I don't think life offers any greater experience than the joyful sense of recognition when one finds in a new acquaintance a real friend, or when an old relationship deepens into friendship, or when one finds an old friendship intact despite the passage of years and many absences.
First birth is from your parents, but real birth, real life, begins when one accepts a bona fide spiritual master and renders service unto him. Then the path is open for going back to home, back to Godhead, to live eternally in full knowledge and full bliss and in association with the Supreme Personality of Godhead Himself, Lord Krishna.
Brahman is beyond mind and speech, beyond concentration and meditation, beyond the knower, the known and knowledge, beyond even the conception of the real and unreal. In short, It is beyond all relativity.
Man stands in materialism; you and I are materialists. Our talking about God and Spirit is good; but it is simply the vogue in our society to talk thus: we have learnt it parrot-like and repeat it. So we have to take ourselves where we are as materialists, and must take the help of matter and go on slowly until we become real spiritualists, and feel ourselves spirits, understand the spirit, and find that this world which we call the infinite is but a gross external form of that world which is behind.
America is neither free nor brave, but a land of tight, iron-clanking little wills, everybody trying to put it over everybody else, and a land of men absolutely devoid of the real courage of trust, trust in life's sacred spontaneity. They can't trust life until they can control it.
Medievalism, with its saints and martyrs, its love of self-torture, its wild passion for wounding itself, its gashing with knives, and its whipping with rods - Medievalism is real Christianity, and the medieval Christ is the real Christ.
Actors are so fortunate. They can choose whether they will appear in tragedy or in comedy, whether they will suffer or make merry, laugh or shed tears. But in real life it is different. Most men and women are forced to perform parts for which they have no qualifications. Our Guildensterns play Hamlet for us, and our Hamlets have to jest like Prince Hal. The world is a stage, but the play is badly cast.
The existence of the writer is an argument against the existence of the soul, for the soul has obviously taken flight from the real ego, but not improved itself, only become a writer.
The real people who hold our civilization together are the maintenance people. If it weren't for them - pumping water out of subways, painting bridges to keep from rusting, fixing a steam pipe that is 70 years old - we'd be sunk. If we got rid of all the politicians and the policymakers in the world, the world would keep going. If you get rid of maintenance people, the whole thing breaks down.
On the other side, the conservative party, composed of the most moderate, able, and cultivated part of the population, is timid, and merely defensive of property. It vindicates no right, it aspires to no real good, it brands no crime, it proposes no generous policy, it does not build, nor write, nor cherish the arts, nor foster religion, nor establish schools, nor encourage science, nor emancipate the slave, nor befriend the poor, or the Indian, or the immigrant.
Pictures! Pictures! Pictures! Often, before I learned, did I wonder whence came the multitudes of pictures that thronged my dreams; for they were pictures the like of which I had never seen in real wake-a-day life. They tormented my childhood, making of my dreams a procession of nightmares and a little later convincing me that I was different from my kind, a creature unnatural and accursed.
It is the poverty connected with our species which subordinates one man to another. It is not inequality which is the real misfortune, it is dependence.
We really are 15 countries, and it's remarkable that each of us thinks we represent the real America. The Midwesterner in Kansas, the black American in Durham - both are certain they are the real American.
That's because only a real artist knows the actual anatomy of the terrible or the physiology of fear - the exact sort of lines and proportions that connect up with latent instincts or hereditary memories of fright, and the proper colour contrasts and lighting effects to stir the dormant sense of strangeness.