“They [the critics] deal with Schoenberg’s early works and all their wealth by classifying them, with the music-historical cliché, as late romantic post-Wagnerian. One might just as well dispose of Beethoven as a late-classicist post-Haydnerian.”

“Beauty today can have no other measure except the depth to which a work resolves contradictions. A work must cut through the contradictions and overcome them, not by covering them up, but by pursuing them.”

“Philosophy, which once seemed outmoded, remains alive because the moment of its realization was missed. The summary judgement that it had merely interpreted the world is itself crippled by resignation before reality, and becomes a defeatism of reason after the transformation of the world failed. It guarantees no place from which theory as such could be concretely convicted of the anachronism, which then as now it is suspected of. Perhaps the interpretation which promised the transition did not suffice. The moment on which the critique of theory depended is not to be prolonged theoretically. Praxis, delayed for the foreseeable future, is no longer the court of appeals against self-satisfied speculation, but for the most part the pretext under which executives strangulate that critical thought as idle which a transforming praxis most needs. After philosophy broke with the promise that it would be one with reality or at least struck just before the hour of its production, it has been compelled to ruthlessly criticize itself.”

“In so far as the culture industry arouses a feeling of well-being that the world is precisely in that order suggested by the culture industry, the substitute gratification which it prepares for human beings cheats them out of the same happiness which it deceitfully projects.”

“There is no right life in the wrong one.”

“One must have tradition in oneself, to hate it properly.”

“Even at that time the hope of leaving behind messages in bottles on the flood of barbarism bursting on Europe was an amiable illusion: the desperate letters stuck in the mud of the spirit of rejuvenesence and were worked up by a band of Noble Human-Beings and other riff-raff into highly artistic but inexpensive wall-adornments. Only since then has progress in communications really got into its stride. Who, in the end, is to take it amiss if even the freest of free spirits no longer write for an imaginary posterity, more trusting, if possible, than even their contemporaries, but only for the dead God?”