MS 21v: Page 40 The measure of genius is character,--even if character on its own does not amount to genius Genius is not 'talent and character', but character manifesting itself in the form of a special talent. Where one man will show courage by jumping into the water, another will show courage by writing a symphony. This is a weak example. MS b 22r c: Page Break 41 There is no more light in a genius than in any other honest human being--but the genius concentrates this light into a burning point by means of a particular kind of lens.
Page 41 Why is the soul moved by idle thoughts,--since they are after all idle? Well, it is moved by them. MS b 24r: Page 41 One cannot speak the truth;--if one has not yet conquered oneself. One cannot speak it--but not, because one is still not clever enough. MS b 37r c: Page 41 Resting on your laurels is as dangerous as resting when hiking through snow. MS b 53r: Page 41 One could call Schopenhauer a quite crude mind. Where real depth starts, his finishes. Page 41 One might say of Schopenhauer: he never takes stock of himself.
Page Break 42 I sit astride life like a bad rider on his mount. I owe it solely to the horse's good nature that I am not thrown off right now. MS b 55v: Page 42 'The impression made by this melody is completely indescribable. If art serves 'to arouse feelings', is, perhaps, perceiving it with the senses included amongst these feelings? Perhaps I have no seed of my own. Freud's originality too was like this, I think.
I have always believed--without knowing why--that the original seed of psychoanalysis was due to Breuer, not Freud. Of course Breuer's seed-grain can only have been quite tiny. Courage is always original. Page 42 People nowadays think, scientists are there to instruct them, poets, musicians etc.
That the latter have something to teach them; that never occurs to them. Page 42 Piano playing, a dance of human fingers. MS b 59v: Page 42 Shakespeare, one might say, displays the dance of human passions. For this reason he has to be objective, otherwise he would not so much display the dance of human passions--as perhaps talk about it.
But he shows us them in a dance, not naturalistically. I got this idea from Paul Engelmann. MS b 61r: Page 42 The comparisons of the N. They are bottomless. Page Break 43 They have less style than the first speech of a child. Even a work of supreme art has something that can be called 'style', yes even something that can be called 'fashion'.
Not, e. All great art has primitive human drives as its ground bass. In this sense one may call Mendelssohn a 'reproductive' artist. But primordial life, wild life striving to erupt into the open--is lacking. Hothouse plant. Perhaps this holds for me; I have thought about this. How are the words "the same facial expression" used? But how do I know that I am using them correctly? Page Break 44 worth having been lived. But it is not by recognizing the want of courage in someone else, that you acquire courage yourself.
MS c: 4. Well, you have to do the one, before you can do the other. No it only means we are taking up our position far outside, in order to see the things more objectively. MS b 67r: 2. If we do that the problem shows us a quite new side. MS b 68v: MS b 69v: MS b 70r: Page Break 46 You must indeed say only what is old--but all the same something new! Page 46 Different 'interpretations' must correspond to different applications. Page 46 The poet too must always be asking himself: 'is what I am writing really true then?
Page Page 46 It's true you must assemble old material. But for a building. As if that went without saying. MS 3. He may have found a conventional relation. Page Break 47 to it yet feel perhaps that it is not his. That it is not clear what the importance of counterpoint to him ought to be. I was thinking of Schubert in this connection; of his still wanting to take lessons in counterpoint at the end of his life. I think his aim may have been not simply learning more counterpoint, but rather determining where he stood in relation to it.
MS 25r: 4. And just as there is such a thing as "rhyming prose", so too these motifs can certainly be put together into melodic form, but without their constituting one melody.
MS 34r: 7. MS 39r c: 8. MS 47v: We don't feel as though we knew them. They file past us like thoughts not like human beings. MS 64v c: 6. It's wonderful, he says, what splendid properties numbers have.
Page 47 One might say: what splendid laws the Creator has built into numbers! Page Break 48 Page 48 You can't construct clouds. And that is why the future you dream of never comes true.
MS 2v: 4. MS 42r: Page 48 You cannot draw the seed up out of the earth. MS 44r: Page 48 What is pretty cannot be beautiful. He will seem unhealthy in every part.
But if he is not in his. Page Break 49 right element, what then? Well he just has to make the best of looking like a cripple. Page 49 If white turns to black some say: "Essentially it is still the same". Not every purposive movement of the human body is a gesture. Just as little as every functional building is architecture.
MS 15r: But this trend will die out, superseded by others. And then people will no longer understand our arguments against it; will not see why all that needed saying. MS 64r: MS 65v: Page 49 Genius is what makes us forget the master's talent. Page 49 Genius is what makes us forget talent. Page Break 50 Page 50 Genius is what makes us unable to see the master's talent. Page 50 Only where genius wears thin can you see the talent.
