Aleksandr Solzhenitsyn

The divergent scales of values scream in discordance, they dazzle and daze us, and in order that it might not be painful we steer clear of all other values, as though from insanity, as though from illusion, and we confidently judge the whole world according to our own home values. Which is why we take for the greater, more painful and less bearable disaster not that which is in fact greater, more painful and less bearable, but that which lies closest to us. Everything which is further away, which does not threaten this very day to invade our threshold — with all its groans, its stifled cries, its destroyed lives, even if it involves millions of victims — this we consider on the whole to be perfectly bearable and of tolerable proportions.

Blow the dust off the clock. Your watches are behind the times. Throw open the heavy curtains which are so dear to you — you do not even suspect that the day has already dawned outside.

One artist sees himself as the creator of an independent spiritual world; he hoists onto his shoulders the task of creating this world, of peopling it and of bearing the all-embracing responsibility for it; but he crumples beneath it, for a mortal genius is not capable of bearing such a burden. Just as man in general, having declared himself the centre of existence, has not succeeded in creating a balanced spiritual system. And if misfortune overtakes him, he casts the blame upon the age-long disharmony of the world, upon the complexity of today's ruptured soul, or upon the stupidity of the public.
Another artist, recognizing a higher power above, gladly works as a humble apprentice beneath God's heaven; then, however, his responsbility for everything that is written or drawn, for the souls which perceive his work, is more exacting than ever. But, in return, it is not he who has created this world, not he who directs it, there is no doubt as to its foundations; the artist has merely to be more keenly aware than others of the harmony of the world, of the beauty and ugliness of the human contribution to it, and to communicate this acutely to his fellow-men. And in misfortune, and even at the depths of existence — in destitution, in prison, in sickness — his sense of stable harmony never deserts him.
But all the irrationality of art, its dazzling turns, its unpredictable discoveries, its shattering influence on human beings — they are too full of magic to be exhausted by this artist's vision of the world, by his artistic conception or by the work of his unworthy fingers.

A decline in courage may be the most striking feature that an outside observer notices in the West today. The Western world has lost its civic courage, both as a whole and separately, in each country, in each government, in each political party, and, of course, in the United Nations. Such a decline in courage is particularly noticeable among the ruling and intellectual elites, causing an impression of a loss of courage by the entire society. There are many courageous individuals, but they have no determining influence on public life.
Political and intellectual functionaries exhibit this depression, passivity, and perplexity in their actions and in their statements, and even more so in their self-serving rationales as to how realistic, reasonable, and intellectually and even morally justified it is to base state policies on weakness and cowardice. And the decline in courage, at times attaining what could be termed a lack of manhood, is ironically emphasized by occasional outbursts and inflexibility on the part of those same functionaries when dealing with weak governments and with countries that lack support, or with doomed currents which clearly cannot offer resistance. But they get tongue-tied and paralyzed when they deal with powerful governments and threatening forces, with aggressors and international terrorists.
Should one point out that from ancient times decline in courage has been considered the beginning of the end?

Harvard's motto is "Veritas." Many of you have already found out and others will find out in the course of their lives that truth eludes us if we do not concentrate with total attention on its pursuit. And even while it eludes us, the illusion still lingers of knowing it and leads to many misunderstandings. Also, truth is seldom pleasant; it is almost invariably bitter. There is some bitterness in my speech today, too. But I want to stress that it comes not from an adversary but from a friend.

I believe that world literature has it in its power to help mankind, in these its troubled hours, to see itself as it really is, notwithstanding the indoctrinations of prejudiced people and parties. World literature has it in its power to convey condensed experience from one land to another so that we might cease to be split and dazzled, that the different scales of values might be made to agree, and one nation learn correctly and concisely the true history of another with such strength of recognition and painful awareness as it had itself experienced the same, and thus might it be spared from repeating the same cruel mistakes.

In recent times it has been fashionable to talk of the levelling of nations, of the disappearance of different races in the melting-pot of contemporary civilization. I do not agree with this opinion, but its discussion remains another question. Here it is merely fitting to say that the disappearance of nations would have impoverished us no less than if all men had become alike, with one personality and one face. Nations are the wealth of mankind, its collective personalities; the very least of them wears its own special colours and bears within itself a special facet of divine intention.

Macbeth’s self-justifications were feeble – and his conscience devoured him. Yes, even Iago was a little lamb too. The imagination and the spiritual strength of Shakespeare’s evildoers stopped short at a dozen corpses. Because they had no ideology.

Call no day happy 'til it is done; call no man happy til he is dead.

I have spent all my life under a Communist regime, and I will tell you that a society without any objective legal scale is a terrible one indeed. But a society with no other scale but the legal one is not quite worthy of man either.

Let us not violate the RIGHT of the artist to express exclusively his own experiences and introspections, disregarding everything that happens in the world beyond. Let us not DEMAND of the artist, but — reproach, beg, urge and entice him — that we may be allowed to do. After all, only in part does he himself develop his talent; the greater part of it is blown into him at birth as a finished product, and the gift of talent imposes responsibility on his free will. Let us assume that the artist does not OWE anybody anything: nevertheless, it is painful to see how, by retiring into his self-made worlds or the spaces of his subjective whims, he CAN surrender the real world into the hands of men who are mercenary, if not worthless, if not insane.

I am of course confident that I will fulfil my tasks as a writer in all circumstances — from my grave even more successfully and more irrefutably than in my lifetime. No one can bar the road to truth, and to advance its cause I am prepared to accept even death. But may it be that repeated lessons will finally teach us not to stop the writer’s pen during his lifetime? At no time has this ennobled our history.