Criticism and prophecy must be the two categories that meet in the salvation of the past

Treatises may be didactic in tone, but essentially they lack the conclusiveness of an instruction which could be asserted, like doctrine, by virtue of its own authority. ... Tirelessly the process of thinking makes new beginnings, returning in a roundabout way to its original object. This continual pausing for breath is the mode most proper to the process of contemplation. For by pursuing different levels of meaning in its examination of one single object it receives both the incentive to begin again and the justification for its irregular rhythm.

Where the presence of truth should be possible, it can be possible solely under the condition of the recognition of myth—that is, the recognition of its crushing indifference to truth.

The critic does not pass judgment on the work; rather, art itself passes judgment, either by taking up the work in the medium of criticism or by rejecting it and thereby appraising it as beneath all criticism.

Everyone who achieves strives for totality, and the value of his achievement lies in that totality—that is, in the fact that the whole, undivided nature of a human being should be expressed in his achievement. But when determined by our society, as we see it today, achievement does not express a totality; it is completely fragmented and derivative. It is not uncommon for the community to be the site where a joint and covert struggle is waged against higher ambitions and more personal goals. ... The socially relevant achievement of the average person serves in the vast majority of cases to repress the original and nonderivative, inner aspirations of the human being.

The true sign of decadence is not the collusion of the university and the state (something that is by no means incompatible with honest barbarity), but the theory and guarantee of academic freedom, when in reality people assume with brutal simplicity that the aim of study is to steer its disciples to a socially conceived individuality.

There is no muse of philosophy, nor is there one of translation.

Mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility. From a photographic negative, for example, one can make any number of prints; to ask for the “authentic” print makes no sense. But the instant the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritual, it begins to be based on another practice – politics.

Reminiscences, even extensive ones, do not always amount to an autobiography. … For even if months and years appear here, it is in the form they have in the moment of recollection. This strange form — it may be called fleeting or eternal — is in neither case the stuff that life is made of.

The destructive character knows only one watchword: make room. And only one activity: clearing away. His need for fresh air and open space is stronger than any hatred.