Not the least of the problems in clarifying one's consciousness is developing the stoic determination to criticize one's own softness or sentimentality toward oneself. Ego, self-solicitous about its own tenderness, is the ultimate policeman over its own false consciousness, dementedly uprooting every healthy seedling of insight into the truth. As Kierkegaard remarked, most people are subjective toward themselves and objective toward all others, but the real trick and task of life is to learn to be just the very opposite.

What may be the significance of so many forms of "spirituality" on this planet that are antagonistic to "life" - and Christianity at the head of that list, with its "calumny" against life, its faith that just because nothing in life is eternal therefore life itself contains no value, nothing that makes it worth living, investing our souls in, committing our consciences to?

There is a form of poetic and esthetic and moral genius necessary to make philosophical issues truly incandesce for students, and even though I indeed had some world-class professors myself when I went through the curriculum, I rarely saw such gnosic or concretist/poetic passion among them. I am not speaking of broad histrionics or melodramatic delivery, but rather a moral investment of concern, of loving delight and pathos in exposing one's consciousness to the full horrific and magnificent implications of the materials.

The Zen masters have the right idea-no pain no gain: thwack a silly nebbish and he'll remember it far longer and more indelibly than any words you muster at him. Not absolutely everything can or should have to be explained, and particularly not to everybody. But a concussion is a value-judgment anyone gets the point of.

Values and verdicts never bother me half as much as people trying to weasel their way around them, or people compromising their reason to pander to their own prejudices and preconceptions, which they are so rarely competent to look in the face.

The only measures that count are progress over your own self, and triumph over the vacant abstractions that most people mistake for thinking.

Misfortune occurs or can occur to anyone, of any sort of character. The eudaimonic has more resources to avoid it (being in autonomous control of his appetites and assumptions) and more resources to deal with it if it occurs (being better able to put it in perspective and maintain his own evenness of self-mastery). Tragedy as a dramatic form is meant to foster the ethos of sophrosyne or moderation, "nothing to excess"; it nurtures a sense of distance from the dominant illusions and delusions that may infect even aristoi.