Mastery Of Craft Quotes

Mastery is not something that strikes in an instant, like a thunderbolt, but a gathering power that moves steadily through time, like weather.

Write poorly. Suck. Write Awful. Terribly. Frightfully. Don’t care. Turn off the inner editor. Let yourself write. Let it flow. Let yourself fail. Do something crazy. Write 50,000 words in the month of November. I did it. It was fun. It was insane. It was 1,667 words per day. It was possible, but you have to turn off the inner critic off completely. Just write. Quickly. In bursts. With joy. If you can’t write, run away. Come back. Write again. Writing is like anything else. You won’t get good at it immediately. It’s a craft. You have to keep getting better. You don’t get to Juilliard unless you practice. You want to get to Carnegie Hall? Practice. Practice. Practice ..or give them a lot of money. Like anything else it takes 10,000 hours to get to mastery. Just like Malcolm Gladwell says. So write. Fail. Get your thoughts down. Let it rest. Let is marinate. Then edit, but don’t edit as you type. That just slows the brain down. Find a daily practice. For me it’s blogging. It’s fun. The more you write the easier it gets. The more it is a flow, the less a worry. It’s not for school, it’s not for a grade, it’s just to get your thoughts out there. You know they want to come out. So keep at it. Make it a practice. Write poorly. Write awfully. Write with abandon and it may end up being really really good.

Once you have mastered the craft, you can use it for whatever purpose you choose.

Champions realise that defeat - and learning from it even more than from winning - is part of the path to mastery.

Mastery is always a struggle for balance. How much time do you devote to the craft, and how much to yourself? And can you really do one without the other?

Some think that they are incredible but are actually un-credible. Do you work, master your craft...

The opposite of play is not work—the opposite of play is depression.” He explains, “Respecting our biologically programmed need for play can transform work. It can bring back excitement and newness to our job. Play helps us deal with difficulties, provides a sense of expansiveness, promotes mastery of our craft, and is an essential part of the creative process. Most important, true play that comes from our own inner needs and desires is the only path to finding lasting joy and satisfaction in our work. In the long run, work does not work without play.”2

Loving is like any other art-craft where the masters have carefully practiced and where the novices have languished in their carelessness.

There is no higher calling than service to your fellow man, and to do so through your own personal mastery of a craft is a gift enjoyed by few. Cultivate this gift, and give it away.

I can think of no more worthwhile aim than pursuing mastery in this craft while transcending one's own limitations.

Daily learning of your craft makes you master of your craft.

Aristotle described virtue as a kind of craft, something to pursue just as one pursues the mastery of any profession or skill. “We become builders by building and we become harpists by playing the harp,” he writes. “Similarly, then, we become just by doing just actions, temperate by doing temperate actions, brave by doing brave actions.

10,000 hour” rule. The rule’s premise is that, regardless of whether one has an innate aptitude for an activity or not, mastery of it takes around ten thousand hours of focused, intentional practice. Analyzing the lives of geniuses in a wide range of intellectual, artistic, and athletic pursuits confirms this concept. From Mozart to Bobby Fischer to Bill Gates to the Beatles, their diverse journeys from nothing toward excellence in their respective fields shared a common denominator: the accumulation of ten thousand hours of unwavering “exercise” of their crafts.

Enthusiasm is more important to mastery than innate ability, it turns out, because the single most important element in developing an expertise is your willingness to practice.

Every craft is a self-portrait of the maestro who does it. Autograph your work with greatness.

I can think of no more worthwhile aim than pursuing mastery in this craft while transcending one’s own limitations.

Iconographers,

Genius is a gift we are given; mastery is the stewardship of our gifts.

Never think that you know everything. We can become a master of our craft, but even in that space, we are still students. As long as we are alive, we are meant to keep learning and absorbing new data.

...the flies contain the ingenuity and craft of fine jewelry and the promise of hours, days, in pursuit of something even more beautiful: a connection to the beating heart of the living earth and maybe to one's own mastery.

Swimming in your own lane, or finding your genius, is about first spending the time to go deep within, before stepping out again and crafting a strategy to navigate the world as yourself, PROUD, yet textured by the nuances of the society and communities you live in.

