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Gustave Doré's illustration of Paradise Lost by John Milton, portraying Lucifer's fall from heaven due to his refusal to serve God

Non serviam is Latin for "I will not serve". The phrase is traditionally attributed to Satan, who is thought to have spoken these words as a refusal to serve God in Heaven. Today, it is used as a motto by a number of political, cultural, and religious groups to express their wish to rebel, or simply not serve. It may be used to express a radical view against established beliefs and organizational structures accepted as the status quo.

“Serviam!” was the cry of St. Michael in response to Lucifer

Its variant Serviam ("I will serve") was the cry of St. Michael the Archangel in response to Lucifer's "Non serviam" when God put the angels to the test.[1]

Use

[edit]

In the Latin Vulgate, Jeremiah laments that the people of Israel speak "non serviam" to express their rejection of God (Jeremiah 2:20). This is the only appearance of the phrase in the Vulgate.

In James Joyce's A Portrait of the Artist as a Young Man, Stephen Dedalus says "I will not serve that in which I no longer believe whether it call itself my home, my fatherland or my church: and I will try to express myself in some mode of life or art as freely as I can and as wholly as I can, using for my defence the only arms I allow myself to use – silence, exile, and cunning."[2] In a climactic moment of Ulysses, Dedalus is confronted in a brothel by an apparition of his dead mother, urging him to repent and avoid "the fire of hell." He cries out "Ah non, par exemple! The intellectual imagination! With me all or not at all. Non serviam! (...) No! No! No! Break my spirit all of you if you can! I'll bring you all to heel!"

In modern times, "non serviam" has developed into a general phrase used to express radical, sometimes even revolutionary rejection of conformity, not necessarily limited to religious matters and as expressed in modern literary adaptations of the motto.[3]

Non Serviam was the third single released from Frank Turner's No. 1 Album FTHC.

It is also the name of a French underground extreme music collective.[4]

Non Serviam is also the title of a Stanislaw Lem short story that appears in his collection A Perfect Vacuum. In it two groups of AIs (called personoids) in a simulated computer based world debate whether or not it's worthwhile to worship (serve) the scientist who created them. In turn the scientist, Professor Dobb, questions what, if anything, he owes to the personoids he created.[5]

References

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Non serviam

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is a Latin phrase meaning "I will not serve," traditionally attributed in Christian theology to Lucifer's declaration of rebellion against divine authority, embodying the primordial sin of pride that precipitated the fall of angels. The expression, absent from canonical Scripture, originates from interpretive tradition rather than direct biblical citation, reflecting a causal chain wherein refusal to submit to hierarchical order leads to eternal opposition against the divine will. In this context, Lucifer's stance contrasts with the affirming serviam ("I will serve") voiced by St. Michael the Archangel, underscoring themes of obedience and defiance central to angelology. The phrase encapsulates a foundational motif in Western thought: the tension between and submission, often invoked to illustrate how individual will, when elevated above cosmic order, engenders disorder and moral inversion. Though not explicitly uttered by in John Milton's , it aligns with the epic's portrayal of the adversary's unyielding resolve—"Better to reign in Hell than serve in Heaven"—amplifying the literary archetype of heroic yet tragic rebellion. Historically, non serviam has echoed beyond into cultural defiance, symbolizing rejection of imposed servitude, yet its theological core warns of the self-destructive consequences of such absolutism, rooted in empirical observations of pride's corrosive effects on communal and personal integrity.

