Sorrow, terror, anguish, despair itself are often the chosen expressions of an approximation to the highest good. Our sympathy in tragic fiction depends on this principle; tragedy delights by affording a shadow of the pleasure which exists in pain. This is the source also of the melancholy which is inseparable from the sweetest melody. The pleasure that is in sorrow is sweeter than the pleasure of pleasure itself.
There Is No God. This negation must be understood solely to affect a creative Deity. The hypothesis of a pervading Spirit co-eternal with the universe remains unshaken.
Chastity is a monkish and evangelical superstition, a greater foe to natural temperance even than unintellectual sensuality; it strikes at the root of all domestic happiness, and consigns more than half of the human race to misery.
A man, to be greatly good, must imagine intensely and comprehensively; he must put himself in the place of another and of many others; the pains and pleasures of his species must become his own.
Let me set my mournful ditty To a merry measure; Thou wilt never come for pity, Thou wilt come for pleasure; Pity then will cut away Those cruel wings, and thou wilt stay.
Whatever may be his true and final destination, there is a spirit within him at enmity with nothingness and dissolution. This is the character of all life and being.
Music, when soft voices die, Vibrates in the memory; Odours, when sweet violets sicken, Live within the sense they quicken. Rose leaves, when the rose is dead, Are heap'd for the belovèd's bed; And so thy thoughts, when thou art gone, Love itself shall slumber on.
When you can discover where the fresh colors of the faded flower abide, or the music of the broken lyre, seek life among the dead. Such are the anxious and fearful contemplations of the common observer, though the popular religion often prevents him from confessing them even to himself.