses and never hurts enough."

"Criminals together. We're in hell, my little friend, and there's never any mistake there. People are not damned for nothing."

"If we must absolutely mention this state of affairs, I suggest that we call ourselves "absent", that is more proper."

"Alors, c'est ça l'enfer. Je n'aurais jamais cru... vous vous rappelez: le soufre, le bûcher, le gril... ah! Quelle plaisanterie. Pas besoin de gril, l'enfer, c'est les autres."

"Your crystal? That's silly. Whom do you think you are fooling? Come on, everyone knows that I threw the baby out of the window. The crystal is shattered on earth, and I do not care. I am no longer anything but a skin, and my skin does not belong to you."

"It is better; heavier, crueler. The mouth you wear for hell."

"As for me, I am mean: that means that I need the suffering of others to exist. A flame. A flame in their hearts. When I am all alone, I am extinguished."

"You have stolen my face from me: you know it and I no longer do."

"Don't you feel the same way? When I cannot see myself, even though I touch myself, I wonder if I really exist."

"Ha! to forget. How childish! I feel you in my bones. Your silence screams in my ears. You may nail your mouth shut, you may cut out your tongue, can you keep yourself from existing? Will you stop your thoughts."

"On meurt toujours trop tôt - ou trop tard. Et cependant la vie est là, terminée : le trait est tiré, il faut faire la somme. Tu n'es rien d'autre que ta vie."

"We are in hell and I will have my turn!"

"If only you knew how little I care. Cowardly or not, as long as he is a good kisser."

"I think of death only with tranquility, as an end. I refuse to let death hamper life. Death must enter life only to define it."

"On est ce qu'on veut."

"Eh bien, continuons..."

"The anti‐Semite has chosen hate because hate is a faith; at the outset he has chosen to devaluate words and reasons. How entirely at ease he feels as a result. How futile and frivolous discussions about the rights of the Jew appear to him. He has placed himself on other ground from the beginning. If out of courtesy he consents for a moment to defend his point of view, he lends himself but does not give himself. He tries simply to project his intuitive certainty onto the plane of discourse. I mentioned awhile back some remarks by anti‐Semites, all of them absurd: "I hate Jews because they make servants insubordinate, because a Jewish furrier robbed me, etc." Never believe that anti‐ Semites are completely unaware of the absurdity of their replies. They know that their remarks are frivolous, open to challenge. But they are amusing themselves, for it is their adversary who is obliged to use words responsibly, since he believes in words. The anti‐Semites have the right to play. They even like to play with discourse for, by giving ridiculous reasons, they discredit the seriousness of their interlocutors. They delight in acting in bad faith, since they seek not to persuade by sound argument but to intimidate and disconcert. If you press them too closely, they will abruptly fall silent, loftily indicating by some phrase that the time for argument is past. It is not that they are afraid of being convinced. They fear only to appear ridiculous or to prejudice by their embarrassment their hope of winning over some third person to their side."

"The anti‐Semite understands nothing about modern society. He would be incapable of conceiving of a constructive plan; his action cannot reach the level of the methodical; it remains on the ground of passion. To a long‐term enterprise he prefers an explosion of rage analogous to the running amuck of the Malays. His intellectual activity is confined to interpretation; he seeks in historical events the signs of the presence of an evil power. Out of this spring those childish and elaborate fabrications which give him his resemblance to the extreme paranoiacs. In addition, anti‐Semitism channels evolutionary drives toward the destruction of certain men, not of institutions. An anti‐Semitic mob will consider it has done enough when it has massacred some Jews and burned a few synagogues. It represents, therefore, a safety valve for the owning classes, who encourage it and thus substitute for a dangerous hate against their regime a beneficent hate against particular people. Above all this naive dualism is eminently reassuring to he anti‐Semite himself. If all he has to do is to remove Evil, that means that the Good is already given. He has no need to seek it in anguish, to invent it, to scrutinize it patiently when he has found it, to prove it in action, to verify it by its consequences, or, finally, to shoulder the responsibilities of the moral choice he has made. It is not by chance that the great outbursts of anti‐Semitic rage conceal a basic optimism. The anti‐Semite has cast his lot for Evil so as not to have to cast his lot for Good. The more one is absorbed in fighting Evil, the less one is tempted to place the Good in question. One does not need to talk about it, yet it is always understood in the discourse of the anti‐Semite and it remains understood in his thought. When he has fulfilled his mission as holy destroyer, the Lost Paradise will reconstitute itself. For the moment so many tasks confront the anti‐Semite that he does not have time to think about it. He is in the breach, fighting, and each of his outbursts of rage is a pretext to avoid the anguished search for the Good."

"If the Jew did not exist, the anti-Semite would invent him."

"What do we mean by saying that existence precedes essence? We mean that man first of all exists, encounters himself, surges up in the world—and defines himself afterwards. If man as the existentialist see him is not definable, it is because to begin with he is nothing. He will not be anything until later, and then he will be what he makes of himself. Thus, there is no human nature, because there is no God to have a conception of it. Man simply is. Not that he is simply what he conceives himself to be, but he is what he wills, and as he conceives himself after already existing – as he wills to be after that leap towards existence. Man is nothing else but that which he makes of himself. That is the first principle of existentialism."

"First, what do we mean by anguish? The existentialist frankly states that man is in anguish. His meaning is as follows-When a man commits himself to anything, fully realizing that he is not only choosing what he will be, but is thereby at the same time a legislator deciding for the whole of mankind-in such a moment a man cannot escape from the sense of complete and profound responsibility."

"And when we speak of "abandonment" - a favorite word of Heidegger - we only mean to say that God does not exist and that it is necessary to draw the consequences of his absence to the end."

"Dostoevsky once wrote: "If God did not exist, everything would be permitted"; and that, for existentialism, is the starting point. Everything is indeed permitted if God does not exist, and man is in consequence forlorn, for he cannot find anything to depend upon either within or outside himself. He discovers forthwith, that he is without excuse."

"When Descartes said, "Conquer yourself rather than the world," what he meant was, at bottom, - the same - that we should act without hope. Marxists, to whom I have said thus have answered: "Your action is limited, obviously, by your death: but you can rely upon the help of others."

"Quietism is the attitude of people who say, "let others do what I cannot do." The doctrine I am presenting before you is precisely the opposite of this, since it declares that there is no reality except in action. It goes further, indeed, and adds, "Man is nothing else but what he purposes, he exists only in so far as he realizes himself, he is therefore nothing else but the sum of his actions, nothing else but what his life is." Hence we can well understand why some people are horrified by our teaching."

"Our aim is precisely to establish the human kingdom as a pattern of values in distinction from the material world. But the subjectivity which we thus postulate as the standard of truth is no narrowly individual subjectivism, for as we have demonstrated, it is not only one's own self that one discovers in the cogito, but those of others too. Contrary to the philosophy of Descartes, contrary to that of Kant, when we say "I think" we are attaining to ourselves in the presence of the other, and we are just as certain of the other as we are of ourselves. Thus the man who discovers himself directly in the cogito also discovers all the others, and discovers them as the condition of his own existence. He realizes that he can't be anything unless others recognize him as such. I cannot obtain any truth whatsoever about myself, except through the mediation of another. The other is indispensable to my existence, and equally so to any knowledge I can have of myself."

"A man who belongs to some communist or revolutionary society wills certain concrete ends, which imply the will to freedom, and that freedom is willed in community. We will freedom for freedom's sake, and in and through the particular circumstances. And in thus willing freedom, we discover that it depends entirely upon the freedom of others and that the freedom of others depends upon our own."

"We will freedom for freedom's sake, in and through particular circumstances. And in thus willing freedom, we discover that it depends entirely upon the freedom of others and that the freedom of others depends upon our own. Obviously, freedom as the definition of a man does not depend upon others, but as soon as there is a commitment, I am obliged to will the liberty of others at the same time as my own. I cannot make liberty my aim unless I make that of others equally my aim."

"Existentialism is nothing else but an attempt to draw the full conclusions from a consistently atheistic position. Its intention is not in the least that of plunging men into despair. And if by despair one means as the Christians do – any attitude of unbelief, the despair of the existentialists is something different. Existentialism is not atheist in the sense that it would exhaust itself in demonstrations of the non-existence of God. It declares, rather, that even if God existed that would make no difference from its point of view. Not that we believe God does exist, but we think that the real problem is not that of His existence; what man needs is to find himself again and to understand that nothing can save him from himself, not even a valid proof of the existence of God. In this sense existentialism is optimistic. It is a doctrine of action, and it is only by self-deception, by confining their own despair with ours that Christians can describe us as without hope."

"Life has no meaning a priori … It is up to you to give it a meaning, and value is nothing but the meaning that you choose."

"It is the good children, Madame, who make the most terrible revolutionaries. They say nothing, they do not hide under the table, they eat only one sweet at a time, but later on, they make Society pay dearly for it!"

"As for us, my little friend, we entered [the Communist Party] because we were tired of dying of hunger."

"I respect orders but I respect myself too and I do not obey foolish rules made especially to humiliate me."

"They made me take cod liver oil: that is the height of luxury: a medicine to make you hungry while the others, in the street, would have sold themselves for a beefsteak. I saw them passing my window with their signs: "Give me bread"."

"In any case, if you ever leave me with a handsome man, do not tell me that you trust me because, let me warn you: that is not what will prevent me from deceiving you, if I want to. On the contrary."

"Karsky: I met your father last week. Are you still interested in hearing how he is doing? Hugo: No. Karsky: It is very probable that you will be responsible for his death. Hugo: It is virtually certain that he is responsible for my life. We are even."

"Listen to me: a family man is never a real family man. An assassin is never entirely assassin. They play a role, you understand. While a dead man, he is really dead. To be or not to be, right?"

"It is the same thing: killing, dying, it is the same thing: one is just as alone in each. He is lucky, he will only die once. As for me, for ten days I have been killing him at every minute."

"I say a murder is abstract. You pull the trigger and after that you do not understand anything that happens."

"I was your luxury. For nineteen years I have been put in your man's world and was forbidden to touch anything and you made me think that all was going very well and that I did not have to worry about anything but putting flowers in vases. Why did you lie to me? Why did you keep me ignorant, if it was to admit to me one day that this world is cracking and that you are all powerless and to make me choose between a suicide and a murder?"

"Politics is a science. You can demonstrate that you are right and that others are wrong."

"I do not give a damn about the dead. They died for the [Communist] Party and the Party can decide what it wants. I practice a live man's politics, for the living."

"What do you want to do with the [Communist] Party? A racing stable? What good is it to sharpen a knife every day if you never use it for slicing? A party is never more than a means. There is only one objective: power."

"Intellectuals cannot be good revolutionaries; they are just good enough to be assassins."

"I was not the one to invent lies: they were created in a society divided by class and each of us inherited lies when we were born. It is not by refusing to lie that we will abolish lies: it is by eradicating class by any means necessary."

"The [Communist] Party has one objective: the creation of a socialist economy; and one means: the utilization of the class struggle."

"As far as men go, it is not what they are that interests me, but what they can become."

"You take souls for vegetables.... The gardener can decide what will become of his carrots but no one can choose the good of others for them."

"I entered the [Communist] Party because its cause was just and I will leave it when it ceases to be just."

"The best work is not what is most difficult for you; it is what you do best."

"I know nothing, I am neither woman nor girl; I have been living in a dream and when someone kissed me, it made me want to laugh. Now I am here before you, it seems as though I have just awakened and it is morning."

"I tell you in truth: all men are Prophets or else God does not exist."

"If you are not already dead, forgive. Rancor is heavy, it is worldly; leave it on earth: die light."

"I know only one Church: it is the society of men."

"If a victory is told in detail, one can no longer distinguish it from a defeat."

"It is too early to love. We will buy the right to do so by shedding blood."

"Your church is a whore: she sells her favors to the rich."

"It is not the same thing. You are perhaps not lying, but you are not telling the truth."

"I do not understand! I understand nothing! I cannot understand nor do I want to understand! I want to believe! To Believe!"

"Lord, you have cursed Cain and Cain's children: thy will be done. You have allowed men's hearts to be corrupted, that their intentions be rotten, that their actions putrefy and stink: thy will be done."

"Quand les riches se font la guerre, ce sont les pauvres qui meurent."

"Ah! yes, I know: those who see me rarely trust my word: I must look too intelligent to keep it."

"It is the same: a chosen one is a man whom God's finger crushes against the wall."

"You see, I divide men into three categories: those who have a lot of money, those who have none at all and those who have a little. The first want to keep what they have: their interest is to maintain order; the second want to take what they do not have: their interest is to destroy the existing order and to establish one which is profitable to them. They each are realist, people with whom one can agree. The third group want to overthrow the social order to take what they do not have, while still preserving it so that no one takes away what they have. Thus, they preserve in fact what they destroy in theory, or they destroy in fact what they seem to preserve. Those are the idealists."

"I can be twenty women, one hundred, if that's what you want, all women. Ride with me behind you, I weigh nothing, your horse will not feel me. I want to be your whorehouse!"

"Catherine: Why commit Evil? Goetz: Because Good has already been done. Catherine: Who has done it? Goetz: God the Father. I, on the other hand, am improvising."

"I am not virtuous. Our sons will be if we shed enough blood to give them the right to be."

"Yes, Lord, you are innocence itself: how could you conceive of Nothingness, you who are plenitude? Your gaze is light and transforms all into light: how could you know the half-light in my heart?"

"If you want to deserve Hell, you need only stay in bed. The world is iniquity; if you accept it, you are an accomplice, if you change it you are an executioner."

"There are two types of poor people, those who are poor together and those who are poor alone. The first are the true poor, the others are rich people out of luck."

"I will not be modest. Humble, as much as you like, but not modest. Modesty is the virtue of the lukewarm."

"One cannot become a saint when one works sixteen hours a day."

"I have nothing but contempt for you idiotic chosen ones who have the heart to rejoice when there are the damned in Hell and the poor on earth; as for me, I am on the side of men and I will not leave it."

"We will not go to Heaven,Goetz, and even if we both entered it, we would not have eyes to see each other, nor hands to touch each other. Up there, God gets all the attention.... We can only love on this earth and against God."

"À celui qui donne un baiser ou un coup Rendez un baiser ou un coup Mais à celui qui donne sans que vous puissiez rendre Offrez toute la haine de votre coeur Car vous étiez esclaves et il vous asservit"

"If you die, I will lie down beside you and I will stay there until the end, without eating or drinking, you will rot in my arms and I will love you as carcass: for you love nothing if you do not love everything."

"I am no longer sure of anything. If I satiate my desires, I sin but I deliver myself from them; if I refuse to satisfy them, they infect the whole soul."

"Do you think that I count the days? There is only one day left, always starting over: it is given to us at dawn and taken away from us at dusk."

"Night is falling: at dusk, you must have good eyesight to be able to tell the Good Lord from the Devil."

"Adieu les monstres! Adieu les saints! Adieu l'orgueil! Il n'y a que des hommes."

"God is the solitude of men. There was only me: I alone decided to commit Evil; alone, I invented Good. I am the one who cheated, I am the one who performed miracles, I am the one accusing myself today, I alone can absolve myself; me, the man."

"Better to have beasts that let themselves be killed than men who run away."

"I wanted pure love: foolishness; to love one another is to hate a common enemy: I will thus espouse your hatred. I wanted Good: nonsense; on this earth and in these times, Good and Bad are inseparable: I accept to be evil in order to become good."

"One is still what one is going to cease to be and already what one is going to become. One lives one's death, one dies one's life."

"The French bourgeois doesn't dislike shit, provided it is served up to him at the right time."

"The homosexual never thinks of himself when someone is branded in his presence with the name homosexual. ...His sexual tastes will doubtless lead him to enter into relationships with this suspect category, but he would like to make use of them without being likened to them. Here, too, the ban that is cast on certain men by society has destroyed all possibility of reciprocity among them. Shame isolates."

"I maintain that inversion is the effect of neither a prenatal choice nor an endocrinal malformation nor even the passive and determined result of complexes. It is an outlet that a child discovers when he is suffocating."

"esse est percipi, and he recognizes himself as being only insofar as he is perceived."

"L’important n’est pas ce qu’on fait de nous mais ce que nous faisons nous-même de ce qu’on a fait de nous."

"such mad confidence within despair."

"It was a constraint; he makes of it his mission"

"But when they have realized that it [society] rejects them forever, they themselves assume the ostracism of which they are victims so as not to leave the initiative to their oppressors"

"This inner revolution is realistic because it maintains itself deliberately within the framework of existing institutions; the oppressed reckon with the real situation."

"His business is here, it is here that he is despised and vilified, it is here that he must carry out his undertaking"

"Since he is unable to be the beloved, he will become the lover."

"...inversion...is an outlet that a child discovers when he is suffocating."

"In doing Good, I lose myself in Being, I abandon my particularity, I become a universal subject."

"The strangest mores of the most of-the-way societies will, in spite of everything, be relatively comprehensible to the person who has a flesh-and-blood knowledge of man's needs, anxieties, and hopes. If, on the other hand, this experience is lacking, he will not even be able to understand the customs of those about him."

"The live dead-man is dead as a producer and alive insofar as he consumes"

"Abjection is a methodological conversion, like Cartesian doubt and Husserlian epoche: it establishes the world as a closed system which consciousness regards from without, in the manner of divine understanding."

"But since he has decided to have the impossibility of living, every misfortune is an opportunity which lays this importance of living before his eyes and obliges him to decide, once again, to die."

"His obedience is real since he really and truly fulfills his mission, since he runs real risks in order to carry out the beloved's orders. But, on the other hand, it is imaginary because he submits only to a creature of his mind."

"He chooses the most feared, most hated man in order to worship him as a god, feeling sure that he is alone in perceiving the god's secret virtues."

"It is freedom, it is particularity, it is solitude that we are aiming at, and not Evil for its own sake"

"Moral solipsism."

"The consciousness of being betrayed is to the collective consciousness of a sacred group what a certain form of schizophrenia is to the individual...it is a form of madness."

"Only a neutral, who is indifferent to the stake and perhaps to all stakes, can appreciate aesthetically the grandeur of a fine disaster"

"Genet is a man-failure: he wills the impossible in order to derive from the tragic grandeur of this defeat the assurance that there is something other than the possible."

"Similarly, individual acts of aristocratic generosity do not eliminate pauperism; they perpetuate it."

"For man holds his ground only by surpassing himself, in the same sense in which it is said that one ceases to love if one does not love increasingly everyday."

"The worst of misfortunes is still a stroke of luck, since one feels oneself living when one experiences it/"

"For Genet, reflective states of mind are the rule. And although they are of an unstable nature in everyone, in him...reflection is always contrary to the reflected feeling."

"The world is sacred because it gives an inkling of a meaning that escapes us"

"...for one cannot enter an image unless one makes oneself imaginary"

"...the impossible must be supposed in order to explain the superdetermination of the event"

"He wanted to assume his entire condition, to carry the world on his shoulders and to become, in defiance of all, what all have made of him."

"The dreamer must contaminate the others by his dream, he must make them fall into it"

"...the prisoner's dreams is the guard's spirituality"

"Virtue is the death of conscience because it is the habit of Good, and yet the ethic of the honest man infinitely prefers virtue to the noblest agonies of conscience. Thus, being poses nonbeing and eliminates it. There is only being"

"For Genet, Beauty will be the offensive weapon that will enable him to beat the just on their own ground: that of value."

"Thus, Beauty is neither an appearance nor a being, but a relationship: the transformation of being into appearance"

"...in order to change poverty into wealth, one must start by displaying it."

"That is precisely what we should have expected, since Genet wants to live simultaneously creation, destruction, the impossibility of destroying and the impossibility of creating, since he wants both to show his rejection of the divine creation and to manifest, in the absolute, human impotence as man's reproval of God and as the testimony of his grandeur."

"I mistrust illuminations: what we take for a discovery is very often only a familiar thought that we have not recognized."

"...the reality of society involves the socialization of certain unrealities."

"I, for my part, do not conceive an act as having causes, and I consider myself satisfied when I have found in it not its 'factors' but the general themes which it organizes: for our decisions gather into new syntheses and on new occasions the leitmotif that governs our life"

"...and if you are common, you can dress up as a woman, show you behind or write poems: there's nothing offensive about a naked behind if it's everybody's; each person will be mirrored in it."

"the martyr's reflex"

"in order to make himself thoroughly undesirable, he will speak."

"For those who want 'to change life", 'to reinvent love,' God is nothing but a hindrance."

"This is the contradiction of racism, colonialism, and all forms of tyranny: in order to treat a man like a dog, one must first recognize him as a man."

"Everything is both a trap and a display; the secret reality of the object is what the Other makes of it."

"In some places the metropolis makes do with paying a clique of feudal overlords; in others, it has fabricated a fake bourgeoisie of colonized subjects in a system of divide and rule; elsewhere, it has killed two birds with one stone: the colony is both settlement and exploitation."

"Either the USSR was not the country of socialism, in which case socialism didn't exist anywhere and doubtless, wasn't possible: or else, socialism was that, this abominable monster, this police state, the power of beasts of prey."

"To believe is to know you believe, and to know you believe is not to believe."

"[W]e only become what we are by the radical and deep-seated refusal of that which others have made of us."

"To shoot down a European is to kill two birds with one stone, to destroy an oppressor and the man he oppresses at the same time.The Doctor Prescribed Violence, Adam Shatz"

": From the introduction to The Wretched of the Earth by Frantz Fanon."

"He was a generous and courageous man. He always defended the cause of the unfortunate, of the exploited, and of the oppressed. He always struggled for freedom, most often with the communists and, if necessary, against them. He believed in the strength of reason and in the contagious power of the idea of freedom. But above all, for me and I have said it several times, he was our Jean-Jacques Rousseau."

"When I was growing up in the 60s, Simone de Beauvoir and Jean-Paul Sartre were a model couple, already legendary creatures, rebels with a great many causes, and leaders of what could be called the first postwar youth movement: existentialism — a philosophy that rejected all absolutes and talked of freedom, authenticity, and difficult choices. It had its own music and garb of sophisticated black which looked wonderful against a cafe backdrop. Sartre and De Beauvoir were its Bogart and Bacall, partners in a gloriously modern love affair lived out between jazz club, cafe and writing desk, with forays on to the platforms and streets of protest. Despite being indissolubly united and bound by ideas, they remained unmarried and free to engage openly in any number of relationships. This radical departure from convention seemed breathtaking at the time."

"During the last months of the German Occupation in 1944, the young man who was to become France's most controversial contemporary philosopher and the woman who was to become its most controversial feminist met the professional criminal who was to become its most controversial playwright."

"I had gotten very much involved in the writings of the so-called Existentialists. Camus. Sartre. I retreated into myself and rejected practically everything outside. Only in the artificial surroundings of an isolated, virtually all-white college campus could I have allowed myself to cultivate this nihilistic attitude. It was as if in order to fight off the unreal quality of my environment, I leaped desperately into another equally unreal mode of living."

"Jean Paul Sartre has said that all of French Existentialism is to be found in Ivan Karamazov's contention that if there is no God, everything is permitted."

"What is it about the study of philosophy that tends to make brilliant minds stupid when it comes down to what are known as actual cases? Consider Martin Heidegger, Bertrand Russell, Jean-Paul Sartre, and Ludwig Wittgenstein, the four great names in twentieth-century philosophy: the first was a Nazi, the second died certain that America was responsible for all the world's evil, the third was a Stalinist long after any justification for being so could be adduced, and the fourth lived on the borders of madness most of his life. Contemplation of the lives of philosophers is enough to drive one to the study of sociology."

"The Critique de la raison dialectique is a nineteenth-century man's magnificent and pathetic attempt to think the twentieth century. In that sense, Sartre is the last Hegelian and, I would even say, the last Marxist."

"According to Jean-Paul Sarte, "hell is other people," but I'm not sure that Sarte wanted to spend the whole of eternity by himself."

"are we willing to accept Jean-Paul Sartre's definition of Judaism, "anti-semitism makes Jews" (that is, he even denies us the right of self-definition)? Or are there also things about us that have nothing whatsoever to do with the acts and attitudes of others?"

"The impression I came away with was one of overwhelming nostalgia. Sartre was the Last Intellectual. True, France still has writers on philosophical questions who also march in demonstrations. (One of them, Luc Ferry, has even been made the nation's minister for education.) But there will never again be a combination of totalizing theoretician, literary colossus, and political engagé like Sartre. Today's French intellectuals look like puny technocrats by comparison. Luckily, they proved to be on the winning side of history, so they can afford to be gracious to him, to say, along with de Gaulle, Sartre, c'est aussi la France."

"As a rule, philosophers found Sartre slippery; playwrights thought him didactic. But each supposed him a genius at the other activity."

"I don't think that Sartre's worst shortcoming was his failure to see straight in World War II. However, I do think that his political myopia during the occupation years should be understood in the light of his completely apolitical worldview hitherto. This is a man, after all, who managed to live through the 1930s with no apparent political engagement or response of any kind, notwithstanding a year spent in Germany and the remarkable upheaval of the Popular Front in France. There can be no doubt that, in retrospect, Sartre—like many of his friends—felt uneasy about all this. Some of his later moral writings, on the subject of good faith, bad faith, responsibility and the like, are perhaps best understood as retroactive projections of his own bad conscience. However, what has always troubled me about Sartre was his continuing failure to think straight, long after the ambiguities of the 1930s and 1940s had dissipated. Why, after all, did he so insistently refuse to discuss the crimes of communism, even to the extent of remaining conspicuously silent about anti-Semitism in Stalin's last years? The answer, of course, is that he made a deliberate decision not to think of those crimes in ethical terms, or at least in a language which would engage his own ethical commitment. In short, he found ways to avoid a difficult choice—while insistently claiming that avoiding hard choices was precisely the exercise of bad faith which he so famously defined and condemned. It was this unforgivable confusion—or, more bluntly, dissemblance—that I find unacceptable in precisely Sartre's own terms. It is not as though his generation was unusually confused or mystified: Jean-Paul Sartre was born within a year of not just Hannah Arendt but also Arthur Koestler and Raymond Aron. That generation, born around 1905, was without question the most influential intellectual cohort of the century. They reached maturity just as Hitler was coming to power and were drawn willy-nilly into the historical vortex, confronting all the tragic choices of the age with little option but to take sides or have their side chosen for them. After the war, young enough in most cases to avoid the discredit that fell upon their seniors, they exercised precocious intellectual and literary influence, dominating the European (and American) scene for decades to come."

"Jean-Paul Sartre called fossil fuels "capital bequeathed to mankind by other living beings"; they are quite literally the decayed remnants of long-dead life-forms. It's not that these substances are evil; it's just that they belong where they are: in the ground, where they are performing valuable ecological functions."

"One of the causes of the popularity of Marxism among educated people was the fact that in its simple form it was very easy; even Sartre noticed that Marxists are lazy. Indeed, they enjoyed having one key to open all doors, one universally applicable explanation for everything, an instrument that makes it possible to master all of history and economics without actually having to study either."

"I did read some Sartre. I probably was in the generation that would have read Sartre anyway. I saw one of his plays, Huis Clos, a good play. He was fashionable, and much talked about in the fifties in America. It was his high days. I realized gradually that I found him in too many ways detestable-the incredible negativity of some of his work... Of course he is out to shock and so on, but I was a very serious twenty-year-old, so I went into rebelling against Sartre, and others of that kind, so that's why I think I was making jokes about him, later on."

"The Frenchman Jean-Paul ... Sartre I remember now was — his last name had a dialectical — mind good as a machine for cybernetics, immense in its way, he could peel a nuance like an onion, but he had no sense of evil, the anguish of God, and the possible existence of Satan."

"I also have a great intellectual respect for those who followed him (Husserl), Heidegger in particular, and among my countrymen, men like Paul Ricoeur (who, however, I am still far from trusting), and Mircea Eliade (a great explorer but one who does not want to be a guide, thank goodness. I have none for Jean-Paul Sartre, who seems to me too artful, and who besides (and here he pleases me) would be quite sorry to find himself respected. (Yet I like to imagine him elected to the Academie Fancaise, an honor which he certainly deserves.) But he has offered a testimony we would be quite wrong to neglect."

"I like [his plays] better than his novels. I am not quite sure how I feel about Jean-Paul Sartre - He has something. But not perhaps enough. ??? WHO HAS? I never get with him that knock on the heart which means That is truth, that is final. That came from au delà. I expect one only gets that from the greatest."

"The nature of Sartre and Beauvoir's partnership was never a secret to their friends, and it was not a secret to the public, either, after they were abruptly launched into celebrity, in 1945. They were famous as a couple with independent lives, who met in cafés, where they wrote their books and saw their friends at separate tables, and were free to enjoy other relationships, but who maintained a kind of soul marriage. Their liaison was part of the mystique of existentialism, and it was extensively documented and coolly defended in Beauvoir's four volumes of memoirs, all of them extremely popular in France: "Memoirs of a Dutiful Daughter" (1958), "The Prime of Life" (1960), "Force of Circumstance" (1963), and "All Said and Done" (1972). Beauvoir and Sartre had no interest in varnishing the facts out of respect for bourgeois notions of decency. Disrespect for bourgeois notions of decency was precisely the point."

"Marcuse’s forte was as a philosopher. His preoccupation with epistemology and dialectics was typical of a growing trend among Marxist writers seeking to challenge the Marxism that had been customary since 1917. Jean-Paul Sartre, whose early philosophical work was constructed on the basis of ideas drawn from Edmund Husserl and Martin Heidegger, published his Critique of Dialectical Reason in 1964. This was an attempt to bring together Marxism and the existentialist school in philosophy, and – unlike any previous Marxist thinker – Sartre argued for the crucial importance of the ‘autonomous’ and ‘self-conscious’ individual in explaining and justifying social activity. Lucio Colletti in Italy went back to Marx and suggested that Immanuel Kant rather than Georg Wilhelm Friedrich Hegel had exercised the deepest influence on his thought. Colletti’s work was admired by the French communist writer Louis Althusser. But Althusser placed his emphasis elsewhere, acknowledging that some bits of Marx’s work contradicted others. This was an extraordinary admission for a Marxist to make at that time. Althusser claimed that Marxism’s claim to analytical superiority lay in the scientific method and content of Marx’s later writings; he argued that the early corpus lacked the same rigour. Marcuse, Sartre, Colletti and Althusser were style-maestros of turgidity and never tried to rise to the flights of Marx and Engels in their inspired moments. Not one of them would choose a monosyllable if a longer word could be discovered or devised. Their Marxism, if not exactly pessimistic, was cramped and cautious. What is more, they were philosophers writing mainly for other philosophers. Only Marcuse became a genuine favourite of the thousands of students who rebelled in 1968 against ‘bourgeois society’ and university discipline, as well as the American war in Vietnam."

"I could see clearly that this problem could only be solved on the individual and personal level; political revolt is irrelevant. Both Camus and Sartre had been neatly hog-tied by their earlier radicalism. Camus came to see that rebellion is a political roundabout that revolves back to the same old tyranny; too ashamed to admit that he had outgrown his leftism, he found himself in an intellectual cul-de-sac. Sartre accused Camus of being a reactionary; but he paid for his own refusal to reexamine his political convictions by congealing into a grotesque attitude of permanent indignation, shaking his fist at some abstract Authority. Where politics is concerned, he seemed determined to be guided by his emotions."

"Sartre, indeed, blames Christians for the origin of anti-Semitism because they talk of the Jews as the murderers of Jesus. (Yet he destroys the point that he had made by saying in a footnote that Jesus was really killed by the Roman soldiers as an agitator, for, in Sartre's terms, if it could be proved historically that the Jews not the Romans were the actual murderers of Jesus, then anti-Semitism by Christians might be justified.) In his anti-Christianity, Sartre himself appears as the frustrated anti-Semite and treats Christians in accordance with his idea of Christians in general, and not as they are."

"Don't let them tell us stories. Don't let them say of the man sentenced to death "He is going to pay his debt to society," but: "They are going to cut off his head." It looks like nothing. But it does make a little difference. And then there are people who prefer to look their fate in the eye."

"Nous nous trompons toujours deux fois sur ceux que nous aimons: d'abord à leur avantage, puis à leur désavantage."

"A novel is never anything but a philosophy put into images. And in a good novel, the whole of the philosophy has passed into the images. But if once the philosophy overflows the characters and action, and therefore looks like a label stuck on the work, the plot loses its authenticity and the novel its life. Nevertheless, a work that is to last cannot dispense with profound ideas. And this secret fusion between experiences and ideas, between life and reflection on the meaning of life, is what makes the great novelist."

"It is the failing of a certain literature to believe that life is tragic because it is wretched. Life can be magnificent and overwhelming — that is its whole tragedy. Without beauty, love, or danger it would be almost easy to live. And M. Sartre's hero does not perhaps give us the real meaning of his anguish when he insists on those aspects of man he finds repugnant, instead of basing his reasons for despair on certain of man's signs of greatness. The realization that life is absurd cannot be an end, but only a beginning. This is a truth nearly all great minds have taken as their starting point. It is not this discovery that is interesting, but the consequences and rules of action drawn from it."

