Essayists From Germany

"Because knowledge is power, every hegemonic power challenged by “another knowledge” must try to stay in the center of knowledge. However, not every power is the right center for every knowledge. Reflective knowledge cannot be separated from its subject."

"In the kynicism of Diogenes of Sinope, the laughter about philosophy itself became philosophical. … In the pantomimes and wordplays of the philosopher from the tub, the Gay Science was born, which saw the earnestness of the false life recur in the false earnestness of philosophy."

"The gesture of exposure characterizes the style of argumentation of ideology critique, from the critique of religion in the eighteenth century to the critique of fascism in the twentieth. Everywhere, one discovers extrarational mechanisms of opinion: interests, passions, fixations, illusions. That helps a bit to mitigate the scandalous contradiction between the postulated unity of truth and the factual plurality of opinions—since it cannot be eliminated. Under these assumptions, a true theory would be one that not only grounds its own theses best, but also knows how to defuse all significant and persistent counterpositions through ideology critique."

"Enlightenment … asks, innocently and subversively, for proofs, sources, and evidence. At the beginning it solemnly avers that it would willingly believe everything, if only it could find someone to convince it. Here it becomes clear that the biblical texts, taken philologically, remain themselves their only witness. Their revelatory character is their own claim, and it can be believed or not; the church, which elevates this revelatory character to the status of a grand dogma, itself plays only the role of an interpreter. With his radical biblicism, Luther rejected the church’s claim to authority. This repudiation then repeats itself on the higher level through biblicism itself. For text remains text, and every assertion that it is divinely inspired can, in turn, be only a human, fallible assertion. With every attempt to grasp the absolute source, critique comes up against relative, historical sources that only ever assert the Absolute. The miracles spoken about in the Bible to legitimate God’s power are only reports of miracles for which there are no longer any means of verification. The revelatory claim is stuck in a philological circle."

"From this moment on, the child becomes a political object—to a certain extent, the living security deposit of enlightenment. The child is the “noble savage” in one’s own house. Through appropriate education care must be taken in the future that innocent children are not made into the same artificial social cripples the previous system produced. Children are already what the new bourgeois humans believe they want to become."

"In an earlier day, the rich lived at the expense of the poor, directly and unequivocally; in a modern economy, unproductive citizens increasingly live at the expense of productive ones—though in an equivocal way, since they are told, and believe, that they are disadvantaged and deserve more still. Today, in fact, a good half of the population of every modern nation is made up of people with little or no income, who are exempt from taxes and live, to a large extent, off the other half of the population, which pays taxes. If such a situation were to be radicalized, it could give rise to massive social conflict. The eminently plausible free-market thesis of exploitation by the unproductive would then have prevailed over the much less promising socialist thesis of the exploitation of labor by capital."

"Zynismus ist das aufgeklärte falsche Bewußtsein, an dem Aufklärung zugleich erfolgreich und vergeblich gearbeitet hat. Es hat seine Aufklärungselektion gelernt, aber nicht vollzogen und wohl nicht vollziehen können. Gutsituiert und miserabel zugleich fühlt sich dieses Bewußtsein von keiner Ideologiekritik mehr betroffen; seine Falschheit ist bereits reflexiv gefedert."

"Psychologically, present-day cynics can be understood as borderline melancholics, who can keep their symptoms of depression under control and can remain more or less able to work. … Their psychic (seelisch) apparatus has become elastic enough to incorporate as a survival factor a permanent doubt about their own activities. They know what they are doing, but they do it because, in the short run, the force of circumstances and the instinct for self-preservation are speaking the same language, and they are telling them that it has to be so."

"The only loyalty to enlightenment consists in disloyalty. This can be partly understood from the position of its heirs, who look back on the “heroic” times and are necessarily more skeptical of the results. To be an heir always carries a certain “status cynicism” with it, as is well known from stories about the inheritance of family capital."

"To be “reasonable” means to put oneself into a special, rarely happy relation to the sensuous. “Be reasonable” means, practically speaking, do not trust your impulses, do not listen to your body, learn control, starting with your own sensuousness. But intellect and sensuousness are inseparable. Torless’s outbreak of sweating after two pages of the Critique of Pure Reason contains as much truth as the whole of Kantianism. The understood mutual interaction of physis and logos is philosophy, not what is spoken."

"Does not an ingenuous contact with Kantian thinking, with philosophical thinking in general, contain the risk of exposing a young consciousness to a violent and sudden aging? What of a youthful will to know is preserved in a philosophy that makes one dizzy with its bony spiraling turns of the screw?"

"Our thinking is becoming much more morose than precise. … Capacity of thought does not keep pace with what is problematic. Hence the self-abdication of critique. … Because everything has become problematic, everything is also somehow a matter of indifference."

