J.G. Keely

“Tegularius was a willful, moody person who refused to fit into his society. Every so often he would display the liveliness of his intellect. When highly stimulated he could be entrancing; his mordant wit sparkled and he overwhelmed everyone with the audacity and richness of his sometimes somber inspirations. But basically he was incurable, for he did not want to be cured; he cared nothing for co-ordination and a place in the scheme of things. He loved nothing but his freedom, his perpetual student status, and preferred spending his whole life as the unpredictable and obstinate loner, the gifted fool and nihilist, to following the path of subordination to the hierarchy and thus attaining peace. He cared nothing for peace, had no regard for the hierarchy, hardly minded reproof and isolation. Certainly he was a most inconvenient and indigestible component in a community whose idea was harmony and orderliness. But because of this very troublesomeness and indigestibility he was, in the midst of such a limpid and prearranged little world, a constant source of vital unrest, a reproach, an admonition and warning, a spur to new, bold, forbidden, intrepid ideas, an unruly, stubborn sheep in the herd.”
― Hermann Hesse, The Glass Bead Game

“If through no fault of his own the hero is crushed by a bulldozer in Act II, we are not impressed. Even though life is often like this—the absconding cashier on his way to Nicaragua is killed in a collision at the airport, the prominent statesman dies of a stroke in the midst of the negotiations he has spent years to bring about, the young lovers are drowned in a boating accident the day before their marriage—such events, the warp and woof of everyday life, seem irrelevant, meaningless. They are crude, undigested, unpurged bits of reality—to draw a metaphor from the late J. Edgar Hoover, they are “raw files.” But it is the function of great art to purge and give meaning to human suffering, and so we expect that if the hero is indeed crushed by a bulldozer in Act II there will be some reason for it, and not just some reason but a good one, one which makes sense in terms of the hero’s personality and action. In fact, we expect to be shown that he is in some way responsible for what happens to him.”
― Bernard Knox, The Oedipus Cycle: Oedipus Rex, Oedipus at Colonus, Antigone

“In life, the visible surface of the Sperm Whale is not the least among the many marvels he presents. Almost invariably it is all over obliquely crossed and re-crossed with numberless straight marks in thick array, something like those in the finest Italian line engravings. But these marks do not seem to be impressed upon the isinglass substance above mentioned, but seem to be seen through it, as if they were engraved upon the body itself. Nor is this all. In some instances, to the quick, observant eye, those linear marks, as in a veritable engraving, but afford the ground for far other delineations. These are hieroglyphical; that is, if you call those mysterious cyphers on the walls of pyramids hieroglyphics, then that is the proper word to use in the present connexion. By my retentive memory of the hieroglyphics upon one Sperm Whale in particular, I was much struck with a plate representing the old Indian characters chiselled on the famous hieroglyphic palisades on the banks of the Upper Mississippi. Like those mystic rocks, too, the mystic-marked whale remains undecipherable.”
― Herman Melville, Moby-Dick or, The Whale

“Of all evil I deem you capable: Therefore I want good from you. Verily, I have often laughed at the weaklings who thought themselves good because they had no claws.”
― Friedrich Nietzsche