"Perhaps we cannot prevent this world from being a world in which children are tortured. But we can reduce the number of tortured children. And if you don't help us, who else in the world can help us do this?"

"We have exiled beauty; the Greeks took up arms for her."

"We turn our backs on nature; we are ashamed of beauty. Our wretched tragedies have a smell of the office clinging to them, and the blood that trickles from them is the color of printer's ink."

"Man cannot do without beauty, and this is what our era pretends to want to disregard. It steels itself to attain the absolute and authority; it wants to transfigure the world before having exhausted it, to set it to rights before having understood it. Whatever it may say, our era is deserting this world."

"Toute idée fausse finit dans le sang, mais il s'agit toujours du sang des autres. C'est ce qui explique que certains de nos philosophes se sentent à l'aise pour dire n'importe quoi."

"Simone Weil, je le sais encore maintenant, est le seul grand esprit de notre temps et je souhaite que ceux qui le reconnaissent en reçoivent assez de modestie pour ne pas essayer d'annexer ce témoignage bouleversant. Pour moi, je serais comblé si l'on pouvait dire qu'à ma place, et avec les faibles moyens dont je dispose, j'ai servi à faire connaître et à répandre son oeuvre dont on n'a pas encore mesuré tout le retentissement."

"One does not decide the truth of a thought according to whether it is right-wing or left-wing."

"O light! This is the cry of all the characters of ancient drama brought face to face with their fate. This last resort was ours, too, and I knew it now. In the middle of winter I at last discovered that there was in me an invincible summer."

"Hungary conquered and in chains has done more for freedom and justice than any people for twenty years. But for this lesson to get through and convince those in the West who shut their eyes and ears, it was necessary, and it can be no comfort to us, for the people of Hungary to shed so much blood which is already drying in our memories. In Europe's isolation today, we have only one way of being true to Hungary, and that is never to betray, among ourselves and everywhere, what the Hungarian heroes died for, never to condone, among ourselves and everywhere, even indirectly, those who killed them. It would indeed be difficult for us to be worthy of such sacrifices."

"With rebellion, awareness is born."

"A living man can be enslaved and reduced to the historic condition of an object. But if he dies in refusing to be enslaved, he reaffirms the existence of another kind of human nature which refuses to be classified as an object."

"There is not love of life without despair about life."

"Accepting the absurdity of everything around us is one step, a necessary experience: it should not become a dead end. It arouses a revolt that can become fruitful."

"Knowing that certain nights whose sweetness lingers will keep returning to the earth and sea after we are gone, yes, this helps us to die."

"Life continues, and some mornings, weary of the noise, discouraged by the prospect of the interminable work to keep after, sickened also by the madness of the world that leaps at you from the newspaper, finally convinced that I will not be equal to it and that I will disappoint everyone—all I want to do is sit down and wait for evening. This is what I feel like, and sometimes I yield to it."

"Autumn is a second Spring when every leaf is a flower."

"Ce que, finalement, je sais de plus sûr sur la morale et les obligations des hommes, c'est au football que je le dois."

"If there is a sin against life, it consists perhaps not so much in despairing of life as in hoping for another life and in eluding the implacable grandeur of this life."

"The direction of the world overwhelms me at this time. In the long run, all the continents (yellow, black and brown) will spill over onto Old Europe. They are hundreds and hundreds of millions. They are hungry and they are not afraid to die. We no longer know how to die or how to kill. We could preach, but Europe believes in nothing. So, we must wait for the year 1000 or a miracle. For my part, I find it harder and harder to live before a wall."

"Seulement, il faut du temps pour être heureux. Beaucoup de temps. Le bonheur lui aussi est une longue patience."

"Avoir de l'argent c'est se libérer de l'argent."

"It's better to bet on this life than on the next."

"It takes time to live. Like any work of art, life needs to be thought about."

"To have time was at once the most magnificent and the most dangerous of experiments. Idleness is fatal only to the mediocre."

"Believe me, there is no such thing as great suffering, great regret, great memory...Everything is forgotten, even great love."

"He marveled at the strange blindness by which men, though they are so alert to what changes in themselves, impose on their friends an image chosen for them once and for all. He was being judged by what he had been. Just as dogs don't change character, men are dogs to one another."

"Happiness implied a choice, and within that choice a concerted will, a lucid desire."

"The opposite of an idealist is too often a man without love."

"Fate is not in man but around him."

"Idleness is only fatal to the mediocre."

"Blessed are the hearts that can bend; they shall never be broken."

"He discovered the cruel paradox by which we always deceive ourselves twice about the people we love — first to their advantage, then to their disadvantage."

"He realized now that to be afraid of this death he was staring at with animal terror meant to be afraid of life. Fear of dying justified a limitless attachment to what is alive in man. And all those who had not made the gestures necessary to live their lives, all those who feared and exalted impotence — they were afraid of death because of the sanction it gave to a life in which they had not been involved. They had not lived enough, never having lived at all."

"But in the end one needs more courage to live than to kill himself."

"Aujourd'hui maman est morte. Ou peut-être hier, je ne sais pas."

"I hope the dogs don't bark tonight. I always think it's mine."

"I was assailed by memories of a life that wasn't mine anymore, but one in which I'd found the simplest and most lasting joys."

"Since we're all going to die, it's obvious that when and how don't matter."

"Of course, I had to own that he was right; I didn't feel much regret for what I'd done. Still, to my mind, he overdid it, and I'd have liked to have a chance of explaining to him, in a quite friendly, almost affectionate way, that I have never been able to really regret anything in all my life. I've always been far too much absorbed in the present moment, or the immediate future, to think back."

"The papers were always talking about the debt owed to society. According to them, it had to be paid. But that doesn't speak to the imagination. What really counted was the possibility of escape, a leap to freedom, out of the implacable ritual, a wild run for it that would give whatever chance for hope there was. Of course, hope meant being cut down on some street corner, as you ran like mad, by a random bullet. But when I really thought it through, nothing was going to allow me such a luxury. Everything was against it; I would just be caught up in the machinery again."

"I may not have been sure about what really did interest me, but I was absolutely sure about what didn't."

"[I]l me restait peu de temps. Je ne voulais pas le perdre avec Dieu."

"Maman used to say that you can always find something to be happy about."

"I don't know why, but something inside me snapped. I started yelling at the top of my lungs, and I insulted him and told him not to waste his prayers on me. I grabbed him by the collar of his cassock. I was pouring out on him everything that was in my heart, cries of anger and cries of joy. He seemed so certain about everything, didn't he? And yet none of his certainties was worth one hair of a woman's head. He wasn't even sure he was alive, because he was living like a dead man. Whereas it looked as if I was the one who'd come up emptyhanded. But I was sure about me, about everything, surer than he could ever be, sure of my life and sure of the death I had waiting for me. Yes, that was all I had. But at least I had as much of a hold on it as it had on me. I had been right, I was still right, I was always right. I had lived my life one way and I could just as well have lived it another. I had done this and I hadn't done that. I hadn't done this thing but I had done another. And so? It was as if I had waited all this time for this moment and for the first light of this dawn to be vindicated. Nothing, nothing mattered, and I knew why. So did he. Throughout the whole absurd life I'd lived, a dark wind had been rising toward me from somewhere deep in my future, across years that were still to come, and as it passed, this wind leveled whatever was offered to me at the time, in years no more real than the ones I was living. What did other people's deaths or a mother's love matter to me; what did his God or the lives people choose or the fate they think they elect matter to me when we're all elected by the same fate, me and billions of privileged people like him who also called themselves my brothers? Couldn't he see, couldn't he see that? Everybody was privileged. There were only privileged people. The others would all be condemned one day. And he would be condemned, too."

"For the first time in a long time I thought about Maman. I felt as if I understood why at the end of her life she had taken a 'fiancé,' why she had played at beginning again. Even there, in that home where lives were fading out, evening was a kind of wistful respite. So close to death, Maman must have felt free then and ready to live it all again. Nobody, nobody had the right to cry over her. And I felt ready to live it all again too. As if the blind rage had washed me clean, rid me of hope; for the first time, in that night alive with signs and stars, I opened myself to the gentle indifference of the world. Finding it so much like myself — so like a brother, really — I felt I had been happy and that I was happy again. For everything to be consummated, for me to feel less alone, I had only to wish that there be a large crowd of spectators the day of my execution and that they greet me with cries of hate."

"Those who need myths are indeed poor. Here the gods serve as beds or resting places as the day races across the sky."

"Nothing is harder to understand than a symbolic work. A symbol always transcends the one who makes use of it and makes him say in reality more than he is aware of expressing."

"What must be remembered in any case is that secret complicity that joins the logical and the everyday to the tragic."

"There is but one truly serious philosophical problem and that is suicide. Judging whether life is or is not worth living amounts to answering the fundamental question of philosophy. All the rest – whether or not the world has three dimensions, whether the mind has nine or twelve categories – comes afterwards. These are games; one must first answer. And if it is true, as Nietzsche claims, that a philosopher, to deserve our respect, must preach by example, you can appreciate the importance of that reply, for it will precede the definitive act. These are facts the heart can feel; yet they call for careful study before they become clear to the intellect. If I ask myself how to judge that this question is more urgent than that, I reply that one judges by the actions it entails. I have never seen anyone die for the ontological argument."

"With the exception of professional rationalists, today people despair of true knowledge. If the only significant history of human thought were to be written, it would have to be history of its successive regrets and impotences."

"What, then, is that incalculable feeling that deprives the mind of the sleep necessary to life? A world that can be explained even with bad reasons is a familiar world. But, on the other hand, in a universe suddenly divested of illusions and lights, man feels an alien, a stranger. His exile is without remedy since he is deprived of the memory of a lost home or the hope of a promised land. This divorce between man and his life, the actor and his setting, is properly the feeling of absurdity."

"Like great works, deep feelings always mean more than they are conscious of saying."

"Great novelists are philosopher novelists — that is, the contrary of thesis-writers."

"We get into the habit of living before acquiring the habit of thinking."

"Great feelings take with them their own universe, splendid or abject. They light up with their passion an exclusive world in which they recognize their climate. There is a universe of jealousy, of ambition, of selfishness or generosity. A universe — in other words a metaphysic and an attitude of mind."

"At any street corner the feeling of absurdity can strike any man in the face."

"It happens that the stage sets collapse. Rising, streetcar, four hours in the office or the factory, meal, streetcar, four hours of work, meal, sleep and Monday Tuesday Wednesday Thursday Friday and Saturday according to the same rhythm — this path is easily followed most of the time. But one day the "why" arises and everything begins in that weariness tinged with amazement."

"This heart within me I can feel, and I judge that it exists. This world I can touch, and I likewise judge that it exists. There ends all my knowledge, and the rest is construction. For if I try to seize this self of which I feel sure, if I try to define and to summarize it, it is nothing but water slipping through my fingers. I can sketch one by one all the aspects it is able to assume, all those likewise that have been attributed to it, this upbringing, this origin, this ardor or these silences, this nobility or this vileness. But aspects cannot be added up. This very heart which is mine will forever remain indefinable to me. Between the certainty I have of my existence and the content I try to give to that assurance, the gap will never be filled. Forever I shall be a stranger to myself."

"I do not want to found anything on the incomprehensible. I want to know whether I can live with what I know and with that alone."

"Everything considered, a determined soul will always manage."

"I don't know whether this world has a meaning that transcends it. But I know that I cannot know that meaning and that it is impossible for me just now to know it. What can a meaning outside my condition mean to me? I can understand only in human terms. What I touch, what resists me — that I understand. And these two certainties — my appetite for the absolute and for unity and the impossibility of reducing this world to a rational and reasonable principle — I also know that I cannot reconcile them. What other truth can I admit without lying, without bringing in a hope I lack and which means nothing within the limits of my conditions?"

"Knowing whether or not one can live without appeal is all that interests me."

"Nobody realizes that some people expend tremendous energy merely to be normal. (This quotation is from Notebook IV in Notebooks: 1942-1951, not Myth of Sisyphus. The quotation appears in none of Camus books you find in bookstores)."

"The absurd is the essential concept and the first truth."

"To two men living the same number of years, the world always provides the same sum of experiences. It is up to us to be conscious of them."

"The preceding merely defines a way of thinking. But the point is to live."

"At this point of his effort man stands face to face with the irrational. He feels within him his longing for happiness and for reason. The absurd is born of this confrontation between the human need and the unreasonable silence of the world. This must not be forgotten. This must be clung to because the whole consequence of a life can depend on it. The irrational, the human nostalgia, and the absurd that is born of their encounter — these are the three characters in the drama that must necessarily end with all the logic of which an existence is capable."

"Un homme se définit aussi bien par ses comédies que par ses élans sincères."

""My field," said Goethe, "is time." That is indeed the absurd speech. What, in fact, is the Absurd Man? He who, without negating it, does nothing for the eternal. Not that nostalgia is foreign to him. But he prefers his courage and his reasoning. The first teaches him to live without appeal and to get along with what he has; the second informs him of his limits. Assured of his temporally limited freedom, of his revolt devoid of future, and of his mortal consciousness, he lives out his adventure within the span of his lifetime."

"There can be no question of holding forth on ethics. I have seen people behave badly with great morality and I note every day that integrity has no need of rules. There is but one moral code that the absurd man can accept, the one that is not separated from God: the one that is dictated. But it so happens that he lives outside that God. As for the others (I mean also immoralism), the absurd man sees nothing in them but justifications and he has nothing to justify. I start out here from the principle of his innocence. That innocence is to be feared. "Everything is permitted," exclaims Ivan Karamazov. That, too, smacks of the absurd. But on condition that it not be taken in a vulgar sense. I don't know whether or not it has been sufficiently pointed out that it is not an outburst of relief or of joy, but rather a bitter acknowledgment of a fact."

"The absurd does not liberate; it binds. It does not authorize all actions. "Everything is permitted" does not mean that nothing is forbidden."

"All systems of morality are based on the idea that an action has consequences that legitimize or cancel it. A mind imbued with the absurd merely judges that those consequences must be considered calmly. It is ready to pay up. In other words, there may be responsible persons, but there are no guilty ones, in its opinion. At very most, such a mind will consent to use past experience as a basis for its future actions."

"Time will prolong time, and life will serve life. In this field that is both limited and bulging with possibilities, everything to himself, except his lucidity, seems unforeseeable to him. What rule, then, could emanate from that unreasonable order? The only truth that might seem instructive to him is not formal: it comes to life and unfolds in men. The absurd mind cannot so much expect ethical rules at the end of its reasoning as, rather, illustrations and the breath of human lives."

"A sub-clerk in the post office is the equal of a conqueror if consciousness is common to them. All experiences are indifferent in this regard. There are some that do either a service or a disservice to man. They do him a service if he is conscious. Otherwise, that has no importance: a man's failures imply judgment, not of circumstances, but of himself."

"A man is more a man through the things he keeps to himself than through those he says."

"To become god is merely to be free on this earth, not to serve an immortal being."

"Existence is illusory and it is eternal."

"There is no mystery in humans creation. Will performs this miracle. But at least there is no true creation without a secret."

"If the world were clear, art would not exist."

"One recognizes one's course by discovering the paths that stray from it."

"To work and create "for nothing," to sculpture in clay, to know one's creation has no future, to see one's work destroyed in a day while being aware that fundamentally this has no more importance than building for centuries — this is the difficult wisdom that absurd thought sanctions. Performing these two tasks simultaneously, negating on the one hand and magnifying on the other, it the way open to the absurd creator. He must give the void its colors."

"A profound thought is in a constant state of becoming; it adopts the experience of a life and assumes its shape. Likewise, a man's sole creation is strengthened in its successive and multiple aspects: his works. One after another they complement one another, correct or overtake one another, contradict one another, too. If something brings creation to an end, it is not the victorious and illusory cry of the blinded artist: "I have said everything," but the death of the creator which closes his experiences and the book of his genius. That effort, that superhuman consciousness are not necessarily apparent to the reader. There is no mystery in human creation. Will performs this miracle. But at least there is no true creation without a secret. To be true, a succession of works can be but a series of approximations of the same thought. But it is possible to conceive of another type of creator proceeding by juxtaposition. Their words may seem to be devoid of inter-relations, to a certain degree, they are contradictory. But viewed all together, they resume their natural grouping."

"Of all the schools of patience and lucidity, creation is the most effective. It is also the staggering evidence of man's sole dignity: the dogged revolt against his condition, perseverance in an effort considered sterile. It calls for a daily effort, self-mastery, a precise estimate of the limits of truth, measure, and strength. It constitutes an ascesis. All that "for nothing," in order to repeat and mark time. But perhaps the great work of art has less importance in itself than in the ordeal it demands of a man and the opportunity it provides him of overcoming his phantoms and approaching a little closer to his naked reality."

"Ironic philosophies produce passionate works. Any thought that abandons unity glorifies diversity! And diversity is the home of art. The only thought to liberate the mind is that which leaves it alone, certain of its limits and of its impending end. No doctrine tempts it. It awaits the ripening of the work and of life."

"In that daily effort in which intelligence and passion mingle and delight each other, the absurd man discovers a discipline that will make up the greatest of his strengths. The required diligence and doggedness and lucidity thus resemble the conqueror's attitude. To create is likewise to give a shape to one's fate. For all these characters, their work defines them at least as much as it is defined by them. The actor taught us this: There is no frontier between being and appearing."

"Outside of that single fatality of death, everything, joy or happiness, is liberty."

"The world evades us because it becomes itself again. That stage scenery masked by habit becomes what it is. It withdraws at a distance from us."

"If the only significant history of human thought were to be written, it would have to be the history of its successive regrets and its impotences."

"A fate is not a punishment."

"The actor's realm is that of the fleeting."

"This was her finest role and the hardest one to play. Choosing between heaven and a ridiculous fidelity, preferring oneself to eternity or losing oneself in God is the age-old tragedy in which each must play his part."

"The gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back of its own weight. They had thought with some reason that there is no more dreadful punishment than futile and hopeless labor."

"Opinions differ as to the reasons why he became the futile laborer of the underworld. To begin with, he is accused of a certain levity in regard to the gods. He stole their secrets."

"Homer tells us also that Sisyphus had put Death in chains. Pluto could not endure the sight of his deserted, silent empire. He dispatched the god of war, who liberated Death from the hands of her conqueror."

"You have already grasped that Sisyphus is the absurd hero. He is, as much through his passions as through his torture. His scorn of the gods, his hatred of death, and his passion for life won him that unspeakable penalty in which the whole being is exerted toward accomplishing nothing. This is the price that must be paid for the passions of this earth. Nothing is told us about Sisyphus in the underworld. Myths are made for the imagination to breathe life into them."

"One does not discover the absurd without being tempted to write a manual of happiness. "What! — by such narrow ways — ?" There is but one world, however. Happiness and the absurd are two sons of the same earth. They are inseparable. It would be a mistake to say that happiness necessarily springs from the absurd discovery. It happens as well that the feeling of the absurd springs from happiness."

""I conclude that all is well," says Oedipus, and that remark is sacred. It echoes in the wild and limited universe of man. It teaches that all is not, has not been, exhausted. It drives out of this world a god who had come into it with dissatisfaction and a preference for futile suffering. It makes of fate a human matter, which must be settled among men."

"There is no fate that can not be surmounted by scorn. If the descent is thus sometimes performed in sorrow, it can also take place in joy. This word is not too much. Again I fancy Sisyphus returning toward his rock, and the sorrow was in the beginning."

"His fate belongs to him. His rock is his thing."

"The absurd man says yes and his effort will henceforth be unceasing."

"I leave Sisyphus at the foot of the mountain! One always finds one's burden again. But Sisyphus teaches the higher fidelity that negates the gods and raises rocks. He too concludes that all is well. This universe henceforth without a master seems to him neither sterile nor futile. Each atom of that stone, each mineral flake of that night filled mountain, in itself forms a world. The struggle itself toward the heights is enough to fill a man's heart. One must imagine Sisyphus happy."

"I said that the world is absurd, but I was too hasty. This world in itself is not reasonable, that is all that can be said. But what is absurd is the confrontation of this irrational and the wild longing for clarity whose call echoes in the human heart."

"So many men are deprived of grace. How can one live without grace? One has to try it and do what Christianity never did: be concerned with the damned."

"Il y a toujours une philosophie pour le manque de courage."

"The greatest saving one can make in the order of thought is to accept the unintelligibility of the world — and to pay attention to man."

"Pauvre et libre plutôt que riche et asservi. Bien entendu les hommes veulent être et riches et libres et c'est ce qui les conduit quelquefois à être pauvres et esclaves."

"An intellectual is someone whose mind watches itself."

"The world is what it is, which is to say, nothing much. This is what everyone learned yesterday, thanks to the formidable concert of opinion coming from radios, newspapers, and information agencies. Indeed we are told, in the midst of hundreds of enthusiastic commentaries, that any average city can be wiped out by a bomb the size of a football. American, English, and French newspapers are filled with eloquent essays on the future, the past, the inventors, the cost, the peaceful incentives, the military advantages, and even the life-of-its-own character of the atom bomb. We can sum it up in one sentence: Our technical civilization has just reached its greatest level of savagery. We will have to choose, in the more or less near future, between collective suicide and the intelligent use of our scientific conquests. Meanwhile we think there is something indecent in celebrating a discovery whose use has caused the most formidable rage of destruction ever known to man. What will it bring to a world already given over to all the convulsions of violence, incapable of any control, indifferent to justice and the simple happiness of men — a world where science devotes itself to organized murder? No one but the most unrelenting idealists would dare to wonder."

"Even before the bomb, one did not breathe too easily in this tortured world. Now we are given a new source of anguish; it has all the promise of being our greatest anguish ever. There can be no doubt that humanity is being offered its last chance. Perhaps this is an occasion for the newspapers to print a special edition. More likely, it should be cause for a certain amount of reflection and a great deal of silence."

"Let us be understood. If the Japanese surrender after the destruction of Hiroshima, having been intimidated, we will rejoice. But we refuse to see anything in such grave news other than the need to argue more energetically in favor of a true international society, in which the great powers will not have superior rights over small and middle-sized nations, where such an ultimate weapon will be controlled by human intelligence rather than by the appetites and doctrines of various states. Before the terrifying prospects now available to humanity, we see even more clearly that peace is the only goal worth struggling for. This is no longer a prayer but a demand to be made by all peoples to their governments — a demand to choose definitively between hell and reason."

"Query: How to contrive not to waste one's time? Answer: By being fully aware of it all the while. Ways in which this can be done: By spending one's days on an uneasy chair in a dentist's waiting room; by remaining on one's balcony all a Sunday afternoon; by travelling by the longest and least-convenient train routes, and of course standing all the way; by queueing at the box-office of theatres and then not booking a seat."

"When a war breaks out, people say: "It's too stupid; it can't last long." But though the war may well be "too stupid," that doesn't prevent its lasting. Stupidity has a knack of getting its way; as we should see if we were not always so much wrapped up in ourselves."

"A scourge is not on a human scale, and so people say it isn't real; it's a bad dream that will pass. But is doesn't always pass, and, from bad dream to bad dream, it's the humans who pass, and the humanists first, because they didn't heed the warnings."

"He tried to recall what he had read about the disease. Figures floated across his memory, and he recalled that some thirty or so great plagues known to history had accounted for nearly a hundred million deaths. But what are a hundred million deaths? When one has served in a war, one hardly knows what a dead man is, after a while. And since a dead man has no substance unless one actually sees him dead, a hundred million corpses broadcast through history are no more than a puff of smoke in the imagination."

"There lay certitude; there, in the daily round. All the rest hung on mere threads and trivial contingencies; you couldn't waste your time on it. The thing was to do your job as it should be done."

"What on earth prompted you to take a hand in this?" "I don't know. My... my code of morals, perhaps." "Your code of morals. What code, if I may ask?" "Comprehension."

"The important thing isn't the soundness or otherwise of the argument, but for it to make you think."

"The evil that is in the world always comes of ignorance, and good intentions may do as much harm as malevolence, if they lack understanding. On the whole men are more good than bad; that, however, isn't the real point. But they are more or less ignorant, and it is this that we call vice or virtue; the most incorrigible vice being that of an ignorance which fancies it knows everything and therefore claims for itself the right to kill. There can be no true goodness, nor true love, without the utmost clear-sightedness."

"There always comes a time in history when the person who dares to say that 2+2=4 is punished by death. And the issue is not what reward or what punishment will be the outcome of that reasoning. The issue is simply whether or not 2+2=4."

"Yes, there was an element of abstraction and unreality in misfortune. But when an abstraction starts to kill you, you have to get to work on it."

"In Oran, as elsewhere, for want of time and thought, people have to love one another without knowing it."

"Can one be a saint without God?, that's the problem, in fact the only problem, I'm up against today."

"The rest of the story, to Grand's thinking, was very simple. The common lot of married couples. You get married, you go on loving a bit longer, you work. And you work so hard that it makes you forget to love."

"Yes, everyone sleeps at that hour, and this is reassuring, since the great longing of an unquiet heart is to possess constantly and consciously the loved one..."

"'I'm glad to know he's [Paneloux] better than his sermon.'"

"'At my age one's got to be sincere. Lying's too much effort.'"

"He kept the middle way, that's all: he was the type of man for whom one has an affection of the mild but steady order - which is the kind that wears best."

"At that moment he knew what his mother was thinking, and that she loved him. But he knew, too, that to love someone means relatively little; or, rather, that love is never wrong enough to find the word befitting it."

"...there are more things to admire in men than to despise."

"The absurd ... is an experience to be lived through, a point of departure, the equivalent, in existence of Descartes' methodical doubt. Absurdism, like methodical doubt, has wiped the slate clean. It leaves us in a blind alley. But, like methodical doubt, it can, by returning upon itself, open up a new field of investigation, and in the process of reasoning then pursues the same course. I proclaim that I believe in nothing and that everything is absurd, but I cannot doubt the validity of my proclamation and I must at least believe in my protest. The first and only evidence that is supplied me, within the terms of the absurdist experience, is rebellion ... Rebellion is born of the spectacle of irrationality, confronted with an unjust and incomprehensible condition."

"Absolute freedom mocks at justice. Absolute justice denies freedom. To be fruitful, the two ideas must find their limits in each other."

"What is a rebel? A man who says no."

"The slave begins by demanding justice and ends by wanting to wear a crown. He must dominate in his turn."

"One might think that a period which, in a space of fifty years, uproots, enslaves, or kills seventy million human beings should be condemned out of hand. But its culpability must still be understood... In more ingenuous times, when the tyrant razed cities for his own greater glory, when the slave chained to the conqueror's chariot was dragged through the rejoicing streets, when enemies were thrown to the wild beasts in front of the assembled people, the mind did not reel before such unabashed crimes, and the judgment remained unclouded. But slave camps under the flag of freedom, massacres justified by philanthropy or by a taste for the superhuman, in one sense cripple judgment. On the day when crime dons the apparel of innocence — through a curious transposition peculiar to our times — it is innocence that is called upon to justify itself."

"If Nietzsche and Hegel serve as alibis to the masters of Dachau and Karaganda, that does not condemn their entire philosophy. But it does lead to the suspicion that one aspect of their thought, or of their logic, can lead to these appalling conclusions."

"Every ideology is contrary to human psychology."

"Every rebellion implies some kind of unity."

"Every revolutionary ends as an oppressor or a heretic."

"Nothing can discourage the appetite for divinity in the heart of man."

"For those of us who have been thrown into hell, mysterious melodies and the torturing images of a vanished beauty will always bring us, in the midst of crime and folly, the echo of that harmonious insurrection which bears witness, throughout the centuries, to the greatness of humanity."

"When the throne of God is overturned, the rebel realizes that it is now his own responsibility to create the justice, order, and unity that he sought in vain within his own condition, and in this way to justify the fall of God. Then begins the desperate effort to create, at the price of crime and murder if necessary, the dominion of man."

""The real saint", Baudelaire pretends to think, "is he who flogs and kills people for their own good." His argument will be heard. A race of real saints is beginning to spread over the earth for the purposes of confirming these curious conclusions about rebellion."

"The words that reverberate for us at the confines of this long adventure of rebellion are not formulas for optimism, for which we have no possible use in the extremities of our unhappiness, but words of courage and intelligence which, on the shores of the eternal seas, even have the qualities of virtue."

"Then we understand that rebellion cannot exist without a strange form of love. Those who find no rest in God or in history are condemned to live for those who, like themselves, cannot live; in fact, for the humiliated."

"In the light, the earth remains our first and our last love. Our brothers are breathing under the same sky as we; justice is a living thing. Now is born that strange joy which helps one live and die, and which we shall never again postpone to a later time."

"I rebel — therefore we exist."

"Whatever we may do, excess will always keep its place in the heart of man, in the place where solitude is found. We all carry within us our places of exile, our crimes and our ravages. But our task is not to unleash them on the world; it is to fight them in ourselves and in others."

"Man is the only creature who refuses to be what he is."

"The most elementary form of rebellion, paradoxically, expresses an aspiration for order."

"Real fulfillment, for the man who allows absolutely free rein to his desires, and who much dominate everything, lies in hatred."

"Metaphysical rebellion is a claim, motivated by the concept of a complete unity, against the suffering of life and death and a protest against the human condition both for its incompleteness, thanks to death, and its wastefulness, thanks to evil."

"Alyosha can, in fact, treat Ivan with compassion as a "real simpleton." The latter only made an attempt at self-control and failed. Others will appear, with more serious intentions, who, on the basis of the same despairing nihilism, will insist on ruling the world. These are the Grand Inquisitors who imprison Christ and come to tell Him that His method is not correct, that universal happiness cannot be achieved by the immediate freedom of choosing between good and evil, but by the domination and unification of the world. The first step is to conquer and rule. The kingdom of heaven will, in fact, appear on earth, but it will be ruled over by men — a mere handful to begin with, who will be the Caesars, because they were the first to understand — and later, with time, by all men. The unity of all creation will be achieved by every possible means, since everything is permitted. The Grand Inquisitor is old and tired, for the knowledge he possesses is bitter. He knows that men are lazy rather than cowardly and that they prefer peace and death to the liberty of discerning between good and evil. He has pity, a cold pity, for the silent prisoner whom history endlessly deceives. He urges him to speak, to recognize his misdeeds, and, in one sense, to approve the actions of the Inquisitors and of the Caesars. But the prisoner does not speak."

"A nihilist is not one who believes in nothing, but one who does not believe in what exists."

"The ancients, even though they believed in destiny, believed primarily in nature, in which they participated wholeheartedly. To rebel against nature amounted to rebelling against oneself. It was butting one's head against a wall."

"A character is never the author who created him. It is quite likely, however, that an author may be all his characters simultaneously."

"Art is the activity that exalts and denies simultaneously. "No artist tolerates reality," says Nietzsche."

"The artist reconstructs the world to his plan."

"Artistic creation is a demand for unity and a rejection of the world."

"In every rebellion is to be found the metaphysical demand for unity, the impossibility of capturing it, and the construction of a substitute universe."

"The contradiction is this: man rejects the world as it is, without accepting the necessity of escaping it. In fact, men cling to the world and by far the majority do not want to abandon it."

"No human being, even the most passionately loved and passionately loving, is ever in our possession."

"Art, at least, teaches us that man cannot be explained by history alone and that he also finds a reason for his existence in the order of nature."

"L'homme enfin n'est pas entièrement coupable — il n'a pas commencé l'histoire — ni tout à fait innocent, puisqu'il la continue."

"La vraie générosité envers l'avenir consiste à tout donner au présent."

"There is merely bad luck in not being loved; there is misfortune in not loving. All of us, today, are dying of this misfortune. For violence and hatred dry up the heart itself; the long fight for justice exhausts the love that nevertheless gave birth to it."

"To be happy, we must not be too concerned with others."

"This is the truth," we say. "You can discuss it as much as you want; we aren't interested. But in a few years there'll be the police who will show you we are right."

"In order to cease being a doubtful case, one has to cease being, that's all."

"Thus I progressed on the surface of life, in the realm of words as it were, never in reality. All those books barely read, those friends barely loved, those cities barely visited, those women barely possessed! I went through the gestures out of boredom or absent-mindedness. Then came the human beings, they wanted to cling, but there was nothing to cling to, and that was unfortunate – for them. As for me, I forgot. I never remembered anything but myself."

"Martyrs must choose between being forgotten, mocked, or made use of. As for being understood—never!"

"Let's not beat around the bush; I love life — that's my real weakness. I love it so much that I am incapable of imagining what is not life."

"God is not needed to create guilt or to punish. Our fellow men suffice, aided by ourselves."

"Truth, like light, blinds. Falsehood, on the contrary, is a beautiful twilight that enhances every object."

"For anyone who is alone, without God and without a master, the weight of days is dreadful. Hence one must choose a master, God being out of style."

"N'attendez pas le Jugement dernier. Il a lieu tous les jours."

