“He who despises himself, nevertheless esteems himself as a self-despiser. (Nietzsche.)A vain person is always vain about something. He overestimates the importance of some quality or exaggerates the degree to which he possesses it, but the quality has some real importance and he does possess it to some degree. The fantasy of overestimation or exaggeration makes the vain person comic, but the fact that he cannot be vain about nothing makes his vanity a venial sin, because it is always open to correction by appeal to objective fact.A proud person, on the other hand, is not proud of anything, he is proud, he exists proudly. Pride is neither comic nor venial, but the most mortal of all sins because, lacking any basis in concrete particulars, it is both incorrigible and absolute: one cannot be more or less proud, only proud or humble.Thus, if a painter tries to portray the Seven Deadly Sins, his experience will furnish him readily enough with images symbolic of Gluttony, Lust, Sloth, Anger, Avarice, and Envy, for all these are qualities of a person’s relations to others and the world, but no experience can provide an image of Pride, for the relation it qualifies is the subjective relation of a person to himself. In the seventh frame, therefore, the painter can only place, in lieu of a canvas, a mirror.”

“A person may be proud without being vain. Pride relates more to our opinion of ourselves, vanity to what we would have others think of us.”

“The cheapest sort of pride is national pride; for if a man is proud of his own nation, it argues that he has no qualities of his own of which he can be proud; otherwise he would not have recourse to those which he shares with so many millions of his fellowmen. The man who is endowed with important personal qualities will be only too ready to see clearly in what respects his own nation falls short, since their failings will be constantly before his eyes. But every miserable fool who has nothing at all of which he can be proud adopts, as a last resource, pride in the nation to which he belongs; he is ready and glad to defend all its faults and follies tooth and nail, thus reimbursing himself for his own inferiority.”

“Vanity and pride are different things, though the words are often used synonymously. A person may be proud without being vain. Pride relates more to our opinion of ourselves, vanity to what we would have others think of us.”

“Pride is a very common failing, I believe. By all that I have ever read, I am convinced that it is very common indeed, that human nature is particularly prone to it, and that there are very few of us who do not cherish a feeling of self-complacency on the score of some quality or other, real or imaginary. Vanity and pride are different things, though the words are often used synonymously. A person may be proud without being vain. Pride relates to our opinion of ourselves, vanity to what would have others think of us.”

“The practical joker despises his victims, but at the same time he envies them because their desires, however childish and mistaken, are real to them, whereas he has no desire which he can call his own. His goal, to make game of others, makes his existence absolutely dependent upon theirs; when he is alone, he is a nullity. Iago’s self-description, I am not what I am, is correct and the negation of the Divine I am that I am. If the word motive is given its normal meaning of a positive purpose of the self like sex, money, glory, etc., then the practical joker is without motive. Yet the professional practical joker is certainly driven, like a gambler, to his activity, but the drive is negative, a fear of lacking concrete self, of being nobody.”

“In accepting and defending the social institution of slavery, the Greeks were harder-hearted than we but clearer-headed; they knew that labor as such is slavery, and that no man can feel a personal pride in being a laborer. A man can be proud of being a worker – someone, that is, who fabricates enduring objects, but in our society, the process of fabrication has been so rationalized in the interests of speed, economy and quantity that the part played by the individual factory employee has become too small for it to be meaningful to him as work, and practically all workers have been reduced to laborers. It is only natural, therefore, that the arts which cannot be rationalized in this way – the artist still remains personally responsible for what he makes – should fascinate those who, because they have no marked talent, are afraid, with good reason, that all they have to look forward to is a lifetime of meaningless labor. This fascination is not due to the nature of art itself, but to the way in which an artists works; he, and in our age, almost nobody else, is his own master. The idea of being one’s own master appeals to most human beings, and this is apt to lead to the fantastic hope that the capacity for artistic creation is universal, something nearly all human beings, by virtue, not by some special talent, but due to their humanity, could do if they tried.”