I start off with the obvious, that it makes no sense either to believe or to disbelieve in God until a substantial and intelligent definition or concept should be offered. Belief or disbelief is a secondary consideration, contingent on the intelligibility and cogency of the premise; the primal unintelligence or irrationality of moderns is revealed by their eagerness to leap to a conclusion without ever being curious what the hell the original premise was.

Among the multitudes will be found many who cannot discriminate between what is merely wanted and what is needed, what is necessary for bare subsistence and what is indispensable for the sake of the freedom and clarity of one's higher powers.

Always, a form of self-equilibration, a soul or psyche, is trying to assert itself, to continue the melody of its self-realized life.

"Cynicism," like "heresy" and "heterodoxy" and "atheism" and "agnosticism" and "paganism" and "heathenism," is above all else a way for organized orthodoxy's caste of official censors to encyst and segregate and thus neutralize all contrarian forms of seeing and thinking, all (necessarily implicitly) prohibited and repressed ways of exercising disruptive and iconoclastic intuition and intellection (for to analyze and explain these things too openly is to give them publicity and potential cogency when the point is to asphyxiate them).

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.

Most people traffic in abstractions and generalizations because they are grossly incompetent at culturing their intuition or powers of evidency, refining it to grasp the Thisness (Haecceitas) of what is before them. Thinking is like a Stradivarius that has more potential variations in how it is played than any human can finitely perform or capture.

The problems of human subjectivity replicate themselves at many different scales, like the overtones and undertones in a stringed instrument striking ghost-intervals up and down into infinity. This is not Hegel's ingenuity, it is his responsiveness to the organic structure in us that echoes itself throughout the whole architecture.