"You know what charm is: a way of getting the answer 'yes' without having asked any clear question."

"The essential is to cease being free and to obey, in repentance, a greater rogue than oneself. When we are all guilty, that will be democracy."

"Capital punishment is the most premeditated of murders, to which no criminal's deed, however calculated, can be compared. For there to be an equivalency, the death penalty would have to punish a criminal who had warned his victim of the date on which he would inflict a horrible death on him and who, from that moment onward, had confined him at his mercy for months. Such a monster is not to be encountered in private life."

"A punishment that penalizes without forestalling is indeed called revenge."

"When the imagination sleeps, words are emptied of their meaning: a deaf population absent-mindedly registers the condemnation of a man. ... there is no other solution but to speak out and show the obscenity hidden under the verbal cloak."

"What will be left of the power of example if it is proved that capital punishment has another power, and a very real one, which degrades men to the point of shame, madness, and murder?"

"I do not have much liking for the too famous existential philosophy, and, to tell the truth, I think its conclusions false."

"The welfare of the people in particular has always been the alibi of tyrants, and it provides the further advantage of giving the servants of tyranny a good conscience. It would be easy, however, to destroy that good conscience by shouting to them: if you want the happiness of the people, let them speak out and tell what kind of happiness they want and what kind they don't want! But, in truth, the very ones who make use of such alibis know they are lies; they leave to their intellectuals on duty the chore of believing in them and of proving that religion, patriotism, and justice need for their survival the sacrifice of freedom."

"The aim of art, the aim of a life can only be to increase the sum of freedom and responsibility to be found in every man and in the world. It cannot, under any circumstances, be to reduce or suppress that freedom, even temporarily."

"Manhattan. Sometimes from beyond the skyscrapers, across of thousands of high walls, the cry of a tugboat finds you in your insomnia in the middle of the night, and you remember that this desert of iron and cement is an island."

"Great novelists are philosopher-novelists who write in images instead of arguments."

"Should I kill myself, or have a cup of coffee?"

"Fiction is the lie through which we tell the truth."

"The only way to deal with an unfree world is to become so absolutely free that your very existence is an act of rebellion."

"Don’t walk behind me, I may not lead. Don’t walk in front of me, I may not follow. Just walk beside me and be my friend."

"We all have a weakness for beauty."

"There are causes worth dying for, but none worth killing for."

"I think my life is of great importance, but I also think it is meaningless."

"Always go too far, because that's where you'll find the truth."

"In "L'artiste et son temps," translated into English as "Create Dangerously," Camus writes: "Art cannot be a monologue. We are on the high seas. The artist, like everyone else, must bend to his oar, without dying if possible"...There are many possible interpretations of what it means to create dangerously, and Albert Camus, like the poet Osip Mandelstam, suggests that it is creating as a revolt against silence, creating when both the creation and the reception, the writing and the reading, are dangerous undertakings, disobedience to a directive."

"Albert Camus once wrote that a person's creative work is nothing but a slow trek to rediscover, through the detours of art, those two or three images in whose presence his or her heart first opened."

"I had gotten very much involved in the writings of the so-called Existentialists. Camus. Sartre. I retreated into myself and rejected practically everything outside. Only in the artificial surroundings of an isolated, virtually all-white college campus could I have allowed myself to cultivate this nihilistic attitude. It was as if in order to fight off the unreal quality of my environment, I leaped desperately into another equally unreal mode of living."

"As a writer Camus maintained his independence from both friends and enemies in the political and philosophical movements that attempted to subvert his writing to their own ends. ... Camus combines a taut writing style, as well as profound insights on society, with the courage to report back from the abyss of despair, unblinking."

"What was also unusual for Americans was that so many of the revered figures were writers and intellectuals. This is perhaps because to a very large extent theirs was a movement from the universities. Perhaps the single most influential writer for young people in the sixties was Algerian-born French Nobel Prize laureate Albert Camus, who died in 1960 in an automobile crash at age forty-seven, just as what should have been his best decade was beginning. Because of his 1942 essay, “The Myth of Sisyphus,” in which he argued that the human condition was fundamentally absurd, he was often associated with the existential movement. But he refused to consider himself part of that group. He was not a joiner, which is one of the reasons he was more revered than the existentialist and communist Jean-Paul Sartre, even though Sartre lived through and even participated in the sixties student movements. Camus, who worked with the Resistance against the Nazi occupiers of France editing an underground newspaper, Le Combat, often wrote from the perspective of a moral imperative to act. His 1948 novel, The Plague, is about a doctor who risks his life and family to rid his community of a sickness he discovers. In the 1960s, students all over the world read The Plague and interpreted it as a call to activism. Mario Savio’s famous 1964 speech, “There’s a time when the operation of the machine becomes so odious . . . you’ve got to put your bodies upon the gears . . . and you’ve got to make it stop,” sounds like a line from The Plague. “There are times when the only feeling I have is one of mad revolt,” Camus wrote. American civil rights workers read Camus. His books were passed from one volunteer to the next in SNCC. Tom Hayden wrote that he considered Camus to be one of the great influences in his decision to leave journalism and become a student activist. Abbie Hoffman used Camus to explain in part the Yippie! movement, referring to Camus’s words in Notebooks: “The revolution as myth is the definitive revolution.”"

"There is a fundamental question which Camus never seems to have put to himself: by what right am I qualified to pass this sort of verdict on the world [the verdict that the world is absurd]? Of two things, one: either I myself do not belong to the world under discussion, but in that case have I not every reason to suppose that it is impenetrable to me and that I am not qualified to judge its value- or, on the other hand, I really am part of the world, and if the world is absurd, so am I absurd too. Camus, perhaps, might concede this. It is, however, a destructive concession. Again, of two things, one: either I am myself absurd in my ultimate nature- in which case so are my judgements absurd, they negate themselves, it cannot be conceded that they have any sort of validity- or, on the other hand, we have to admit that I have a double nature, that is there is a part of me which is not absurd and which can make valid judgements about absurdity: but how did this aspect of me which is not absurd get there? I cannot even admit the possibility of its existence without beginning to formulate a kind of dualism which, in some sense, splits my original assertion of the total absurdity of the universe apart."

"Some of the dissident young look abroad for models. They are attracted by the writing of the French novelist Albert Camus, who, in his conflict between his Algerian birth and his intellectual allegiance to France, expressed some of the conflict they feel; but he is dead."

"All revolutions in modern times, Camus points out, have led to a reinforcement of the power of the State. ... The counterrevolutions of fascism only serve to reinforce the general argument. Camus shows the real quality of his thought in his final pages. It would have been easy, on the facts marshaled in this book, to have retreated into despair or inaction. Camus substitutes the idea of "limits." "We now know, at the end of this long inquiry into rebellion and nihilism, that rebellion with no other limits but historical expediency signifies unlimited slavery. To escape this fate, the revolutionary mind, if it wants to remain alive, must therefore, return again to the sources of rebellion and draw its inspiration from the only system of thought which is faithful to its origins: thought that recognizes limits." To illustrate his meaning Camus refers to syndicalism, that movement in politics which is based on the organic unity of the cell, and which is the negation of abstract and bureaucratic centralism. He quotes Tolain: "Les etres humains ne s'emancipent qu'au sein des groupes naturels" — human beings emancipate themselves only on the basis of natural groups. "The commune against the State... deliberate freedom against rational tyranny, finally altruistic individualism against the colonization of the masses, are, then, the contradictions that express once again the endless opposition of moderation to excess which has animated the history of the Occident since the time of the ancient world." This tradition of "mesure" belongs to the Mediterranean world, and has been destroyed by the excesses of German ideology and of Christian otherworldliness — by the denial of nature. Restraint is not the contrary of revolt. Revolt carries with it the very idea of restraint, and "moderation, born of rebellion, can only live by rebellion. It is a perpetual conflict, continually created and mastered by the intelligence.... Whatever we may do, excess will always keep its place in the heart of man, in the place where solitude is found. We all carry within us our places of exile, our crimes and our ravages. But our task is not to unleash them on the world; it is to fight them in ourselves and in others."

"Although a few commentators have noted the influence of Simone Weil on the thought of Albert Camus, their relationship has never been fully explored ... I shall examine several aspects of that influence in ... Weil's critique of Marxism which Camus adopted in L'Homme Révolté... the conception of the rebel as an artisan which Camus also used in L'Homme Révolté, and ... Weil's mysticism, to which Camus was reluctantly though definitely drawn. ... I shall consider more fully the different conceptions of freedom and justice which appear in their writings and argue that their contributions to political thought here lay with their appreciation of the impulse in modern man to seek and impose absolute values. In this context, we shall see that Camus and Simone Weil provide different routes to individual authenticity and integrity in an absurd world."

"No less a considerable writer, Camus is a wonderful stylist, certainly an exemplary novelist in many respects. He certainly talks about resistance. But what bothers me is that he is read out of his own context, his own history. Camus's history is that of a colon, a pied noir. He was born and grew up in a place very close to a city in Algeria on the coast, Annaba in Arabic, Bone by the French. It was made over into a French town in the 1880s and 1890s. His family came variously from Corsica and various parts of southern Europe and France. His novels, in my opinion, are really expressions of the colonial predicament. Meursault, in L'Etranger (The Stranger), kills the Arab, to whom Camus gives no name and no history. The whole idea at the end of the novel where Meursault is put on trial is an ideological fiction. No Frenchman was ever put on trial for killing an Arab in colonial Algeria. That's a lie. So he constructs something. Second of all, in his later novel La Peste (The Plague), the people who die in the city are Arabs, but they're not mentioned. The only people who mattered to Camus and to the European reader of the time, and even now, are Europeans. Arabs are there to die. The story, interestingly enough, is always interpreted as a parable or an allegory of the German occupation of France. My reading of Camus, and certainly of his later stories, starts with the fact that he, in the late 1950s, was very much opposed to independence for Algeria. He in fact compared the FLN to Abdel Nasser in Egypt, after Suez, after 1956."

"I love Camus so much. I read and reread The Plague. I enjoy the Notebooks, though sometimes he seems so wary of women and love I feel he is too wise about life. He perhaps needed to know the blue coast was there, was possible, in order to go so deeply into that windy chill winter of the Algerian plague city— somehow I understood that “place”"

"I could see clearly that this problem could only be solved on the individual and personal level; political revolt is irrelevant. Both Camus and Sartre had been neatly hog-tied by their earlier radicalism. Camus came to see that rebellion is a political roundabout that revolves back to the same old tyranny; too ashamed to admit that he had outgrown his leftism, he found himself in an intellectual cul-de-sac. Sartre accused Camus of being a reactionary; but he paid for his own refusal to reexamine his political convictions by congealing into a grotesque attitude of permanent indignation, shaking his fist at some abstract Authority. Where politics is concerned, he seemed determined to be guided by his emotions."

"La beauté sera CONVULSIVE ou ne sera pas."

"Beauty will be CONVULSIVE or not at all."

"Pure psychic automatism, by which one seeks to express, be it verbally, in writing, or in any other manner, (is) the real working of the mind. Dictated by the unconsciousness, in the absence of any control exercised by reason, and free from aesthetic or moral preoccupations."

"I was asked to make a report on the Italian situation to this special committee of the 'gas cell', which made it clear to me that I was to stick to the statistical facts (steel production etc.) and above all not to get involved with ideology. I couldn't do it."

"[T]his cancer of the mind which consists of thinking all too sadly that certain things 'are' while others, which well might be, 'are not'."

"Children set off each day without a worry in the world. Everything is near at hand; the worst material conditions are fine. The woods are white or black, one will never sleep."

"So strong is the belief in life, in what is most fragile in life — real life, I mean — that in the end this belief is lost. Man, that inveterate dreamer, daily more discontent with his destiny, has trouble assessing the objects he has been led to use, objects that his nonchalance has brought his way, or that he has earned through his own efforts, almost always through his own efforts, for he has agreed to work, at least he has not refused to try his luck (or what he calls his luck!). At this point he feels extremely modest: he knows what women he has had, what silly affairs he has been involved in; he is unimpressed by his wealth or his poverty, in this respect he is still a new-born babe and, as for the approval of his conscience, I confess that he does very nicely without it. If he still retains a certain lucidity, all he can do is turn back toward his childhood which, however his guides and mentors may have botched it, still strikes him as somehow charming. There, the absence of any known restrictions allows him the perspective of several lives lived at once; this illusion becomes firmly rooted within him; now he is only interested in the fleeting, the extreme facility of everything."

"But it is true that we would not dare venture so far, it is not merely a question of distance. Threat is piled upon threat, one yields, abandons a portion of the terrain to be conquered. This imagination which knows no bounds is henceforth allowed to be exercised only in strict accordance with the laws of an arbitrary utility; it is incapable of assuming this inferior role for very long and, in the vicinity of the twentieth year, generally prefers to abandon man to his lusterless fate."

"Beloved imagination, what I most like in you is your unsparing quality. There remains madness, 'the madness that one locks up', as it has aptly been described. That madness or another.."

"We all know, in fact, that the insane.. ..derive a great deal of comfort and consolation from their imagination, that they enjoy their madness sufficiently to endure the thought that its validity does not extend beyond themselves. And, indeed, hallucinations, illusions, etc., are not a source of trifling pleasure... These people are honest to a fault, and their 'naiveté' has no peer but my own. Christopher Columbus should have set out to discover America with a boatload of madmen. And note how this madness has taken shape, and endured."

"It is not the fear of madness which will oblige us to leave the flag of imagination furled."

"We are still living under the reign of logic: this, of course, is what I have been driving at. But in this day and age logical methods are applicable only to solving problems of secondary interest. The absolute rationalism that is still in vogue allows us to consider only facts relating directly to our experience. Logical ends, on the contrary, escape us. It is pointless to add that experience itself has found itself increasingly circumscribed. It paces back and forth in a cage from which it is more and more difficult to make it emerge. It too leans for support on what is most immediately expedient, and it is protected by the sentinels of common sense."

"I could spend my whole life prying loose the secrets of the insane. These people are honest to a fault, and their naivety has no peer but my own."

"Surrealism will usher you into death, which is a secret society. It will glove your hand, burying therein the profound M with which the word Memory begins. Do not forget to make proper arrangements for your last will and testament: speaking personally, I ask that I be taken to the cemetery in a moving van. May my friends destroy every last copy of the printing of the Speech concerning the Modicum of Reality."

"If the depths of our mind contain within it strange forces capable of augmenting those on the surface, or of waging a victorious battle against them, there is every reason to seize them - first to seize them, then, if need be, to submit them to the control of our reason. The analysts themselves have everything to gain by it. But it is worth noting that no means has been designated a priori for carrying out this undertaking, that until further notice it can be construed to be the province of poets as well as scholars, and that its success is not dependent upon the more or less capricious paths that will be followed."

"Freud very rightly brought his critical faculties to bear upon the dream. It is, in fact, inadmissible that this considerable portion of psychic activity (since, at least from man’s birth until his death, thought offers no solution of continuity, the sum of the moments of the dream, from the point of view of time, and taking into consideration only the time of pure dreaming, that is the dreams of sleep, is not inferior to the sum of the moments of reality, or, to be more precisely limiting, the moments of waking) has still today been so grossly neglected."

"I have always been amazed at the way an ordinary observer lends so much more credence and attaches so much more importance to waking events than to those occurring in dreams. It is because man, when he ceases to sleep, is above all the plaything of his memory, and in its normal state memory takes pleasure in weakly retracing for him the circumstances of the dream, in stripping it of any real importance, and in dismissing the only determinant from the point where he thinks he has left it a few hours before: this firm hope, this concern. He is under the impression of continuing something that is worthwhile. Thus the dream finds itself reduced to a mere parenthesis, as is the night. And, like the night, dreams generally contribute little to furthering our understanding. This curious state of affairs seems to me to call for certain reflections."

"Why should I not expect from the sign of the dream more than I expect from a degree of consciousness which is daily more acute? Can’t the dream also be used in solving the fundamental questions of life? Are these questions the same in one case as in the other and, in the dream, do these questions already exist? Is the dream any less restrictive or punitive than the rest? I am growing old and, more than that reality to which I believe I subject myself, it is perhaps the dream, the difference with which I treat the dream, which makes me grow old."

"Let me come back again to the waking state. I have no choice but to consider it a phenomenon of interference. Not only does the mind display, in this state, a strange tendency to lose its bearings (as evidenced by the slips and mistakes the secrets of which are just beginning to be revealed to us), but, what is more, it does not appear that, when the mind is functioning normally, it really responds to anything but the suggestions which come to it from the depths of that dark night to which I commend it."

"The mind of the man who dreams is fully satisfied by what happens to him. The agonizing question of possibility is no longer pertinent. Kill, fly faster, love to your heart's content. And if you should die, are you not certain of re-awaking among the dead? Let yourself be carried along, events will not tolerate your interference. You are nameless. The ease of everything is priceless."

"What reason, I ask, a reason so much vaster than the other, makes dreams seem so natural and allows me to welcome unreservedly a welter of episodes so strange that they could confound me now as I write? And yet I can believe my eyes, my ears; this great day has arrived, this beast has spoken."

"Surrealist methods would, moreover, demand to be heard. Everything is valid when it comes to obtaining the desired suddenness from certain associations. The pieces of paper that Picasso and Braque (in this quotation Breton refers to the early collage art of the two Cubists, ed.) insert into their work have the same value as the introduction of a platitude into a literary analysis of the most rigorous sort. It is even permissible to entitle POEM what we get from the most random assemblage possible (observe, if you will, the syntax) of headlines and scraps of headlines cut out of the newspapers."

"A story is told according to which Saint-Pol-Roux, in times gone by, used to have a notice posted on the door of his manor house in Camaret, every evening before he went to sleep, which read: ‘THE POET IS WORKING’."

"In those days, a man at least as boring as I, Pierre Reverdy, was writing: 'The image is a pure creation of the mind. It cannot be born from a comparison but from a juxtaposition of two more or less distant realities. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be – the greater its emotional power and poetic reality..' (in the 'Nord-Sud', March 1918). These words, however sibylline for the uninitiated, were extremely revealing, and I pondered them for a long time."

"Apollinaire asserted that Chirico's first paintings were done under the influence of kinesthetic disorders (migraines, colic, etc.)"

"In homage to Guillaume Apollinaire [famous French poet, art-critic, writer and defender of Cubism], who had just died and who, on several occasions, seemed to us to have followed a discipline of this kind, without however having sacrificed to it any mediocre literary means, Soupault and I baptized the new mode of pure expression which we had at our disposal and which we wished to pass on to our friends, by the name of SURREALISM. I believe that there is no point today in dwelling any further on this word and that the meaning we gave it initially has generally prevailed over its Apollinarian sense."

"Those who might dispute our right to employ the term SURREALISM in the very special sense that we understand it are being extremely dishonest, for there can be no doubt that this word had no currency before we came along. Therefore, I am defining it once and for all: SURREALISM, Psychic automatism in its pure state, by which one proposes to express – verbally, by means of the written word, or in any other manner–the actual functioning of thought. Dictated by the thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern."

"After you have settled yourself in a place as favorable as possible to the concentration of your mind upon itself, have writing materials brought to you. Put yourself in as passive, or receptive, a state of mind as you can. Forget about your genius, your talents, and the talents of everyone else. Keep reminding yourself that literature is one of the saddest roads that lead to everything. Write quickly, without any preconceived subject, fast enough so that you will not remember what you're writing and be tempted to reread what you have written. The first sentence will come spontaneously, so compelling is the truth that with every passing second there is a sentence unknown to our consciousness which is only crying out to be heard."

"Surrealism, such as I conceive of it, asserts our complete nonconformism clearly enough so that there can be no question of translating it, at the trial of the real world, as evidence for the defense. It could, on the contrary, only serve to justify the complete state of distraction which we hope to achieve here below. Kant's absentmindedness regarding women, Pasteur's absentmindedness about 'grapes', Curies absentmindedness with respect to vehicles, are in this regard profoundly symptomatic. This world is only very relatively in tune with thought, and incidents of this kind are only the most obvious episodes of a war in which I am proud to be participating. 'Ce monde nest que très relativement à la mesure de la pensée et les incidents de ce genre ne sont que les épisodes jusquici les plus marquants dune guerre dindépendence à laquelle je me fais gloire de participer'. Surrealism is the 'invisible ray' which will one day enable us to win out over our opponents. 'You are no longer trembling, carcass'. This summer the roses are blue; the wood is of glass. The earth, draped in its verdant cloak, makes as little impression upon me as a ghost. It is living and ceasing to live which are imaginary solutions. Existence is elsewhere."

"L'amour est toujours devant vous. Aimez."

"L'œil existe à l'état sauvage."

"Les valeurs oniriques l'ont définitivement emporté sur les autres et je demande à ce qu'on tienne pour un crétin celui qui se refuserait encore, par exemple, à voir un cheval galoper sur une tomate. Une tomate est aussi un ballon d'enfant, le surréalisme, je le répète, ayant supprimé le mot comme."

"Oneiric values have definitely won out over the others, and I maintain that anyone who still refuses to see, for instance, a horse galloping on a tomato, must be an idiot. A tomato is also a child's balloon - Surrealism, again, having suppressed the word "like.""

"Surrealism is only trying to rejoin the most durable traditions of mankind. Among the primitive peoples art always goes beyond what is conventionally and arbitrarily called the 'real'. The natives of the Northwest Pacific coast, the Pueblos, New Guinea, New Ireland, the Marquesas, among others, have made 'objets' [in the Collections of Max Ernst, C. Levy-Strauss, Andre Breton, Pierre Matisse, Carlbach, Segredakis] which Surrealists particularly appreciate."

"I say that the eye is not open when it is limited to the passive role of a mirror – even if the water of that mirror offers some interesting peculiarities.. ..that eye impresses me as no less dead than the eye of a slaughtered steer if it has only the capacity to reflect – what if it reflects the object in one or in many aspects, in repose or in motion, in waking or in dream? The treasure of the eye is elsewhere! Most artists are still for tuning around the hands of the clock.. ..without having the slightest concern for the spring hidden in the opaque case. The eye-spring.. ..Arshile Gorky – for me the first painter to whom the secret have been completely revealed."

"Truly the eye was.. ..made to cast a lineament, a conducting wire between the most heterogeneous things. Such a wire, of maximum ductility, should allow us to understand, in a minimum of time, the relationship which connect, without possible discharge of continuity, innumerable physical and mental structures.. ..the key (of the mental prison, ed.) lies in a free unlimited pay of analogies.. ..one can admire today a canvas signed by Gorky, 'The liver is the Cock’s Comb', which should be considered the great open door to the analogy world."

"In short it is my concern to emphasize that Gorky is, of all the surrealist artists, the only one who maintains direct contact with nature – sit down to paint before her. Furthermore, it is out of the question that he would take the expression of this nature as an end in itself – rightly he demands of her that she provide sensations that can serve as springboards for both knowledge and pleasure in fathoming certain profound states of mind.. .Here for the first time nature is treated as a cryptogram. The artist has a code by reason of his own sensitive anterior impressions, and can decode nature to reveal the very rhythm of life, in the discovery of the very rhythm of life."

"Art today can only be revolutionary, that is, it must aspire at the complete and radical reconstruction of society, even if for no other reason than to emancipate intellectual creation from the chains which obstruct it and to allow all mankind to rise to the heights that only geniuses could reach in the past."

"As we liked to do as children, extracting from the soft forest floor the light chestnut trees only a few centimeters high at the base of which the chestnut continues to shine to the sun its clods of soil from the past, the chestnut conserving all of its presence and witnessing with its presence the power of green hands, of shadow, of airy white or pink pyramids of dances.. ..and of future chestnuts which, under new dust, would be discovered by the marveled sight of other children. It is in this perspective that the work of Arp, more than any other, should be situated. He found the most vital in himself in the secrets of this germinating life where the most minimal detail is of the greatest importance, where, on the other hand, the distinction between the elements becomes meaningless, adopting a peculiar under the rock humor permanently."

"Under his [ Marc Chagall ] sole impulse metaphor made its triumphal entry into modern painting."

"Divine Dali!"

"So, André Breton, if tonight I dream I am screwing you, tomorrow morning I will paint all of our best fucking positions with the greatest wealth of detail."

"We lived in New York between 1941 and 1945 in a great friendship, running museums and antiquarians together. I owe him a lot about the knowledge and appreciation of objects. I've never seen him [Breton] doing a mistake on exotic and unusual objects. When I say a mistake, I mean about its authenticity but also its quality. He [Breton] had a sense, almost of divination."

"I had always believed in Andre Breton's freedom, to write as one thinks, in the order and disorder in which one feels in thinks, to follow sensations and absurd correlations of events and images, to trust to the new realms they lead one into. "The cult of the marvelous." Also the cult of the unconscious leadership, the cult of mystery, the evasion of false logic. The cult of the unconscious as proclaimed by Rimbaud. It is not madness. It is an effort to transcend the rigidities and the patterns made by the rational mind."

"André Breton's poetry is a poetry of happiness. It ignores neither the anguish nor the maledictions that haunted the nightmares of Baudelaire and Rimbaud, but it goes beyond them and resolves them. Breton, like Rimbaud, is a "seer," but he does not allow himself to be hypnotized by the terrible visions of the Rimbaldian hell. Even in horror and despair, Breton knows how to discern the subterranean springs of joy. Despair? It "enchants" him! His own life? The most serious question! And yet, he knows how to attach no importance to it. For him, death is "pink," and all the mysterious aspects of existence are illuminated by his penetrating gaze-all contradictions, all mysteries. Supreme reward of that supreme science: Poetry."

"André Breton, initiator of the most extraordinary revolution (because it engages much more than art-indeed, our whole life) is, of today's French poets, the most authentic. Others—"prettier," more "pleasant," more traditional, and more cowardly, as it were-may be more popular. But who cares? The least literary of our Men of Letters will remain the richest of all. Supremely indifferent: "I am not on earth with all my heart." Supremely knowledgeable and vigilant: "I touch only the heart of things/I hold the thread." Within him, the exaltation of research, the dazzling discoveries, the smiling calm of one who knows, the assurance of one who sees. André Breton: richest and purest. Blocks of crystal piled high."

"There is a concealment that is of a different nature. It may take various forms; it always has to do, I think, with a special concern for the majority. I remember a meeting with André Breton after I had translated an introduction of his to a book of "primitive" paintings. We spoke of publishing. "I would never publish anywhere," he said, "unless I knew that there I and my followers constituted a majority." (This attitude, certainly, stands in direct relation to the forming of groups of the "intentionally obscure.")"

"One morning, I awoke to find my two neighbours dead by my side. The day before, sleeping in the same straw, we had spoken a little — to reassure ourselves and each other."

"If it were proved to me that in making war, my ideal had a chance of being realized, I would still say "No" to war. For one does not create human society on mounds of corpses."

"Louis Lecoin, who has been described as France's most “militant pacifist,” died today in a hospital at suburban Pavilions‐Sous‐Bois after surgery. He was 83 years old. Mr. Lecoin, who throughout his life indifferently earned a living as a printer, gardener, proofreader or construction worker, joined the anarchists in 1905 at the age of 17 and was sentenced to eight years in prison at 24. One of the leading campaigners here for Sacco and Vanzetti in the 1920's and for Republican Spain in the thirties, he went to jail again in 1939 for the publication of a pamphlet with the evocative title, “Immediate Peace!”"

"Our father who art in heaven Stay there And we will stay here on earth Which is sometimes so pretty"

"An orange on the table Your robe on the carpet And you in my bed Sweet present of the present Coolness of the night Warmth of my life."

"It's terrible the faint sound of a hard boiled egg firmly cracked on a tin counter it's terrible this faint sound when it stirs the memory of a starving man"

"I am what I am I was made this way When I want to laugh Yes I shriek with laughter I love those who love me It's my fault If they're not the same That I love everytime I am what I am I was made this way What more do you want What do you want from me"

"Indeed: Who says anarchy, says negation of government; Who says negation of government, says affirmation of the people; Who says affirmation of the people, says individual liberty; Who says individual liberty, says sovereignty of each; Who says sovereignty of each, says equality; Who says equality, says solidarity or fraternity; Who says fraternity, says social order; By contrast: Who says government, says negation of the people; Who says negation of the people, says affirmation of political authority; Who says affirmation of political authority, says individual dependency; Who says individual dependency, says class supremacy; Who says class supremacy, says inequality; Who says inequality, says antagonism; Who says antagonism, says civil war; From which it follows that who says government, says civil war."

"Oui, l'anarchie c'est l'ordre; car, le gouvernement c'est la guerre civile."

"I am an anarchist, a political and social Huguenot; I deny everything and affirm naught but myself: because the sole truth of which I have material and moral proof and tangible, comprehensible and intelligible evidence, the only real, startling, non-arbitrary truth not susceptible to interpretation, is myself. I am. There I have a positive fact. Everything else is abstraction and, in mathematics, would be designated as "x", and unknown quantity; and I need not trouble myself with it."

"Up to now you have believed in the existence of tyrants. Well, you were mistaken. There are only slaves. Where none obeys, none commands."

"Most of the revolutionaries who turned toward anarchism as a consequence of 1848 did so by virtue of hindsight, but one man at least, independently of Proudhon, made his defense of the libertarian attitude during the Year of Revolutions itself. "Anarchy is order; government is civil war." It was under this slogan, as willfully paradoxical as any of Proudhon's, that Anselme Bellegarrigue made his brief, obscure appearance in anarchist history."

"Bellegarrigue adhered to the central anarchist tradition in his idea of society as necessary and natural and as having “a primordial existence which resists all destructions and all disorganizations.” The expression of society Bellegarrigue finds in the commune, which is not an artificial constriction, but a “fundamental organism,” and which, provided rulers do not interfere, can be relied on to reconcile the interests of the individuals who compose it. It is in all men’s interests to observe “the rules of providential harmony,” and for this reason all governments, armies, and bureaucracies must be suppressed. This task must be carried out neither by political parties, which will always seek to dominate, nor by violent revolution, which needs leaders like any other military operation. The people, once enlightened, must act for itself."

"Art is the symbol of the two noblest human efforts: to construct and to refrain from destruction."

"The prospects of revolution seem therefore quite restricted. For can a revolution avoid war? It is, however, on this feeble chance that we must stake everything or abandon all hope. An advanced country will not encounter, in the case of revolution, the difficulties which in backward Russia served as a base for the barbarous regime of Stalin. But a war of any scope will give rise to others as formidable."

"I have sometimes told myself that if only there were a notice on church doors forbidding entry to anyone with an income above a certain figure, and a low one, I would be converted at once."

"Attention is the rarest and purest form of generosity."

"Wrongly or rightly you think that I have a right to the name of Christian. I assure you that when in speaking of my childhood and youth I use the words vocation, obedience, spirit of poverty, purity, acceptance, love of one's neighbor, and other expressions of the same kind, I am giving them the exact signification they have for me now. Yet I was brought up by my parents and my brother in a complete agnosticism, and I never made the slightest effort to depart from it; I never had the slightest desire to do so, quite rightly, I think. In spite of that, ever since my birth, so to speak, not one of my faults, not one of my imperfections really had the excuse of ignorance. I shall have to answer for everything on that day when the Lamb shall come in anger. You can take my word for it too that Greece, Egypt, ancient India, and ancient China, the beauty of the world, the pure and authentic reflections of this beauty in art and science, what I have seen of the inner recesses of human hearts where religious belief is unknown, all these things have done as much as the visibly Christian ones to deliver me into Christ's hands as his captive. I think I might even say more. The love of these things that are outside visible Christianity keeps me outside the Church... But it also seems to me that when one speaks to you of unbelievers who are in affliction and accept their affliction as a part of the order of the world, it does not impress you in the same way as if it were a question of Christians and of submission to the will of God. Yet it is the same thing."

"Concern for the symbol has completely disappeared from our science. And yet, if one were to give oneself the trouble, one could easily find, in certain parts at least of contemporary mathematics... symbols as clear, as beautiful, and as full of spiritual meaning as that of the circle and mediation. From modern thought to ancient wisdom the path would be short and direct, if one cared to take it."

"La culture est un instrument manié par des professeurs pour fabriquer des professeurs qui à leur tour fabriqueront des professeurs."

"Love is not consolation, it is light."

"Religion in so far as it is a source of consolation is a hindrance to true faith; and in this sense atheism is a purification. I have to be an atheist with that part of myself which is not made for God. Among those in whom the supernatural part of themselves has not been awakened, the atheists are right and the believers wrong."

"That is why St. John of the Cross calls faith a night. With those who have received a Christian education, the lower parts of the soul become attached to these mysteries when they have no right at all to do so. That is why such people need a purification of which St. John of the Cross describes the stages. Atheism and incredulity constitute an equivalent of such a purification."

"Whenever one tries to suppress doubt, there is tyranny."

"There are two atheisms of which one is a purification of the notion of God."

"The number 2 thought of by one man cannot be added to the number 2 thought of by another man so as to make up the number 4."

