Essays of Schopenhauer by Arthur Schopenhauer
page 41 of 236 (17%)
page 41 of 236 (17%)
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condition." The fact is worth mentioning because it is
characteristically ridiculous. Everyday authors are only half conscious when they write, a fact which accounts for their want of intellect and the tediousness of their writings; they do not really themselves understand the meaning of their own words, because they take ready-made words and learn them. Hence they combine whole phrases more than words--_phrases banales_. This accounts for that obviously characteristic want of clearly defined thought; in fact, they lack the die that stamps their thoughts, they have no clear thought of their own; in place of it we find an indefinite, obscure interweaving of words, current phrases, worn-out terms of speech, and fashionable expressions. The result is that their foggy kind of writing is like print that has been done with old type. On the other hand, intelligent people _really_ speak to us in their writings, and this is why they are able to both move and entertain us. It is only intelligent writers who place individual words together with a full consciousness of their use and select them with deliberation. Hence their style of writing bears the same relation to that of those authors described above, as a picture that is really painted does to one that has been executed with stencil. In the first instance every word, just as every stroke of the brush, has some special significance, while in the other everything is done mechanically. The same distinction may be observed in music. For it is the omnipresence of intellect that always and everywhere characterises the works of the genius; and analogous to this is Lichtenberg's observation, namely, that Garrick's soul was omnipresent in all the muscles of his body. With regard to the tediousness of the writings referred to above, it is to be observed in general that there are two kinds of tediousness--an objective and a subjective. The _objective_ form of tediousness springs from the deficiency of which we have been speaking--that is to say, where the author has no perfectly clear |
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