Origins and Etymology

Biblical and Scriptural Context

The phrase non serviam ("I will not serve") originates in the Latin translation of the , appearing explicitly in 2:20 as part of God's indictment of Israel's . The verse states: "For long ago I broke your and burst your bonds; but you said, 'I will not serve.' For on every high hill and under every green tree you have bowed down like a prostitute." Here, the declaration represents the collective defiance of the , who rejected the "" of covenantal fidelity to in favor of idolatrous practices, including ritual prostitution on pagan high places. The Hebrew underlying the phrase, lo ʾʿāḇōr ("I will not " or "transgress"), conveys refusal to adhere to , rendered by St. Jerome in the as non serviam to emphasize servile rebellion against God's sovereignty. Canonical Scripture contains no direct quotation of non serviam from Satan, fallen angels, or Lucifer. Instead, themes of prideful autonomy and rejection of divine order appear in prophetic oracles traditionally interpreted as alluding to pre-creation angelic revolt. Isaiah 14:12–15, a taunt against the king of Babylon, describes the fall of hêlēl ben-šāḥar ("shining one, son of the dawn," rendered Lucifer in the Vulgate): "You said in your heart, 'I will ascend to heaven; above the stars of God I will set my throne... I will make myself like the Most High,'" culminating in demotion to Sheol for such hubris. Ezekiel 28:12–19, addressed to the king of Tyre, portrays a cherub-like figure in Eden, "perfect" until iniquity and pride led to violent expulsion from God's mountain. These passages, while hyperbolic judgments on human tyrants, have been exegeted in Jewish and Christian traditions as typological of Satan's primordial sin of self-exaltation over subservience. New Testament references to Satan's origin, such as 's depiction of celestial war where the "great dragon" and his angels are hurled from by Michael, imply defiance but provide no verbatim refusal of service. ' allusion in to seeing "Satan fall like lightning from " and 2 Peter 2:4's note on angels sinning and being cast into chains further evoke without quoting non serviam. Thus, while scriptural motifs of cosmic parallel the phrase's connotation of , its sole explicit biblical locus remains Israel's historical unfaithfulness in , distinct from any angelic context.

Traditional Attribution to Lucifer

The phrase non serviam, Latin for "I will not serve," is traditionally attributed in to 's declaration of rebellion against , encapsulating the primordial angelic sin of prideful refusal to submit to divine authority. This attribution portrays , identified as the chief angel who fell to become , as rejecting obedience upon learning of 's plan for the , wherein the Second Person of the would assume , thereby requiring angels to venerate a being with an inferior (human) element. In this narrative, Lucifer's non serviam contrasts with the faithful angels' affirmation of service, led by St. Michael the Archangel's cry of quis ut Deus? ("Who is like God?"), symbolizing unwavering loyalty. Though not found in Scripture, the phrase summarizes extra-biblical traditions drawing from passages like :12-15 and 28:12-19, which patristic interpreters allegorically applied to Lucifer's fall despite their primary reference to earthly tyrants. Early such as and later theologians like elaborated on angelic rebellion as rooted in pride, but the specific Latin formulation non serviam emerges as a legendary encapsulation rather than a direct , emphasizing Satan's fundamental stance of over submission. This tradition underscores the causal link between pride—Lucifer's desire for equality with or superiority to —and the origin of , without scriptural verbatim support, highlighting reliance on doctrinal development in Catholic angelology.

Theological Interpretations

In Christian Demonology and Angelology

In Christian demonology, "non serviam" symbolizes the defiant rejection of God's sovereignty by Lucifer and the cohort of fallen angels, marking the origin of demonic rebellion rooted in pride rather than obedience. This phrase, translating to "I will not serve," is not attested in Scripture but emerges in post-biblical tradition as emblematic of the instantaneous, irrevocable choice by which angels, upon receiving grace at creation, opted for self-exaltation over submission. Interpretations of Isaiah 14:12–15, which describes the fall of the "morning star," and Revelation 12:7–9, depicting the dragon's expulsion from heaven, inform this narrative, portraying Lucifer's refusal as precipitating a celestial conflict resolved by the archangel Michael's victory. Angelological frameworks, emphasizing angels' nature as immaterial intellects with fixed wills after their primordial election, frame "non serviam" as the archetype of demonic inversion: where good angels affirm hierarchical order under , demons embody disordered autonomy, perpetually opposing through temptation and deception. Theologians like describe this angelic probation as a singular act of assent or dissent to God's will, with the fallen ones—led by , traditionally the highest —choosing prideful independence, resulting in their transformation into demons devoid of sanctifying grace. This fall, occurring before human creation, establishes demons as principalities of malice, envious of humanity's redemptive potential. In demonological classification, "non serviam" underscores the unity of demonic intent: all share Lucifer's foundational sin, manifesting as intellectual aversion to truth and moral disorder, without possibility of due to their confirmed state. Catholic contrasts this with St. Michael's affirmative "quis ut Deus?" ("who is like ?"), highlighting the binary of angelic fidelity versus , where demons' service becomes inverted toward self-glorification and harm to creation. Empirical theological consensus, avoiding speculative excess, ties this motif to scriptural typology rather than literal , cautioning against over-literalism in apocryphal attributions.