"Maurras, with perfect logic, is an atheist. The Cardinal [Richelieu], in postulating something whose whole reality is confined to this world as an absolute value, committed the sin of idolatry. … The real sin of idolatry is always committed on behalf of something similar to the State."

"Our patriotism comes straight from the Romans. This is why French children are encouraged to seek inspiration for it in Corneille. It is a pagan virtue, if these two words are compatible. The word pagan, when applied to Rome, early possesses the significance charged with horror which the early Christian controversialists gave it. The Romans really were an atheistic and idolatrous people; not idolatrous with regard to images made of stone or bronze, but idolatrous with regard to themselves. It is this idolatry of self which they have bequeathed to us in the form of patriotism."

"There is a reality outside the world, that is to say, outside space and time, outside man's mental universe, outside any sphere whatsoever that is accessible to human faculties. Corresponding to this reality, at the centre of the human heart, is the longing for an absolute good, a longing which is always there and is never appeased by any object in this world. Another terrestrial manifestation of this reality lies in the absurd and insoluble contradictions which are always the terminus of human thought when it moves exclusively in this world. Just as the reality of this world is the sole foundation of facts, so that other reality is the sole foundation of good. That reality is the unique source of all the good that can exist in this world: that is to say, all beauty, all truth, all justice, all legitimacy, all order, and all human behaviour that is mindful of obligations. Those minds whose attention and love are turned towards that reality are the sole intermediary through which good can descend from there and come among men. Although it is beyond the reach of any human faculties, man has the power of turning his attention and love towards it. Nothing can ever justify the assumption that any man, whoever he may be, has been deprived of this power. It is a power which is only real in this world in so far as it is exercised. The sole condition for exercising it is consent. This act of consent may be expressed, or it may not be, even tacitly; it may not be clearly conscious, although it has really taken place in the soul. Very often it is verbally expressed although it has not in fact taken place. But whether expressed or not, the one condition suffices: that it shall in fact have taken place. To anyone who does actually consent to directing his attention and love beyond the world, towards the reality that exists outside the reach of all human faculties, it is given to succeed in doing so. In that case, sooner or later, there descends upon him a part of the good, which shines through him upon all that surrounds him."

"The combination of these two facts — the longing in the depth of the heart for absolute good, and the power, though only latent, of directing attention and love to a reality beyond the world and of receiving good from it — constitutes a link which attaches every man without exception to that other reality. Whoever recognizes that reality recognizes also that link. Because of it, he holds every human being without any exception as something sacred to which he is bound to show respect. This is the only possible motive for universal respect towards all human beings. Whatever formulation of belief or disbelief a man may choose to make, if his heart inclines him to feel this respect, then he in fact also recognizes a reality other than this world's reality. Whoever in fact does not feel this respect is alien to that other reality also."

"It is impossible to feel equal respect for things that are in fact unequal unless the respect is given to something that is identical in all of them. Men are unequal in all their relations with the things of this world, without exception. The only thing that is identical in all men is the presence of a link with the reality outside the world. All human beings are absolutely identical in so far as they can be thought of as consisting of a centre, which is an unquenchable desire for good, surrounded by an accretion of psychical and bodily matter."

"If anyone possesses this faculty, then his attention is in reality directed beyond the world, whether he is aware of it or not. The link which attaches the human being to the reality outside the world is, like the reality itself, beyond the reach of human faculties. The respect that it makes us feel as soon as it is recognized cannot be shown to us by evidence or testimony."

"The respect inspired by the link between man and the reality alien to this world can make itself evident to that part of man which belongs to the reality of this world. The reality of this world is necessity. The part of man which is in this world is the part which is in bondage to necessity and subject to the misery of need. The one possibility of indirect expression of respect for the human being is offered by men's needs, the needs of the soul and of the body, in this world."

"Anyone whose attention and love are really directed towards the reality outside the world recognizes at the same time that he is bound, both in public and private life, by the single and permanent obligation to remedy, according to his responsibilities and to the extent of his power, all the privations of soul and body which are liable to destroy or damage the earthly life of any human being whatsoever. This obligation cannot legitimately be held to be limited by the insufficiency of power or the nature of the responsibilities until everything possible has been done to explain the necessity of the limitation to those who will suffer by it; the explanation must be completely truthful and must be such as to make it possible for them to acknowledge the necessity. No combination of circumstances ever cancels this obligation. If there are circumstances which seem to cancel it as regards a certain man or category of men, they impose it in fact all the more imperatively. The thought of this obligation is present to all men, but in very different forms and in very varying degrees of clarity. Some men are more and some are less inclined to accept — or to refuse — it as their rule of conduct."

"The proportions of good and evil in any society depend partly upon the proportion of consent to that of refusal and partly upon the distribution of power between those who consent and those who refuse. If any power of any kind is in the hands of a man who has not given total, sincere, and enlightened consent to this obligation such power is misplaced. If a man has willfully refused to consent, then it is in itself a criminal activity for him to exercise any function, major or minor, public or private, which gives him control over people's lives. All those who, with knowledge of his mind, have acquiesced in his exercise of the function are accessories to the crime. Any State whose whole official doctrine constitutes an incitement to this crime is itself wholly criminal. It can retain no trace of legitimacy. Any State whose official doctrine is not primarily directed against this crime in all its forms is lacking in full legitimacy. Any legal system which contains no provisions against this crime is without the essence of legality. Any legal system which provides against some forms of this crime but not others is without the full character of legality. Any government whose members commit this crime, or authorize it in their subordinates, has betrayed its function."

"It is the aim of public life to arrange that all forms of power are entrusted, so far as possible, to men who effectively consent to be bound by the obligation towards all human beings which lies upon everyone, and who understand the obligation. Law is the quality of the permanent provisions for making this aim effective."

"The needs of a human being are sacred. Their satisfaction cannot be subordinated either to reasons of state, or to any consideration of money, nationality, race, or colour, or to the moral or other value attributed to the human being in question, or to any consideration whatsoever. There is no legitimate limit to the satisfaction of the needs of a human being except as imposed by necessity and by the needs of other human beings. The limit is only legitimate if the needs of all human beings receive an equal degree of attention."

"The needs of the soul can for the most part be listed in pairs of opposites which balance and complete one another. The human soul has need of equality and of hierarchy. Equality is the public recognition, effectively expressed in institutions and manners, of the principle that an equal degree of attention is due to the needs of all human beings. Hierarchy is the scale of responsibilities. Since attention is inclined to direct itself upwards and remain fixed, special provisions are necessary to ensure the effective compatibility of equality and hierarchy."

"The human soul has need of consented obedience and of liberty. Consented obedience is what one concedes to an authority because one judges it to be legitimate. It is not possible in relation to a political power established by conquest or coup d'etat nor to an economic power based upon money. Liberty is the power of choice within the latitude left between the direct constraint of natural forces and the authority accepted as legitimate. The latitude should be sufficiently wide for liberty to be more than a fiction, but it should include only what is innocent and should never be wide enough to permit certain kinds of crime."

"The human soul has need of truth and of freedom of expression. The need for truth requires that intellectual culture should be universally accessible, and that it should be able to be acquired in an environment neither physically remote nor psychologically alien."

"In order to be exercised, the intelligence requires to be free to express itself without control by any authority. There must therefore be a domain of pure intellectual research, separate but accessible to all, where no authority intervenes. The human soul has need of some solitude and privacy and also of some social life. The human soul has need of both personal property and ."

"Whenever a human being, through the commission of a crime, has become exiled from good, he needs to be reintegrated with it through suffering. The suffering should be inflicted with the aim of bringing the soul to recognize freely some day that its infliction was just. This reintegration with the good is what punishment is. Every man who is innocent, or who has finally expiated guilt, needs to be recognized as honourable to the same extent as anyone else."

"The human soul has need of disciplined participation in a common task of public value, and it has need of personal initiative within this participation. The human soul has need of security and also of risk. The fear of violence or of hunger or of any other extreme evil is a sickness of the soul. The boredom produced by a complete absence of risk is also a sickness of the soul."

"Croire qu’on s’élève parce qu’en gardant les mêmes bas penchants (exemple : désir de l’emporter sur autrui) on leur a donné des objets élevés. On s’élèverait au contraire en attachant à des objets bas des penchants élevés."

"When we are the victims of illusion we do not feel it to be an illusion but a reality. It is the same perhaps with evil. Evil when we are in its power is not felt as evil but as a necessity, or even a duty."

"Alexander is to a peasant proprietor what Don Juan is to a happily married husband."

"The simultaneous existence of opposite virtues in the soul — like pincers to catch hold of God."

"L’action est l’aiguille indicatrice de la balance. Il ne faut pas toucher à l’aiguille, mais aux poids."

"We should have with each person the relationship of one conception of the universe to another conception of the universe, and not to a part of the universe."

"Capitalism has brought about the emancipation of collective humanity with respect to nature. But this collective humanity has itself taken on with respect to the individual the oppressive function formerly exercised by nature."

"The thought of being under absolute compulsion, the plaything of another, is unendurable for a human being. Hence, if every way of escape from the constraint is taken from him, there is nothing left for him to do but to persuade himself that he does the things he is forced to do willingly, that is to say, to substitute devotion for obedience. … It is by this twist that slavery debases the soul: this devotion is in fact based on a lie, since the reasons for it cannot bear investigation. … Moreover, the master is deceived too by the fallacy of devotion."

"Conformity is an imitation of grace."

"We must wish either for that which actually exists or for that which cannot in any way exist — or, still better, for both. That which is and that which cannot be are both outside the realm of becoming."

"It is not religion but revolution which is the opium of the people."

"Imaginary evil is romantic and varied; real evil is gloomy, monotonous, barren, boring. Imaginary good is boring; real good is always new, marvelous, intoxicating."

"This world is the closed door. It is a barrier. And at the same time it is the way through. Two prisoners whose cells adjoin communicate with each other by knocking on the wall. The wall is the thing which separates them but it is also their means of communication. It is the same with us and God. Every separation is a link. By putting all our desire for good into a thing, we make that thing a condition of our existence. But we do not, on that account, make of it a good. Merely to exist is not enough for us. The essence of created things is to be intermediaries. They are intermediaries leading from one to the other, and there is no end to this."

"One of the most exquisite pleasures of human love — to serve the loved one without his knowing it — is only possible, as regards the love of God, through atheism."

"In order to obey God, one must receive his commands. How did it happen that I received them in adolescence, while I was professing atheism? To believe that the desire for good is always fulfilled — that is faith, and whoever has it is not an atheist."

"No human being escapes the necessity of conceiving some good outside himself towards which his thought turns in a movement of desire, supplication, and hope. consequently, the only choice is between worshipping the true God or an idol. Every atheist is an idolater — unless he is worshipping the true God in his impersonal aspect. The majority of the pious are idolaters."

"If people were told: what makes carnal desire imperious in you is not its pure carnal element. It is the fact that you put into it the essential part of yourself—the need for Unity, the need for God — they wouldn’t believe it. To them it seems obvious that the quality of imperious need belongs to the carnal desire as such. In the same way it seems obvious to the miser that the quality of desirability belongs to gold as such, and not to its exchange value."

"The eulogies of my intelligence are positively intended to evade the question "Is what she says true?""

"There is nothing that comes closer to true humility than the intelligence. It is impossible to feel pride in one's intelligence at the moment when one really and truly exercises it."

"At the bottom of the heart of every human being, from earliest infancy until the tomb, there is something that goes on indomitably expecting, in the teeth of all experience of crimes committed, suffered, and witnessed, that good and not evil will be done to him. It is this above all that is sacred in every human being. The good is the only source of the sacred. There is nothing sacred except the good and what pertains to it."

"Gregorian chant, Romanesque architecture, the Iliad, the invention of geometry were not, for the people through whom they were brought into being and made available to us, occasions for the manifestation of personality."

"It is precisely those artists and writers who are most inclined to think of their art as the manifestation of their personality who are in fact the most in bondage to public taste."

"A modern factory reaches perhaps almost the limit of horror. Everybody in it is constantly harassed and kept on edge by the interference of extraneous wills while the soul is left in cold and desolate misery. What man needs is silence and warmth; what he is given is an icy pandemonium. Physical labour may be painful, but it is not degrading as such. It is not art; it is not science; it is something else, possessing an exactly equal value with art and science, for it provides an equal opportunity to reach the impersonal stage of attention."

"The notion of rights is linked with the notion of sharing out, of exchange, of measured quantity. It has a commercial flavor, essentially evocative of legal claims and arguments. Rights are always asserted in a tone of contention; and when this tone is adopted, it must rely upon force in the background, or else it will be laughed at."

"If you say to someone who has ears to hear: "What you are doing to me is not just," you may touch and awaken at its source the spirit of attention and love. But it is not the same with words like, "I have the right..." or "you have no right to..." They evoke a latent war and awaken the spirit of contention."

"If a young girl is being forced into a brothel she will not talk about her rights. In such a situation the word would sound ludicrously inadequate."

"The full expression of personality depends upon its being inflated by social prestige; it is a social privilege."

"Just as a vagrant accused of stealing a carrot from a field stands before a comfortably seated judge who keeps up an elegant flow of queries, comments and witticisms while the accused is unable to stammer a word, so truth stands before an intelligence which is concerned with the elegant manipulation of opinions."

"If a captive mind is unaware of being in prison, it is living in error. If it has recognized the fact, even for the tenth of a second, and then quickly forgotten it in order to avoid suffering, it is living in falsehood. Men of the most brilliant intelligence can be born, live and die in error and falsehood. In them, intelligence is neither a good, nor even an asset. The difference between more or less intelligent men is like the difference between criminals condemned to life imprisonment in smaller or larger cells. The intelligent man who is proud of his intelligence is like a condemned man who is proud of his large cell."

"To listen to someone is to put oneself in his place while he is speaking. To put oneself in the place of someone whose soul is corroded by affliction, or in near danger of it, is to annihilate oneself. It is more difficult than suicide would be for a happy child. Therefore the afflicted are not listened to. They are like someone whose tongue has been cut out and who occasionally forgets the fact. When they move their lips no ear perceives any sound. And they themselves soon sink into impotence in the use of language, because of the certainty of not being heard. That is why there is no hope for the vagrant as he stands before the magistrate. Even if, through his stammerings, he should utter a cry to pierce the soul, neither the magistrate nor the public will hear it. His cry is mute. And the afflicted are nearly always equally deaf to one another; and each of them, constrained by the general indifference, strives by means of self-delusion or forgetfulness to become deaf to his own self."

"It is because of my wretchedness that I am "I." It is on account of the wretchedness of the universe that, in a sense, God is "I" (that is to say a person)."

"Those who keep the masses of men in subjection by exercising force and cruelty deprive them at once of two vital foods, liberty and obedience; for it is no longer within the power of such masses to accord their inner consent to the authority to which they are subjected. Those who encourage a state of things in which the hope of gain is the principal motive take away from men their obedience, for consent which is its essence is not something which can be sold."

"By committing a crime, a man places himself, of his own accord, outside the chain of eternal obligations which bind every human being to every other one. Punishment alone can weld him back again; fully so, if accompanied by consent on his part; otherwise only partially so. Just as the only way of showing respect for somebody suffering from hunger is to give him something to eat, so the only way of showing respect for somebody who has placed himself outside the law is to reinstate him inside the law by subjecting him to the punishment ordained by law. The need for punishment is not satisfied where, as is generally the case, the penal code is merely a method of exercising pressure through fear."

"Liberty, taking the word in its concrete sense, consists in the ability to choose."

"The Great Beast is the only object of idolatry, the only ersatz of God, the only imitation of something which is infinitely far from me and which is I myself."

"The collective is the object of all idolatry, this it is which chains us to the earth. In the case of avarice: gold is of the social order. In the case of ambition: power is of the social order. Science and art are full of the social element also. And love? Love is more or less of an exception: that is why we can go to God through love, not through avarice and ambition."

"A society like the Church, which claims to be Divine is perhaps more dangerous on account of the ersatz good which it contains then on account of the evil which sullies it. Something of the social labelled divine: an intoxicating mixture which carries with it every sort of license. Devil disguised."

"Conscience is deceived by the social. Our supplementary energy (imaginative) is to a great extent taken up with the social. It has to be detached from it. That is the most difficult of detachments."

"It is only by entering the transcendental, the supernatural, the authentically spiritual order that man rises above the social. Until then, whatever he may do, the social is transcendent in relation to him."

"Rome is the Great Beast of atheism and materialism, adoring nothing but itself. Israel is the Great Beast of religion. Neither one nor the other is likable. The Great Beast is always repulsive."

"The state of conformity is an imitation of grace. By a strange mystery — which is connected with the power of the social element — a profession can confer on quite ordinary men in their exercise of it, virtues which, if they were extended to all circumstances of life, would make of them heroes or saints. But the power of the social element makes these virtues natural. Accordingly they need a compensation."

"But if Germany, thanks to Hitler and his successors, were to enslave the European nations and destroy most of the treasures of their past, future historians would certainly pronounce that she had civilized Europe."

"A Pharisee is someone who is virtuous out of obedience to the Great Beast."

"The common run of moralists complain that man is moved by his private self-interest: would to heaven it were so! Private interest is a self-centered principle of action, but at the same time restricted, reasonable and incapable of giving rise to unlimited evils. Whereas, on the other hand, the law of all activities governing social life, except in the case of primitive communities, is that here one sacrifices human life — in himself and in others — to things which are only means to a better way of living. This sacrifice takes on various forms, but it all comes back to the question of power. Power, by definition, is only a means; or to put it better, to possess a power is simply to possess means of action which exceed the very limited force that a single individual has at his disposal. But power-seeking, owing to its essential incapacity to seize hold of its object, rules out all consideration of an end, and finally comes, through an inevitable reversal, to take the place of all ends. It is this reversal of the relationship between means and end, it is this fundamental folly that accounts for all that is senseless and bloody right through history. Human history is simply the history of the servitude which makes men — oppressed and oppressors alike — the plaything of the instruments of domination they themselves have manufactured, and thus reduces living humanity to being the chattel of inanimate chattels."

"La force, c'est ce qui fait de quiconque lui est soumis une chose. Quand elle s'exerce jusqu'au bout, elle fait de l'homme une chose au sens le plus littéral, car elle en fait un cadavre."

"La force qui tue est une forme sommaire, grossière de la force. Combien plus variée en ses procédés, combien plus surprenante en ses effets, est l'autre force, celle qui ne tue pas; c'est-à-dire celle qui ne tue pas encore."

"Du pouvoir de transformer un homme en chose en le faisant mourir procède un autre pouvoir, et bien autrement prodigieux, celui de faire une chose d'un homme qui reste vivant."

"Une âme ... n'est pas faite pour habiter une chose ; quand elle y est contrainte, il n’est plus rien en elle qui ne souffre violence."

"Si tous sont destinés en naissant à souffrir la violence, c'est là une vérité à laquelle l'empire des circonstances ferme les esprits des hommes."

"Le prestige, qui constitue la force plus qu'aux trois quarts, est fait avant tout de la superbe indifférence du fort pour les faibles, indifférence si contagieuse qu'elle se communique à ceux qui en sont l'objet."

"Once the experience of war makes visible the possibility of death that lies locked up in each moment, our thoughts cannot travel from one day to the next without meeting death's face. The mind is then strung up to a pitch it can stand for only a short time; but each new dawn introduces the same necessity; and days piled on days make years. On each one of these days the soul suffers violence. Regularly, each morning, the soul castrates itself of aspiration, for thought cannot journey through time without meeting death on the way. Thus war effaces all conceptions of purpose or goal, including even its own "war aims." It effaces the very notion of war's being brought to an end. Consequently, nobody does anything to bring this end about. In the presence of an armed enemy, what hand can relinquish its weapon? The mind ought to find a way out, but the mind has lost all capacity to so much as look outward. The mind is completely absorbed in doing itself violence. Always in human life, whether war or slavery is in question, intolerable sufferings continue, as it were, by the force of their own specific gravity, and so look to the outsider as though they deprived the sufferer of the resources which might serve to extricate him."

"Celui qui ignore à quel point la fortune variable et la nécessité tiennent toute âme humaine sous leur dépendance ne peut pas regarder comme des semblables ni aimer comme soi-même ceux que le hasard a séparés de lui par un abîme. La diversité des contraintes qui pèsent sur les hommes fait naître l'illusion qu'il y a parmi eux des espèces distinctes qui ne peuvent communiquer."

"Il n'est possible d'aimer et d'être juste que si l'on connaît l'empire de la force et si l'on sait ne pas le respecter."

"Moreover, nothing is so rare as to see misfortune fairly portrayed; the tendency is either to treat the unfortunate person as though catastrophe were his natural vocation, or to ignore the effects of misfortune on the soul, to assume, that is, that the soul can suffer and remain unmarked by it, can fail, in fact, to be recast in misfortune's image."

"I also am other than what I imagine myself to be. To know this is forgiveness."

"Truth is sought not because it is truth but because it is good."

"We can know only one thing about God — that he is what we are not. Our wretchedness alone is an image of this. The more we contemplate it, the more we contemplate him."

"The recognition of human wretchedness is difficult for whoever is rich and powerful because he is almost invincibly led to believe that he is something. It is equally difficult for the man in miserable circumstances because he is almost invincibly led to believe that the rich and powerful man is something."

"There is no area in our minds reserved for superstition, such as the Greeks had in their mythology; and superstition, under cover of an abstract vocabulary, has revenged itself by invading the entire realm of thought. Our science is like a store filled with the most subtle intellectual devices for solving the most complex problems, and yet we are almost incapable of applying the elementary principles of rational thought. In every sphere, we seem to have lost the very elements of intelligence: the ideas of limit, measure, degree, proportion, relation, comparison, contingency, interdependence, interrelation of means and ends. To keep to the social level, our political universe is peopled exclusively by myths and monsters; all it contains is absolutes and abstract entities. This is illustrated by all the words of our political and social vocabulary: nation, security, capitalism, communism, fascism, order, authority, property, democracy. We never use them in phrases such as: There is democracy to the extent that... or: There is capitalism in so far as... The use of expressions like "to the extent that" is beyond our intellectual capacity. Each of these words seems to represent for us an absolute reality, unaffected by conditions, or an absolute objective, independent of methods of action, or an absolute evil; and at the same time we make all these words mean, successively or simultaneously, anything whatsoever. Our lives are lived, in actual fact, among changing, varying realities, subject to the casual play of external necessities, and modifying themselves according to specific conditions within specific limits; and yet we act and strive and sacrifice ourselves and others by reference to fixed and isolated abstractions which cannot possibly be related either to one another or to any concrete facts. In this so-called age of technicians, the only battles we know how to fight are battles against windmills."

""A man thinks he is dying for his country," said Anatole France, "but he is dying for a few industrialists." But even that is saying too much. What one dies for is not even so substantial and tangible as an industrialist."

"What a country calls its vital economic interests are not the things which enable its citizens to live, but the things which enable it to make war; petrol is much more likely than wheat to be a cause of international conflict. Thus when war is waged it is for the purpose of safeguarding or increasing one's capacity to make war. International politics are wholly involved in this vicious cycle. What is called national prestige consists in behaving always in such a way as to demoralize other nations by giving them the impression that, if it comes to war, one would certainly defeat them. What is called national security is an imaginary state of affairs in which one would retain the capacity to make war while depriving all other countries of it. It amounts to this, that a self-respecting nation is ready for anything, including war, except for a renunciation of its option to make war. But why is it so essential to be able to make war? No one knows, any more than the Trojans knew why it was necessary for them to keep Helen. That is why the good intentions of peace-loving statesman are so ineffectual. If the countries were divided by a real opposition of interests, it would be possible to arrive at a satisfactory compromise. But when economic and political interests have no meaning apart from war, how can they be peacefully reconciled?"

"The aim is to replace economic oligarchies by the State, which has a will-to-power of its own and is quite as little concerned with the public good; and a will-to-power, moreover, which is not economic but military and therefore much more dangerous to any good folk who have a taste for staying alive. And on the bourgeois side what on earth is the sense of objecting to State control in economic affairs if one accepts private monopolies which have all the economic and technical disadvantages of State monopolies and possibly some others as well?"

"The struggle between the opponents and defenders of capitalism is a struggle between innovators who do not know what innovation to make and conservatives who do not know what to conserve."

"The necessity for power is obvious, because life cannot be lived without order; but the allocation of power is arbitrary because all men are alike, or very nearly. Yet power must not seem to be arbitrarily allocated, because it will not then be recognized as power. Therefore prestige, which is illusion, is of the very essence of power."

"An imaginary perfection is automatically at the same level as I who imagine it — neither higher nor lower."

"It is not in a person's nature to desire what he already has. Desire is a tendency, the start of a movement toward something, toward a point from which one is absent. If, at the very outset, this movement doubles back on itself toward its point of departure, a person turns round and round like a squirrel in a cage or a prisoner in a condemned cell. Constant turning soon produces revulsion. All workers, especially though not exclusively those who work under inhumane conditions, are easily the victims of revulsion, exhaustion and disgust and the strongest are often the worst affected."

"We must leave on one side the beliefs which fill up voids and sweeten what is bitter. The belief in immortality. The belief in the utility of sin: etiam peccata. The belief in the providential ordering of events — in short the "consolations" which are ordinarily sought in religion."

"We should desire neither the immortality nor the death of any human being, whoever he may be, with whom we have to do."

"The miser deprives himself of his treasure because of his desire for it."

"If we love God while thinking that he does not exist, he will manifest his existence."

"If we want a love which will protect the soul from wounds we must love something other than God."

"God's love for us is not the reason for which we should love him. God's love for us is the reason for us to love ourselves."

"To desire friendship is a great fault. Friendship should be a gratuitous joy like those afforded by art or life. We must refuse it so that we may be worthy to receive it; it is of the order of grace."

"Désirer échapper à la solitude est une lâcheté. L'amitié ne se recherche pas, ne se rêve pas, ne se désire pas ; elle s'exerce (c'est une vertu)."

"Meditation on the chance which led to the meeting of my mother and father is even more salutary than meditation on death."

"Stars and blossoming fruit-trees: utter permanence and extreme fragility give an equal sense of eternity."

"The most important part of education — to teach the meaning of to know (in the scientific sense)."

"Humility consists of knowing that in this world the whole soul, not only what we term the ego in its totality, but also the supernatural part of the soul, which is God present in it, is subject to time and to the vicissitudes of change. There must be absolutely acceptance of the possibility that everything material in us should be destroyed. But we must simultaneously accept and repudiate the possibility that the supernatural part of the soul should disappear."

"The key to a Christian conception of studies is the realization that prayer consists of attention. It is the orientation of all the attention of which the soul is capable toward God. The quality of the attention counts for much in the quality of the prayer. Warmth of heart cannot make up for it."

"Although people seem to be unaware of it today, the development of the faculty of attention forms the real object and almost the sole interest of studies."

"School children and students who love God should never say: "For my part I like mathematics"; "I like French"; "I like Greek." They should learn to like all these subjects, because all of them develop that faculty of attention which, directed toward God, is the very substance of prayer."

"Attention consists of suspending our thought, leaving it detached, empty, and ready to be penetrated by the object; it means holding in our minds, within reach of this thought, but on a lower level and not in contact with it, the diverse knowledge we have acquired which we are forced to make use of."

"Above all our thought should be empty, waiting, not seeking anything, but ready to receive in its naked truth the object that is to penetrate it. All wrong translations, all absurdities in geometry problems, all clumsiness of style, and all faulty connection of ideas in compositions and essays, all such things are due to the fact that thought has seized upon some idea too hastily, and being thus prematurely blocked, is not open to the truth."

"We do not obtain the most precious gifts by going in search of them but by waiting for them. Man cannot discover them by his own powers, and if he sets out to seek for them he will find in their place counterfeits of which he will be unable to discern falsity."

"The capacity to give one's attention to a sufferer is a very rare and difficult thing; it is almost a miracle; it is a miracle. Nearly all those who think they have this capacity do not possess it. Warmth of heart, impulsiveness, pity are not enough."

"Paradoxical as it may seem, a Latin prose or a geometry problem, even though they are done wrong, may be of a great service one day, provided we devote the right kind of effort to them. Should the occasion arise, they can one day make us better able to give someone in affliction exactly the help required to save him, at the supreme moment of his need."

"When I read the catechism of the Council of Trent, it seems as though I had nothing in common with the religion there set forth."

"The Hebrews took for their idol, not something made of metal or wood, but a race, a nation, something just as earthly. Their religion is essentially inseparable from such idolatry, because of the notion of the "chosen people"."

"Every time that a man has, with a pure heart, called upon Osiris, Dionysus, Buddha, the Tao, etc., the Son of God has answered him by sending the Holy Spirit. And the Holy Spirit has acted upon his soul, not by inciting him to abandon his religious tradition, but by bestowing upon him light — and in the best of cases the fullness of light — in the heart of that same religious tradition. … It is, therefore, useless to send out missions to prevail upon the peoples of Asia, Africa or Oceania to enter the Church."

"Besides, it is written that the tree shall be known by its fruits. The Church has borne too many evil fruits for there not to have been some mistake at the beginning. Europe has been spiritually uprooted, cut off from that antiquity in which all the elements of our civilization have their origin; and she has gone about uprooting the other continents from the sixteenth century onwards. Missionary zeal has not Christianized Africa, Asia and Oceania, but has brought these territories under the cold, cruel and destructive domination of the white race, which has trodden down everything. It would be strange, indeed, that the word of Christ should have produced such results if it had been properly understood."

"One could count on one's fingers the number of scientists in the entire world who have a general idea of the history and development of their own particular science; there is not one who is really competent as regards sciences other than his own. As science forms an indivisible whole, one may say that there are no longer, strictly speaking, any scientists, but only drudges doing scientific work. . . ."

"I too have a growing inner certainty that there is a deposit of pure gold in me which ought to be passed on. The trouble is that I am more and more convinced by my experience and observation of my contemporaries that there is no one to receive it."

"Any madness in us gains from being expressed, because in this way one gives a human form to what separates us from humanity."

"We have seen that language is something precious because it allows us to express ourselves; but it is fatal when one allows oneself to be completely led astray by it, because then it prevents one from expressing oneself. Language is the source of the prejudices and haste which Descartes thought of as the sources of error."

"The materialists say, it is by means of a series of straight lines more or less perfect that one imagines the perfect straight line as an ideal limit. That is right, but the progression in itself necessarily contains what is infinite; it is in relation to the perfect straight line that one can say that such and such a straight line is less twisted than some other. ... Either one conceives the infinite or one does not conceive at all."

"The first thing that we know about ourselves is our imperfection."

""Science affirms that ..." Science is voiceless; it is the scientists who talk."

"My purpose here is to denounce an idea which seems to be dangerous and false. … Revolutionary trade unionists and orthodox communists are at one in considering everything that is purely theoretical as bourgeois. … The culture of a socialist society would be a synthesis of theory and practice; but to synthesize is not the same as to confuse together; it is only contraries that can be synthesized. … Marx’s principal glory is to have rescued the study of societies not only from Utopianism but also and at the same time from empiricism. … Humanity cannot progress by importing into theoretical study the processes of blind routine and haphazard experiment by which production has so long been dominated. … The true relation between theory and application only appears when theoretical research has been purged of all empiricism."

"Respectable scientists like de Broglie himself accept wave mechanics because it confers coherence and unity upon the experimental findings of contemporary science, and in spite of the astonishing changes it implies in connection with ideas of causality, time, and space, but it is because of these changes that it wins favor with the public. The great popular success of Einstein was the same thing. The public drinks in and swallows eagerly everything that tends to dispossess the intelligence in favor of some technique; it can hardly wait to abdicate from intelligence and reason and from everything that makes man responsible for his destiny."

"Men … ask nothing better, it would seem, than to leave their destiny, their life, and all their thoughts in the hands of a few men with a gift for the exclusive manipulation of this or that technique."

"There are necessities and impossibilities in reality which do not obtain in fiction, any more than the law of gravity to which we are subject controls what is represented in a picture. … It is the same with pure good; for a necessity as strong as gravity condemns man to evil and forbids him any good, or only within the narrowest limits and laboriously obtained and soiled and adulterated with evil. … The simplicity which makes the fictional good something insipid and unable to hold the attention becomes, in the real good, an unfathomable marvel."

"During the last quarter of a century all the authority associated with the function of spiritual guidance … has seeped down into the lowest publications. … Between a poem by Valéry and an advertisement for a beauty cream promising a rich marriage to anyone who used it there was at no point a breach of continuity. So as a result of literature’s spiritual usurpation a beauty cream advertisement possessed, in the eyes of little village girls, the authority that was formerly attached to the words of priests."

"When, as a result of what was called Enlightenment in the eighteenth century, the priests had in fact almost entirely lost this function of guidance. Their place was taken by writers and scientists. In both cases it is equally absurd. Mathematics, physics, and biology are as remote from spiritual guidance as the art of arranging words. When that function is usurped by literature and science it proves there is no longer any spiritual life."