"Because there are no truths that can be taken possession of without a struggle, and because all knowledge must choose a place in the configuration of hegemonic and oppositional forces, the means of establishing knowledge seem to be almost more important than the knowledge itself. … The demand to universalize the rational draws it into the vortex of politics, pedagogy, and propaganda. With this, enlightenment consciously represses the harsh realism of older precepts of wisdom, for which there was no question that the masses are foolish and that reason is to be found only among the few. Modern elitism has to encode itself democratically."

"Our lethargic modernity certainly knows how to “think historically,” but it has long doubted that it lives in a meaningful history."

"“Knowledge is power.” This is the sentence that dug the grave of philosophy in the nineteenth century. … This sentence brings to an end the tradition of a knowledge that, as its name indicates, was an erotic theory—the love of truth and the truth through love (Liebeswahrheit). … Those who utter the sentence reveal the truth. However, with the utterance they want to achieve more than truth: They want to intervene in the game of power."

"The violent, antirationalistic impulse in Western countries is reacting to an intellectual state of affairs in which all thinking has become strategy; this impulse shows a disgust for a certain form of self-preservation. It is a sensitive shivering from the cold breath of a reality where knowledge is power and power is knowledge."

"Socialization through schooling, as it takes place here, and in Western societies, in general, is a priori stupefaction"

"In our thinking there is no longer any spark of the uplifting flight of concepts or of the ecstasies of understanding. We are enlightened, we are apathetic. No one talks anymore of a love of wisdom. There is no longer any knowledge whose friend (philos) one could be. It does not occur to us to love the kind of knowledge we have; rather we ask ourselves how we might contrive to live with it without becoming ossified."

"“Philosophical” ideology critique is truly the heir of a great satirical tradition, in which the motif of unmasking, exposing, baring has served for aeons now as a weapon. But modern ideology critique—according to our thesis has ominously cut itself off from the powerful traditions of laughter in satirical knowledge."

"The question about “good origins” becomes the crux for enlightenment. It becomes more and more clear that this idea of origin has not a temporal but a Utopian reference. The Good is still nowhere to be found, except in the wishful human spirit."

"When conservatives and reactionaries refer to “Nature” to justify their assertions about the inferiority of woman, the lesser capacities of dark races, the innate intelligence of children from the upper social strata, and the sickness of homosexuality, they have usurped naturalism. It remains the task of critique to refute this. Ultimately critique must at least be able to show that what “Nature” gives us has to be recognized as neutral and nontendentious so that every value judgment and every tendency can without doubt be understood as a cultural phenomenon. Even if Rousseau’s “good Nature” has been discredited, he has at least taught us not to accept “bad Nature” as an excuse for social oppression."

"No composer has had so deep an influence on the course of his art, before or since. Entrepreneur, philosopher, poet, conductor, one of the key composers in history and most remarkable men of the 19th century, Richard Wagner knew he was a genius. He was also an unpleasant, egocentric and unscrupulous human being."

"Die Meistersinger can have an unpredictable effect on audiences. It's a mystifying work -- odd among Wagner's operas, odd among operas generally. It's billed as a comedy, and by comparison with Wagner's normal mode of cosmic tragedy, it can fairly be called lighthearted. But it doesn't have much in the way of laughs; the funny scenes are so enormous and diffuse they're like slapstick performed by cumulus clouds."

"I have been told that Wagner's music is better than it sounds."

"Is Wagner a human being at all? Is he not rather a disease? He contaminates everything he touches — he has made music sick."

"Monsieur Wagner a de beaux moments, mais de mauvais quart d'heures."

"Heartless sterility, obliteration of all melody, all tonal charm, all music. This revelling in the destruction of all tonal essence, raging satanic fury in the orchestra, this demoniacal, lewd caterwauling, scandal-mongering, gun-toting music, with an orchestral accompaniment slapping you in the face. Hence, the secret fascination that makes it the darling of feeble-minded royalty, of the court monkeys covered with reptilian slime, and of the blasé hysterical female court parasites who need this galvanic stimulation by massive instrumental treatment to throw their pleasure-weary frog-legs into violent convulsion. The diabolical din of this pig-headed man, stuffed with brass and sawdust, inflated, in an insanely destructive self-aggrandizement, by Mephistopheles' mephitic and most venomous hellish miasma, into Beelzebub's Court Composer and General Director of Hell's Music — Wagner!"

"Wagner’s sensualism is not only more elemental than mere ostentation, but also more genuine and spontaneous than the whole ‘blood, death and lust’ mysticism of his time. It was not without reason that for many of the most sensitive minds of the century his work signified the very essence of art—the paradigm which first revealed the meaning and underlying principle of music to them. It was certainly the last and perhaps the greatest revelation of romanticism, the only form of it that is still alive today. No other allows us to apprehend so intimately with what intoxication of the senses it impressed itself on the contemporary public, and how much it was felt to be a revolt against all dead conventions and the discovery of a young, blissful and forbidden world. It is comprehensible, although at first surprising, that Baudelaire, who was himself not musical at all, but the only one of Wagner’s contemporaries whose accents create in us the same feeling of happiness as the Tristan music, was the first to recognize the significance of Wagner’s art."