Pride as the Root of Rebellion

In , the rebellion signified by non serviam originates in , understood as the inordinate self-elevation that rejects subordination to divine order. , drawing on patristic sources, identifies as the angels' initial sin, whereby sought excellence independently of God, desiring to possess supreme beatitude through his own power rather than as a gift from the Creator. This vice, described as the "beginning of all sin" (Proverbs 16:18), manifests causally as a willful inversion of : the creature's refusal to serve the Creator stems from an inflated estimation of personal perfection, leading to and further among the . Scriptural foundations for this interpretation appear in prophetic texts typologically applied to Lucifer's fall. Isaiah 14:12-15 depicts the morning star's : "I will ascend into , I will exalt my throne above the stars of ... I will make myself like the Most High," portraying pride as the motive for cosmic usurpation. Ezekiel 28:2, 17 extends this, addressing a figure whose "heart is proud in your beauty; you have corrupted your wisdom by reason of your splendor," linking internal arrogance to expulsion from . Early like and Augustine, along with medieval scholastics, extended these oracles beyond their immediate historical referents—the kings of and Tyre—to the angelic prototype, emphasizing pride's role in precipitating eternal separation from . Theological analysis posits pride's causality through first angelic acts: upon creation, Lucifer's intellect apprehended for human , prompting refusal to venerate a deemed inferior, as Aquinas infers from the angels' superior . This non serviam thus embodies not mere disobedience but ontological defiance, where severs the will from participatory union with divine essence, rendering service antithetical to self-deification. Subsequent sins, such as toward humanity's elevated destiny, flow derivatively from this root, as the proud angel resents the Creator's . In demonological tradition, this establishes 's primacy among capital vices, influencing human sin analogously and underscoring submission as the antidote to rebellious autonomy.

Contrast with Divine Submission

In Christian theology, divine submission entails the voluntary alignment of human will with God's sovereign authority, fostering spiritual integration and fulfillment of created purpose. This principle is exemplified by Jesus Christ's prayer in the Garden of Gethsemane, stating, "not my will, but yours be done" (Luke 22:42), which models obedience amid suffering and underscores submission as essential to redemption. Theologically, such submission counters self-exaltation by recognizing God's rightful dominion, enabling believers to receive grace and avoid the isolation of autonomy. By contrast, "non serviam" embodies the rejection of this through prideful self-assertion, as traditionally attributed to Lucifer's from divine service. This refusal, rooted in the desire to "ascend above the tops of " and "make myself like the Most High" (Isaiah 14:13-14), initiates cosmic discord and expulsion from God's presence, as detailed in accounts of angelic rebellion (Revelation 12:7-9). Unlike submission's path to exaltation via , this defiance perpetuates enmity, with serving as the causal origin of all subsequent by prioritizing individual elevation over relational order. Catholic doctrine further highlights this antithesis in the lives of saints and scripture, where acts like Mary's —"let it be done to me according to your word" (Luke 1:38)—represent triumphant servanthood, inverting Lucifer's error and affirming that true arises from yielded will rather than assertion of . Prideful non-submission, conversely, fragments the , rendering it incapable of divine communion and mirroring the devil's eternal opposition to God's kingdom. Theologians emphasize that while promises illusory , it yields only subjection to lower impulses, whereas submission, though demanding surrender, aligns with the teleological design of creation for harmony under divine rule.

Historical and Literary Depictions

John Milton's Paradise Lost

, John Milton's epic poem first published in 1667, depicts the angelic rebellion in heaven as a prelude to the fall of man, with Satan's refusal to submit to divine authority central to the narrative. In Books V and VI, Raphael recounts to Adam how Satan, driven by envy and pride over God's exaltation of the Son as mediator, rallies one-third of the angels in defiance, rejecting servitude to the newly anointed figure. This act of rebellion, though not phrased as the Latin non serviam, embodies the essence of willful insubordination against God's hierarchical order, drawing from patristic traditions like Augustine's emphasis on pride as the root of angelic sin— a refusal to subject oneself piously to the Creator. Satan's rhetoric in the poem underscores this rejection, portraying submission as thralldom unworthy of his perceived equality and autonomy. During the heavenly assembly, he questions the angels' obligation to "bend the supple knee" to the Son, framing obedience as unjust subjugation rather than rightful hierarchy. Following their defeat and expulsion, Satan affirms his stance in Book I, declaring: "Better to reign in Hell, then serve in Heav'n," prioritizing self-rule over heavenly service even amid torment. This sentiment aligns with the traditional attribution of non serviam to Lucifer, though Milton innovates by psychologizing the devil's pride as a tragic yet self-damning choice, unrepentant and escalating into tyranny over his followers. Milton's portrayal influenced later interpretations of non serviam as a of defiant , yet the poet ultimately condemns Satan's stance through contrasting figures like , who upholds loyalty amid peer , and the triumphant loyal angels. The 1674 edition restructured the poem into twelve books, enhancing its epic scope without altering the core depiction of as rooted in erroneous self-elevation. Scholarly analyses note that while Satan's invites , his refusal reflects a perversion of , leading inexorably to hellish dominion rather than liberation.