"It is not only in literature that fiction generates immorality. It does it also in life itself. For the substance of our life is almost exclusively composed of fiction. We fictionalize our future, and, unless we are heroically devoted to truth, we fictionalize our past, refashioning it to our taste. We do not study other people; we invent what they are thinking, saying, and doing. Reality provides us with some raw material, just as novelists often take a theme from a news item, but we envelop it in a fog in which, as in all fiction, values are reversed, so that evil is attractive and good is tedious."

"The essential characteristic of the first half of the twentieth century is the growing weakness, and almost the disappearance, of the idea of value."

"Dadaism and surrealism … represented the intoxication of total license, the intoxication in which the mind wallows when it has made a clean sweep of value and surrendered to the immediate. The good is the pole towards which the human spirit is necessarily oriented, not only in action but in every effort, including the effort of pure intelligence. The surrealists have set up non-oriented thought as a model; they have chosen the total absence of value as their supreme value. Men have always been intoxicated by license, which is why, throughout history, towns have been sacked. But there has not always been a literary equivalent for the sacking of towns. Surrealism is such an equivalent."

"Such words as spontaneity, sincerity, gratuitousness, richness, enrichment — words which imply an almost total indifference to contrasts of value — have come more often from their [the surrealists’] pens than words which contain a reference to good and evil. Moreover, this latter class of words has become degraded, especially those which refer to the good, as Valéry remarked some years ago. Words like virtue, nobility, honor, honesty, generosity, have become almost impossible to use or else they have acquired bastard meanings; language is no longer equipped for legitimately praising a man’s character."

"In a general way, the literature of the twentieth century is essentially psychological; and psychology consists of describing states of the soul by displaying them all on the same plane, without any discrimination of value, as though good and evil were external to them, as though the effort toward the good could be absent at any moment from the thought of any man."

"There is a certain kind of morality which is even more alien to good and evil than amorality is."

"In the interest of public security it would be advisable that this person be distanced from Le Puy, where she has never ceased to preach revolt."

"In her relatively short life, Simone Weil … created a body of work whose intellectual scope and acuity are remindful of religious thinkers such as Blaise Pascal or Søren Kierkegaard. Since no book by Simone Weil appeared in her lifetime and only a few of her writings were intended for publication, a noteworthy reception of her ideas took place only when selections of her notes, diaries and fragments began to be published posthumously after World War II."

"Simone Weil's intellectual and existential search encompassed several of the major religious and sapiential traditions. Since her religiosity was imbued by Greek thought, Gnosticism, Chinese wisdom, Christian mysticism, and Indian philosophy, it is not surprising that scholars have been especially attentive to her perceptive elaborations on the universal truths informing these — at first sight — hardly compatible spiritual world views."

"Given that only the religion of pervasive kenosis can be truly universal, no single historical individual can exhaust its fullness by virtue of his redemptive acts, and no religious institution can grasp and articulate its meaning by means of dogmatic or doctrinal teachings. In the last resort, it is in the name of religious universalism that Simone Weil calls for a reversion of historical Christianity to its origins as a religion of kenosis."

"Simone Weil, je le sais encore maintenant, est le seul grand esprit de notre temps et je souhaite que ceux qui le reconnaissent en reçoivent assez de modestie pour ne pas essayer d’annexer ce témoignage bouleversant. Pour moi, je serais comblé si l’on pouvait dire qu’à ma place, et avec les faibles moyens don’t je dispose, j’ai servi à faire connaitre et à répandre son oeuvre dont on n’a pas encore mesuré tout le retentissement."

"In the last years of her life she worried that all beliefs, even religious ones, risk idolatry. Her insistence upon "a convention ratified by God" is another example of the thoroughly personal knowledge of God that she sought, and one gathers, believed herself to have attained. She seemed persuaded that under the auspices of the Church such personal knowledge simply does not come about; on the contrary, parishioners turn idolatrous and mistake a ritual, a habit, and alas, a social custom (to go to church on Sunday, say) for such a convention."

"Weil’s critique of modern science consists of two parts, the first directed at classical (Newtonian) science, the latter at contemporary science, especially twentieth-century relativity and quantum mechanics. In each, Weil detects a species of thoughtlessness or failure of that prayerful attention that marks all genuine study and intellectual accomplishment."

"The assimilation of algebra by mathematical physics, a process spanning the eighteenth and extending into the nineteenth century, exacerbates the implicit thoughtlessness of classical science by subordinating scientific cognition to symbolic formulae increasingly devoid of insight. In the process, a genuine encounter with natural necessity, revelatory of divine providence, is lost to science, Symbolic or algebraic physics represents the collectivization of thought, as it were, where science itself is rendered a technique of knowledge production and thought ceases to be the activity of any responsible individual. … This process reaches its logical conclusion in twentieth-century physics, where science is reduced finally to a form of symbolic manipulation the only value of which is predictive success and technological domination of nature."

"The reader of her work finds himself confronted by a difficult, violent and complex personality; and the assistance of those who have the advantage of long discussions or correspondence with her, especially those who are under the peculiar conditions of the last five years her life, will be a permanent value in the future. … After reading Waiting on God and the present volume I saw that I must try to understand the personality of the author and that the reading and re-reading of all her work was necessary for this slow process of understanding. In trying to understand her, we must not be distracted … by considering how far, and at what points we agree or disagree. We must simply expose ourselves to the personality of a woman of genius, of a kind of genius akin to that of the saints. … I cannot conceive of anybody's agreeing with all of her views, or of not disagreeing violently with some of them. But agreement and rejection are secondary: what matters is to make contact with a great soul. Simone Weil was one who might have become a saint. Like some who have achieved this state, she had greater obstacles to overcome, as well as greater strength for overcoming them, then the rest of us. A potential saint can be a very difficult person. I suspect that Simone Weil could be at times insupportable. One is struck, here and there, by contrast between an almost superhuman humility and what appears to be an almost outrageous arrogance."

"In her political thinking she appears as a strong critic of both Right and Left; at the same time or truly a lover of order and hierarchy than even most of those who call themselves Conservative, and more truly a lover of the people than most of those who call themselves Socialist."

"What she cared about was human souls. Her study of human rights and human obligations exposes the falsity of some of the verbiage still current which was used during the war to serve as a moral stimulant."

"I went through a stage in life when I was thirty-two or thirty-three years old-when I was very fascinated by the writings of Simone Weil. In the end, her religious philosophy left me where I was. But I felt that there was something there that answered to a need that I felt, my "need for roots" that she wrote about so marvelously. I couldn't find the same solution."

"Her life is almost a perfect blending of the Comic and the Terrible, which two things may be opposite sides of the same coin. In my own experience, everything funny I have ever written is more terrible than it is funny, or only funny because it is terrible, or only terrible because it is funny. Well Simone Weil's is the most comical life I have ever read about, and the most truly tragic and terrible."

"By saying Simone Weil's life was both comic and terrible I am not trying to reduce it, but mean to be paying her the highest tribute I can, short of calling her a saint, which I don't believe she was. Possibly I have a higher opinion of the comic and terrible than you do. To my way of thinking it includes her great courage and to call her anything less would be to see here as merely ordinary. Of course, I can only say, as you point out, this is what I see, not, this is what she is — which only God knows."

"I have read everything by Simone Weil, who was an extraordinary woman gifted with immense empathy. But I think she might have profited from some better advice. She was not physically strong and yet, in order to directly experience the struggle of working people, she undertook factory work that was too much for her. And she also fought in the Spanish Civil War and, being somewhat clumsy, stepped into a pail of boiling oil, was severely burned, and went to Portugal to recuperate. Later, she would eat only the minimal portion of food she believed was available to people in occupied France—a few potatoes perhaps. She had been diagnosed with tuberculosis, and this may well have contributed to her death. (Then, as you see her, she is more of an inspiration than a model.) EP: Yes, an inspiration. She could not have been a model for me because I am neither a genius nor a mystic and, like Leonora, I had children I loved and for whom I was responsible, so that even if I had discovered a vocation of this sort in myself, I could not have lived such an extreme life."

"[By 1939] Simone Weil had developed a social and political awareness which it took the war and the German occupation to awaken in many French intellectuals and beyond which many of them, including Sartre, have never progressed."

"Simone Weil was one of the most remarkable women of the twentieth, or indeed of any other century. I have great sympathy for her, but sympathy is not necessarily congeniality. It would be easier to write of her if I liked what she had to say, which I strongly do not. …I think Simone Weil had both over- and under-equipped herself for the crisis which overwhelmed her — along, we forget, immersed in her tragedy, with all the rest of us. She was almost the perfectly typical passionate, revolutionary, intellectual woman — a frailer, even more highly strung Rosa Luxemburg. … She made up her own revolution out of her vitals, like a spider or silkworm. She could introject all the ill of the world into her own heart, but she could not project herself in sympathy to others. Her letters read like the more distraught signals of John of the Cross in the dark night."

"Although a few commentators have noted the influence of Simone Weil on the thought of Albert Camus, their relationship has never been fully explored … I shall examine several aspects of that influence in … Weil's critique of Marxism which Camus adopted in L'Homme Révolté… the conception of the rebel as an artisan which Camus also used in L'Homme Révolté, and … Weil's mysticism, to which Camus was reluctantly though definitely drawn. … I shall consider more fully the different conceptions of freedom and justice which appear in their writings and argue that their contributions to political thought here lay with their appreciation of the impulse in modern man to seek and impose absolute values. In this context, we shall see that Camus and Simone Weil provide different routes to individual authenticity and integrity in an absurd world."

"Most sins can be traced back to the social element. They spring from a thirst to appear and to dominate. It is not that Simone Weil rejects the social element as such; she knows that our environment, roots and traditions form bridges, metaxu between earth and heaven; what she repudiates is the totalitarian city — symbolized by the ‘Great Beast’ of Plato and the Beast of the Apocalypse — whose power and prestige usurp God’s place in the soul. Whether it shows itself under a conservative or a revolutionary aspect, whether it consists of adoring the present or the future city, social idolatry always tends to stifle and to replace the true mystic tradition. All the persecutions of prophets and saints are due to it; through it Antigone and Joan of Arc were condemned and Jesus Christ crucified. The social Beast offers man a substitute for religion which allows him to transcend his individuality without surrendering his self and so, at small cost, to dispense with God; a social imitation of the highest virtues is possible by which they are immediately degraded into pharisaism: "The pharisee is he who is virtuous out of obedience to the Great Beast.""

"Light for the spirit and nourishment for the soul, Simone Weil’s work does not have to be brought "up to date," since it emanates from that summit of being which overhangs all times and places. How could one put a date on a particular thought by Plato or Marcus Aurelius, a verse by Aeschylus, or the utterance of a Shakespearean hero ? The same is true, and in exemplary fashion, for Simone Weil. True light does not fade, and a true fountain need never be replenished. To speak of what is timeless is also to speak of what is universal. The undeserved privilege of presenting Simone Weil’s first book to the public has brought me countless favourable comments from the four corners of the globe. What strikes me most about these is that they come from individuals of such diverse backgrounds, social status, cultural milieu, etc, and that reading this work has left a deep impression on all their souls, as they found in it the revelation of an inner truth for which they had, up until then, been waiting in vain. At the twilight of a century whose accelerated history has led to the rise and fall of so many idols, this book increasingly appears like a message from eternity, addressed to eternal man, this "Nothingness capable of God," who is enslaved by gravity and liberated by grace."

"I knew her very well, I have had long discussions with her. For a period of time she was more or less in sympathy with our cause, but then she lost faith in the proletariat and in Marxism. It's possible that she will turn toward the left again."

"Ca va faire, je pense, 23 ans que tu as fait ton entrée dans le monde phénoménal pour le plus grand emmerdement des recteurs et des directrices."

"We finally saw the sea, the horizonless sea – how odd for a mountaindweller. We saw the beautiful boats that sail on it. It is too inviting, one feels carried away, one would leave to see the whole world."

"In the coming year I must do a large painting which will definitely get me recognized for what I truly am, for I want all or nothing. All those little paintings are not the only thing that I can do...I want to do large-scale painting. One thing is certain, that within five years, I must have a name in Paris; that is what I strive for. It's hard to get there, I know...To move faster I only lack one thing, and that's money, in order to boldly execute what I have in mind."

"[T]here's nothing harder in the world than making art, particularly when no one understands it. Women want portraits without shadow, men want to be dressed up in their Sunday best; there's no way out. To earn money with things like that, you'd be better of walking on a treadmill. At least then you would not be abdicating your convictions."

"It is the most wretched spectacle you can imagine. I won't fight for two reasons: firstly because I have no faith in waging war with guns and cannons, and it is not part of my creed. For ten years I have been fighting a war of wits. I would not be true to myself if I acted otherwise. Secondly, I have no weapons and I won't be persuaded. So you have nothing to fear where I am concerned"

"I've already done studies [for his large-scale painting w:The Burial at Ornans ] of the mayor, who weighs 400, the parish priest, the justice of the peace, the cross bearer, the notary Marlet, the assistant mayor, my friends, my father, the choirboys, the grave digger, two old revolutionaries from [17]'93..."

"It is not often that one encounters so complete an expression of poverty and so, right then and there I got the idea for a painting. I told them to come to my studio the next morning."

"[I]n our civilized society I must lead the life of a savage. I must free myself even from governments. My sympathies lies with the people; I must go to them directly. I must draw my wisdom from them, and they must give me life. For that reason I have just embarked on the grand, independent and vagabond life of the bohemian."

"[I] painted the very people who had been present at the interment, all the townspeople."

"I heard the comments of the crowd in front of the painting of Burial at Ornans, I had the courage to read the nonsense that was printed regarding this picture and I wrote this article.. [in Le Messager de l'Assemblée]"

"In spite of being assailed by hypochondria, I have launched into an enormous painting 20 feet by 12, perhaps even bigger than Burial', which will show that I am still alive, and so is Realism, as Realism exists...It is society at its best, its worst, its average. In short, it's my way of seeing society with all its interests and passions. It's the whole world coming to me to be painted.."

"When I got back to Ornans, I spent a few days hunting. I quite like the subject of violent exercise...It makes the most surprising painting you can imagine. There are thirty life-size figures in it. It is the moral and physical history of my studio"

"The title of Realist was thrust upon me just as the title of Romantic was imposed upon the men of 1830. Titles have never given a true idea of things: if it were otherwise, the works would be unnecessary."

"Without expanding on the greater or lesser accuracy of a name which nobody, I should hope, can really be expected to understand, I will limit myself to a few words of elucidation in order to cut short the misunderstandings."

"I have studied the art of the ancients and the art of the moderns, avoiding any preconceived system and without prejudice. I no longer wanted to imitate the one than to copy the other; nor, furthermore, was it my intention to attain the trivial goal of "art for art's sake". No! I simply wanted to draw forth, from a complete acquaintance with tradition, the reasoned and independent consciousness of my own individuality."

"To know in order to do, that was my idea. To be in a position to translate the customs, the ideas, the appearance of my time, according to my own estimation; to be not only a painter, but a man as well; in short, to create living art – this is my goal. (Gustave Courbet, 1855) - note"

"[An artist must apply] his personal faculties to the ideas and the events of the times in which he lives.. .[A]rt in painting should consist only of the representation of things which that are visible and tangible to the artist. Every age should be represented only by its own artists, that is to say, by the artist who have lived in it. I also maintain that painting is an essentially concrete art form and can exist only of the representation of both real and existing things.. .An abstract object, not visible, nonexistent, is not within the domain of painting."

"I will contemplate the spectacle of your sea. The viewpoints of our mountains also offer us the limitless spectacle of immensity. The unfillable void has a calming effect.. .The sea! The sea with its charms saddens me. In its joyful moods, it makes me think of the laughing tiger; in its sad moods it recalls the crocodile’s tears, and in its roaring fury, the caged monster that cannot swallow me up."

"The sea! The sea!.. ..in her growling fury, she reminds me of a of the caged monster who can devour me."

"I have never seen an angel. Show me an angel, and I'll paint one."

"I am fifty years old and I have always lived in freedom; let me end my life free; when I am dead let this be said of me: 'He belonged to no school, to no church, to no institution, to no academy, least of all to any régime except the régime of liberty.'"

"I must explain to you what I recently had the occasion to tell the congress at Antwerp: I do not have, I cannot have, pupils."

"I, who believe that every artist should be his own teacher, cannot dream of setting myself up as a professor."

"I cannot teach my art, nor the art of any school whatever, since I deny that art can be taught, or, in other words, I maintain that art is completely individual, and is, for each artist, nothing but the talent issuing from his own inspiration and his own studies of tradition."

"An epoch can only be reproduced by its own artists, I mean by the artists who lived in it. I hold the artists of one century basically incapable of reproducing the aspect of a past or future century-in other words, of painting the past or the future."

"The history of an era is finished with that era itself and with those of its representatives who have expressed it. It is not the task of modern times to add anything to the expression of former times to ennoble or embellish the past. What has been, has been. The human spirit must always begin work afresh in the present, starting off from acquired results. One must never start out from foregone conclusions proceeding from synthesis to synthesis, from conclusion to conclusion. The real artists are those who pick up their age exactly at the point to which it has been carried by preceding times."

"Beauty, like truth, is a thing which is relative to the time in which one lives and to the individual capable of understanding it. The expression of the beautiful bears a precise relation to the power of perception acquired by the artist."

"Schools have no use except for discerning the analytic procedures of art. No school is capable of pressing on to a synthesis in isolation. Painting can not, without falling into abstraction, let a partial aspect of art dominate, whether it be drawing, color, composition, or any other one of the extraordinary multiplicity of means the totality of which alone constitutes this art."

"I can only explain to some artists, who would be my collaborators and not my pupils, the method by which, in my opinion, one becomes a painter, by which I myself have tried to become one since my earliest days, leaving to each person the complete control of his individuality, the full liberty of his own expression in the application of this method. To achieve this aim, the organization of a communal studio, recalling those extremely fruitful collaborations of the studios of the Renaissance, could certainly be useful and contribute to the opening of the era of modern painting."

"They continue to be the rage. The salon where they are is jammed with people."

"Here I am, because of the People of Paris [ Paris Commune ], up to my neck in politics. President of the Federation of Artists, member of the Commune committee, city council delegate and delegate for Public Education: the four most important posts in Paris. I get up, I have breakfast, and I preside and sit on committees twelve hours a day. Now my head is starting to spin. But in spite of all this worry and trying to understand unfamiliar things, I am really happy.."

"In as much as the Vendôme Column is a monument devoid of all artistic value, tending to perpetuate by its expression the ideas of war and conquest of the past imperial dynasty, which are reproved by a republican nation's sentiment, citizen Courbet expresses the wish that the National Defense government will authorize him to disassemble this column."

"'The Burial at Ornus' [wrongly cited in the catalogue of the Paris' Salon; it was: 'The Burial at Ornans'!] is a vulgar and blasphemous caricature, a signboard painting, which is full of hatred even for art; what a sad thing, in fact, when a true talent [Courbet!] tries to win the facile and extravagant applause of the nineteenth century through the exaggeration of ugliness."

"There have always been two schools of thought in painting: that of the Idealists and that of the Realists.. .Monsieur Courbet belongs to the second school, but he differs from it in that he seems to have taken an ideal opposite to the usual ideal: whereas the straightforward Realists are happy to copy nature as they see it, our young painter, parodying for his own benefit the verses of Nicolas Boileau Despréaux, seems to be saying: 'Only the ugly is beautiful, only the ugly is likeable.' It is not enough for the people to be common; he selects his subjects and then deliberately exaggerates their crudeness and vulgarity."

"I went to see the paintings by Courbet. I was astonished by the vigour and the relief of his vast picture; but what a painting! What a subject! The commonness of the forms would not matter; it is the commonness and uselessness of the thought which are abominable.. ..Oh Rossini! Oh Mozart! Oh geniuses inspired by all the arts, who draw from things only the elements that are shown to the mind! What would you say before these pictures?"

"The landscape [in his painting 'The Bathers', painted by Courbet in 1853] is of an extraordinary vigor, but Courbet has done no more than enlarge a study exhibited there, near his large canvas; the conclusion is that the figures [the two bathers in the painting] were put in afterwards and without connection with their surroundings. This brings up the question of harmony between the accessories and the principal object, a thing lacking in the majority of great painters."

"[After leaving the w:Exposition Universelle (1855) ].. .I went to the Courbet exposition. He has reduced the price of admission to ten sous. I stayed there alone for nearly one hour and discovered a masterpiece in the picture, they rejected [the jury of the official Salon exhibition in Paris]. I simply could not tear myself away from the sight of it.. ..In [Courbet's painting 'The Studio'] the planes are well understood. There is atmosphere, and in some passages the execution is really remarkable, especially the tights and hips of the nude model and the breasts.. .The only fault is that the picture, as he painted it, seems to contain an ambiguity. It looks as though there were a real sky in the middle of the painting. They [The Salon-jury] have rejected one of the most remarkable works of our time, but Courbet is not the man to be discouraged by a little thing like that."

"Monsieur Courbet, too, [Baudelaire had previously been commenting on Ingres ] is a powerful worker, he has a wild and patient will; and the results he produces, results which for some have more charm than those of the great master of Raphaelesque tradition.. ..doubtlessly because they display a sectarian spirit, a butcher of faculties. Politics and literature, too, produce these vigorous temperaments, these protesters, these anti-Supernaturalists whose only justification is their sometimes salutary, reactive spirit. Providence, presiding over the interests of painting, gives them accomplices in all those who are tired or oppressed by the predominant, opposing idea. But the difference is that the heroic sacrifice that Monsieur Ingres makes for the honour of tradition and Raphaelesque beauty, Courbet accomplishes in the interests of external, positive, immediate nature. They have different motives when waging war on the imagination, and the two opposing obsessions lead them to the same immolation."

"At the moment, Madame, in the avenue Montaigne, just near the Painting Exhibition, one can see a sign with the words: REALISM. G. Courbet. Exhibition of forty paintings. It is an exhibition in the English style. A painter, whose name has become widely known since the February Revolution, has chosen his most significant paintings, and has had a studio built to exhibit them.. .It is an incredibly audacious act, it is the subversion of all institutions associated with the jury, it is a direct appeal to the public, some are saying it is freedom.. .It is a scandal, it is anarchy, it is art dragged through the mud. Others are saying these are fairground pictures.. ..Courbet was considered a troublemaker because he produced honest, life-size paintings of the bourgeoisie, peasants and village women. That was the first point. People could not admit that a stone breaker was worth as much as a prince: the nobility objected to him according so many meters of canvas to ordinary people; only sovereigns had the right to be painted full length, with their decorations, their rich clothes and their official expressions. What? A man from 'Ornans' [were Courbet was born], a peasant in his coffin, dares to draw a large crowd at his funeral: farmers, people of low estate.."

"..a valiant fellow; he has a broad conception that one might adopt, but still it seems to me to be rather course in details.."

"Speak to me no more of the old masters. Not one of them can stand up to this sturdy fellow [=Courbet]."

"I don't need to plead for modern subjects here. This cause was won a long time ago. After those remarkable works by Edouard Manet and Courbet, no-one would now dare to say that the present day is unworthy of being painted.. .We find ourselves faced with the only reality: in spite of ourselves, we encourage our painters to portray us just as we are, with our styles of dress and our manners."

"Courbet! and his influence was odious! the regret I feel and the rage, hate even, I feel for all that now would astonish you perhaps but this is the explanation. It's not poor Courbet whom I find loathsome, any more than his paintings work - As always I recognize the qualities they have - I am not complaining either about the influence of his painting on mine - there was none, and you will not find it in my canvases - There couldn't be; because I am too personal and I had many qualities that he did not have but which suited me well - But this is the reason why all that was so bad for me. That damned Realism made an immediate appeal to my vanity as a painter! and mocking all tradition cried out loud, with all the confidence of ignorance, 'Long live Nature!!' nature! My dear fellow, that cry was a great misfortune for me! - Where could you have found an apostle more ready to accept this theory, so appealing to him!. ..Ah my friend! our little band [artist-group around Courbet] was a depraved group! Oh! how I wish I had been a pupil of w:Ingres! .. .But I repeat I wish I had been his pupil! What a master he would have been - How soundly he would have guided us - drawing!"

"In a great bare room [at Étretat, Normandy], a fat, dirty, greasy man [Courbet] was spreading patches of white paint on to a big bare canvas with a kitchen knife. From time to time he went and pressed his face against the window-pane to look at the storm. The sea came up so close that it seemed to beat right against the house, which was smothered in foam and noise. The dirty water rattled like hail against the windows and streamed down the walls. On the mantelpiece was a bottle of cider and a half-empty glass. Every now and then Courbet would drink a mouthful and then go back to his painting. It was called 'The Wave', and it made a good deal of stir in its time."

"No doubt the artist [Courbet, who exhibited his painting 'Stormy sea' / 'The wave'] has rendered the tremendous, sonorous, roaring of it all, but it seems instead of waves to be rolling rocks from the shore and shingle from the beach. You may look in vain for a drop of water in this petrified ocean. If you took any portion of this picture at random and showed it to anyone who had not seen the whole he would take it for a piece of a wall."

"If Courbet could only paint what he saw, he saw wonderfully, he saw better than anybody else. His eye was a subtle and assured mirror, where the most fleeting sensations, the most delicate nuances became clear. With this exceptional ability to see, came an exceptional ability to render what he saw. Courbet used paint thickly, but without harshness and without roughness: his pictures are as smooth as ice, and shine like enamel. He achieves relief and movement at the same time by using just the right shade; and this shade, put on flat with a palette knife, acquires an extraordinary intensity. I have never seen any richer or more distinguished use of colour, nor one that gains so much with age."

"I recently saw the exhibition of French art (on the Boschkant) from the collections of Mesdag, Post &c. .. .I especially liked the large sketch by T. Rousseau from the Mesdag collection, a drove of cattle in the Alps. And a landscape by Courbet ['Hilly landscape', 1858/1859 59] yellow hilly, sandy ground, with fresh young grass growing here and there, with black brushwood fences against which a few white birch trunks stand out, grey buildings in the distance with red and blue slate roofs. And a narrow, small, light delicate grey band of sky above. The horizon very high, however, so that the ground is the main thing, and the delicate little band of sky really serves more as contrast to bring out the rough texture of the masses of dark earth. I think this is the most beautiful work by Courbet that I've seen so far."

"A builder. A rough and ready plasterer. A colour grinder. He [Gustave Courbet] is like a Roman bricklayer. And yet he's another true painter. There's no one in this century that surpasses him. Even though he rolls up his sleeves, plugs up his ears, demolishes columns, his workmanship is classical!.. .His view was always compositional. His vision remained traditional. Like his palette-knife, he used it only out of doors. He was sophisticated and brought his work to a high finish.. .His great contribution is the poetic introduction of nature - the smell of damp leaves, mossy forest cuttings - into nineteenth century painting; the murmur of rain, woodlands shadows, sunlight moving under trees. The sea. And snow, he painted snow like no one else!"

"These great 'Waves' – the one in Berlin ['The Wave' (La Vague), 1869] is prodigious, one of the marvels of the century, far more swollen and palpitating than this one [the painting 'Stormy Sea', Cézanne saw in the Louvre]; a muddier green and a dirtier orange [in 'The Wave' of Berlin] – a tangle of flying spray, a tide drawn from depths of eternity, a ragged sky, the livid sharpness of the whole scene. It seems to hit you full in the chest, you stagger back, the whole room reeks of sea-spray."

"But what an eye Monet has, the most prodigious eye since painting began! I raise my hat to him. As for Courbet, he already had the image in his eye, ready-made. Monet used to visit him [Courbet], you know, in his early days."

"Courbet is the father of the new painters."

"A work of art must narrate something that does not appear within its outline. The objects and figures represented in it must likewise poetically tell you of something that is far away from them and also of what their shapes materially hide from us. A certain dog painted by Courbet is like the story of a poetic and romantic hunt."

"No painter before Courbet was ever able to emphasize so uncompromisingly the density and weight of what he was painting."

"Courbet, whilst still using paint on canvas, wanted to go beyond [pictorial] conventions and find the equivalent of the physical sensation of the material objects portrayed: their weight, their temperature, their texture. What perspective towards the horizon meant to Poussin, the force of gravity meant to Courbet. (italics in original)"

"The task was to combine the two [ Paul Cézanne's dialectical method revealing the process of seeing - Courbet by his materialism]. Followed up separately, each would lead to a cul-de-sac: Courbet's materialism would become mechanical; the force of gravity, which gave such dignity to his subjects, would become oppressive and literal. Cézanne's dialectic would become more and more disembodied and its harmony would be obtained at the price of physical indifference. Today, both examples are followed up separately."

"On the left is the realist tradition of the 19th century, with its impulse to social description, radical criticism and meditation on things as they are.. ..culminating in Courbet at his mightiest [paintings] (The Studio, The Funeral at Ornans and a portrait of a trout that has more death in it than Rubens could get in a whole Crucifixion)."

"“During Humankind’s long centuries societies have risen and fallen, all alike in this one fact which rules all history: the great are protected, the small are crushed.”"

"“Sheep run to the slaughterhouse, silent and hopeless, but at least sheep never vote for the butcher who kills them or the people who devour them. More beastly than any beast, more sheepish than any sheep, the voter names his own executioner and chooses his own devourer, and for this precious “right” a revolution was fought.” (Voters' strike)"

"Le plus grand danger de la bombe est dans l'explosion de bêtise qu'elle provoque."

"“When one tears away the veils and shows them naked, people’s souls give off such a pungent smell of decay.” (Diary of a Chambermaid)"

"“Each footstep taken in this society bristles with privileges, and is marked with a bloodstain; each turn of the government machinery grinds the tumbling, gasping flesh of the poor; and tears are running from everywhere in the impenetrable night of suffering. Facing these endless murders and continuous tortures, what's the meaning of society, this crumbling wall, this collapsing staircase?”"

"“Children, by nature, are keen, passionate and curious. What was referred to as laziness is often merely an awakening of sensitivity, a psychological inability to submit to certain absurd duties, and a natural result of the distorted, unbalanced education given to them. This laziness, which leads to an insuperable reluctance to learn, is, contrary to appearances, sometimes proof of intellectual superiority and a condemnation of the teacher.”"

"“Dead trees enclosed the bodies of men and women, violently distorted and subjected to hideous and shameful tortures.” (Garden of Tortures)"

"“Desire can attain the darkest human terror and give an actual ideal of hell and its horror.”"

"“Every intellectual effort is bent towards committing the most diversified violations upon the human being.”"

"“Honesty is negative and sterile; it is ignorant of the correct evaluation of appetite and ambition – the only powers through which you can found anything durable.”"

"“I feel something like a powerful oppression, like an immense fatigue after marching across fever-laden jungles, or by the shores of deadly lakes…And I am flooded by discouragement, so that it seems I shall never be able to escape from myself again.”"

"“I had, at that moment, another soul – an almost divine soul, a creative and sacrificial soul.”"

"“It is no exaggeration to say that the main aim of upper-class existence is to enjoy the filthiest of amusements.” (Garden of Tortures)"

"“It isn’t dying that’s sad. It’s living when you’re not happy.”"

"“Murder is born in love, and love attains the greatest intensity in murder.” (Garden of Tortures)"

"“Nature’s constantly screaming with all its shapes and scents: love each other! Love each other! Do as the flowers. There’s only love.” (Garden of Tortures)"

"“Schools are miniature universes. They encompass, on a child’s scale, the same kind of domination and repression as the most despotically organised societies. A similar sort of injustice and comparable baseness preside over their choice of idols to elevate and martyrs to torment.” (Sébastien Roch)"

"“There is a diabolical streak in me, a troublesome and inexplicable perversity.”"

"“There is something more mysteriously attractive than beauty: it is corruption.” (Garden of Tortures)"

"“The universe appears to me like an immense, inexorable torture-garden…Passions, greed, hatred, and lies; social institutions, justice, love, glory, heroism, and religion: these are its monstrous flowers and its hideous instruments of eternal human suffering.” (Garden of Tortures)"

"“The worship of money is the lowest of all human emotions, but it is shared not only by the bourgeoisie, but also by the great majority of us… Little people, humble people, even those who are practically penniless. And I, with all my indignation, all my passion for destruction, I, too, am not free of it. I who am oppressed by wealth, who realise it to be the source of all misery, all my vices and hatred, all the bitterest humiliations that I have to suffer, all my impossible dreams and all the endless torment of my existence, still, all the time, as soon as I find myself in the presence of a rich person, I cannot help looking up to him, as some exceptional and splendid being, a kind of marvelous divinity, and in spite of myself, stronger than either my will of my reason, I feel rising from the very depths of my being, a sort of incense of admiration for this wealthy creature, who is all too often as stupid as he is pitiless. Isn’t it crazy? And why... why?” (Diary ot a Chambermaid)"

"“To take something from a person and keep it for oneself: that is robbery. To take something from one person and then turn it over to another in exchange for as much money as you can get: that is business. Robbery is so much more stupid, since it is satisfied with a single, frequently dangerous profit; whereas in business it can be doubled without danger.” (Garden of Tortures)"

"“You’re obliged to pretend respect for people and institutions you think absurd. You live attached in a cowardly fashion to moral and social conventions you despise, condemn and know lack all foundation. It is that permanent contradiction between your ideas and desires and all the dead formalities and vain pretenses of your civilization which makes you sad, troubled and unbalanced. In that intolerable conflict you lose all joy of life and all feeling of personality, because at every moment they suppress and restrain and check the free play of your powers. That’s the poisoned and mortal wound of the civilized world.” (Garden of Tortures)"

"Faith lived in the incognito is one which is located outside the criticism coming from society, from politics, from history, for the very reason that it has itself the vocation to be a source of criticism. It is faith (lived in the incognito) which triggers the issues for the others, which causes everything seemingly established to be placed in doubt, which drives a wedge into the world of false assurances."

