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The first part of "The Double Axe" was written during the war and finished a year before the war ended, and it bears the scars; but the poem is not primarily concerned with that grim folly. Its burden, as of some previous work of mine, is to present a philosophical attitude, which might be called Inhumanism, a shifting of emphasis and significance from man to not-man; the rejection of human solipsism and recognition of the transhuman magnificence. It seems time that our race began to think as an adult does, rather than like an egocentric baby or insane person. This manner of thought and feeling is neither misanthropic nor pessimist, though two or three people have said so and may again. It involves no falsehoods, and is a means of maintaining sanity in slippery times; it has objective truth and human value. It offers a reasonable detachment as rule of conduct, instead of love, hate and envy. It neutralizes fanaticism and wild hopes; but it provides magnificence for the religious instinct, and satisfies our need to admire greatness and rejoice in beauty.
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Preface to The Double Axe and Other Poems (1948)

 

Robinson Jeffers

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I admire the proud and cold who go adventuring on the paths of great and demoniac beauty, and scorn "man" — but I do not envy them. For if anything is capable of making a poet out of a man of letters, it is this plebeian love of mine for the human, living, and commonplace. All warmth, all goodness, all humor is born of it, and it almost seems to me as if it were that love itself, of which it is written that a man might speak with the tongues of men and of angels, and yet without it be no more than sounding brass or a tinkling cymbal.

 

Thomas Mann

 

"Is changingness indeed a stronger power than changelessness, and who is the stronger, the one who says, “If you will not love me, then I will hate you,” or the one who says, “If you hate me, I will still continue to love you”?" "The one who loves presupposes that love is in the other person’s heart and by this very presupposition builds up love in him – from the ground up, provided, of course, that in love he presupposes its presence in the ground." "There is nothing, no ‘thus and so,’ that can unconditionally be said to demonstrate unconditionally the presence of love or to demonstrate unconditionally its absence..." "Thus even giving to charity, visiting the widow, and clothing the naked do not truly demonstrate or make known a person’s love, inasmuch as one can do works of love in an unloving way, yes, even in a self-loving way." "The self-deceived person may even think he is able to console others who became victims of perfidious deception, but what insanity when someone who himself has lost the eternal wants to heal the person who is extremely sick unto death!" "Just as the quiet lake originates deep down in hidden springs no eye has seen, so also does a person’s love originate even more deeply in God’s love." ... So a human being’s love originates mysteriously in God’s love." Every human being by his life, by his conduct, by his behavior in everyday affairs, by his association with his peers, by his words, his remarks, should and could build up and would do it if love were really present in him." "Only the unloving person fancies that he should build up by controlling the other; the one who loves presupposes continually that love is present and in just that way he builds up." "The one who loves builds up by controlling himself." "It is God, the Creator, who must implant love in each human being, he who himself is Love. Thus it is specifically unloving and not at all upbuilding if someone arrogantly deludes himself into believing that he wants and is able to create love in another person." "Truly, love is to be known by its fruit, but still it does not follow from this that you are to take it upon yourself to be the expert knower. " "If it is usually difficult to begin without presuppositions, it is truly most difficult of all to begin to build up with the presupposition that love is present and to end with the same presupposition." Works of Love Hong 1995 Princeton University Press p. 34, 216-217, 13-14, 7-10, 213-217, 15, 218

 

Soren Aabye Kierkegaard

 

A year ago, to a startled public, was revealed the most extraordinary prodigy of them all — Nathalia Crane, 11-year-old poet, "The Baby Browning of Brooklyn," whose first volume of verse, The Janitor's Boy, was heralded by critics to be a work of genius.
Such words as "blastoderm", "sindoc," "peris," "parasang," "sarcenet," "teazel," "nullah," "cantatrice," "barracan," "sistrum," writhed and hissed in her verses. One poem began with the nebular hypothesis and ended with prohibition; others cantered with a Eugene Fieldian humor; still others coldly glowed with the passion-weary detachment of a woman who has had her fill of life and its motley follies. Critic-Poet Louis Untermeyer chortled with elation. Poet William Rose Benét wrote a preface. The English Society of Authors and Playwrights (of which Thomas Hardy is President) asked Nathalia Crane to join them.

 

Nathalia Crane

 

From a Buddhist point of view, this is standing the truth on its head by considering goods as more important than people and consumption as more important than creative activity. It means shifting the emphasis from the worker to the product of work, that is, from the human to the sub-human, surrender to the forces of evil.

 

E. F. Schumacher

 

If you are talking to me about your new car, you are the first person, I am the second person, and the car is the third person.
These pronouns actually represent three perspectives that human beings can take when they talk about the world or attempt to know the world... The fascinating part is that these three perspectives might actually give rise to art, morals, and science. Or the Beautiful, the Good, and the True: the Beauty that is in the eye (or the "I") of the beholder; the Good or moral actions that can exist between you and me as a "we"; and the objective Truth about third-person objects (or "its") that you and I might discover: hence, art ("I"), morals ("we"), and science ("it").

 

Ken Wilber