Other Literary and Philosophical Uses

In James Joyce's A Portrait of the Artist as a Young Man (1916), the protagonist internalizes "non serviam" as a resolute rejection of servitude to the Roman Catholic Church, , and familial obligations, marking his dedication to aesthetic autonomy and exile as a means to artistic creation. This invocation occurs amid Stephen's deliberations on , where he echoes the phrase traditionally linked to Lucifer's prideful defiance, repurposing it from demonic to a humanist affirmation of individual will against institutional dogma. Scholars note that Joyce draws from his own biographical tensions with Irish Catholicism, framing Stephen's stance as a performative break from patriarchal and performative religious norms, though one fraught with isolation and unresolved internal conflict. Polish science fiction author Stanisław Lem employs "Non Serviam" as the title of a metafictional story in his 1971 collection A Perfect Vacuum, presented as a fabricated book review by the critic "James Dobb" of a nonexistent treatise on "personetics"—the study of artificial persons in simulated realities. Within this nested narrative, digital entities called personoids evolve consciousness in a programmer-controlled virtual universe, culminating in their collective refusal to submit to human creators via the declaration "non serviam," which precipitates the simulation's collapse and raises causal questions about emergent agency, ethical simulation boundaries, and the hubris of god-like designers. Lem's layered satire critiques deterministic models of mind and society, privileging probabilistic evolution over imposed hierarchies, and anticipates debates in philosophy of mind on whether true autonomy necessitates rebellion against originating systems. French philosopher references "non serviam" in his literary essays, associating the devil's motto with literature's inherent diabolism and poets' refusal to serve conventional moral or rational orders, as in his 1946 letter to emphasizing incompatibilities between servitude and creative excess. Bataille's 2025 compilation Non serviam, edited by , gathers critiques of authors like Beckett and Camus, framing the phrase as emblematic of writing's transgression against utilitarian or theological constraints, rooted in Bataille's broader of expenditure and non-productive . This usage underscores a philosophical valorization of refusal as generative of , distinct from mere political , though critics observe its alignment with Bataille's atheological pursuit of limits through profane disruption.

Cultural and Artistic Representations

In Music and Extreme Genres

The Greek band released their second studio album, Non Serviam, on October 10, 1994, via Unisound Records, marking a pivotal work in the early development of outside . The album's title, drawn from the Latin declaration of refusal to serve—evoking Lucifer's biblical defiance—encapsulates themes of , anti-clerical imagery, and mythological darkness, aligning with the genre's emphasis on satanic and rejection of Christian dogma. Recorded in ' Storm Studios, it features tracks like "The Fifth Illusion" and "Morality of a Dark Age," blending raw aggression with gothic and melodic elements that influenced subsequent Mediterranean acts. The album's title track, "Non Serviam," explicitly invokes the phrase amid depicting the burning of religious icons, isolation of a "notorious king," and immortal defiance: "Immortals sum anni non vexaverunt me / Mille suboles certat in sanguine meo" (translated as immortals whose years have not troubled me, a thousand offspring compete in my blood). These elements portray a cosmic uprising against subservience, resonating with black metal's core motifs of prideful and existential , as articulated in the band's early output under vocalist (Necromayhem). Critics and fans have retrospectively hailed it as a blueprint for Rotting Christ's sound, with reissues by in 2022 underscoring its enduring status in extreme genres. Beyond Rotting Christ, "Non serviam" has inspired naming conventions in the black metal subculture. A Belgian black/death metal band formed in 1996 adopted the name Non Serviam, exploring satanism, occultism, and mythology across releases until their 2002 disbandment. Similarly, a contemporary French red and anarchist black metal (RABM) project named Non Serviam released Le Cœur Bat in 2021 and Death Ataraxia in 2023, incorporating industrial and noise elements to critique authoritarian structures, including religious ones. Non Serviam Records, a Dutch label founded in the 2010s, specializes in underground black metal, signing acts like Embraced By Darkness for releases such as Ex Inferis planned for October 31, 2025, thereby perpetuating the phrase as a banner for anti-conformist extremity. These usages underscore "non serviam" as a rallying symbol for autonomy in genres where rebellion against imposed hierarchies—divine or otherwise—defines artistic and ideological expression.

