“Man such as we know him, the ‘man-machine,’ the man who cannot ‘do,’ and with whom and through whom everything ‘happens,’ cannot have a permanent and single I. His I changes as quickly as his thoughts, feelings, and MOODS, and he makes a profound mistake in considering himself always one and the same person; in reality he is always a different person, not the one he was a moment ago. Fragments: Three

“Having learned to distinguish ascending and descending octaves in life we must learn to distinguish ascent and descent within the octaves themselves. Whatever sphere of our life we take we can see that nothing can ever remain level and constant; everywhere and in everything proceeds the swinging of the pendulum, everywhere and in everything the waves rise and fall. Our energy in one or another direction which suddenly increases and afterwards just as suddenly weakens; our MOODS which ‘become better’ or ‘become worse’ without any visible reason; our feelings, our desires, our intentions, our decisions — all from time to time pass through periods of ascent or descent, become stronger or weaker. Fragments: Seven

“And there are perhaps a hundred pendulums moving here and there in man. These ascents and descents, these wave-like fluctuations of MOODS, thought, feelings, energy, determination, are periods of the development of forces between ‘intervals’ in the octaves as well as the ‘intervals’ themselves. Fragments: Seven

“For this purpose a man must learn to take, so to speak, ‘mental photographs’ of himself at different moments of his life and in different emotional states: and not photographs of details, but photographs of the whole as he saw it. In other words these photographs must contain simultaneously everything that a man can see in himself at a given moment. Emotions, MOODS, thoughts, sensations, postures, movements, tones of voice, facial expressions, and so on. If a man succeeds in seizing interesting moments for these photographs he will very soon collect a whole album of pictures of himself which, taken together, will show him quite clearly what he is. But it is not so easy to learn how to take these photographs at the most interesting and characteristic moments, how to catch characteristic postures, characteristic facial expressions, characteristic emotions, and characteristic thoughts. If the photographs are taken successfully and if there is a sufficient number of them, a man will see that his usual conception of himself, with which he has lived from year to year, is very far from reality. Fragments: Eight

“He begins to be afraid of ‘Ouspensky,’ begins to feel that he is his ‘enemy.’ No matter what he would like to do, everything is intercepted and altered by ‘Ouspensky.’ ‘Ouspensky’ is his ‘enemy.’ ‘Ouspensky’s’ desires, tastes, sympathies, antipathies, thoughts, opinions, are either opposed to his own views, feelings, and MOODS, or they have nothing in common with them. And, at the same time, ‘Ouspensky’ is his master. He is the slave. He has no will of his own. He has no means of expressing his desires because whatever he would like to do or say would be done for him by ‘Ouspensky.’ Fragments: Eight

“A man identifies with a small problem which confronts him and he completely forgets the great aims with which he began his work. He identifies with one thought and forgets other thoughts; he is identified with one feeling, with one mood, and forgets his own wider thoughts, emotions, and MOODS. In work on themselves people are so much identified with separate aims that they fail to see the wood for the trees. Two or three trees nearest to them represent for them the whole wood. Fragments: Eight

“There exists a possibility of experimental verification of the relation of personality to essence. In Eastern schools ways and means are known by the help of which it is possible to separate man’s personality from his essence. For this purpose they sometimes use hypnosis, sometimes special narcotics, sometimes certain kinds of exercises. If personality and essence are for a time separated in a man by one or another of these means, two beings, as it were, are formed in him, who speak in different voices, have completely different tastes, aims, and interests, and one of these two beings often proves to be on the level of a small child. Continuing the experiment further it is possible to put one of these beings to sleep, or the experiment may begin by putting to sleep either personality or essence. Certain narcotics have the property of putting personality to sleep without affecting essence. And for a certain time after taking this narcotic a man’s personality disappears, as it were, and only his essence remains. And it happens that a man full of the most varied and exalted ideas, full of sympathies and antipathies, love, hatred, attachments, patriotism, habits, tastes, desires, convictions, suddenly proves quite empty, without thoughts, without feelings, without convictions, without views. Everything that has agitated him before now leaves him completely indifferent. Sometimes he sees the artificiality and the imaginary character of his usual MOODS or his high-sounding words, sometimes he simply forgets them as though they had never existed. Things for which he was ready to sacrifice his life now appear to him ridiculous and meaningless and unworthy of his attention. All that he can find in himself is a small number of instinctive inclinations and tastes. He is fond of sweets, he likes warmth, he dislikes cold, he dislikes the thought of work, or on the contrary he likes the idea of physical movement. And that is all. Fragments: Eight

“Energy is spent chiefly on unnecessary and unpleasant emotions, on the expectation of unpleasant things, possible and impossible, on bad MOODS, on unnecessary haste, nervousness, irritability, imagination, daydreaming, and so on. Energy is wasted on the wrong workwork of centers; on unnecessary tension of the muscles out of all proportion to the work produced; on perpetual chatter which absorbs an enormous amount of energy; on the ‘interest’ continually taken in things happening around us or to other people and having in fact no interest whatever; on the constant waste of the force of ‘attention’; and so on, and so on. Fragments: Nine

“It must be noted that the organism usually produces in the course of one day all the substances necessary for the following day. And it very often happens that all these substances are spent or consumed upon some unnecessary and, as a rule, unpleasant emotion. Bad MOODS, worry, the expectation of something unpleasant, doubt, fear, a feeling of injury, irritation, each of these emotions in reaching a certain degree of intensity may, in half an hour, or even half a minute, consume all the substances prepared for the next day; while a single flash of anger, or some other violent emotion, can at once explode all the substances prepared in the laboratory and leave a man quite empty inwardly for a long time or even forever. Fragments: Nine

“In subjective art everything is accidental. The artist, as I have already said, does not create; with him ‘it creates itself.’ This means that he is in the power of ideas, thoughts, and MOODS which he himself does not understand and over which he has no control whatever. They rule him and they express themselves in one form or another. And when they have accidentally taken this or that form, this form just as accidentally produces on man this or that action according to his mood, tastes, habits, the nature of the hypnosis under which he lives, and so on. There is nothing invariable; nothing is definite here. In objective art there is nothing indefinite.” Fragments: Fourteen

“In ordinary conditions we have no conception how much our thinking, feeling, and moving functions depend upon one another, although we know, at the same time, how much our MOODS and our emotional states can depend upon our movements and postures. If a man takes a posture which with him corresponds to a feeling of sadness or despondency, then within a short time he is sure to feel sad or despondent. Fear, disgust, nervous agitation, or, on the other hand, calm, can be created by an intentional change of posture. But as each of man’s functions, thinking, emotional, and moving, has its own definite repertory all of which are in constant interaction, a man can never get out of the charmed circle of his postures. Fragments: Seventeen