Everything rhythmically organic is true. Everything, which results from the proper feeling for rhythmically organized spiritual units, is true and alive ? alive within itself. When we lose the sense for such true beauty we lose our natural sense for the rich flavor of life, which is the basis for all inspirational work.
What stuck in the minds of these men who had become murderers was simply the notion of being involved in something historic, grandiose, unique ("a great task that occurs once in two thousand years"), which must therefore be difficult to bear. This was important, because the murderers were not sadists or killers by nature; on the contrary, a systematic effort was made to weed out all those who derived physical pleasure from what they did. The troops of the Einsatzgruppenhad been drafted from the Armed S.S., a military unit with hardly more crimes in its record than any ordinary unit of the German Army, and their commanders had been chosen by Heydrich from the S.S. ‚lite with academic degrees. Hence the problem was how to overcome not so much their conscience as the animal pity by which all normal men are affected in the presence of physical suffering. The trick used by Himmler ? who apparently was rather strongly afflicted by these instinctive reactions himself ? was very simple and probably very effective; it consisted in turning these instincts around, as it were, in directing them toward the self. So that instead of saying: What horrible things I did to people!, the murderers would be able to say: What horrible things I had to watch in the pursuance of my duties, how heavily the task weighed upon my shoulders!
We have chosen to write the biography of our disease because we love it platonically ? as Amy Lowell loved Keats ? and have sought its acquaintance wherever we could find it. And in this growing intimacy we have become increasingly impressed with the influence that this and other infectious diseases, which span ? in their protoplasmic continuities ? the entire history of mankind, have had upon the fates of men.
We are frequently faced with the necessity of looking for the picture required for the visualization of an object, not in the perception of this particular object, but in a different perceptual image... we can assert the discrepancy between the perceived picture and the objective state. This discrepancy... proves absolutely nothing against the fact that all visualizations are merely sense qualities of the perceptual space... If the parallelism is... to be visualized, we must supplement our assertion by the description of certain qualities with which we are familiar from perceptual space.