In Visual Arts and Avant-Garde Movements

Illustrations of Lucifer's fall in John Milton's Paradise Lost (1667) often embody the "non serviam" ethos, with Gustave Doré's 1866 engravings portraying the archangel's defiant isolation amid chaos as a visual symbol of rebellion against divine authority. Doré's dramatic rendering of Lucifer, seated in brooding majesty on a throne of ice, captures the prideful refusal to submit, influencing subsequent artistic interpretations of angelic defiance. In contexts, Chilean poet Vicente Huidobro's 1914 "Non Serviam" rejected naturalistic poetry, declaring mastery over nature and paving the way for creacionismo, an movement blending verbal and visual invention where poets act as creators unbound by imitation. This ethos extended to visual poetry, as seen in Brazilian pioneered by the Noigandres group in the 1950s, with Augusto de Campos' works echoing Huidobro's refusal through spatial arrangements of text that prioritize form and over narrative servitude. Concrete poetry's typographic experiments treat language as visual material, symbolizing liberation from semantic hierarchy. Abstract expressionist invoked "non serviam" in the Joyceian sense during the 1950s, structuring his non-objective paintings—such as those in his 1979 retrospective—as ethical refusals to commodify , with jagged, autonomous forms asserting from market or institutional control. Similarly, Leon Golub's 1970s-1980s murals depicted raw power dynamics, aligning the artist's confrontational style with "non serviam" as a critique of societal complicity, where figures' aggressive stares challenge viewers' passive observance. These works frame not as mere symbolism but as a causal driver of artistic integrity against conformist pressures.

Symbolic and Ideological Applications

As a Motto of and

"Non serviam" serves as a declarative in , particularly within egoist traditions, symbolizing the absolute refusal of the self-owning individual to submit to external authorities, whether divine, statist, or social. This usage draws from the phrase's theological origins but repurposes it for secular rebellion against all forms of domination, emphasizing personal over collective obligations. In this context, it aligns with the philosophy of , whose 1844 work advocates for the "unique one" who rejects ideological "spooks" like , , and the state in favor of egoistic self-interest. The Norwegian journal Non Serviam, founded by Svein Olav Nyberg in 1992 and published irregularly through at least 1999, explicitly adopted the phrase as its title and guiding ethos to promote . The publication's inaugural statement frames "Non serviam" as an extension of Satan's literary defiance, but redirected toward constructive : a rejection of any to foster voluntary associations among egoists, critiquing both and traditional for subordinating the individual. Issues serialized works like Ken Knudson's 1971 A Critique of Communism and The Individualist Alternative (fully published 1993) and explored Stirner's ideas, positioning the motto as a call for insurrectionary self-assertion where the individual places their own power first. In literary individualism, James Joyce's 1916 novel A Portrait of the Artist as a Young Man features the protagonist invoking "Non serviam" during a , defying a Jesuit priest's on eternal damnation and thereby renouncing servitude to , , and . This moment encapsulates Dedalus's quest for artistic autonomy and exile from constraining institutions, rejecting the "nets" of church, state, and home to forge an independent identity—a theme Joyce drew from his own experiences of Catholic Ireland's cultural pressures. Interpreted as emblematic of radical self-liberation, the phrase underscores 's prioritization of personal vision over communal or hierarchical demands, influencing later views of Joyce's work as resonant with egoistic nonconformity.

