In architecture the pride of man, his triumph over gravitation, his will to power, assume a visible form. Architecture is a sort of oratory of power by means of forms.
In every philosophical school, three thinkers succeed one another in the following way: the first produces out of himself the sapand seed, the second draws it out into threads and spins a synthetic web, and the third waits in this web for the sacrificial victims that are caught in it--and tries to live off philosophy.
Since Copernicus, man seems to have got himself on an inclined plane-now he is slipping faster and faster away from the center into-what? into nothingness? into a 'penetrating sense of his nothingness?' ... all science, natural as well as unnatural-which is what I call the self-critique of knowledge-has at present the object of dissuading man from his former respect for himself, as if this had been but a piece of bizarre conceit.
The most intelligent men, like the strongest, find their happiness where others would find only disaster: in the labyrinth, in being hard with themselves and with others, in effort; their delight is self-mastery; in them asceticism becomes second nature, a necessity, as instinct.
A person must have a good memory to keep the promises he has made. A person must have a strong imagination to be able to have pity. So closely is morality tied to the quality of the intellect.
The really royal calling of the philosopher (as expressed by Alcuin the Anglo-Saxon): To correct what is wrong, and strengthen the right, and raise what is holy.
Having become conscious of the truth he once perceived, man now sees only the awfulness or the absurdity of existence, he now understands the symbolic element in Ophelia's fate, he now recognizes the wisdom of the woodland god, Silenus: it nauseates him.