There is hope, if Svejks right

Life today, the author laments, is stripped of its inherent mystery and magic. What remains are secrets that stay secret forever, while everything else that once held wonder has been systematically dismantled. This leaves a generation feeling utterly superfluous, sitting amidst vast libraries, staring at walls, and contemplating their own perceived worthlessness.

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Ah, Pharaoh, you worship; for the masses, / The beast doomed by fate / To pull the cart of every order, / Because it is made for it.

The piece contrasts this with the allure of modern entertainment, particularly reality television, where individuals deemed "completely stupid and incapable" can soar to fame. This phenomenon extends to politics, with ministers and prime ministers emerging from such backgrounds. The "useless" and "futile" are now the ones driving the "unveiling" of secrets, while the true mysteries remain hidden, as they always have.

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I will not curse this cowardly people, / It is not their fault, it is their nature, / That misery brands them as slaves, / And reduces them to the bloody tools of a few arrogant rebels. / I alone was the fool, / Believing that such a people needed freedom.

Drawing on historical and literary references, the author notes that this situation is not entirely new. Philosophers and writers have long observed humanity's tendencies. The article quotes Madách, who wrote about a "cowardly people" destined for servitude, and Miltiades, who understood the masses' nature. The sentiment is that this has always been the case, with a few powerful figures manipulating the masses.

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And this humanity, / Since you are human, do not despise it.

However, the author points out a modern twist: this societal dynamic no longer requires abject poverty. Western societies, in particular, are described as sitting on "the branch of the most perfect nothingness." Fueled by social media, people express opinions constantly, creating an environment of "perfect emptiness" and "splendid futility." This, the author suggests, has led to an increase in "fools" and a proliferation of their "drool" on their faces, as they engage in a form of self-proclaimed revolution, imagining themselves as historical figures like Danton or Robespierre, even without knowing who they were.

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...and misery seeps across the globe, / like saliva on the faces of fools.