Kafka's writings often display an insidious power to describe a wholly secular and "factical" world in which the eerie or "unheimlich" elements gang up behind or beneath the ego's awareness and immerse it in a waking dream of something Other, an alien world-order similar to ancient irrationalist cultures (in transition from primitivism to civilized mythos-culture).

Human beings "belong" to some minor comity or enclave of faith at the expense of the clarity and autarkia of their intelligence and conscience, of course. "Belonging" is another way of saying: "capitulating to."

Bourgeois society, rife with an atomism or monadism of secluded egos, is profoundly uncomfortable with topics of domination just because of the rift between how it sees itself (Kantian autonomism) and how it actually exists (pathetic prole-culture).

Should a reasonable person not demand that philosophy should not be foolishly purveyed before people incompetent to see the point of it, as pearls before swine? For Nietzsche is utterly correct: philosophy is only for the healthy and whole-minded, the sick it has always only made even sicker. By means of philosophy they dig themselves even deeper into their pathetic delusions.

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.

Modern value-neutral society (Gesellschaft rather than Gemeinschaft) is systematized predation tempered not by conscience or values but rather merely by a system of law, which is no less corrupt with private interests and its own forms of predation. In modernity sophism is the order of the day, and this obliges its most adept practitioners to learn how to develop the art of appearing to be other than one actually is.

When academics claim a topic is obsolete, they mean merely they are tired of flogging it with their cliches.