MS 35v: 4. Doesn't e. Where is the difference? In the scientific approach the new use is justified through a theory. And if this theory is false then the new extended use has to be given up too. But in philosophy the extended use is not supported by true or false opinions about natural processes. That is the goal someone who philosophizes longs for. MS 41v: 4. MS 76r: Page 50 If in life we are surrounded by death, so too in the health of our understanding by madness.
MS 78v: MS 84r: Page 51 It will be hard to follow my portrayal: for it says something new, but still has eggshells of the old material sticking to it. MS or later Page 51 Is it some frustrated longing that makes someone mad? I was thinking of Schumann, but of myself too. MS c: ca. MS ca. Page 51 Anyone who is half-way decent will think himself utterly imperfect, but the religious person thinks himself wretched Page 51 What's ragged should be left ragged.
Page 51 A miracle is, as it were, a gesture which God makes. It would be an instance if, when a saint has spoken, the trees around him bowed, as if in reverence. I don't. Page 51 The only way for me to believe in a miracle in this sense would be to be impressed by an occurrence in this particular way.
So that I should say e. But I am not so impressed. It does no harm. Page 52 'Believing' means, submitting to an authority. Page 52 A cry of distress cannot be greater than that of one human being. Page 52 Or again no distress can be greater than what a single person can suffer. The Christian religion is only for the one who needs infinite help, that is only for the one who suffers infinite distress. Page 52 The whole Earth cannot be in greater distress than one soul.
Page 52 Christian faith--so I believe--is refuge in this ultimate distress. Someone to whom it is given in such distress to open his heart instead of contracting it, absorbs the remedy into his heart. Someone who in this way opens his heart to God in remorseful confession opens it for others too.
You can open yourself to others only out of a particular kind of love. Which acknowledges as it were that we are all wicked children.
Page 52 It might also be said: hate between human beings comes from our cutting ourselves off from each other. Because we don't want anyone else to see inside us, since it's not a pretty sight in there. Page Break 53 Page 53 Of course you must continue to feel ashamed of what's within you, but not ashamed of yourself before your fellow human beings. Page 53 There is no greater distress to be felt than that of One human being.
For if someone feels himself lost, that is the ultimate distress. His life looks well-rounded through a haze. MS a ca. He says he will show me and walks with me along a nice smooth path. This suddenly comes to an end. And now my friend says: "All you have to do now is to find the rest of the way home from here. For this reason our scientists are not great. For this reason Freud, Spengler, Kraus, Einstein are not great. Why should something be given you that is not given your fellows?
To what purpose?! And what experience do you have except that of vanity? Simply that you have a talent. And my conceit of. Page Break 54 being an extraordinary human being is of course much older than my experience, of my particular talent. MS c: 9. Page 54 The melodies of different composers can be approached by applying the principle: every species of tree is a 'tree' in a different sense of the word. Don't let yourself be misled by our saying they are all melodies. They are steps along a path that leads from something you would not call a melody to something else that you again would not call one.
But if you look at the field of force in which they stand and hence at their significance , you will be inclined to say: Here melody is something quite different than there here it has a different origin, plays a different role, inter alia. MS 2: Similarly not all moderation is goodness. And only if I could be submerged in religion might these doubts be silenced.
If you are reading aloud and want to read well, you accompany the words with more vivid images. At least it is often like that. Sometimes though ["To Corinth from Athens I hear expressions of admiration for Shakespeare made by the distinguished men of several centuries, I can never rid myself of a suspicion that praising him has been a matter of convention, even though I have to tell myself that this is not the case.
I need the authority of a Milton to be really convinced. In his case I take it for granted that he was incorruptible. For if you interpret it in a shallow way the difficulty just remains. The change is as decisive e. At least the fear gives the impression of being fear in the face of a really effective bitter medicine. I cannot rid myself of the thought: if there.
Page Break 56 were not something good here, the philistines would not be making an outcry. But perhaps this too is a childish idea. For all I can mean really is that the bomb creates the prospect of the end, the destruction of a ghastly evil, of disgusting soapy water science and certainly that is not an unpleasant thought; but who is to say what would come after such a destruction? The people now making speeches against the production of the bomb are undoubtedly the dregs of the intelligentsia, but even that does not prove beyond question that what they abominate is to be welcomed.
MS 66c: Were they perhaps simple-minded, or obtuse people? MS 79 c: Perhaps e. It might be the case that with S. Page 56 That I do not understand him could then be explained by the fact that I cannot read him with ease. Not, that is, as one views a splendid piece of scenery. What he is can be compared with his height above sea level, which you cannot for the most part judge straight off.
And the greatness, or triviality, of a work depends on where its creator stands. Page Break 57 Page 57 But you can equally say: someone who misjudges himself is never great: someone who throws dust in his own eyes. You see everything in a queer perspective or projection : the country that you ceaselessly keep covering, strikes you as enormously big; the surrounding countries seem to you like narrow border regions.
It is a remarkable picture that forces itself on us here. A so-called "miracle" must be connected with this. It must be as it were a sacred gesture. Behaving decently in a crisis does not mean being able to act the part of a hero well, as in the theatre, it means rather being able to look death itself in the eye.
