Party is the madness of many, for the gain of a few.

 

Party is the madness of many, for the gain of a few.
--
From Roscoe's edition of Pope, vol. v. p. 376; originally printed in Motte's Miscellanies (1727). In the edition of 1736 Pope says, "I must own that the prose part (the Thought on Various Subjects), at the end of the second volume, was wholly mine. January, 1734".

 

Alexander Pope

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I find myself just in the same situation of mind you describe as your own, heartily wishing the good, that is the quiet of my country, and hoping a total end of all the unhappy divisions of mankind by party-spirit, which at best is but the madness of many for the gain of a few.

 

Alexander Pope

 

Though I be free from all men, yet have I made myself servant unto all, that I might gain the more. And unto the Jews I became as a Jew, that I might gain the Jews; to them that are under the law, as under the law, that I might gain them that are under the law; To them that are without law, as without law, (being not without law to God, but under the law to Christ,) that I might gain them that are without law. To the weak became I as weak, that I might gain the weak: I am made all things to all men, that I might by all means save some.

 

Paul of Tarsus

 

The constitution of madness as a mental illness, at the end of the eighteenth century, affords the evidence of a broken dialogue, posits the separation as already effected, and thrusts into oblivion all those stammered, imperfect words without fixed syntax in which the exchange between madness and reason was made. The language of psychiatry, which is a monologue of reason about madness, has been established only on the basis of such a silence.

 

Michel Foucault

 

In this century the writer has carried on a conversation with madness. We might almost say of the twentieth-century writer that he aspires to madness. Some have made it, of course, and they hold special places in our regard. To a writer, madness is a final distillation of self, a final editing down. It's the drowning out of false voices.

 

Don DeLillo

 

In the Renaissance, madness was present everywhere and mingled with every experience by its images or its dangers. During the classical period, madness was shown, but on the other side of bars; if present, it was at a distance, under the eyes of a reason that no longer felt any relation to it and that would not compromise itself by too close a resemblance. Madness had become a thing to look at: no longer a monster inside oneself, but an animal with strange mechanisms, a bestiality from which man had long since been suppressed.

 

Michel Foucault