Take a good long look at human beings in their actual practices and motives; bring the utmost psychological and bio-economic factors to bear on making sense of their illusions and delusions. What then would the truth have to be, such that such human beings are FIT TO KNOW IT at all, even provisionally or tentatively?

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.

A vital part of philosophizing is learning to trust one's own intuitivist intelligence, getting one's center of gravity back between one's feet. In our culture-so outer-directed, "objective" or extraverted-this is already heresy. This is self-mastering thinking, centered in what has been well-tested as certainties: autarkia or self-rule.

People who turn to philosophy expecting to harvest a crop of formulas of wisdom or understanding do not understand-philosophy has such things, but they are merely incidental, not the essence of the matter. Philosophy is about subtilizing and tuning up the coherence and acuity of one's seeing, it is about opening new dimensions for insight, learning to think about what one is doing when one thinks instead of just blundering through the processes of putting thoughts together.

Most humans know their own "reason" only in the sense that Hume defined it, as "a slave to the passions"-and by "passions" he meant not moral passions or the passions of transcendent genius, but only low appetites or base desires, which society and economy ultimately shape and spur on in us.

This same formula by which Buddhists so anti-rationalistically and anti-banausically describe the "relation" between soul and body also applies to the relation between lover and lover, parent and child, member and community.

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.