“Margaret realized the chaotic nature of our daily life, and its difference from the orderly sequence that has been fabricated by historians. Actual life is full of false clues and sign-posts that lead nowhere. With infinite effort we nerve ourselves for a crisis that never comes. The most successful career must show a waste of strength that might have removed mountains, and the most unsuccessful is no that of a man who is taken unprepared, but of him who has prepared and is never taken. On a tragedy of that kind our national morality is duly silent. It assumes that preparation against danger is in itself a good, and that men, like nations, are the better for staggering through life fully armed. The tragedy of preparedness has scarcely been handled, save by the Greeks. Life is indeed dangerous, but not in the way morality would have us believe. It is indeed unmanageable, but the essence of it is not a battle. It is unmanageable because it is a romance, and its essence is romantic beauty.”

“Looking back on the past six months, Margaret realized the chaotic nature of our daily life, and its difference from the orderly sequence that has been fabricated by historians. Actual life is full of false clues and sign-posts that lead nowhere. With infinite effort we nerve ourselves for a crisis that never comes. The most successful career must show a waste of strength that might have removed mountains, and the most unsuccessful is not that of the man who is taken unprepared, but of him who has prepared and is never taken.”

“The tragedy of preparedness has scarcely been handled, save by the Greeks. Life is indeed dangerous, but not in the way morality would have us believe. It is indeed unmanageable, but the essence of it is not a battle. It is unmanageable because it is a romance, and its essence is romantic beauty.”

“Our way–the Western Way–has always been a "work in progress." Questions of life and death, good and evil, justice and tragedy–these are never definitively settled, but must be addressed again and again as personal and public worlds shift and change. We hold our morals to be absolutes, but the context of our actions and decisions is forever changing. We are not relativists because we seek to re-evaluate again and again our most crucial moral positions.”

“Tragedy is born of myth, not morality. Prometheus and Icarus are tragic heroes. Yet none of the myths in which they appear has anything to do with moral dilemmas. Nor have the greatest Greek tragedies. If Euripides is the most tragic of the Greek playwrights, it is not because he deals with moral conflicts but because he understood that reason cannot be the guide of life.”

“But we must be completely clear...if nationalism is truly the hallmark of a people in the prime of its youth and energies, how does it happen that under its aegis morality decays, ancient customs die out---that men are uprooted, the steadfast derided, the thoughtful branded, the rivers poisoned, and the forests destroyed? Why, if this is a high watermark of our national life, has our speech been vulgarized in this unprecedented way?”