William Barrett Quotes

Modern Existentialism... is a total European creation, perhaps the last philosophic legacy of Europe to America or whatever other civilization is now on its way to supplant Europe.

What emerges from these separate strands of (modern) history is an image of man himself that bears a new, stark, more nearly naked, and more questionable aspect. The contraction of man's horizons amounts to a denudation, a stripping down, of this being who has now to confront himself at the center of all his horizons. The labor of modern culture, whenever it has been authentic, has been a labor of denudation. A return to the sources; "to the things themselves," as Husserl puts it; toward a new truthfulness, the casting away of ready-made presuppositions and empty forms - these are some of the slogans under which this phase in history has presented itself. Naturally enough, much of this stripping down must appear as the work of destruction, as revolutionary or even "negative": a being who has become thoroughly questionable to himself must also find questionable his relation to the total past which in a sense he represents.

What has to be accepted, the given, is forms of life.' (Wittgenstein) This is the fact, the given, from which all thinking must start; and thinking, which starts from this fact, is in turn itself but another form of life.

Truth and untruth weave the seamless web of human nature.

Certainly, we can no longer look upon the canon of Western art - Greco-Roman as revived, extended, and graced by the Renaissance - as -the- tradition in art, or even any longer as distinctly and uniquely -ours-. That canon is in fact only one tradition among many, and indeed in its strict adherence to representational form is rather the exception in the whole gallery of -human- art. Such an extension of the resources of the past, for the modern artist, implies a different and more comprehensive understanding of the term "human" itself: a Sumerian figure of a fertility goddess is as "human" to us as a Greek Aphrodite. When the sensibility of an age can accommodate the alien "inhuman" forms of primitive art side by side with the classic "human" figures of Greece or the Renaissance, it should be obvious that the attitude toward man that we call classical humanism - which is the intellectual expression of the spirit that informs the classical canon of Western art - has also gone by the boards.

The philosopher cannot seriously put to himself questions that his civilization has not lived.

We have come to understand the phenomena of life only as an assemblage of the lifeless. We take the mechanistic abstractions of our technical calculation to be ultimately concrete and "fundamentally real," while our most intimate experiences are labelled "mere appearance" and something having reality only within the closet of the isolated mind. Suppose however we were to invert this whole scheme, reverse the order in which it assigns abstract and concrete. What is central to our experience, then, need not be peripheral to nature. This sunset now, for example, caught within the network of bare winter branches, seems like a moment of benediction in which the whole of nature collaborates. Why should not these colours and these charging banners of light be as much a part of the universe as the atoms and molecules that make them up? If they were only "in my mind," then I and my mind would no longer be a part of nature. Why should the pulse of life toward beauty and value not be a part of things? Following this path, we do not vainly seek to assemble the living out of configurations of dead stuff, but we descend downwards from more complex to simpler grades of the organic. From humans to trees to rocks; from "higher grade" to "lower grade" organisms. In the universe of energy, any individual thing is a pattern of activity within the flux, and thereby an organism at some level.

There is no truth that does not ultimately rest upon what is evident to us in our own experience.