Purity is the power to contemplate defilement.

Purity Is obscurity.

How can a human being be a god-like “everything” to another? No human relationship can bear the burden of godhood, and the attempt has to take its toll in some way on both parties. The reasons are not far to seek. The thing that makes God the perfect spiritual object is precisely that he is abstract—as Hegel saw. He is not a concrete individuality, and so He does not limit our development by His own personal will and needs. When we look for the “perfect” human object we are looking for someone who allows us to express our will completely, without any frustration or false notes. We want an object that reflects a truly ideal image of ourselves. But no human object can do this; humans have wills and counterwills of their own, in a thousand ways they can move against us, their very appetites offend us. God’s greatness and power is something that we can nourish ourselves in, without its being compromised in any way by the happenings of this world. No human partner can offer this assurance because the partner is real. However much we may idealize and idolize him, he inevitably reflects earthly decay and imperfection. And as he is our ideal measure of value, this imperfection falls back upon us. If your partner is your “All” then any shortcoming in him becomes a major threat to you. If a woman loses her beauty, or shows that she doesn’t have the strength and dependability that we once thought she did, or loses her intellectual sharpness, or falls short of our own peculiar needs in any of a thousand ways, then all the investment we have made in her is undermined. The shadow of imperfection falls over our lives, and with it—death and the defeat of cosmic heroism. “She lessens” = “I die.” This is the reason for so much bitterness, shortness of temper and recrimination in our daily family lives. We get back a reflection from our loved objects that is less than the grandeur and perfection that we need to nourish ourselves. We feel diminished by their human shortcomings. Our interiors feel empty or anguished, our lives valueless, when we see the inevitable pettinesses of the world expressed through the human beings in it. For this reason, too, we often attack loved ones and try to bring them down to size. We see that our gods have clay feet, and so we must hack away at them in order to save ourselves, to deflate the unreal over-investment that we have made in them in order to secure our own apotheosis. In this sense, the deflation of the over-invested partner, parent, or friend is a creative act that is necessary to correct the lie that we have been living, to reaffirm our own inner freedom of growth that transcends the particular object and is not bound to it. But not everybody can do this because many of us need the lie in order to live. We may have no other God and we may prefer to deflate ourselves in order to keep the relationship, even though we glimpse the impossibility of it and the slavishness to which it reduces us. This is one direct explanation—as we shall see—of the phenomenon of depression.

The perfection of a thing does not annul its existence, but, on the contrary, asserts it. Imperfection, on the other hand, does annul it ; therefore we cannot be more certain of the existence of anything, than of the existence of a being absolutely infinite or perfect—that is, of God. For inasmuch as his essence excludes all imperfection, and involves absolute perfection, all cause for doubt concerning his existence is done away, and the utmost certainty on the question is given. This, I think, will be evident to every moderately attentive reader.

[T]he traditional idea of divine perfection or infinity is hopelessly unclear or ambiguous and that persisting in that tradition is bound to cause increasing skepticism, confusion, and human suffering. It has long bred, and must evermore breed, atheism as a natural reaction.

It is the ideal of speculative philosophy that its fundamental notions shall not seem capable of abstraction from each other. In other words, it is presupposed that no entity can be conceived in complete abstraction from the system of the universe, and that it is the business of speculative philosophy to exhibit this truth. This character is its coherence.

"Purity" of and in art — any art, including music and dance — is an illusory notion, of course. It may be remotely conceivable or imaginable, but it can't be realized because it can't be recognized any more than a "pure" human being or a "pure" (or, for that matter, gratuitous) act can be. All the same, for Western art in its Modernist phase "purity" has been a useful idea and ideal, with a kind of logic to it that has worked, and still works, to generate aesthetic value and maintain aesthetic standards as nothing else in our specializing culture has over the last hundred-odd years. But this logic has also worked to exclude the decorative — the decorative insofar as it functions solely as decoration. It's as though aesthetic value, quality, could be preserved only by concentrating on "absolute" or "autonomous" art: thus on visual art — including even architecture — that held and moved and stirred the beholder as sheer decoration could not. Decoration is asked to be "merely" pleasing, "merely" embellishing, and the "functional" logic of Modernism leaves no room, apparently, for such "mereness." This is part of the pity of Modernism, one of the sacrifices it enjoins....

You cling so tightly to your purity, my lad! How terrified you are of sullying your hands. Well, go ahead then, stay pure! What good will it do, and why even bother coming here among us? Purity is a concept of fakirs and friars. But you, the intellectuals, the bourgeois anarchists, you invoke purity as your rationalization for doing nothing. Do nothing, don’t move, wrap your arms tight around your body, put on your gloves. As for myself, my hands
are dirty. I have plunged my arms up to the elbows in excrement and blood. And what else should one do? Do you suppose that it is possible to govern
innocently?