Disraeli felt that "nothing could compensate his obscure youth, not even a glorious old age." Practically all writers and artists are aware of their … - Eric Hoffer

Practically all writers and artists are aware of their destiny and see themselves as actors in a fateful drama. With me, nothing is momentous: obscure youth, glorious old age, fateful coincidences — nothing really matters. I have written a number of good sentences. I have kept free of delusions. I know I am going to die soon.

Some people are born to spend their lives catching up; and they are as a rule the passionate ones.

The noble carpenter from Galilee could make no headway when he challenged the pretension of the solemn scholars, hair-splitting lawyers, and arrogant pedants, and raised his voice in defense of the poor in spirit. He was ostracized and anathematized, and his teachings found a following chiefly among non-Jews. Yet the teachings of Jesus fared no better than the teachings of the prophets when they came wholly into the keeping of dominant intellectuals. They were made into a vehicle for the maintenance and aggrandizement of a vast hierarchy of clerks, while the poor in spirit, instead of inheriting the earth, were left to sink into serfdom and superstitious darkness. In the sixteenth century, we see the same pattern again. When Luther first defied the Pope and his councils he spoke feelingly of “the poor, simple, common folk.” Later, when allied with the German princelings, he lashed out against the rebellious masses with unmatched ferocity: “Let there be no half-measures! Cut their throats! Transfix them! Leave no stone unturned! To kill a rebel is to destroy a mad dog.” He assured his aristocratic patrons that “a prince can enter heaven by the shedding of blood more certainly than others by means of prayer.

One is not quite certain that creativeness in the arts, literature, and science functions best in an environment of absolute freedom. Chances are that a relatively mild tyranny stimulates creativeness.