"I describe a world with no exit, convinced that God accompanies man throughout his history."

"This is why there is such an incredible stress on information in our schools. The important thing is to prepare young people to enter the world of information, able to handle computers, but knowing only the reasoning, the language, the combinations, and the connections between computers. This movement is invading the whole intellectual domain and also that of conscience. … What is at issue here is evaluating the danger of what might happen to our humanity in the present half-century, and distinguishing between what we want to keep and what we are ready to lose, between what we can welcome as legitimate human development and what we should reject with our last ounce of strength as dehumanization. I cannot think that choices of this kind are unimportant."

"There are different forms of anarchy and different currents in it. I must, first say very simply what anarchy I have in view. By anarchy I mean first an absolute rejection of violence. Hence I cannot accept either nihilists or anar­chists who choose violence as a means of action."

"Anarchism can teach Christian thinkers to see the realities of our societies from a different standpoint than the dominant one of the state. What seems to be one of the disasters of our time is that we all appear to agree that the nation-state is the norm. … Whether the state be Marxist or capitalist, it makes no difference. The dominant ideology is that of sovereignty."

"If people lose their motive for living, two things can happen. It only seldom happens that they can accept that fact. In that case, they develop suicidal tendencies. Either they try to find refuge in diversion. We’ve already discussed this. Or they become depressed and begin swallowing medicines. So if people become aware of their situation they react to it in ways of what usually happens in Western society: they become depressed and discouraged. So they just don’t think about their situation and simply carry on. They drive faster and faster. Never mind where, as long as it’s fast."

"I can very well say without hesitation that all those who have political power, even if they use it well have acquired it by demonic mediation and even if they are not conscious of it, they are worshippers of diabolos."

"There remains the problem of Goebbels' reputation. He wore the title of Big Liar (bestowed by Anglo-Saxon propaganda) and yet he never stopped battling for propaganda to be as accurate as possible. He preferred being cynical and brutal to being caught in a lie. He used to say: "Everybody must know what the situation is." He was always the first to announce disastrous events or difficult situations, without hiding anything. The result was a general belief between 1939 and 1942 that German communiqués not only were more concise, clearer and less cluttered, but were more truthful than Allied communiqués (American and neutral opinion) — and, furthermore, that the Germans published all the news two or three days before the Allies. All this is so true that pinning the title of Big Liar on Goebbels must be considered quite a propaganda success."

"The will of the world is always a will to death, a will to suicide. We must not accept this suicide, and we must so act that it cannot take place."

"In point of fact there are a certain number of values and of forces which are of decisive importance in our world civilization: the primacy of production, the continual growth of the power of the State and the formation of the National State, the autonomous development of technics, etc. These, among others — far more than the ownership of the means of production or any totalitarian doctrine — are the constitutive elements of the modern world. So long as these elements continue to be taken for granted, the world is standing still."

"People think that they have no right to judge a fact — all they have to do is to accept it. Thus from the moment that technics, the State, or production, are facts, we must worship them as facts, and we must try to adapt ourselves to them. This is the very heart of modern religion, the religion of the established fact, the religion on which depend the lesser religions of the dollar, race, or the proletariat, which are only expressions of the great modern divinity, the Moloch of fact."

"The first builder of a city was Cain."

"Cain is completely dissatisfied with the security granted to him by God, and so he searches out his own security. ... He will satisfy his desire for eternity by producing children, and he will satisfy his desire for security by creating a place belonging to him, a city."

"Cain has built a city. For God's Eden he substitutes his own, for the goal given to his life by God, he substitutes a goal chosen by himself."

"The Scriptures ... tell us what man wanted to do when he created the city, what he was hoping to conquer, what he thought to establish. And this narrative of the origin of the city is essential, for we see there in its purest state, and expressed simply, the feelings of the builders. Such feelings are no longer evident in our modern day when the prodigious complexity of the world hides the simple plans of the never-changing human heart."

""Righteous Abel," says Matthew [23:34-45]. What luck! So there is a righteous race! No such thing: Abel dies leaving no children, a fact full of meaning. He is unable to transmit his righteousness."

"Cain is not the city and Abel is not the country; but the relationship between them also illuminates ... the relationship between the city and the country. ... The city was, from the day of its creation, incapable, because of the motives behind its construction, of any other destiny than that of killing the country, where God put man to enable him to live his life as best he could."

"The city is not just a collection of ramparts with houses, but also a spiritual power. ... It is capable of directing and changing a man's spiritual life. It brings its power to bear in him and changes his life."

"Man's power is first of all the result of hardening his heart against God: man affirms that he is strong, conquers the world, and builds cities."

"Urban civilization is warring civilization."

"The social group which the city represents is so strong that it draws men into sin which is hardly personal to them, but from which they cannot dissociate themselves even if they so desire. Individual virtues are engulfed by the sin of the city."

"Freedom is completely without meaning unless it is related to necessity, unless it represents victory over necessity."

"Our civilization is first and foremost a civilization of means; in the reality of modern life, the means, it would seem, are more important than the ends."

"Journalistic content is a technical complex expressly intended to adapt man to the machine."

"A principal characteristic of technique … is its refusal to tolerate moral judgments. It is absolutely independent of them and eliminates them from its domain. Technique never observes the distinction between moral and immoral use. It tends on the contrary, to create a completely independent technical morality. Here, then, is one of the elements of weakness of this point of view. It does not perceive technique's rigorous autonomy with respect to morals; it does not see that the infusion of some more or less vague sentiment of human welfare cannot alter it. Not even the moral conversion of the technicians could make a difference. At best, they would cease to be good technicians. This attitude supposes further that technique evolves with some end in view, and that this end is human good. Technique is totally irrelevant to this notion and pursues no end, professed or unprofessed."

"It is not true that the perfection of police power is the result of the state’s Machiavellianism or of some transitory influence. The whole structure of society of society implies it, of necessity. The more we mobilize the forces of nature, the more must we mobilize men and the more do we require order."

"No technique is possible when men are free. … Technique requires predictability and, no less, exactness of prediction. It is necessary, then, that technique prevail over the human being. … The individual must be fashioned by techniques … in order to wipe out the blots his personal determination introduces into the perfect design of the organization."

"True technique will know how to maintain the illusion of liberty, choice, and individuality; but these will have been carefully calculated so that they will be integrated into the mathematical reality merely as appearances!"

"Science brings to the light of day everything man had believed sacred. Technique takes possession of it and enslaves it."

"But if technique demands the participation of everybody, this means that the individual is reduced to a few essential functions which make him a mass man. He remains 'free', but he can no longer escape being a part of the mass. Technical expansion requires the widest possible domain. In the near future not even the whole earth may be sufficient."

"...there is a limited elite that understands the secrets of their own techniques, but not necessarily of all techniques. These men are close to the seat of modern governmental power. The state is no longer founded on the 'average citizen', but on the ability and knowledge of this elite. The average man is altogether unable to penetrate technical secrets or governmental organization and consequently can exert no influence at all on the state."

"Technique shapes an aristocratic society, which in turn implies aristocratic government. Democracy in such a society can only be a mere appearance. Even now, we see in propaganda the premises of such a state of affairs. When it comes to state propaganda, there is no longer any question of democracy."

"Sport is linked with the technical world because sport itself is a technique. The enormous contrast between the athletes of Greece and those of Rome is well known. For the Greeks, physical exercise was an ethic for developing freely and harmoniously the form and strength of the human body. For the Romans, it was a technique for increasing the legionnaire’s efficiency. The Roman conception prevails today."

"The individual, by means of the discipline imposed on him by sport, not only plays and finds relaxation from the various compulsions to which he is subjected, but without knowing it trains himself for new compulsions. … Training in sports makes of the individual an efficient piece of apparatus which is henceforth unacquainted with anything but the harsh joys of exploiting his body and winning."

"Sport carries on without deviation the mechanical tradition of furnishing relief and distraction to the worker after he has finished his work proper so that he is at no time independent of one technique or another. In sport the citizen of the technical society finds the same spirit, criteria, morality, actions and objectives—in short, all the technical laws and customs—which he encounters in office or factory."

"The individual who is the servant of technique must be completely unconscious of himself."

"People used to think that learning to read evidenced human progress; they still celebrate the decline of illiteracy as a great victory; they condemn countries with a large proportion of illiterates; they think that reading is a road to freedom. All this is debatable, for the important thing is not to be able to read, but to understand what one reads, to reflect on and judge what one reads. Outside of that, reading has no meaning (and even destroys certain automatic qualities of memory and observation). But to talk about critical faculties and discernment is to talk about something far above primary education and to consider a very small minority. The vast majority of people, perhaps ninety percent, know how to read, but do not exercise their intelligence beyond this. They attribute authority and eminent value to the printed word, or, conversely, reject it altogether. As these people do not possess enough knowledge to reflect and discern, they believe — or disbelieve — in toto what they read. And as such people, moreover, will select the easiest, not the hardest, reading matter, they are precisely on the level at which the printed word can seize and convince them without opposition. They are perfectly adapted to propaganda."

"Propaganda tries to surround man by all possible routes in the realm of feelings as well as ideas, by playing on his will or on his needs, through his conscious and his unconscious, assailing him in both his private and his public life. It furnishes him with a complete system for explaining the world, and provides immediate incentives to action. We are here in the presence of an organized myth that tries to take hold of the entire person. Through the myth it creates, propaganda imposes a complete range of intuitive knowledge, susceptible of only one interpretation, unique and one-sided, and precluding any divergence. This myth becomes so powerful that it invades every arena of consciousness, leaving no faculty or motivation intact. It stimulates in the individual a feeling of exclusiveness, and produces a biased attitude."

"Again I want to emphasize that the study of propaganda must be conducted within the context of a technological society. Propaganda is called upon to solve problems created by technology, to play on maladjustments, and to integrate the individual into a technological world."

"In the midst of increasing mechanization and technological organization, propaganda is simply the means used to prevent these things from being felt as too oppressive and to persuade man to submit with good grace. When man will be fully adapted to this technological society, when he will end by obeying with enthusiasm, convinced of the excellence of what he is forced to do, the constraint of the organization will no longer be felt by him; the truth is, it will no longer be a constraint, and the police will have nothing to do. The civic and technological good will and the enthusiasm for the right social myths — both created by propaganda — will finally have solved the problem of man."

"First of all, modern propaganda is based on scientific analyses of psychology and sociology. Step by step, the propagandist builds his techniques on the basis of his knowledge of man, his tendencies, his desires, his needs, his psychic mechanisms, his conditioning — and as much on social psychology as on depth psychology. He shapes his procedures on the basis of our knowledge of groups and their laws of formation and dissolution, of mass influences, and of environmental limitations. Without the scientific research of modern psychology and sociology there would be no propaganda, or rather we still would be in the primitive stages of propaganda that existed in the time of Pericles or Augustus."

"The most favorable moment to seize a man and influence him is when he is alone in the mass. It is at this point that propaganda can be most effective."

"Propaganda must be total. The propagandist must utilize all of the technical means at his disposal — the press, radio, TV, movies, posters, meetings, door-to-door canvassing. Modern propaganda must utilize all of these media. There is no propaganda as long as one makes use, in sporadic fashion and at random, of a newspaper article here, a poster or a radio program there, organizes a few meetings and lectures, writes a few slogans on walls: that is not propaganda."

"The aim of modern propaganda is no longer to modify ideas, but to provoke action."

"Propaganda does not aim to elevate man, but to make him serve."

"Hate, hunger, and pride make better levers of propaganda than do love or impartiality."

"...because of the myth of progress, it is much easier to sell a man an electric razor than a straight-edged one."

"Having analyzed these traits, we can now advance a definition of propaganda — not an exhaustive definition, unique and exclusive of all others, but at least a partial one: Propaganda is a set of methods employed by an organized group that wants to bring about the active or passive participation in its actions of a mass of individuals, psychologically unified through psychological manipulations and incorporated in an organization."

"It is because we know that we are going forward to life and resurrection that we must purify ourselves in order that we may be presented holy and faultless. This purification, of course, is not just ritual or moral. It is purification from the stains of the world. It will manifest itself in our freedom with regard to the things of the world. This is why hope and freedom are so often related in the texts. The hope which binds us to the risen Christ by a full and actual bond is precisely that which allows us to reject the validity of the secular powers."

"There is no concrete possibility at all of disengagement from social, political, and economic determinations. The only freedom man has is to recognize these and to recognize that he is determined by them. The first act of freedom is a recognition of necessity, not theoretically, but with a personal reference, and an attempt to put this recognition to work by trying to assess necessity, to discover its meaning and significance. To face up to the necessity that is seen at work in oneself, to perceive that I myself obey necessity, and to consider the implications of this—this act of recognition is an act of freedom."

"Jesus Christ has not come to establish social justice any more than he has come to establish the power of the state or the reign of money or art. Jesus Christ has come to save men, and all that matters is that men may come to know him. We are adept at finding reasons—good theological, political, or practical reasons, for camouflaging this. But the real reason is that we let ourselves be impressed and dominated by the forces of the world, by the press, by public opinion, by the political game, by appeals to justice, liberty, peace, the poverty of the third world, and the Christian civilization of the west, all of which play on our inclinations and weaknesses. Modern protestants are in the main prepared to be all things to all men, like St. Paul, but unfortunately this is not in order that they may save some but in order that they may be like all men."

"Man himself is exalted, and paradoxical though it may seem to be, this means the crushing of man. Man's enslavement is the reverse side of the glory, value, and importance that are ascribed to him. The more a society magnifies human greatness, the more one will see men alienated, enslaved, imprisoned, and tortured, in it. Humanism prepares the ground for the anti-human. We do not say that this is an intellectual paradox. All one need do is read history. Men have never been so oppressed as in societies which set man at the pinnacle of values and exalt his greatness or make him the measure of all things. For in such societies freedom is detached from its purpose, which is, we affirm, the glory of God."

"Every modern state is totalitarian. It recognizes no limit either factual or legal. This is why I maintain that no state in the modern world is legitimate. No present-day authority can claim to be instructed by God, for all authority is set in the framework of a totalitarian state. This is why I decide for anarchy."

"No society can last in conditions of anarchy. This is self-evident and I am in full agreement. But my aim is not the establishment of an anarchist society or the total destruction of the state. Here I differ from anarchists. I do not believe that it is possible to destroy the modern state. It is pure imagination to think that some day this power will be overthrown. From a pragmatic standpoint there is no chance of success. Furthermore, I do not believe that anarchist doctrine is the solution to the problem of organization in society and government. I do not think that if anarchism were to succeed we should have a better or more livable society. Hence I am not fighting for the triumph of this doctrine. On the other hand, it seems to me that an anarchist attitude is the only one that is sufficiently radical in the face of a general statist system."

"The system absorbs those who think they can utilize it. Nor can there be any question of finding a modus vivendi or achieving attenuations. It has been demonstrated how the liberal state becomes an authoritarian state. The course is set and no accommodation will be either lasting or sufficient. In face of this absolute power, only an absolutely negative position is viable. What we have in mind is the attitude that conscientous objectors take on a specific point, and not without good reason. In the present set-up the anarchist attitude of a total refusal of validity or legitimacy to any authority of any kind seems to me to be the only valid and viable one. The point is not to enforce a particular view of society but to establish a counterbalance, a protest, a sign of cleavage. In face of an absolute power only a total confrontation has any meaning."

"When we speak of dialogue with the sovereign, it seems to me that this can be definitely initiated only on the basis of the greatest possible intransigence, for power today is completely alien to any real discussion. It is true that discussion is allowed within the system. But the quarrels between right and left seem to me completely futile, for in every possible way they simply lead to an enhancement of the power of the state. Democracy is a mere trap with the party system as it is and a bureaucracy that cannot be altered. Discussion may go on about taxes and the improvement of social services. But power is totally deaf to the individual, indifferent to the interests of freedom, and ignorant of the true concerns of the nation. Only a radical opposition, i.e., an attack on the root of the situation, can engage it in authentic dialogue."

"This is where each individual must decide for himself. The essential thing is the decision to challenge the modern state, which without this small group of protesters will be checked by neither brake, value, nor reason."

"It seems to me that the free man, i.e., the man freed in Christ, ought to take part in all movements that aim at human freedom. He obviously ought to oppose all dictatorship and oppression and all the fatalities which crush man. The Christian cannot bear it that others should be slaves. His great passion in the world ought to be a passion for the liberation of men."

"We are in the process of seeing the fulfillment of Edgar Allan Poe's prophecy in which the painter, impassioned by his mistress-model and also by his art, "did not want to see that the colors he spread on his canvas were taken from the cheeks of the woman seated beside him. And when several weeks had passed, and very little remained to be done, nothing but a stroke on the mouth and a glaze over the eye, the mistress’s spirit still flickered like the flame at the base of a lamp. Then he put on the final touch, put the glaze in place, and for a moment the painter stood in ecstasy before the work he had finished. But a moment later, he was struck with panic, and shouting with a piercing voice: ‘It is truly Life itself,’ he suddenly turned around to look at his mistress. She was dead." Nothing ever constrains us to face what is dying when we see it so alive in our images."

"“Everything, right now” is the notion that comes from the presence of images, which in effect get us used to seeing all in a single glance."

"Images produce an intellectual process different from the ancient one or the one developed by classical education. It goes without saying that this process is not completely new; of course, since sight existed, and since people themselves chose their images, they also thought by means of images and entered into this kind of thinking. But this was limited and not frequent, because images were not dominant. The new factor in our day comes from the effect of visual reproduction’s triumph over all else, which involves us in the domination of one form of thought. This supremacy is new, even though we are not dealing with a completely new form of thought."

"The word, although prevalent in our day, has lost its reasoning value, and has value only as an accessory to images. In turn, the word actually evokes images. But it does not evoke the direct images related to my personal experience. Rather, it calls up images from the newspaper or television. The key words in our modern vocabulary, thanks to propaganda and advertising, are words that relate to visual reproduction. They are stripped of all rational content, so they evoke only visions that whisk us away to some enchanted universe. Saying "fascism," "progress," "science," or "justice" does not suggest any idea or produce any reflection. It only causes a fanfare of images to explode within us: a sort of fireworks of visual commonplaces, which link up very precisely with each other. These related images provide me with practical content: a common truth that is especially easy to swallow because the ready-made images that showed it to me had been digested in advance. Make no mistake here: this is how modern people usually think. We are arriving at a purely emotional stage of thinking."

"The emotional quality of what we moderns call our thought produces an extreme violence of conviction combined with extreme incoherence in our arguments. I refer here to ordinary people and not to an intellectual elite. We do not involve ourselves in studying the meaning and consequences of a fact calmly and objectively. The fact asserts itself through its image and associates itself in unchallengeable fashion with other images which, in this mode of thinking, are its true context. Emotions justify as well as provoke or command opinions, which still seem intellectual and reasoned."

"Sight, when used in the context of nature, creates direct communication with reality. It implies that one is involved in this particular reality and quickly leads a person to action. But when the image has become artificial and is purely a means of knowledge, the reaction persists. I feel directly involved in what I see, just as prehistoric people did. And if I am seeing objects or ideas, I am not truly independent; I cannot really take my distance from these objects. From the intellectual point of view, this means I cannot really exercise my critical faculties. The use of images to transmit knowledge leads to the progressive elimination of distance between a person and his knowledge, because of the way we are made to participate when this means is used (this is, of course, in perfect accord with technical civilization, and to be desired by its standards). The critical faculties and autonomy of the thinking person are also eliminated."

"The image that creates this thinking gives rise to a feeling of evidence and a conviction that it is not based on reason. This kind of thinking explains the reaction we so often note among our contemporaries: when someone asks them to give the reason for their opinions, they answer: "It’s evident." This thinking, which creates prejudices and stereotypes, is the domain of the unquestionable. Obviously you cannot dispute with an image, and you cannot challenge the hero of a film. But this extends to the mental images produced by the film: there is no criticism or debate possible, because these involve differing methods of thought. What produces immediate assent cannot bear the discussion process. The conviction acquired in this way can only be attacked on its own ground: by other images."

"Thought based on images can be neither abstract nor critical. … again in this case intellectuals have worked out theories to justify the inevitable. For unconsciously, they could not avoid being subjected to the enormous weight of billions of images (just like other people). Yet consciously, they were well aware that maintaining the demands of critical and independent thought involves a complete break with the rest of humankind. This would make it impossible for them to play their role as genuine intellectuals. They must think like everyone else if they expect to be at all believed by the masses. Thus their conscious and unconscious minds agree in taking them down the path of thought that involves images, evidence, and emotivity."

"A person who thinks by images becomes less and less capable of thinking by reasoning, and vice versa. The intellectual process based on images is contradictory to the intellectual process of reasoning that is related to the word. There are two different ways of dealing with an object. They involve not only different approaches, but even more important, opposing mental attitudes. This is not a matter of complementary processes, such as analysis and synthesis or logic and dialectic. These processes lack any qualitative common denominator."

"We seem to have here a fulfillment of the prophecy of Jesus that a little evil or error will corrupt the whole (like the leaven of the Pharisees). … Christians and the church have wanted an alliance with everything that represents power in the world. In reality this rests on the conviction that thanks to the power of the Holy Spirit the powers of this world have been vanquished and set in service of the gospel, the church, and mission. We must use their forces in the interest of evangelism. … But what happens is the exact opposite. The church and mission are penetrated by the power and completely turned aside from their truth by the corruption of power. When Jesus says that his kingdom is not of this world, he says clearly what he intends to say. He does not validate any worldly kingdom (even if the ruler be a Christian)."

"Evangelical proclamation was essentially subversive. Put in danger by it, the forces of the social body have replied by integrating this power of negation, of challenge, by absorbing it."

"The social body that had been effectively threatened by the diffusion of a faith that bordered on anarchism, on a total lack of interest in worldly matters (administration, commerce, etc.), … reacted in self-defense and absorbed the foreign body, making it serve its own ends."

"Whereas the good news had first been published for its own sake with no concern for success, now ineluctably success brought, as always, a desire for it. … They were not aware of what was happening, namely, that society was inverting Christianity instead of being subverted by it."

"Certainly everywhere in the church there are examples of the rich who give up all things, who become poor for God. They did exist. But in doing this, they either chose the hermit life and withdrew from the life of the church, or they were canonized and held up as miraculous instances of sanctity, that is, they were excluded from the concrete life of the church, set outside the church as “saints” whom, of course, there was no question of ordinary people ever imitating."

"The act of canonization itself demonstrates that these are exceptions not meant for ordinary believers. Ordinary believers should follow a path that conforms to what is natural and normal. Hence theology becomes increasingly a theology of nature and moves further apart from a theology of grace. The hard question put by Jesus: “What more are you doing than others?” is obscured. In accord with society as a whole, theology enters into a search for normality, for obedience to the “laws of nature.”"

"The gospel and the first church were never hostile to women nor treated them as minors. … When Christianity became a power or authority, this worked against women. A strange perversion, yet fully understandable when we allow that women represent precisely the most innovative elements in Christianity: grace, love, charity, a concern for living creatures, nonviolence, an interest in little things, the hope of new beginnings—the very elements that Christianity was setting aside in favor of glory and success."

"Jesus told his disciples they were a little flock. All his comparisons tend to show that the disciples will necessarily be small in number and weak: the leaven in the dough, the salt in the soup, the sheep among wolves, and many other metaphors. Jesus does not seem to have had a vision of a triumphant and triumphal church encircling the globe. He always depicts for us a secret force that modifies things from within."

"The state, [Kierkegaard] argues, bears a direct relation to numbers. When a state decays, numbers decline and the state disappears. The whole concept is void. The relation of Christianity to numbers is different. A single Christian gives it reality. Christianity bears indeed an inverse relation to numbers. When all become Christians, the concept of Christianity is void. The concept is indeed a polemical one. One can be a Christian only in opposition. When opposition is suppressed, there is no more sense in saying “Christian.” Christendom has astutely abolished Christianity by making us all Christians. … In Christendom there is not the slightest idea of what Christianity is. People cannot see or understand that Christianity has been abolished by its propagation. Again, history probably does not offer any other example of a religion being abolished by reason of its success."

"It was impossible to keep up the great movement of inner and outer freedom initiated by Jesus. The proclamation “You are free through the Holy Spirit,” and Paul’s statement, “Everything is lawful,” were fine for a small, elite group in which everyone knew everyone else. But when it was a matter of thousands of new converts whose depth of faith could not be known, how could they be told that they were completely free to choose their way of life and decide their own conduct? They had to be incorporated and put under the authority of a head of each group, and the more numerous they became, the more sacred and complex this authority had to be. … The glorious freedom that is in Christ could not be tolerated. It was replaced by clear and strict commandments."

"The problem is not merely that of the transformation of Christianity into a state religion but of the diffusion of this faith that has stopped being a faith and has become a collective ideology, a kind of manifestation of thought that collects all the commonplaces, the legends, the miracles, the “prophecies,” the apocalypses, the thaumaturgies, and formulates for the people a facile, moralistic, and constructive set of beliefs."

"Christianity, … welcomed at first among the religions of escape, changes into a religion that gives cohesion to society"

"Very quickly the church found intolerable and inapplicable features in what Jesus Christ demanded and proclaimed. Let us simply take two themes. First, he tells us to be perfect as our Father in heaven is perfect. But how can anyone take this impossibility seriously? … Again, Jesus says, “Go, sell all your goods, give them to the poor, and then come and follow me.” How are we to take this? …"

"Perfect freedom, spiritual as well as political or social, … is accomplished in us by the death and resurrection of Jesus Christ. … But it is strictly intolerable in the fullness of its implications. It is psychologically unbearable. It carries frightening social risks and is politically insulting to every form of power. It was not possible. On every social level and in every culture, people have found it impossible to take up this freedom and accept its implications. This is the basic impossibility, the unanimous refusal of all people, which has resulted in the rejection of Christian freedom."

"The biblical view is not just apolitical but antipolitical in the sense that it refuses to confer any value on political power, or in the sense that it regards political power as idolatrous."

"In one of the temptations Satan offers to give Jesus all the kingdoms of the world, that is, the kingdoms and the related political power. …"

"Jesus find the same mistake in both the Saducees and the Pharisees, both those who collaborate with the Romans and those who oppose them. In the eyes of Jesus they are both wrong. He will not play any part in the political drama."

"The exousia of political power … is a rebel exousia, an angel in revolt against God."

"I believe that the biblical teaching is clear. It always contests political power. It incites to "counterpower," to "positive" criticism, to an irreducible dialogue (like that between king and prophet in Israel), to antistatism, to a decentralizing of the relation, to an extreme relativizing of everything political, to an anti-ideology, to a questioning of all that claims either power or dominion (in other words, of all things political), and finally, if we may use a modern term, to a kind of "anarchism" (so long as we do not relate the term to the anarchist teaching of the nineteenth century)."

"Throughout the Old Testament we see God choosing what is weak and humble to represent him (the stammering Moses, the infant Samuel, Saul from an insignificant family, David confronting Goliath, etc). Paul tells us that God chooses the weak things of the world to confound the mighty. Here, however, we have a striking contradiction. In Constantine God is supposedly choosing an Augustus, a triumphant military leader. This vision and this miracle are totally impossible. But they are not impossible in the context of Christianity that is already off the rails, that thinks of God as the one who directs history and is the motive power in politics."

"After his victory at the Milvian Bridge, faithful to his promise, Constantine favors the church from which he has received support. Catholic Christianity becomes the state religion and an exchange takes place: the church is invested with political power, and it invests the emperor with religious power. We have here the same perversion, for how can Jesus manifest himself in the power of domination and constraint? We have to say here very forcefully that we see here the perversion of revelation by participation in politics, by the seeking of power. The church lets itself be seduced, invaded, dominated by the ease with which it can now spread the gospel by force (another force than that of God) and use its influence to make the state, too, Christian. It is great acquiescence to the temptation Jesus himself resisted, for when Satan offers to give him all the kingdoms of the earth, Jesus refuses, but the church accepts."

"The combination of Christian truth and political power led to the creation of the complex that we know so well. … The emperor endows the church handsomely, helps it in all that it does, aids it in its “mission.” The church supports the emperor’s legitimacy and assures him that he is God’s representative on earth."

"It is frightening to see how easily the church accepts all this. Hardly had it achieved peace before it itself began to persecute. … It commenced the persecution of heretics, and primarily, of course, those who contested the truth and validity of this alliance of empire and church."

"The church … is always at the service of the political power that is either in place or in course of being installed. It goes on to serve the Holy Roman Empire but also the kings of France who split off from it. It will bless all the monarchs who seize power in ways that are tragic, tempestuous, and often bloody and unjust.. It legitimizes everything. This is logical once it associates itself with the existing power."

"Once the church is ready to associate with instituted power it is obliged to associate with all and sundry forms of the state. The scandal is that each time the church seeks to justify both its adaptation and the existing power. It continues to legitimize the state and to be an instrument of its propaganda."

"The church buys the possibility of maintaining itself sat the price of concessions. … In so doing it disavows its martyrs. [Martyrs] want to obey God, not men. But the church trades its support for advantages, honors, titles and money. It comes under the rule of mammon. Finally, it lets itself be bought so as to gain facilities for its celebrations, its evangelism, its good works, its preaching of the good Word. But Satan rejoices at all this, for as this gospel is not based on the cornerstone, on Jesus Christ, but on the power of the world thanks to which it is propagated."

"The church in the spiritual and theological sense always contains a current that is hostile to political power, that is revolutionary and anarchical. But this is not the current that society as a whole, and especially the political authorities, recognize as the church. If these many movements have failed, it is primarily because of their intrinsic nature. Spiritual currents cannot last. When they attach political power, this power attacks them in return and proclaims that the true church is that which is in alliance with it."

"Revelation … unavoidably challenges the institution and established power, no matter what form this may take. But the adulteration by political power has changed all this. Christianity has become a religion of conformity, of integration into the social body. It has come to be regarded as useful for social cohesion (the exact opposite of what it is in its source and truth). Alternatively, it has become a flight from political or concrete reality, a flight into the spiritual world, into the cultivation of the inner life, into mysticism, and hence an evasion of the present world."

"Cosmao’s … thesis is that societies obey two “sociological laws,” … according to which, when left to their own inertia, they “structure inequality” and “fabricate gods that become their masters.” God’s revelation in Jesus Christ expressly contradicts these two laws and should produce equality and destroy false gods. [Cosmao] contends, however, that Christianity has taken on the role of a “civil religion” and has thus become Christendom."

"It would finally be much easier for me to say what I do not believe than what I do believe. This initial statement might be attributed to a negativism with which I am wrongly charged because I have repeatedly said that the first duty of free people is to say no, or because I have often taken up the Hegelian concept of the positive nature of the negative. But it is a mistake to infer pessimism of negativity from this perspective, for no one is at root more optimistic than I am. My ultimate vision is always positive. Hasty reading allows of rash judgments."

"To talk about belief is to inquire at the same time into its validity or truth. It is to enter into a critical study that is not without danger. There is no place for the facile skepticism that says it believes in nothing precisely because it is blind to what it does believe in. We have to be serious because our whole being is at stake here. When I ask what I believe in, I am "searching my conscience," as they used to put it. I am passing judgment on what I believe as this is brought to light. As one advances, a double movement takes place which causes one constantly to come across another belief that is often hidden but which also provides the pause needed to move on to its criticism. "As one advances" — we either have to advance here or be silent. I cannot say easily what I value or think just now, what I regard as true. I have to do something more difficult, which will undoubtedly involve some political evaluations, if I am to try to bring the roots of my beliefs to light."

"I believe that life has meaning. We are not on earth by chance; we do not come from nowhere to go to nowhere. This is a statement; it cannot be proved. Meaning implies both orientation and significance. Not every event or act or word has meaning, but everything is set in that orientation and signification."

"Should anarchists vote? ... For my part, like many anarchists, I think not. To vote is to take part in the organization of the false democracy that has been set up forcefully by the middle class. ... The political game can produce no important changes in our society and we must radically refuse to take part in it."

"We must unmask the ideological falsehoods of the many powers, and especially we must show that the famous theory of the rule of law which lulls the democracies is a lie from beginning to end."

"I believe that the anarchist fight, the struggle for an anarchist society, is essential, but I also think that the realizing of such a society is impossible."

