The most important truth which has ever been uttered, and the greatest discovery ever made in the moral world.
For a person to build a rich and rewarding life for himself, there are certain qualities and bits of knowledge that he needs to acquire. There are also things, harmful attitudes, superstitions, and emotions that he needs to chip away. A person needs to chip away everything that doesn't look like the person he or she most wants to become.
The source of numerous psychic disturbances and difficulties occasioned by man's progressive alienation from his instinctual foundation, i.e., by his uprootedness and identification with his conscious knowledge of himself, by his concern with consciousness at the expense of the unconscious. The result is that modern man can know himself only in so far as he can become conscious of himself--his consciousness therefor orients itself chiefly by observing and investigating the world around him, and it is to its peculiarities that he must adapt his psychic and technical resources. This task is so exacting, and its fulfillment so advantageous, that he forgets himself in the process, losing sight of his instinctual nature and putting his own conception of himself in place of his real being. In this way he slips imperceptibly into a purely conceptual world where the products of his conscious activity progressively replace reality. Separation from his instinctual nature inevitably plunges civilized man into the conflict between conscious and unconscious, spirit and nature, knowledge and faith, a split that becomes pathological the moment his consciousness is no longer able to neglect or suppress his instinctual side.
The stage is a concrete physical place which asks to be filled, and to be given its own concrete language to speak. I say that this concrete language, intended for the senses and independent of speech, has first to satisfy the senses, that there is a poetry of the senses as there is a poetry of language, and that this concrete physical language to which I refer is truly theatrical only to the degree that the thoughts it expresses are beyond the reach of the spoken language. These thoughts are what words cannot express and which, far more than words, would find their ideal expression in the concrete physical language of the stage. It consists of everything that occupies the stage, everything that can be manifested and expressed materially on a stage and that is addressed first of all to the senses instead of being addressed primarily to the mind as is the language of words...creating beneath language a subterranean current of impressions, correspondences, and analogies. This poetry of language, poetry in space will be resolved precisely in the domain which does not belong strictly to words...Means of expression utilizable on the stage, such as music, dance, plastic art, pantomime, mimicry, gesticulation, intonation, architecture, lighting, and scenery...The physical possibilities of the stage offers, in order to substitute, for fixed forms of art, living and intimidating forms by which the sense of old ceremonial magic can find a new reality in the theater; to the degree that they yield to what might be called the physical temptation of the stage. Each of these means has its own intrinsic poetry.
I do believe that, where there is only a choice between cowardice and violence, I would advise violence....I would rather have India resort to arms in order to defend her honour than that she should, in a cowardly manner, become or remain a helpless witness to her own dishonour.But I believe that nonviolence is infinitely superior to violence, forgiveness is more manly than punishment. Forgiveness adorns a soldier...But abstinence is forgiveness only when there is the power to punish; it is meaningless when it pretends to proceed from a helpless creature....But I do not believe India to be helpless....I do not believe myself to be a helpless creature....Strength does not come from physical capacity. It comes from an indomitable will.
The wicked watcheth the righteous, and seeketh to slay him. If it were not for the laws of the land, we should soon see a massacre of the righteous. Jesus was watched by his enemies, who were thirsting for his blood: his disciples must not look for favour where their Master found hatred and death.
All charming people have something to conceal, usually their total dependence on the appreciation of others.Enemies of Promise is Connolly's autobiography where he attempted to explain why he failed to produce the literary masterpiece which he and others believed he should have been capable of writing.