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.

"The people" is that massive portion of a society that lives by its pathetic subjection to sheer immediacy or self-obviousness, and that therefore uncritically seizes upon the most simplistic and abstract ways of filling its vacuous self-consciousness. Not philosophy but dogma and rhetoric, not rationality but indoctrination and conditioning, provide the cultural junkfood by which the Many perfunctorily slake their thirst and hunger.

Philosophy exists in profoundest opposition to rhetoric, which is speaking for the sake of producing or controlling some effect in others' perceptions. Philosophy is about the caustic or cauterizing effect of the truth, not the currying of sensibilities.

For those who do not make the transition to a matured, more spiritual self-will reason will indeed be no more than rationalization. Here is a prodigious parallel: just as in antiquity the dysdaimonic personality could not appreciate how his mentality was bound in by his characterological (banausic, doulic) biases, so in modernity the facile or abstractivist rationalist cannot comprehend how his "rationality" merely slavishly subserves his appetites, delusions, preconceptions, ideologies, etc.

In all technai or arts (medicine perhaps most of all), there is a self-exhilaration on the part of the practitioner (the intoxication of the ego with its own potency) which is infectious: the patient enjoys a placebo-effect which redounds to the ego of the "artist."

Between what human beings so naively and stupidly fear and what they most profoundly ought to fear-i.e. what they so pathogenically and addictively do to their own selves-there is a horrendous gulf and disparity.

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.