"We can denounce not merely the abuses of power but power itself."

"In his cynical way Napoleon said that the clergy control the people, the bishops the clergy, and he himself the bishops. No one could state more clearly the real situation that the church was an agent of state propaganda."

"It is impossible for the state or society or an institution to be Christian. Since being Christian presupposes an act of faith, it is plainly impossible for an abstraction like the state."

"The Jews ... primarily see in God not the universal Creator but their Liberator."

"Why freedom? If we accept that God is love, and that it is human beings who are to respond to this love, the explanation is simple. Love cannot be forced, ordered, or made obligatory. It is necessarily free. If God liberates, it is because he expects and hopes that we will come to know him and love him."

"All national rulers, no matter what the nation or the political regime, lord it over their subjects. There can be no political power without tyranny."

"Jesus does not advocate revolt or material conflict. ... He reverses the question, and as so often challenges his interlocutors: "But you ... it must not be the same among you." In other words, do not be so concerned about fighting kings. Let them be. Set up a marginal society which will not be interested in such things, in which there will be no power, authority or hierarchy. Do not do things as they are usually done in society, which you cannot change. Create another society on another foundation."

"In a society such as ours, it is almost impossible for a person to be responsible. A simple example: a dam has been built somewhere, and it bursts. Who is responsible for that? Geologists worked out. They examined the terrain. Engineers drew up the construction plans. Workmen constructed it. And the politicians decided that the dam had to be in that spot. Who is responsible? No one. There is never anyone responsible. Anywhere. In the whole of our technological society the work is so fragmented and broken up into small pieces that no one is responsible. But no one is free either. Everyone has his own, specific task. And that's all he has to do. Just consider, for example, that atrocious excuse… It was one of the most horrible things I have ever heard. The director of the Bergen-Belsen concentration camp was asked at the Nuremburg trials, “But didn’t you find it horrible? All those corpses?” He replied, “What could I do? I couldn’t process all those corpses. The capacity of the ovens was too small. It caused me many problems. I had no time to think about these people. I was too busy with the technical problem of my ovens.” That is the classic example of an irresponsible person. He carries out his technical task and isn’t interested in anything else."

"I know many people who like watching commercials because they're so funny. They provide relaxation and diversion. People come home after a day's work, from which they derive little satisfaction, and feel the need for diversion and amusement. The word diversion itself is already very significant. When Pascal uses the word diversion he means that people who follow the path of God deviate from the path which leads them to God as a result of diversion and amusement. Instead of thinking of God, they amuse themselves. So, instead of thinking about the problems which have been created by technology and our work we want to amuse ourselves."

"Mankind in the technological world is prepared to give up his independence in exchange for all kinds of facilities and in exchange for consumer products and a certain security. In short, in exchange for a package of welfare provisions offered to him by society. As I was thinking about that I couldn't help recalling the story in the Bible about Esau and the lentil broth. Esau, who is hungry, is prepared to give up the blessings and promise of God in exchange for some lentil broth. In the same way, modern people are prepared to give up their independence in exchange for some technological lentils."

"The question now is whether people are prepared or not to realize that they are dominated by technology. And to realize that technology oppresses them, forces them to undertake certain obligations and conditions them. Their freedom begins when they become conscious of these things. For when we become conscious of that which determines our life we attain the highest degree of freedom."

"There is probably no other thinker who has thought as deeply about propaganda in all its dimensions and ramifications as Jacques Ellul. What sets him apart from other analysts is his rare if not unique combination of expertise in history, sociology, law, and political science, along with careful study of biblical and Marxist writings."

"Jacques Ellul is no pedantic theologian discussing ideas like a dilettante whose convictions are never baptized in action. On the contrary, in Ellul one finds that ideas and acts are so integral one to the other that his decisions and actions in actual life are an incarnation of what he thinks and writes. His witness as a Christian has been nurtured in danger and turbulence, not in sanctuary or detachment. He was a militant in the French resistance to the Nazis; he has served in politics as Deputy Mayor of Bordeaux; he is distinguished professionally in the law and in economics; he was among the remnant who were concerned to expose and oppose the atrocities of the French military in the Algerian war; he is esteemed in ecumenical councils as a creative theologian; he is a partisan of renewal and relevance in the Reformed Church of France; he became a Christian in consequence of his immersion in the saga of the Bible while engaged in the strife of the world. In short, he is one who speaks with authority."

"It is, in fact, the essence of technique to compel the qualitative to become quantitative, and in this way to force every stage of human activity and man himself to submit to its mathematical calculations. Ellul gives examples of this at every level. Thus, technique forces all sociological phenomena to submit to the clock, for Ellul the most characteristic of all modern technical instruments. The substitution of the tempus mortuum of the mechanical clock for the biological and psychological time "natural" to man is in itself sufficient to suppress all the traditional rhythms of human life in favor of the mechanical."

"Si je prends la parole, ce n'est pas pour me défendre des actes dont on m'accuse, car seule la société, qui, par son organisation, met les hommes en lutte continuelle les uns contre les autres, est responsable. En effet, ne voit-on pas aujourd'hui dans toutes les classes et dans toutes les fonctions des personnes qui désirent, je ne dirai pas la mort, parce que cela sonne mal à l'oreille, mais le malheur de leurs semblables, si cela peut leur procurer des avantages."

"Que peut-il faire celui qui manque du nécessaire en travaillant, s'il vient à chômer ? Il n'a qu'à se laisser mourir de faim. Alors on jettera quelques paroles de pitié sur son cadavre. C'est ce que j'ai voulu laisser à d'autres. J'ai préféré me faire contrebandier, faux-monnayeur, voleur, meurtrier et assassin. J'aurais pu mendier : c'est dégradant et lâche et même puni par vos lois qui font un délit de la misère. Si tous les nécessiteux, au lieu d'attendre, prenaient où il y a et par n'importe quel moyen, les satisfaits comprendraient peut-être plus vite qu'il y a danger à vouloir consacrer l'état social actuel, où l'inquiétude est permanente et la vie menacée à chaque instant."

"On finira sans doute plus vite par comprendre que les anarchistes ont raison lorsqu'ils disent que pour avoir la tranquillité morale et physique, il faut détruire les causes qui engendrent les crimes et les criminels : ce n'est pas en supprimant celui qui, plutôt que de mourir d'une mort lente par suite de privation qu'il a eues et aurait à supporter, sans espoir de les voir finir, préfère, s'il a un peu d'énergie, prendre violemment ce qui peut lui assurer le bien-être, même au risque de sa mort qui ne peut être qu'un terme à ses souffrances."

"Que faut-il alors ? Détruire la misère, ce germe de crime, en assurant à chacun la satisfaction de tous les besoins ! Et combien cela est difficile à réaliser ! Il suffirait d'établir la société sur de nouvelles bases où tout serait en commun, et où chacun, produisant selon ses aptitudes et ses forces, pourrait consommer selon ses besoins. Alors on ne verra plus des gens comme l'ermite de Notre-Dame-de-Grâce et autres mendier un métal dont ils deviennent les esclaves et les victimes ! On ne verra plus les femmes céder leurs appâts, comme une vulgaire marchandise, en échange de ce même métal qui nous empêche bien souvent de reconnaître si l'affection est vraiment sincère."

"Oui, je le répète : c'est la société qui fait les criminels, et vous jurés, au lieu de les frapper, vous devriez employer votre intelligence et vos forces à transformer la société. Du coup, vous supprimeriez tous les crimes ; et votre œuvre, en s'attaquant aux causes, serait plus grande et plus féconde que n'est votre justice qui s'amoindrit à punir les effets."

"J'ai travaillé pour vivre et faire vivre les miens ; tant que ni moi ni les miens n'avons trop souffert, je suis resté ce que vous appelez honnête. Puis le travail a manqué, et avec le chômage est venue la faim. C'est alors que cette grande loi de la nature, cette voix impérieuse qui n'admet pas de réplique : l'instinct de la conservation, me poussa à commettre certains des crimes et délits que vous me reprochez et dont je reconnais être l'auteur."

"Jugez-moi, messieurs les jurés, mais si vous m'avez compris, en me jugeant jugez tous les malheureux dont la misère, alliée à la fierté naturelle, a fait des criminels, et dont la richesse, dont l'aisance même aurait fait des honnêtes gens!"

"Une société intelligente en aurait fait des gens comme tout le monde!"

"Poor, wretched, and stupid peoples, nations determined on your own misfortune and blind to your own good! You let yourselves be deprived before your own eyes of the best part of your revenues; your fields are plundered, your homes robbed, your family heirlooms taken away. You live in such a way that you cannot claim a single thing as your own; and it would seem that you consider yourselves lucky to be loaned your property, your families, and your very lives. All this havoc, this misfortune, this ruin, descends upon you not from alien foes, but from the one enemy whom you yourselves render as powerful as he is, for whom you go bravely to war, for whose greatness you do not refuse to offer your own bodies unto death. He who thus domineers over you has only two eyes, only two hands, only one body, no more than is possessed by the least man among the infinite numbers dwelling in your cities; he has indeed nothing more than the power that you confer upon him to destroy you. Where has he acquired enough eyes to spy upon you, if you do not provide them yourselves? How can he have so many arms to beat you with, if he does not borrow them from you? The feet that trample down your cities, where does he get them if they are not your own? How does he have any power over you except through you? How would he dare assail you if he had no cooperation from you? What could he do to you if you yourselves did not connive with the thief who plunders you, if you were not accomplices of the murderer who kills you, if you were not traitors to yourselves? You sow your crops in order that he may ravage them, you install and furnish your homes to give him goods to pillage; you rear your daughters that he may gratify his lust; you bring up your children in order that he may confer upon them the greatest privilege he knows — to be led into his battles, to be delivered to butchery, to be made the servants of his greed and the instruments of his vengeance; you yield your bodies unto hard labor in order that he may indulge in his delights and wallow in his filthy pleasures; you weaken yourselves in order to make him the stronger and the mightier to hold you in check."

"Et de tant d'indignités que les bêtes elles-mêmes ne supporteraient pas si elles les sentaient, vous pourriez vous délivrer si vous essayiez, même pas de vous délivrer, seulement de le vouloir."

"Soyez résolus à ne plus servir, et vous voilà libres. Je ne vous demande pas de le pousser, de l'ébranler, mais seulement de ne plus le soutenir, et vous le verrez, tel un grand colosse dont on a brisé la base, fondre sous son poids et se rompre."

"There is in our souls some native seed of reason, which, if nourished by good counsel and training, flowers into virtue, but which, on the other hand, if unable to resist the vices surrounding it, is stifled and blighted."

"The good seed that nature plants in us is so slight and so slippery that it cannot withstand the least harm from wrong nourishment."

"Men are like handsome race horses who first bite the bit and later like it, and rearing under the saddle a while soon learn to enjoy displaying their harness and prance proudly beneath their trappings. Men will grow accustomed to the idea that they have always been in subjection, that their fathers lived in the same way; they will think they are obliged to suffer this evil, and will persuade themselves by example and imitation of others, finally investing those who order them around with proprietary rights, based on the idea that it has always been that way. There are always a few, better endowed than others, who feel the weight of the yoke and cannot restrain themselves from attempting to shake it off: these are the men who never become tamed under subjection and who always, like Ulysses on land and sea constantly seeking the smoke of his chimney, cannot prevent themselves from peering about for their natural privileges and from remembering their ancestors and their former ways. These are in fact the men who, possessed of clear minds and far-sighted spirit, are not satisfied, like the brutish mass, to see only what is at their feet, but rather look about them, behind and before, and even recall the things of the past in order to judge those of the future, and compare both with their present condition. These are the ones who, having good minds of their own, have further trained them by study and learning. Even if liberty had entirely perished from the earth, such men would invent it. For them slavery has no satisfactions, no matter how well disguised."

"The dictator does not consider his power firmly established until he has reached the point where there is no man under him who is of any worth. ... This method tyrants use of stultifying their subjects cannot be more clearly observed than in what Cyrus did with the Lydians after he had taken Sardis, their chief city, and had at his mercy the captured Croesus, their fabulously rich king. When news was brought to him that the people of Sardis had rebelled, it would have been easy for him to reduce them by force; but being unwilling either to sack such a fine city or to maintain an army there to police it, he thought of an unusual expedient for reducing it. He established in it brothels, taverns, and public games, and issued the proclamation that the inhabitants were to enjoy them. He found this type of garrison so effective that he never again had to draw the sword against the Lydians. These wretched people enjoyed themselves inventing all kinds of games, so that the Latins have derived the word from them, and what we call pastimes they call ludi, as if they meant to say Lydi. Not all tyrants have manifested so clearly their intention to effeminize their victims; but in fact, what the aforementioned despot publicly proclaimed and put into effect, most of the others have pursued secretly as an end."

"Do not imagine that there is any bird more easily caught by decoy, nor any fish sooner fixed on the hook by wormy bait, than are all these poor fools neatly tricked into servitude by the slightest feather passed, so to speak, before their mouths. Truly it is a marvelous thing that they let themselves be caught so quickly at the slightest tickling of their fancy. Plays, farces, spectacles, gladiators, strange beasts, medals, pictures, and other such opiates, these were for ancient peoples the bait toward slavery, the price of their liberty, the instruments of tyranny. By these practices and enticements the ancient dictators so successfully lulled their subjects under the yoke, that the stupefied peoples, fascinated by the pastimes and vain pleasures flashed before their eyes, learned subservience as naïvely, but not so creditably, as little children learn to read by looking at bright picture books."

"Tyrants would distribute largess, a bushel of wheat, a gallon of wine, and a sesterce: and then everybody would shamelessly cry, “Long live the King!” The fools did not realize that they were merely recovering a portion of their own property, and that their ruler could not have given them what they were receiving without having first taken it from them."

"The mob has always behaved in this way—eagerly open to bribes that cannot be honorably accepted, and dissolutely callous to degradation and insult that cannot be honorably endured."

"Ils veulent servir pour amasser des biens: comme s'ils pouvaient rien gagner qui fût à eux, puisqu'ils ne peuvent même pas dire qu'ils sont à eux-mêmes."

"Friendship ... flourishes not so much by kindnesses as by sincerity."

"Friendship ... receives its real sustenance from an equality that, to proceed without a limp, must have its two limbs equal."

"The fundamental political question is why do people obey a government. The answer is that they tend to enslave themselves, to let themselves be governed by tyrants. Freedom from servitude comes not from violent action, but from the refusal to serve. Tyrants fall when the people withdraw their support."

"Modern libertarians know of many great thinkers only because of Murray Rothbard. My favorite in this category is the 16th century anarchist, Étienne de la Boetie. To him, the great mystery of politics was obedience to rulers. Why in the world do people agree to be looted and otherwise oppressed by government overlords? It is not just fear, Boetie explains in “The Discourse on Voluntary Servitude,” for our consent is required. And that consent can be non-violently withdrawn."

"Frankly, this is my position: I have been painting for two years, and my only models have been your [ Monet's ] own works; I have been following the wonderful path you broke for us. I have always worked regularly and conscientiously, but without advice or help, for I do not know any impressionist painter who would be able to guide me, living as I am in an environment more or less hostile to what I am doing. And so I fear I may lose my way, and I beg you to let me see you, if only for a short visit. I should be happy to show you five or six studies; perhaps you would tell me what you think of them and give me the advice I need so badly, for the fact is that I have the most horrible doubts, having always worked by myself, without teacher, encouragement, or criticism."

"..it [the large painting 'Bathers at Asnieres', by Georges Seurat was painted in great flat strokes, brushed one over the other, fed by a palette composed, like Delacroix's, of pure and earthy colors. By means of these ochres and browns the picture is deadened, and appears less brilliant than those the impressionists paint with a palette limited to prismatic colors. But the understanding of the laws of contrast, the methodical separation of elements — light, shade, local color, and the interaction of colors — and their proper balance and proportion, give this canvas its perfect harmony."

"Divisionism is a complex system of harmony, an aesthetic rather than a technique. The point is only a means. To divide is to seek the power and harmony of color, through representing colored light by pure elements, and through employing the optical mixture of these pure elements, separated and proportioned according to the essential laws of contrast and graduation."

"The Neo-Impressionist does not stipple, he divides. And dividing involves... guaranteeing all benefits of light."

"The Pointillist chooses a means of expression by which he applies colour on a canvas in small dots rather than spreading it flat."

"Neo-Impressionist method is an attempt is made to achieve the richness of the sunlight spectrum with all its tones. An orange that blends with yellow and red, a violet that tends toward red and blue, a green between blue and yellow are, with white the sole elements. Through mixture (in the eye of the observer) of these pure colours, whose relationship can be varied at will, from the most brilliant to the greyish. Every brush stroke that is taken from the palette remains pure on the canvas."

"Of the three primary colors, the three binary ones are formed. If you add to one of these the primary tone that is its opposite, it cancels it out. This means that you produce the required half-tone. Therefore, adding black is not adding a half-tone, it is soiling the tone whose true half-tone resides in this opposite me have just described. Hence the green shadows found in red. The heads of the two little peasants. The yellow one had purple shadows; the redder and more sanguine one had green ones."

"It seems that the first consideration of a painter who stands before the white canvas should be to decide what curves and arabesques should cut the surface, what tints and tones should cover it.. .Following the precepts of Delacroix he would not begin a composition until he had first determined its organization. Guided by tradition and by science, he would adjust the composition to his conception, that is to say he would adapt the lines (directions and angles), the chiaroscuro (tones), the colors (tints), to the traits he wished to make dominant."

"We have never heard Seurat, Cross, Luce, Van de Velde or indeed Van Rysselberghe or Angrand speak of dots. We have never seen them be preoccupied by Pointillism. Read these lines, dictated by Seurat to Jules Christophe, his biographer: 'Art is harmony; harmony is the analogy between opposites and between similar elements of tone, tint and line. By tone I mean light and dark; tint is red and its complementary: green, orange and its complementary: blue, yellow and its complementary: purple.. .The method of expression relies on the optical mixture of tones, tints and their reactions (shadows that follow very strict rules)."

"Pissarro wants to achieve delicacy by means of adjustments of nearly like tones; he keeps from juxtaposing two distant tones and does without the vibrant note which such contrast gives, but strives on the contrary to diminish the distance between two tints by introducing into each one of them intermediate elements which he calls 'passage'. But the neo-impressionist technique is based precisely on this type of contrast, for which he feels no need, and on the violent purity of tints which hurts his eye. He has kept of divisionism only the technique, the little dot, whose raison d'etre is exactly that it enables the transcription of this contrast and the conservation of this purity. So it is easy to understand why he [Pissarro] gave up this means, insufficient as it is by itself."

"Not long before that, as I was rummaging about under the staircase of the dusty rose house on the Yakimanka, I discovered a tattered book by Signac" defending Impressionism. The author explained the "law of optical blending," glorified the method of "pointillism," and suggested how meaningful using only the pure colors of the spectrum could be. Signac based his arguments on citations from his idol, Eugène Delacroix. Time and again he referred to his Journey to Morocco, as if leafing through a codex of visual training intended as obligatory reading for every thinking European. Signac was trumpeting on his chivalric horn the last, ripe gathering of the Impressionists. He summoned all the Zouaves, the burnooses, and the red Algerian skirts into their bright camps. At the very first sounds of this triumphant theory, my nerves grew taut. I felt a shiver of novelty, as if someone had summoned me by name..."

"Signac [at the exhibition of 'The Independents' in Paris, March 1891] has some landscapes of the kind you know, very correct, very well executed, but cold and monotonous; he has a bizarre portrait of Fénéon, standing, holding a lily, against a background of interlaced ribbons of color which do not add to the decorative quality of the work and have no value from the point of view of sensation."

"I am settled in France, and as for the rest of my history as a painter, it is bound up with the impressionistic group."

"Lighten your palette [his remark to Cézanne circa 1873, to encourage Cézanne to use bright colors], paint only with the three primary colours and their derivatives."

"Renoir is a great success on the Salon; I think he is 'launched'. All the better! It's a very hard life, being poor."

"What I have suffered you cannot imagine. But what I'm going through [circa 1878] now is even worse, much more so than when I was young.. ..because now I feel as if I have no future. Even so, if I had to do it again, I still think I wouldn't hesitate."

"The next day he [uncle Alfred] took me to hear the 'Concert Colonne' at the Chatelet. First we lunched and then went to the hall. There was a fine program! Schumann, Bizet (new to me), Berlioz (ditto). - I can scarcely express how I marveled at the Hamlet and Romeo et Juliette of Berlioz. - He belongs with Delacroix, with Shakespeare, he is of the same family, he has the mark of these men of genius. He is prodigious in movement, imagination, strangeness, vigor, delicacy, sense of contrast, he is terrible and suave."

"The ones [compliments] I value most came from Edgar Degas who said he was happy to see my work becoming more and more pure. The etcher Bracquemond, a pupil of Ingres, said - possibly he meant what he said - that my work shows increasing strength. I will calmly tread the path I have taken, and try to do my best. At bottom, I have only a vague sense of its rightness or wrongness. I am much disturbed by my unpolished and rough execution. I should like to develop a smoother technique which, while retaining the old fierceness, would be rid of those jarring notes which make it difficult to see my canvases clearly except when the light falls in front. There lies the difficulty - not to speak of drawing."

"I well remember that around 1874, Duret, who is above reproach, Duret himself said to me with all sorts of circumlocutions that I was on the wrong track, that everyone thought so, including my best friends.. .I admit that when alone, with nobody to prompt me, I reproached myself similarly, - I plumbed myself, - decision was terribly hard. - Should I, yes or no, persevere [or seek] another way? I concluded in the affirmative, I took into account the risks of the unknown, and I was right to stick."

"I am hard at work, at least I work as much as the weather permits. - I began a work the motif of which is the river bank in the direction of St. Paul's Church. Looking towards Rouen I have before me all the houses on the quays lighted by the morning sun, in the background the stone bridge, to the left the island with its houses, factories, boats, launches, to the right a mass of pinnaces of all colors.. .Yesterday, not having the sun, I began another work on the same motif in grey weather, only I looked more to the right [603]. I must leave you for my motif. I have a room on the street. I shall start on a view of the street in fog for it has been foggy every morning until eleven o'clock—noon. It should be interesting, the square in the fog, the tramways, the goings and comings.."

"The day after your departure I started a new painting at Le Cours-la-Reine, in the afternoon in a glow of sun, and another in the morning by the water below St. Paul's Church. These two canvases are fairly well advanced, but I still need one session in fine weather without too much mist to give them a little firmness. Until now I have not been able to find the effect I want, I have even been forced to change the effect a bit, which is always dangerous. I have also an effect of fog.. .Until now I have not been able to find the effect I want, I have even been forced to change the effect a bit, which is always dangerous. I have also an effect of fog, another, same effect, from my window, the same motif in the rain, several sketches in oils, done on the quays near the boats; the next day it was impossible to go on, everything was confused, the motifs no longer existed ; one has to realize them in a single session."

"I recognize fully that you do not draw well, my dear Lucien [his son, also painter]. I told you any number of times that it is essential to have known forms in the eye and in the hand. It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character."

"I have just concluded my series of paintings, I look at them constantly. I who made them often find them horrible. I understand them only at rare moments, when I have forgotten all about them, on days when I feel kindly disposed and indulgent to their poor maker. Sometimes I am horribly afraid to turn round canvases which I have piled against the wall; I am constantly afraid of finding monsters where I believed there were precious gems !.. .Thus it does not astonish me that the critics in London relegate me to the lowest rank. Alas! I fear that they are only too justified! - However, at times I come across works of mine which are soundly done and really in my style, and at such moments I find great solace. But no more of that. Painting, art in general, enchants me. It is my life. What else matters?"

"I brought Durand eight pictures, among them my 'Sunset' and the motif done from my window. They have been praised, but I find them poor, - tame, grey, monotonous, - I am not at all satisfied. - I am working with fury and I have finally discovered the right execution, the search for which has tormented me for a year. I am pretty sure I have it now, all I need is to spend this coming autumn in Rouen or in some other place where I can find striking motifs."

"The weather is superb except for a very keen wind which causes me to lose much time. - I am doing a portrait of your mother in pastel, it seems it is not adequate as a likeness, it is too old, too red, not fine enough, in short, it won't do. This surprises me not at all. You know that everyone accepts the one I made pretty obvious, but that is not much good either."

"Yesterday Sisley was looking for me everywhere. Madame Latouche told me that he wanted some information about the technique of painting fans. Well, this means my fans are spoken of.. .I only fear one thing: that they will finally say that's all I am good for! [fans!]"

"Yesterday I had a violent run-in with M. Eugene Manet on the subject of Seurat and Paul Signac. The latter was present, as was Guillaumin. You may be sure I rated Manet roundly. - Which will not please Renoir. - But anyhow, this is the point, I explained to M. Manet, who probably didn't understand anything I said, that Seurat has something new to contribute which these gentlemen, despite their talent, are unable to appreciate, that I am personally convinced of the progressive character of his art and certain that in time it will yield extraordinary results. Besides I am not concerned with the appreciation of artists, no matter whom. I do not accept the snobbish judgments of "romantic impressionists" to whose interest it is to combat new tendencies. I accept the challenge, that's all.."

"Durand likes my paintings, but not the style of execution. His son, the one who went to New York with him, saw them but has not said a word to me. - Durand prefers the old execution, however he grants that my recent paintings have more light - in short, he isn't very keen. My 'Grey Weather' doesn't please him; his son and Caseburne [Durand's cashier] also dislike it.. .It appears that the subject is unpopular. They object to the red roof and backyard just what gave character to the painting which has the stamp of a modern primitive, and they dislike the brick houses, precisely what inspired me.."

"I wish it to be thoroughly under stood that it is Mr. Seurat, an artist of great worth, who has been the first to conceive the idea of applying the scientific theory after making a profound study of it. I have only followed, like my confreres, the example set by Seurat."

"I saw Guillaumin. We went to look at my two latest paintings which were bought by Durand. All he said was 'there's no firmness in the foreground'. It was evening, we were seeing the paintings by gas-light, which neutralized the orange tones. As Seurat says, what they [the Impressionists]] look for is thick impasto; but at Clauzet's I saw a Guillaumin, also in the evening, and it looked made of tar, so much shellac was used at the base of this painting, which in my view is really old stuff; it must be admitted that he made an effort to tighten the design but then the harmonies are insignificant and lack logic - there is no drawing, there is a flurry of colors, but no modeling; it is one step from [w: Jules Dupré|Jules Dupreé]] - modernized."

"My theory has been to discover the modern synthesis by methods based upon science, methods based upon the theory of colors discovered by M. Chevreul, in conformity with the experiments of Maxwell and the measurements of N. 0. Rood; to substitute the optical mingling for the mingling of pigments; in other words, the decomposition of all the colors into their constituent elements; because the optical mingling excites much more intense luminosity than the mingling of pigments. As for the execution, we regard it as nothing; it is at any rate only unimportant, art having nothing to do with it. According to us, the sole originality consists in the character of the drawing and the vision individual to each artist."

"I will have to leave for Paris as soon as you return. I did two drawings [black on paper] with pen and in little dots - a 'Little Market' and a 'St. Martin (Pig dealers)'. It would be a good thing if I could sell them to some newspaper, that would bring us a few pennies.. .I still don't know what I am going to do, for Heymann seems completely indifferent. He probably knows my position and naturally is waiting for me to reduce my prices, just as Durand did last time.. .If we could place these we could get a few cents while waiting for this terrible month of January to pass.. .These drawings matted look very well."

"Bracquemond tells me that he looked attentively at my works at our exhibition. Far from objecting to them, as I expected, he said they were compactly drawn, and modeled, but he is shocked by the dots; he enjoined me to stick to divisionism but not to use the dot. - I said nothing to him of our experiments. He told me that of all the impressionist painters he liked my work best; this was not the first time he had said this; to each one his own taste. He does completely accept my view that the old disorderly method of execution has become impossible."

"This morning I received a letter from . He writes that he does not believe scientific research into the nature of color and light can help the artist, neither can anatomy nor the laws of optics. He wants to discuss these questions with me and find out my views. Now everything depends on how this knowledge is to be used. But surely it is clear that we could not pursue our studies of light with much assurance if we did not have as a guide the discoveries of Chevreul and other scientists. I would not have distinguished between local color and light if science had not given us the hint; the same holds true for complementary colors, contrasting colors, etc. 'Yes', he will tell me: 'but these have always been taken into account, look at Monet' It is at this point that the question becomes serious!"

"Tell [[w:Portrait of Père Tanguy |[Père] Tanguy]] to send me some paints. What I need most are ten tubes of white, two of chrome yellow, one bright red, one brown lac, one ultramarine, five Veronese green, one cobalt j I have on hand only one tube of white ... I expect to begin to paint again from nature, and I need the colors."

"I can quite understand the effort he is making; it is a very good thing not to want to go on repeating oneself. But he has concentrated all his attention on line; the figures stand out against each other without any sort of relationship, and so the whole thing is meaningless. Renoir is no draughtman, and without the lovely colours he used to use so instinctively, he is incoherent."

"I have had a long talk with Renoir. He admitted that the whole crowd – Durand and his former admirers – were shouting at him, deploring his attempt to abandon his 'Romantic' period. He seems very sensitive to what we think of his exhibition. I told him that as far as we were concerned, the search for unity should be the aim of every intelligent artist. – that even in spite of serious faults, it was more intelligent and artistic than wallowing in romanticism."

"P.S. If you happen to see Seurat or if you write to Signac, tell them that I have tried the mixture of cadmium (well recommended by Contet) , with red, white and Veronese green. It becomes black in four or five days from the Veronese green. Even blacker than the chrome yellow mixture. Tell this to Contet."

"I hope that with the help of van Van Gogh and Durand we will be able to emerge from this situation [selling nothing]. It seems to me that I deserve no less, since I have worked conscientiously. I do not believe that anyone could devote - if not more talent - more care and good will to the service of his art; it takes me hours of reflection to decide on the slightest detail. Is this impatience?.. .I think not! For I do not wish to make a brush stroke when I do not feel complete mastery of my subject, there's the rub - that is the great difficulty; without sensation, nothing, absolutely nothing valid.. .I believe I have hit my stride. I have begun a series of things which will really be in my style."

"I work mostly in the studio; as I mentioned several times, the leaves are burgeoning and change so rapidly that I have been unable to prepare a single sketch. I am making little watercolors and pastels, I think they will come out all right; in the studio I am preparing five or six canvases, I work on one after another, I am getting used to working that way."

"I think continually of some way of painting without the dot. I hope to achieve this but I have not been able to solve the problem of dividing the pure tone without harshness.. .How can one combine the purity and simplicity of the dot with the fullness, suppleness, liberty, spontaneity and freshness of sensation postulated by our impressionist art? This is the question which preoccupies me, for the dot is meager, lacking in body, diaphanous, more monotonous than simple, even in the Seurat's, particularly in the Seurat's [paintings].. .I'm constantly pondering this question, I shall go to the Louvre to look at certain painters who are interesting from this point of view. Isn't it senseless that there are no Turners [here].."

"[ Seurat's pointilist style ].. ..inhibits me and hinders the development of spontaneity of sensation."

"I don't know what to write Feneon about the theory of 'passages'. I will write him what seems to me to be the truth of the matter, that I am at this moment looking for some substitute for the dot [which was the 'heart of [w:Neo-Impressionism|Neo-Impressionist]] painting]; so far I have not found what I want, the actual execution does not seem to me to be rapid enough and does not follow sensation with enough inevitability, but it would be best not to speak of this. The fact is I would be hard put to express my meaning clearly, although I am completely aware of what I lack."

"I began to understand my sensations, to know what I wanted, at around the age of forty.. ..but only vaguely. At fifty, that is in 1880, I formulated the idea of unity, without being able to render it. At sixty, I am beginning to see the possibility of rendering it."

"Each one of us [artists] has several facets. The surface often appears more important than what is inside, hence the errors of those who judge carelessly. How many times has that not happened to me! The surface is often complete in some people from the very beginning, but not the possession of their own sensations. From this come errors. Some natures achieve the surface very slowly j this is the least danger an artist runs. So one should not think of the surface or the appearance, but concentrate on what is inner!"

"What I dislike is that he [= Paul Gauguin ] copied these elements from the Japanese, the Byzantine painters and others. I criticize him for not applying his synthesis to our modern philosophy which is absolutely social, anti-authoritarian and anti-mystical. - There is where the problem becomes serious. This is a step backwards; Gauguin is not a seer, he is a schemer.. .The symbolists also take this line! What do you think? They must be fought like the pest!"

"Here I have been able to make some good spring studies in oils, and managed to finish my 'Cow-girl' and my 'seared Woman', and my 'London Park', Primrose Hill. I think these pictures have improved a great deal from the point of view of unity. How different from the studies! I am more than ever in favour of taking one's impression from memory; it is less the actual thing - vulgarity disappears, leaving only an aura of truth glimpsed, sensed. To think that this is not understood, so that my anxiety for the future continues as before, despite the success of the exhibition. – I have no news from Paris about my collectors."

