The opium-eater loses none of his moral sensibilities or aspirations. He wishes and longs as earnestly as ever to realize what he believes possible, and feels to be exacted by duty; but his intellectual apprehension of what is possible infinitely outruns his power, not of execution only, but even of power to attempt. He lies under the weight of incubus and nightmare; he lies in sight of all that he would fain perform, just as a man forcibly confined to his bed by the mortal languor of a relaxing disease, who is compelled to witness injury or outrage offered to some object of his tenderest love: he curses the spells which chain him down from motion; he would lay down his life if he might but get up and walk; but he is powerless as an infant, and cannot even attempt to rise. I

But who are they? (opium-eaters) Reader, I am sorry to say, a very numerous class indeed. Of this I became convinced some years ago, by computing, at that time, the number of those in one small class of English society (the class of men distinguished for talents, or of eminent station), who were known to me, directly or indirectly, as opium-eaters; such for instance, as the eloquent and benevolent ___, the late dean of ___; Lord ___; Mr ___, the philosopher; a late under-secretary of state … Now, if one class, comparatively so limited, could furnish so many scores of cases (and that within the knowledge of one single inquirer), it was a natural inference, that the entire population of England would furnish a proportionable number.

A true opium of the people is a belief in nothingness after death - the huge solace of thinking that for our betrayals, greed, cowardice, murders we are not going to be judged.

Religion used to be the opium of the people. To those suffering humiliation, pain, illness, and serfdom, religion promised the reward of an after life. But now, we are witnessing a transformation, a true opium of the people is the belief in nothingness after death, the huge solace, the huge comfort of thinking that for our betrayals, our greed, our cowardice, our murders, we are not going to be judged.

Opium! dread agent of unimaginable pleasure and pain! I had heard of it as I had of manna or of ambrosia, but no further. How unmeaning a sound was it at that time: what solemn chords does it now strike upon my heart! What heart-quaking vibrations of sad and happy remembrances!

the opium-eater cannot present himself in the character of l'Allegro: even then, he speaks and thinks as becomes Il Penseroso.

The true hero in the Black Swan world is someone who prevents a calamity and, naturally, because the calamity did not take place, does not get recognition — or a bonus — for it. I will be taking the concept deeper in Book VII, on ethics, about the unfairness of a bonus system and how such unfairness is magnified by complexity.

The hero of my tale, whom I love with all the power of my soul, whom I have tried to portray in all his beauty, who has been, is, and will be beautiful, is Truth.

The hero of the Odyssey is a great fighter, a wily schemer, a ready speaker, a man of stout heart and broad wisdom who knows that he must endure without too much complaining what the gods send; and he can both build and sail a boat, drive a furrow as straight as anyone, beat a young braggart at throwing the discus, challenge the Pheacian youth at boxing, wrestling or running; flay, skin, cut up and cook an ox, and be moved to tears by a song. He is in fact an excellent all-rounder; he has surpassing aretê. "Aretê implies a respect for the wholeness or oneness of life, and a consequent dislike of specialization. It implies a contempt for efficiency—or rather a much higher idea of efficiency, an efficiency which exists not in one department of life but in life itself."

Of the pleasures and pains of opium much has been written. The ecstasies and horrors of De Quincey and the paradis artificiels of Baudelaire are preserved and interpreted with an art which makes them immortal, and the world knows well the beauty, the terror and the mystery of those obscure realms into which the inspired dreamer is transported. But much as has been told, no man has yet dared intimate the nature of the phantasms thus unfolded to the mind, or hint at the direction of the unheard-of roads along whose ornate and exotic course the partaker of the drug is so irresistibly borne.

The real hero is always a hero by mistake; he dreams of being an honest coward like everybody else. If it had been possible he would have settled the matter otherwise, and without bloodshed. He doesn't boast of his own death or of others'. But he does not repent. He suffers and keeps his mouth shut; if anything, others then exploit him, making him a myth, while he, the man worthy of esteem, was only a poor creature who reacted with dignity and courage in an event bigger than he was.

Oh! just, subtle, and mighty opium! that to the hearts of poor and rich alike, for the wounds that will never heal, and for 'the pangs that tempt the spirit to rebel,' bringest an assuaging balm; eloquent opium! that with thy potent rhetoric stealest away the purposes of wrath; and to the guilty man, for one night givest back the hopes of his youth, and hands washed pure of blood....

Thus the protagonist of this Dream of mine is ooze, here and forever call'd Oozymandias the King.

Here was the weapon of a hero. A real hero. Not a playactor. Not a pretend-hero, like Ganner had always been. But this weapon was now in Ganner's hand.