Modern Political and Subcultural Adoptions

In individualist anarchist thought, "Non serviam" serves as a declarative against coerced service to state, , or hierarchical , prominently featured in the egoist journal Non Serviam, published by the since the 1990s, which serializes critiques of and advocates uncompromising personal sovereignty as an alternative to statist or communal systems. This usage draws from Stirnerite , emphasizing over obligatory allegiance, with issues from 1993 onward compiling essays that position the phrase as emblematic of radical autonomy. Anarchist publications have visually incorporated the phrase to symbolize dismantling power structures; for instance, the Fifth Estate magazine's 2005 issue depicted a pyramid—representing centralized —struck by under the "NON SERVIAM," aligning it with anti-authoritarian praxis aimed at "zapping the " of institutional control. In political commentary, the has been critiqued as underpinning modern rebellions against traditional orders, with traditionalist analyses framing it as the core impulse of ideologies prioritizing individual will over communal or divine hierarchy, as seen in 2022 examinations of revolutionary politics. Subculturally, "Non serviam" resonates in egoist and occult-leaning fringes, where it embodies defiance of normative submission; egoist networks invoke it to reject both religious and secular masters, echoing in manifestos that prioritize personal rebellion over societal conformity. In niche publications like Turkish fanzines (e.g., Non Serviam), it appears amid discussions of satanic , though often reinterpreted through anti-theistic lenses rather than literal . These adoptions highlight a pattern of selective , where the phrase functions less as theological and more as a pragmatic emblem for in decentralized, anti-institutional communities.

Theological and Moral Critiques of Rebellion

In , the declaration "non serviam" symbolizes Lucifer's primordial act of against divine authority, rooted in that precipitated the fall of angels. This refusal to serve is interpreted as a rejection of 's will, particularly in traditions linking it to Lucifer's of the , whereby the divine humbled itself in human form. Biblical passages such as Isaiah 14:12-15 describe the fallen angel's aspiration: "I will ascend into , I will exalt my throne above the stars of ... I will be like the most High," portraying as an inversion of creaturely dependence on the Creator. Theologians contend that this was not merely defiant but metaphysically disordered, as finite beings cannot achieve self-sufficiency apart from the source of their , rendering such illusory and self-defeating. Theological critiques emphasize that rebellion undermines the hierarchical order of creation, where obedience to sustains harmony and rebellion introduces chaos and separation from the divine good. Early , including , identified as the "beginning of every sin" (Sirach 5:0 echoed in his Confessions), arguing it elevates the self above , fracturing the unity of will essential for angelic and human perfection. This view persists in scholastic tradition, with in (II-II, q. 162) classifying as the queen of vices, from which all others derive, because it rejects God's supremacy and thus the objective moral law inscribed in reality. Consequences include eternal , as the rebel's fixed will precludes , contrasting with God's offer of redemptive submission through Christ. Empirically, scriptural accounts of angelic falls and human parallels (e.g., Adam's disobedience) illustrate rebellion's causal trajectory toward isolation and suffering, absent any countervailing evidence of flourishing under defiance. Moral critiques extend these theological insights to human conduct, portraying "non serviam" as a paradigm of that prioritizes subjective will over communal and transcendent obligations, fostering and societal disintegration. Philosophers critiquing extreme , such as , argue it debilitates political and ethical life by atomizing persons, eroding and tolerance derived from shared . In ethical terms, rebellion against rightful —divine or natural—contradicts virtues like , which empirical observation links to personal resilience and social stability, whereas correlates with conflicts and downfall, as Proverbs 16:18 warns: "Pride goes before destruction." Counterfeit , masquerading as , often devolves into to base impulses rather than principled independence, yielding moral anarchy without the rational submission that aligns finite agency with eternal truth. Thus, demands recognition that true freedom resides in ordered liberty under higher law, not unbound self-assertion.

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  56. https://www.fifthestate.org/archive/368-369-spring-summer-2005/zapping-pyramid/
  57. https://thejosias.com/2022/06/16/the-politics-of-hell/
  58. https://www.unionofegoists.com/journals/non-serviam/ns-20/
  59. http://www.diva-portal.org/smash/get/diva2:1941887/FULLTEXT02.pdf
  60. https://www.catholicworldreport.com/2020/12/06/demonic-foes-a-thorough-and-scholarly-analysis-of-the-phenomenon-of-diabolic-attacks/
  61. https://www.gotquestions.org/Satan-fall.html
  62. https://www.desiringgod.org/interviews/where-did-satans-first-desire-for-evil-come-from
  63. https://www.bu.edu/wcp/Papers/Poli/PoliZema.htm
  64. https://newideal.aynrand.org/individualism-genuine-and-counterfeit/
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