"One can do such lovely things with so little. Subjects that are too beautiful end by appearing theatrical – take Switzerland, for example. Think of all the beautiful little things Corot did at Gisors; two willows, a little water, a bridge, like the picture in the Universal Exhibition. What a masterpiece!.. .Everything is beautiful, all that matters is to be able to interpret."

"..I saw Gauguin; he told me his theories about art and assured me that the young [artists] would find salvation by replenishing themselves at remote and savage sources. I told him that this art did not belong to him, that he was a civilized man and hence it was his function to show us harmonious things. We parted, each unconvinced. Gauguin is certainly not without talent, but how difficult it is for him to find his own way! He is always poaching on someone's ground; now he is pillaging the savages of Oceania."

"The weather today is frightful, rain and wind. You must be having the same at Epping; it's a pity. It had been so fine for the last few days and I had begun to grind away from nature. This is infuriating, for it's the loveliest time of the year, September and October. I can't stand the summer any more, with its heavy, monotonous green, its dry distances where everything can be seen, the torment of the great heat.. .Artistic sensations revive in September and October, but then it rains and blows!"

"It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character.. .So much the better if it is painful for you to take even the first step, the more toilsome the work, the stronger you will emerge from it.. .I repeat, guard against facility."

"Work at the same time upon water, sky, branches, ground, keeping everything going on an equal basis and unceasingly rework until you have got it. Paint generously and unhesitatingly, for it is best not to lose the first impression."

"Don't be afraid of putting on color, refine the work little by little. Don't proceed according to rules and principles, but paint what you observe and feel.. .One must have only one master – nature; she is the one always be consulted."

"advice to a young painter, (1896); as quoted in Painting Outside the lines, Patterns of Creativity in Modern Art, ed. David W. Galenson, Harvard University Press, 30 Jun 2009, pp. 84-85, note 40."

"Look for the kind of nature that suits your temperament. The motif should be observed more for shape and color than for drawing. There is no need to tighten the form which can be obtained without that. Precise drawing is dry and hampers the impression of the whole, it destroys all sensations. Do not define too closely the outlines of things; it is the brushstroke of the right value and color which should produce the drawing. In a mass, the greatest difficulty is not to give the contour in detail, but to paint what is within. Paint the essential character of things, try to convey it by any means whatsoever, without bothering about technique.—When painting, make a choice of subject, see what is lying at the right and what at the left, and work on everything simultaneously. Don't work bit by bit but paint everything at once by placing tones everywhere, with brushstrokes of the right color and value, while noticing what is alongside. Use small brushstrokes and try to put down your perceptions immediately. The eye should not be fixed on one point, but should take in everything, while observing the reflections which the colors produce on their surroundings. Work at the same time upon the sky, water, branches, ground, keeping everything going on an equal basis and unceasingly rework until you have got it. Cover the canvas at the first go, then work at it until you can see nothing more to add. Observe the aerial perspective as well, from the foreground to the horizon, the reflection of the sky, of foilage. Don't be afraid of putting on color, refine the work little by little.—Don't proceed according to rules and principles, but paint what you observe and feel. Paint generously and unhesitatingly, for it is best not to lose the first impression you feel. Don't be timid in front of nature: one must be bold, at the risk of being deceived and making mistakes. One must have only one master—nature; she is the one always to be consulted."

"Sisley, I hear, is seriously ill. He is a great and beautiful artist, in my opinion he is a master equal to the greatest. I have seen works of his of rare amplitude and beauty, among others an 'Inundation' [in the Camondo collection], which is a masterpiece."

"Decidedly, we are at cross-purposes. What's all this you tell [from England] about the modern movement, commercialism, etc, etc? It bears no relation to our concept of art, at any rate here.. .That is where the error lies. Trade serves those up to us as readily as anything else; so it is no use. Wouldn't it be better to steep ourselves in genuine nature again? I do not consider in the least that we are making a mistake, that we should turn to the steam-engine and follow the general public [ William Morris, the more traditional artist became very popular those days].. .No, a thousand times no! We are here to point the way.. ..the remedy is to be found in nature, more than ever. Let us follow what we consider to be the proper aim, we shall see who is right. After all, money is a fragile thing; let us earn some of it, since we must, but let us keep to our role."

"This Mr. Dewhurst has not understood the Impressionist movement in the very least. All he sees in it is a technical method.. .He also says that before going to London we knew nothing whatsoever about light; but we have studies that prove the contrary. He omits the influence of , Corot, all the 18th-century painters, Chardin most of all. But what he fails to realize is that while Turner and Constable were of service to us, they confirmed our suspicion that those painters had not understood 'The Analysis of Shadows', which in the case of Turner are always a deliberate effect, a plain dark patch. As to the division of tones, Turner confirmed us its value as a method, but not as a means of accuracy or truth to nature. In any case, the 18th century was our tradition. It seems to me that Turner too, had looked at Claude Lorrain. I am even inclined to think there is a picture by Turner, 'Sunset', hung side by side with a Claude."

"Work is a wonderful regulator of mind and body. I forget all sorrow, grief, bitterness, and I even ignore them altogether in the joy of working."

"Never paint except with the three primary colors [red, blue, and yellow] and their derivatives."

"Pisarro explained the Neo-Impressionist theories to his dealer Durand-Ruel in a letter written towards the end of 1886. He stressed the importance of Seurat's role as inventor of the theory, and described the new function of colour, which replaced the mechanical mixtures of pigments with optical mixtures, where colours partially fused in the spectator's eye. The component parts of each optical colour mixture were to be painted in separate touches so that they retained their colour purity. When colours were mixed on the palette, they could only be combined with close neighbors on the colour circle, so as to avoid excessive dulling of the hues. Pissaro noted that the great colour theorists who had influenced Seurat's thinking were Chevreul, the Scott Maxwell, and the American Ogden Rood. Optical colour mixtures, they argued, were more luminous than mixed pigments."

"If I dared, I should say that your letter is imprinted with sadness. The picture business isn't going well; I fear that your morale may be colored a little grey, but I'am sure that it's only a passing phase.. .I imagine that you would be delighted with the country where I am now.. ..in L'Estaque, by the sea.."

"I've started two little motifs of the sea, for Monsieur Chocquet [one of them became his painting 'The Sea at L'Estaque'], who had talked to me about it. It's like a playing card. Red roofs against the blue sea.. .There are the olive trees and the pines that always keep their leaves. The sun is so fierce that objects seem to be silhouetted, not only in black or white, but in blue, red, brown, violet. I may be wrong, but this seems to be the very opposite of 'modeling' How happy the gentle landscapists of Auvers would be here, and that [con, or 'bastard'?] Guillemet."

"That is why, perhaps, all of us derive Pissarro. He had the good luck to be born in the West Indies, where he learned how to draw without a teacher. He told me all about it. In 1865 he was already cutting out black, bitumen, raw sienna and the ocher's. That's a fact. Never paint with anything but the three primary colours and their derivatives, he used to say me. Yes, he was the first Impressionist."

"It's like Impressionism. They all do it at the Salons. Oh, very discreetly! I too was an Impressionist. I don't conceal the fact. Pissarro had an enormous influence on me. Bit I wanted to make out of Impressionism something solid and lasting like the art of the museums."

"Until the war, as you know, my life was a mess. I wasted it. It was only at l'Estaque, (1870-1871) when I thought things over, that I really understood Pissarro, a painter like myself.. .He was a determined man. I was overcome by a passion for work. It wasn't that I hadn't been working before, I was always working. But what I always missed, you know, was a comrade.."

"M. Camille Pissarro has painted a field bathed in sunlight, whose forms, colors and reflections are admirably synthesized. It is more field than any field we have ever seen. We cannot understand what interest the brutal paintings of M. Claude Monet and the simplicist works of M. Renoir can have. Both these artists have taken the wrong path."

"The impressionist paintings of Manet, Cezanne and Monsieur Degas, express with exemplary sincerity the new sensations, the new world our eyes experience. Now here the successors to these artists [ Seurat & Pissarro] are trying to perfect the forms created by them. They found in the notes of Delacroix, in the scientific discoveries of Chevreul and Rood, the suggestion for a type of painting in which color impressions are ordered by the combining of little multi-colored brush strokes. But while they were attentive to such improvement of the means, they forgot the true end of art, the sincere and complete expression of vivid sensations. The works of these painters - Pissarro and Seurat are the most notorious - are interesting only as the exercises of highly mannered virtuosos. Their paintings are lifeless for the painters did not strive for sincerity, being too taken up with external formulas."

"If we observe the totality of Pissarro' s works, we find there, despite the fluctuations, not only an extreme artistic will which never lies, but what is more, an essentially intuitive pure-bred art.. .He looked at everybody, you say! Why not? Everyone looked at him, too, but denied him. He was one of my masters and I do not deny him."

"There is M. Camille Pissarro, who has some very ardent admirers, and yet who is very foreign to me.. .It seems to me that he admits lines and masses that a stricter taste would alter or avoid, and that he includes objects that a more scrupulous artist would reject.. .He does not seem to care whether the line of shore is beautiful or not, and he has so little objection to ugly objects that in one of his pictures the tower of a distant cathedral is nearly obliterated by a long chimney and the smoke that issues from it, whilst there are other long chimneys close to the cathedral, just as they might present themselves in a photograph. By this needless degree of fidelity, M. Pissarro loses one of the great advantages of painting."

"[Pissarro]... who was not thinking of posing as a revolutionist and who was tranquilly working in Corot's style."

"Great as was my wonderment, it was tenfold increased on discovering that only six of these pictures were painted by the new man, Seurat, whose name was unknown to me; the other five were painted by my old friend Pissarro.. .The pictures were hung low, so I went down on my knees and examined the dotting in the pictures signed Seurat, and the dotting in those that were signed, Pissarro. After a strict examination I was able to detect some differences, and I began to recognize the well-known touch even through this most wild and most wonderful transformation. Yes, owing to a long and intimate acquaintance with Pissarro and his work, I could distinguish between him and Seurat, but to the ordinary visitor their pictures were identical."

"Your mother asks me to write to you to come and have dinner with us today. Because this is the evening when we celebrate 'la fete de Kipur' and on this solemn occasion the whole family should be together – and tomorrow not work, we should pass that day together."

"What dreadful weather always raining the poor flowers were hardly open when the rain killed them our big red poppies didn't even have time to appear before they disappeared and the roses, poor roses it's so sad and what mud, impossible to put your feet out of doors. ..it's so cold that the asparagus haven't come out, nor have the peas or the beans I planted. Most of them have rotted I'll have to plant them all over again. Luckily we are not ready to eat them yet, by the grace of God. Write to us and tell me what you are doing."

"It was then [c. 1873], as I remember that Paul Cézanne began to paint with vertical divisions and Papa adopted the long brush to paint in little comma's. A peasant who had watched them side by side at Auvers, remarked that 'M. Pissarro at working, made little stabs at the canvas ('il piquait'), and M. Cézanne laid on the paint like plaster ('il plaquait')."

"Pissarro wants to achieve delicacy by means of adjustments of nearly like tones; he keeps from juxtaposing two distant tones and does without the vibrant note which such contrast gives, but strives on the contrary to diminish the distance between two tints by introducing into each one of them intermediate elements which he calls 'passage'. But the neo-impressionist technique is based precisely on this type of contrast, for which he feels no need, and on the violent purity of tints which hurts his eye. He has kept of divisionism only the technique, the little dot, whose raison d'etre is exactly that it enables the transcription of this contrast and the conservation of this purity. So it is easy to understand why he [Pissarro] gave up this means, insufficient as it is by itself."

"Van Gogh] felt a growing desire to see the paintings by the impressionists of which Theo spoke so often in letters. He also began to be preoccupied by the problems of simultaneous contrast and complementaries, which formed the basis of Seurat's theories. ...Theo took it upon himself to introduce his brother to the painters with whom he had dealings. ...Van Gogh's work had hitherto been very dark, with scarcely any color, and he was at first bewildered by the rich coloring and the light which he discovered in the impressionist pictures. But when Pissarro explained to him the theory and technique of his own paintings, van Gogh began to experiment and immediately took to the new ideas with great enthusiasm. He completely changed his palette and his execution, even adopting for a while the neo-impressionist dot, although he used it without systematic ."

"While he warned his friends to avoid the influence of Gauguin, van Gogh and the neo-impressionists, Cézanne liked to speak of his former comrades, praising Renoir and especially Monet, evoking with particular tenderness the "humble and colossal" Pissarro. When he was invited by a group of Aix artists to exhibit with them in 1902 and again in 1906, Cézanne—now over sixty and acclaimed by the new generation as their undisputed leader—piously affixed to his name: pupil of Pissarro. Pissarro never learned of this tribute, just as he never learned that Gauguin, in spite of his sarcasm and longing for independence, had remained conscious of his debt of gratitude."

"It's still misery for - may I say it? - us other impressionists. I tried the overdoors again at Mme. Boivin's, but she says it is her husband and he says it is she who does not want them [buying Pissarro's paintings], even after having read your letter, he did not want me to hang a painting very high so that he might judge the effect. Thus I can do only one thing, which is to send you the enclosed 500 francs in advance on the business that we will do.. .When Miss Rogers comes, I shall show her all my paintings [of Pissarro]. . ..he must buy a painting of yours and not the least expensive. She ought to be able to afford a fine painting at the customary price and she must not let us down. Best regards from me and my wife, also to Mme. Pissarro. When you have something new, let me know."

"Try telling M. Pissarro that trees are not purple, or the sky the colour of butter; that the things he paints cannot actually be seen anywhere in nature.. ..try to explain to M. Renoir that a woman's torso is not a rotten mass of flesh, with violet-toned green spots all over it, indicating a corps in the final stage of decay."

"This [painting, Jalais Hill, Pontoise] is the modern countryside. One feels that man has passed by, turning and cutting the earth.. .And this little valley, this hill have a heroic simplicity and forthrightness. Nothing would be more banal were it not so grand. From ordinary reality the painter's temperament has drawn a rare poem of life and strength."

"[Pissarro is] one of the three of four great painters of the time. He possesses solidity and breadth of touch, he paints handsomely, following tradition, like the masters."

"In principle, should the laborers have the produce of their labor? I do not hesitate to say: No! although I know that a multitude of workers will cry out. Look, proletarians, cry out, shout as much as you like, but then listen to me: No, it is not the product of their labors to which the workers have a right. It is the satisfaction of their needs, whatever the nature of those needs. To have the possession of the product of our labor is not to have possession of that which is proper to us, it is to have property in a product made by our hands, and which could be proper to others and not to us. And isn’t all property theft?"

"It is in no way a digression to mention the horrors of war in connection with massacres of cattle and carnivorous banquets. People's diet corresponds closely to their morality. Blood calls for blood. In this connection, if one considers the various people he has known, there will be no doubt that in general, the agreeable manners, kindness of disposition, and equanimity of the vegetarians contrasts markedly with the qualities of the inveterate meat-eaters and avid drinkers of blood."

"I have no reason to suppose that Lenin gained his ideas from my books; but if that were true, I should be not a little proud of having contribute to the intellectual development of a man who seems to me to be at once the greatest theoretician of socialism since Marx and a statesman whose genius recalls that of Peter the Great."

"Lenin may be proud of what his comrades are doing; the Russian workers are acquiring immortal glory in attempting the realization of what hitherto had been only an abstract idea….."

"Mussolini is a man no less extraordinary than Lenin. He, too, is a political genius, of a greater reach than all the statesmen of the day, with the only exception of Lenin…"

"Mussolini is not an ordinary socialist. You will perhaps see him one day as a leader of a consecrated battalion, saluting the flags of Italy with his sword. He is an Italian of the fifteenth century, a condottiere. He is the only man with the strength to correct the weakness of the government."

"Engels feared that the Socialists, in order to gain adherents in the electoral struggles rapidly, would make promises which were contrary to Marxist doctrine. The antisemites told the peasants and the small shopkeepers that they would protect them from the development of capitalism. Engels thought that an imitation of this procedure would be dangerous, since, in his opinion, the could only be realised when capitalism had almost completely destroyed the small proprietors and small industries; if the Socialists, then, endeavoured to hinder this evolution, they would ultimately compromise their own cause."

"All the future of socialism resides in the autonomous development of workers’ ."

"[Myths] are not descriptions of things, but expressions of a determination to act… A myth cannot be refuted since it is, at bottom, identical with the convictions of a group, being the expression of these convictions in the language of movement."

"Revolutionary keeps alive the desire to strike in the masses and only prospers when important strikes, accompanied by violence, take place."

"And so I am not concerned to justify the perpetrators of violence but to enquire into the function of the violence of the working classes in contemporary socialism."

"Everyone explains that discussions about Socialism are exceedingly obscure; this obscurity is due, to a large extent, to the fact that contemporary socialists use a terminology which no longer corresponds to their ideas."

"It is very difficult to understand proletarian violence as long as we try to think in terms of the ideas disseminated by bourgeois philosophy; according to this philosophy, violence is a relic of barbarism which is bound to disappear under the progress of enlightenment."

"Thus proletarian violence has become an essential factor in Marxism. Let us add once more that, if properly conducted, it will have the result of suppressing parliamentary socialism, which will no longer be able to pose as the leader of the working classes and as the guardian of order."

"Proletarian violence, carried on as a pure and simple manifestation of the sentiment of class struggle, appears thus as a very fine and heroic thing; it is at the service of the immemorial interests of civilization; it is not perhaps the most appropriate method of obtaining immediate material advantages, but it may save the world from barbarism."

"We have the right to conclude from this that syndicalist violence, perpetrated in the course of strikes by proletarians who desire the overthrow of the State, must not be confused with the acts of savagery which the superstition of the State suggested to the revolutionaries of 1793 when they had power in their hands and were able to oppress the conquered – following the principles which they had received from the Church and from the monarchy."

"We must not always attach too much importance to violent attacks on the bourgeoisie; they may be motivated by the desire to reform and to perfect capitalism."

"As the State formerly played a most important part in the revolutions that abolished the old economic systems, so it must again be the State that should abolish capitalism."

"Existing social conditions favour the production of an infinite number of acts of violence and there has been no hesitation in urging the workers not to refrain from brutality when this might do them service."

"It seems that it was the Jews who had entered the who are primarily responsible for the terroristic measures blamed upon the bolsheviks. This hypothesis appears to me to be all the more reasonable given that the intervention of the Jews in the has not been a happy one."

"Sorel the Dreyfusard eventually developed into a bitter anti-semite, calling upon Europe to defend itself against the Jewish peril in the same way as America fought the Yellow peril; he blamed the Chekist terror on the Jewish members of the Bolshevik party."

"In ignoring the important fundamental contribution of the followers of Marx, and by insisting exclusively on the phenomenon of superficial adaptation and variation, Sorel passed in silence over all that was healthy, live and fruitful in the Marxist doctrine."

"I owe most to Georges Sorel. This master of syndicalism by his rough theories of revolutionary tactics has contributed most to form the discipline, energy and power of the fascist cohorts."

"The nascent Fascist ideology derived its initial basic content from the syndicalist-nationalist synthesis. This synthesis would not have been possible without the original contribution of Sorel, Sorel who had preached hatred for the heritage of the eighteenth century, for Voltaire and Rousseau, for the French Revolution, for rationalism and optimism, for liberal democracy and bourgeois society;…"

"Sorel supported this opinion and threw himself into a long and violent anti-Semitic campaign. He signed a long article in praise of Urbain Gohier, the most celebrated living anti-Semite, whom he encouraged to continue ‘maintaining that the French must defend their state, their customs, and their ideas against the Jewish invaders who want to dominate everything.’"

"Sorel declared that Marx’s theory was ‘the greatest innovation in philosophy for centuries; it was the starting point of a fruitful transformation in our form of speculation. All our ideas must concentrate round the new principles of scientific socialism.’"

"For this reason Socialists of higher quality and conservative ways of thinking, like Lassalle, supporter of monarchy, and Georges Sorel, who looked upon the defense of fatherland, family, and property as the noblest task of the proletariat are difficult to reconcile with Marx and are therefore never quoted according to their true intent."

"The great art of the legislator consists, not in proposing many laws, but in rendering their execution easy; not in reigning over men by terror, but in rendering himself master through wisdom and the mildness of government; not in establishing inquisitorial commissions in order to find the greatest number of guilty, but in principally striking the chief conspirators and being indulgent towards weak and repentant citizens who have gone astray. If a people is in a state of revolution or not, its principles are those of eternal reason, of eternal justice. As Robespierre observed: Tyranny cannot save the state and freedom. When laws are made retroactive, when we multiply without any need violent measures, we announce ourselves to be ignorant or cruel. Fear only engenders slaves; humanity alone makes the conquest of liberty, and only crime should be punished on earth."

"Ah! This movement of force and energy, this love of happiness, this plan of courage amid the insane who surround us attests to the strength of reason, which has imperceptibly advanced across the centuries. So many sublime outbursts of patriotism on the part of the French prove that servitude is an outrage to the dignity of human nature, and that there is no nation on earth that can return them to their former slavery."

"If corrupted representatives, faithless administrators, prevaricating agents hadn’t been able to form from one pole to the other a chain of conspirators to fool the people, lull them at the edge of the abyss and complete their ruin; if infamous deserters from the public thing, rebellious children, hadn’t been able to pierce the breast of the motherland and halt liberty in its triumphant march; if the scoundrel faction that dominated the three legislatures hadn’t called down on France the plagues of war and famine; if they hadn’t delivered our forts and our patriotic phalanxes to the steel of executioners, the laws of humanity would be recognized everywhere, liberty would have conquered the world, and there wouldn’t exist a single throne on earth."

"When France fought under kings and for kings it was intrepid and great; today when it fights for the people, for freedom, for the triumph of laws of its making; today, when it only takes out its sword at the call of justice, it must only sheath it at the song of victory, let us carry the pride of Spartans and the courage of Brutus as a tribute to the fatherland. Let our weapons be, not the honor that allied itself to crime, as among the nobles, but the love of equality and the hatred of tyrants. He who dies for the liberty of his country, lives eternally in glory. There is no destiny as glorious as that of crushing despotism, that of smashing, pulverizing, and annihilating those illustrious brigands, those decorated cowards who want to master us with so much pride and cruelty."

"Freedom is nothing but a vain phantom when one class of men can starve another with impunity. Equality is nothing but a vain phantom when the rich, through monopoly, exercise the right of life or death over their like. The republic is nothing but a vain phantom when the counter-revolution can operate every day through the price of commodities, which three quarters of all citizens cannot afford without shedding tears."

"For the last four years the rich alone have profited from the advantages of the Revolution. The merchant aristocracy, more terrible than that of the noble and sacerdotal aristocracy, has made a cruel game of invading individual fortunes and the treasury of the republic; we still don’t know what will be the term of their exactions, for the price of merchandise rises in a frightful manner, from morning to evening. Citizen Representatives, it is time that the combat unto death that the egoist carries out against the hardest working class of society come to an end. Pronounce against speculators and monopolists: either they’ll obey your decrees or they won’t. In the first hypothesis you will have saved the fatherland; in the second case you will still have saved the fatherland, for we will have been able to identify and strike the bloodsuckers of the people."

"The freedom of commerce is the right to use and to make use of, and not the right to tyrannize and prevent use. Those goods necessary to all should be delivered at a price accessible to all. Pronounce then...the sans-culottes with their pikes will execute your decrees ..."

"Up to the present moment the big merchants who are, by principle criminals and by habit accomplices of kings, have abused the freedom of commerce to oppress the people; they have falsely interpreted that article of the Declaration of the Rights of Man that establishes that it is permitted to do all that is not forbidden by the law. Well then, decree constitutionally that speculation, the sale of minted money, and monopolies are harmful to society. The people, who know their true friends, the people who have suffered for such a long time, will see that you are sorrowed by their lot and that you seriously want to cure their ills. When it will have a clear and precise law in the constitutional act against speculation and monopolies it will see that the cause of the poor is closer to your hearts than that of the rich; it will see that there don’t sit among you bankers, arms merchants and monopolists; finally, it will see that you don’t want the counter-revolution."

"Deputies of the Mountain: No! No! You will not leave your work in a state of imperfection. You will found the bases for public prosperity; you will not consecrate the general and repressive principles of speculation and monopoly; you will not give to your successors the terrible example of the barbarism of powerful men over the weak, of the rich over the poor. You will not end your career in infamy."

"A spectre is haunting Europe - the spectre of student revolt. All the powers of old Europe have entered into a holy alliance to exorcize this spectre : Pope and Central Committee, Kissinger and de Gaulle, French Communists and German police-spies."

"On reading Trotsky's History of the Russian Revolution we are struck by a fundamental contradiction: as an honest historian he shows us just how much the Party lagged behind the masses, and as a Bolshevik theorist he must reaffirm that the Party was necessary for the succession of the revolution."

"What is the future? We cannot produce a blueprint, the future alone can evolve that. What we must agree on, rather are the general principles of the society we want to create. The politicians tell us we live in age of technological miracles. But it is up to us to apply them to a new society, to use the new media so as to gain greater mastery over the environment. While people today simply watch televisions a surrogate for the lives they have ceased to live; in the new society they will use it as a means of widening their experience, of mastering the environment and of keeping in touch the real lives of other people. If television programmes they induce the maximum hypnosis in the greatest numbers, they would enable us to extend the real democracy to the entire population."

"L'idée sera jetée, non sur le papier, non sur un journal, non sur un tableau, elle ne sera pas sculptée en marbre, ni taillée en pierre, ni coulée en bronze: elle marchera, en chair et en os, vivante, devant le peuple. Le people le saluera au passage."

"I shall have at least the satisfaction of having wounded the existing society, that cursed society in which one may see a single man spending, uselessly, enough to feed thousands of families; an infamous society which permits a few individuals to monopolize all the social wealth, while there are hundreds of thousands of unfortunates who have not even the bread that is not refused to dogs, and while entire families are committing suicide for want of the necessities of life."

"Woe be to those who remain deaf to the cries of the starving, woe to those who, believing themselves of superior essence, assume the right to exploit those beneath them! There comes a time when the people no longer reason; they rise like a hurricane, and pass away like a torrent. Then we see bleeding heads impaled on pikes."

"Figure up the dead and wounded on Tonquin, Madagascar, Dahomey, adding thereto the thousands, yes, millions of unfortunates who die in the factories, the mines, and wherever the grinding power of capital is felt. Add also those who die of hunger, and all this with the assent of our Deputies. Beside all this, of how little weight are the reproaches now brought against me!"

"Are we not acting on the defensive when we respond to the blows which we receive from above?"

"I know very well that I shall be told that I ought to have confined myself to speech for the vindication of the people's claims. But what can you expect! It takes a loud voice to make the deaf hear. Too long have they answered our voices by imprisonment, the rope, rifle volleys. Make no mistake; the explosion of my bomb is not only the cry of the rebel Vaillant, but the cry of an entire class which vindicates its rights, and which will soon add acts to words."

"Be sure of it, in vain will they pass laws. The ideas of the thinkers will not halt."

"These ideas, welcomed by the unfortunate, will flower in acts of revolt as they have done in me, until the day when the disappearance of authority shall permit all men to organize freely according to their choice, when we shall each be able to enjoy the product of his labor, and when those moral maladies called prejudices shall vanish, permitting human beings to live in harmony, having no other desire than to study the sciences and love their fellows."

"A society in which one sees such social inequalities as we see all about us, in which we see every day suicides caused by poverty, prostitution flaring at every street corner,—a society whose principal monuments are barracks and prisons,—such a society must be transformed as soon as possible, on pain of being eliminated, and that speedily, from the human race. Hail to him who labors, by no matter what means, for this transformation!"

"I am told that I am an accomplice of the Commune. Certainly, yes, since the Commune wanted more than anything else the social revolution, and since the social revolution is the dearest of my desires. More than that, I have the honour of being one of the instigators of the Commune, which by the way had nothing–nothing, as is well known–to do with murders and arson. I who was present at all the sittings at the Town Hall, I declare that there was never any question of murder or arson...Do you want to know who are really guilty? It is the politicians. And perhaps later light will be brought on to all these events which today it is found quite natural to blame on all partisans of the social revolution…Since it seems that any heart which beats for freedom has the right only to a lump of lead, I too claim my share."

"how I loved her. How grateful I am to her for the freedom she allowed me to act as my conscience dictated, and how much I would have liked to spare her the bad days she so often had."

"He had brought a volume of Baudelaire which we read a few pages of when we had the time."

"One of the future revenges for the murder of Paris will be that of revealing the customary infamous betrayals of military reaction."

"We are Anarchists because it is absolutely impossible to obtain justice for all in any other way than by destroying institutions founded on force and privilege. We cannot believe that improvement is possible, if we still keep up the same institutions, now more rotten than in the past, or if we merely replace those whose iniquities are known by new men."

"In what would you that we should help those who govern—their work being only exploitation and wholesale murder—it has never been otherwise: the reason for the existence of a state is nothing but the accomplishment of some crime or other in order to assure the domination of a privileged class."

"The land which belongs to all can no more be divided than the light which also belongs to all."

"The ideal alone is the truth — it is the measure of our horizon. Time was when the ideal was to live without eating an other up. Is it not so still under another form which exists in the so-called civilized countries where the exploiter eats up the exploited? Do not the people in nocks fertilize the soil by their sweat and blood?"

"That is what we want to destroy — this annihilation — this eating of man by an other man."

"is it not time that our limited tongues should fall into the ocean of speech and of human thought? What will be the language of mankind delivered to the new Aurora — Anarchy!"

"Along with her more famous sisters, the radical women born in the decade of the Paris Commune, Madeleine Pelletier belonged to the first generation of women for whom higher education was available and participation in mass political parties open. They shared not only the heritage of the Russian nihilists-Chernyshevsky's fictional Vera, Breshkovskaia, Perovskaia-they also grew up with stories of the Paris Commune and Louise Michel, whose funeral Pelletier and Alexandra Kollontai attended."

"The most interesting women in modern European history appear in the ranks of radical political movements. It is difficult to find conservative or traditional counterparts equal to Louise Michel, Emma Goldman, and Rosa Luxemburg. Even Isadora Duncan, creator of modern dance, flirted with communism. More thoughtful and articulate and certainly as politically active as any of these women is the lesser known Spanish anarchist, Federica Montseny. On asking what attracted these women to radical politics, one discovers in each a commitment to feminism. No person, not even Emma Goldman, explored this necessary relationship between feminist and socialist principles more provocatively than did Federica Montseny."

"The world carnage put an end to the golden era when a Bakunin and a Herzen, a Marx and a Kropotkin, a Malatesta and a Lenin, Vera Sazulich, Louise Michel, and all the others could come and go without hindrance. In those days who cared about passports or visas? Who worried about one particular spot on earth? The whole world was one's country."

"For the anarchists in the United States Voltairine de Cleyre became the American version of Louise Michel, the French anarchist teacher who had engaged in terrorist activity during the Paris Commune, had endured several prison sentences, and was the recognized saint of international anarchism. Louise Michel had lived in deep privation, gave all her possessions to fellow revolutionaries, and spent a life of devoted self-sacrifice in the cause of anarchism. Her one self-indulgence was a passionate devotion to her mother. Anarchists emphasized the similarities between Michel and de Cleyre. Both were teachers; both nearly had been assassinated by former followers and had refused to prosecute their attackers; both tended toward extreme generosity toward the movement"

"How many are there of the countless millions who have entered this life, passed through its changing scenes and at last have laid down to rest, of whom it can be truly said, “Here rest they who have labored for the uplifting of the oppressed, who have devoted their energies unstintingly in the interest of the ‘common people?’” We fear there are few indeed. A life devoted to the interest of the working class; a life of self-abnegation, a life full of love, kindness, gentleness, tragedy, activity, sadness and kind-ness, are some of the characteristics which went to make up the varied life of our comrade, Louise Michel. In the elderly woman, clad in simple black garments, with gray hair curling upon rounded shoulders and kindest of blue eyes glancing from the strongly marked face, none but those who knew her personally would in the last few years have recognized Louise Michel…So it is in the baffling ocean of humanity. A strong character like Louise Michel looms up like a pillar of light or a star of hope, and the weary reformer sees it and takes fresh courage to struggle on in the surging ocean of humanity, and endeavors to calm its troubled waves and point the way to the harbor of plenty."

"La mujer," one of the articles that Luisa Capetillo published in 1912 in Cultura obrera, was later included in the anthology, Voces de liberación (Voices of Liberation), published in 1921 by Lux Editorial from Argentina. Printed for the purpose of gathering the libertarian voices of the most progressive women in the world, the book contains short essays by Rosa Luxembourg, Clara Zetkin, Emma Goldman, Louise Michel, and various Latin American women including Margarita Ortega, a Mexican revolutionary, María López from Buenos Aires, and Rosalina Gutiérrez from Montevideo. The editorial note introducing the authors states, "These voices of liberation are a call to women by their own compañeras to think more and act together with men in the struggle for human emancipation."