"Wagner, the master of language, the mythologist and myth-maker, the philosopher, historian, aesthetician and critic, poet of previous societies, who has made simple dramas new again, and clarified the place of the arts in human culture, and understood the values of the past, and who has for the first time encircled the entire structure in one ring, and engraved the runes of his spirit on it - what an abundance of knowledge he had to accumulate and compile, in order to accomplish all this! And yet the magnitude of the task never daunted him, nor did the details and the beauty distract him."

"After the last notes of Götterdämmerung I felt as though I had been let out of prison."

"What a wonderful work Wagner has done for humanity in translating the toil of life into the readable script of music! For those who seek the tale of other worlds his magic is silent; but earth-travail under his wand becomes instinct with rhythmic song to an accompaniment of the elements, and the blare and crash of the bottomless pit itself."

"Mein Freund, in holder Jugendzeit, wenn uns von mächt'gen Trieben zum sel'gen ersten Lieben die Brust sich schwellet hoch und weit, ein schönes Lied zu singen, mocht' vielen da gelingen; der Lenz, der sang für sie. Kam Sommer, Herbst und Winterszeit, viel Not und Sorg' im Leben, manch' ehlich Glück daneben, Kindtauf', Geschäfte, Zwist und Streit: denen's dann noch will gelingen, ein schönes Lied zu singen, seht; Meister nennt man die!"

"he asked, "who wrote those?" "you did," he was told. "ah," he responded, "its as I have always suspected: death then does have some virtue.""

"Mein Kind, für den ist alles verloren, und Meister wird der in keinem Land; denn wer als Meister geboren, der hat unter Meistern den schlimmsten Stand."

"Hier hilft kein Kluger, das seh’ ich klar: hier hilft dem Dummen die Dummheit allein!"

"... in Flucht geschlagen, wähnt er zu jagen; hört nicht sein eigen Schmerzgekreisch, wenn er sich wühlt ins eig'ne Fleisch, wähnt Lust sich zu erzeigen!"

"Richard Wagner said something I found extraordinary. He said that the "reason for being of music is poetry." I wholeheartedly subscribe to that notion. At times, somewhere in my mind I hear the music of a poem long before the words come together."

"I like Wagner’s music better than any other music. It is so loud that one can talk the whole time, without people hearing what one says."

"Music has taken a bad turn; these young people have no idea how to write a melody, they just give us shavings, which they dress up to look like a lion's mane and shake at us... It's as if they avoid melodies, for fear of having perhaps stolen them from someone else."

"It should not be presumed that these people (the Jews), who are so separated from us by their religion, have any right to make our laws. But why blame the Jews? It is we who lack all feeling for our own identity, all sense of honour."

"Fürchtest du ein Lied, ein Bild?"

"Certain things in Mozart will and can never be excelled."

"Zum Ekel find' ich ewig nur mich in Allem was ich erwirke; das And're, das ich ersehne, das And're erseh' ich nie: denn selbst muß der Freie sich schaffen; Knechte erknet' ich mir nur."

"Was der Meister nicht kann, vermöcht’ es der Knabe, hätt’ er ihm immer gehorcht Jetzt mach’ dich fort, misch’ dich nicht drein: sonst fällst du mir mit in’s Feuer!"

"Gab mir die Mutter Muth, nicht mag ich ihr doch danken, daß deiner List sie erlag: frühalt, fahl und bleich, hass' ich die Frohen, freue mich nie!"

"Des Ritters Lied und Weise, sie fand ich neu, doch nicht verwirrt; verliess er unsre Gleise, schritt er doch fest und unbeirrt. Wollt ihr nach Regeln messen, was nicht nach eurer Regeln Lauf, der eignen Spur vergessen, sucht davon erst die Regeln auf!"

"Glaubt mir, des Menschen wahrster Wahn wird ihm im Traume aufgetan: all' Dichtkunst und Poeterei ist nichts als Wahrtraumdeuterei."

"Drum bitt' ich, lasst den Groll jetzt ruh'n! Ihr habt's mit Ehrenmännern zu tun; die irren sich, und sind bequem, dass man auf ihre Weise sie nähm'. Wer Preise erkennt und Preise stellt, der will am End' auch, dass man ihm gefällt. Eu'r Lied, das hat ihnen bang' gemacht; und das mit Recht..."

"Die schwache Stunde kommt für jeden, da wird er dumm und lässt mit sich reden."

"I am writing Parsifal only for my wife — if I had to depend on the German spirit, I should have nothing more to say."