When inward life dries up, when feeling decreases and apathy increases, when one cannot affect or even genuinely touch another person, violence flares up as a daimonic necessity for contact, a mad drive forcing touch in the most direct way possible.

Whereas moral courage is the righting of wrongs, creative courage, in contrast, is the discovering of new forms, new symbols, new patterns on which a new society can be built.

A myth is a way of making sense in a senseless world. Myths are narrative patterns that give significance to our existence.

When I fall in love, I feel more valuable and I treat myself with more care. We have all observed the hesitant adolescent, uncertain of himself, who, when he or she falls in love, suddenly walks with a certain inner assuredness and confidence, a mien which seems to say, "You are looking at somebody now." For this inner sense of worth that comes with being in love does not seem to depend essentially on whether the love is returned or not.

Our age is one of transition, in which the normal channels for utilizing the daimonic are denied; and such ages tend to be times when the daimonic is expressed in its most destructive form.

The opposite of courage in our society is not cowardice, it is conformity.

Consciousness is the awareness that emerges out of the dialectical tension between possibilities and limitations.