For an actor may play a multitude of roles, but in the end it is after all he himself, the human being, who has to die. MS 46 c: Drinking in the expression on the face? Page 58 Think of the demeanour of someone who draws the face with understanding for its expression. Is that really an experience? I mean: can we say that this expresses an experience? Page 58 Once again: what does it consist in, following a musical phrase with understanding, or, playing it with understanding?
Don't look inside yourself. Ask yourself rather, what makes you say that's what someone else is doing. And what prompts you to say he has a particular experience? Indeed, do we ever actually say that? Page Break 59 Then again you might think intensive experiencing of the theme 'consists' in the sensations of the movements etc. And that seems again like a soothing explanation. But have you any reason to think it true?
I mean, e. Is not this theory again merely a picture? No, this is not how things are: the theory is no more than an attempt to link up the expressive movements with an 'experience'. Page 59 If you ask: how I experienced the theme, I shall perhaps say "As a question" or something of the sort, or I shall whistle it with expression etc.
Page 59 Does the theme point to nothing beyond itself? Oh yes! But that meansThe impression it makes on me is connected with things in its surroundings--e. Page 59 A theme, no less than a face, wears an expression.
Page 59 "The repeat is necessary" In what respect is it necessary? Well, sing it, then you will see that it is only the repeat that gives it its tremendous power. You see there by the way what an inane role the word "beautiful" plays in aesthetics And yet there just is no paradigm there other than the theme. And furthermore the theme is a new part of our language, it becomes incorporated in it; we learn a new gesture.
Page Break 60 Page 60 The theme interacts with language. Page 60 It is one thing to sow in thought, another to reap in thought. The words are like the acorn from which an oak tree can grow. But where is the law laid down, according to which the tree grows out of the acorn?
Well, the picture is incorporated into our thinking as a result of experience. Our feeling of disgust, when we utter an invented word with invented derivative syllables. A system of purely written signs would not disgust us like this. Some cost a lot some little. I believe: with courage.
MS 32 8. Page Break 61 Amongst other things Christianity says, I believe, that sound doctrines are all useless. That you have to change your life. Or the direction of your life. For a sound doctrine need not seize you; you can follow it, like a doctor's prescription.
Once turned round, you must stay turned round. Wisdom is passionless. By contrast Kierkegaard calls faith a passion. But not: "I never before really believed in Him. Have I any reason to assume that this fear does not spring from, so to speak, an optical illusion: of seeing something as an abyss that is close by, when it isn't?
The only experience I know of that speaks for its not being an illusion, is the case of Lenau. For in his "Faust" there are thoughts of a kind I too am familiar with.
Lenau puts them into Faust's mouth, but they are no doubt his own about himself. What is important is what Faust says about his loneliness or isolation. Page 61 His talent too strikes me as similar to mine: A lot of froth--but a few fine thoughts.
God does not stir himself. He had large, as it were broad, visions But someone who has nothing but these is bound to be generous with promises, inadequate in keeping them. You may envision a flying machine without being precise about its details. Page Break 62 graphically.
Perhaps it spurs others to a different sort of work. This so far says nothing about the value of these activities. Why not as a sudden--more or less sudden--change of character? Is their any reason for mistrust? Reasons can be given for it, but they are not compelling. Why shouldn't someone suddenly become much more mistrustful of people? Why not much more withdrawn?
Don't people get like this even in the ordinary course of events? Is it that I will not open my heart to anyone any longer, or that I cannot? If so much can lose its attraction, why not everything?
And much more inaccessible. MS 6: Wagner in the Mastersingers. Last edited by ImportBot. July 31, History. An edition of Vermischte Bemerkungen Libraries near you: WorldCat. Culture and value: a selection from the posthumous remains , Blackwell.
Vermischte Bemerkungen: eine Auswahl aus dem Nachlass , Suhrkamp. Culture and value , University of Chicago Press. Borrow Listen. Culture and value , Blackwell.
Culture and value , B. Ganesh Prasad Das. Post a Review To post a review, please sign in or sign up. You can write a book review and share your experiences. Other readers will always be interested in your opinion of the books you've read.
Whether you've loved the book or not, if you give your honest and detailed thoughts then people will find new books that are right for them. An-Bin Huang. But W is never dull and it's a measure of the awe in which he is held that this book was even published. Those interested in W should go to nearly any of the other 20, odd pages of his works but NOT the Tractatus! As a philosopher armchair psychologist , all of his research was thought experiments and introspection.
It is an easily defensible view that he is the greatest natural psychologist to date and nobody has ever matched his talent for describing the mind at work. Nearly all the meatiest items from his papers have been culled for other works, and mostly the dregs remain for this book, but I have selected a few comments that seemed to me of general philosophical interest and since I have written extensively on his works, these will constitute the review for this one.
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