You cannot transform a domain unless you first thoroughly understand how it works. Which means that one has to acquire the tools of mathematics, learn the basic principles of physics, and become aware of the current state of knowledge. But the old Italian saying seems to apply: Impara l’arte, e mettila da parte (learn the craft, and then set it aside). One cannot be creative without learning what others know, but then one cannot be creative without becoming dissatisfied with that knowledge and rejecting it (or some of it) for a better way.

The misery that oppresses you lies not in your profession but in yourself! What man in the world would not find his situation intolerable if he chooses a craft, an art, indeed any form of life, without experiencing an inner calling? Whoever is born with a talent, or to a talent, must surely find in that the most pleasing of occupations! Everything on this earth has its difficult sides! Only some inner drive—pleasure, love—can help us overcome obstacles, prepare a path, and lift us out of the narrow circle in which others tread out their anguished, miserable existences! —JOHANN WOLFGANG VON GOETHE

Academics place much more importance on rigorous logic. There is also admiration in the profession for subtle reasoning. And mastery of the craft shows itself in the elegance of the intellectual super-structure…. The practitioner, on the other hand, uses economic theory only to the extent that he finds it useful in comprehending the problem at hand, so that practical courses of action will emerge which can be evaluated not merely in narrow economic cost-benefit terms, but by taking into account a wider range of considerations…. A practitioner is not judged by the rigour of his logic or by the elegance of his presentation. He is judged by results.

The word power has two different meanings. There is power to: strength, gift, skill, art, the mastery of a craft, the authority of knowledge. And there is power over: rule, dominion, supremacy, might, mastery of slaves, authority over others. Ged was offered both kinds of power. Tenar was offered only one. Heroic fantasy descends to us from an archaic world. I hadn’t yet thought much about that archaism. My story took place in the old hierarchy of society, the pyramidal power structure, probably military in origin, in which orders are given from above, with a single figure at the top. This is the world of power over, in which women have always been ranked low. In such a world, I could put a girl at the heart of my story, but I couldn’t give her a man’s freedom, or chances equal to a man’s chances. She couldn’t be a hero in the hero-tale sense. Not even in a fantasy? No. Because to me, fantasy isn’t wishful thinking, but a way of reflecting, and reflecting on reality. After all, even in a democracy, in the second decade of the twenty-first century, after forty years of feminist striving, the reality is that we live in a top-down power structure that was shaped by, and is still dominated by, men. Back in 1969, that reality seemed almost unshakable. So I gave Tenar power over—dominion, even godhead—but it was a gift of which little good could come. The dark side of the world was what she had to learn, as Ged had to learn the darkness in his own heart.

An aspiring writer could be forgiven for thinking that learning to write is like negotiating an obstacle course in boot camp, with a sergeant barking at you for every errant footfall. Why not think of it instead as a form of pleasurable mastery, like cooking or photography? Perfecting the craft is a lifelong calling, and mistakes are part of the game. Though the quest for improvement may be informed by lessons and honed by practice, it must first be kindled by a delight in the best work of the masters and a desire to approach their excellence.

Excessive submission to social authority is one of the biggest killers of innovation. Things that carry social authority can only ever be things that already exist as being popular and accepted. A good way to side-step the hypnotic cage that social authority traps us in is to explore areas that are not considered to be prestigious or valid. The most innovative of the popular musicians are always influenced partly by music genres that are unpopular. By finding the best aspects of those less popular genres and bringing them into play with the qualities of a more popular style of music, they are able to create a fresh sound that a mainstream audience is ready for.

On the Craft of Writing:  The Story Grid: What Good Editors Know by Shawn Coyne The Elements of Style by William Strunk Jr. and E. B. White 2K to 10K: Writing Faster, Writing Better, and Writing More of What You Love by Rachel Aaron  On Writing: A Memoir of the Craft by Stephen King Take Off Your Pants! Outline Your Books for Faster, Better Writing by Libbie Hawker  You Are a Writer (So Start Acting Like One) by Jeff Goins Prosperity for Writers: A Writer's Guide to Creating Abundance by Honorée Corder  The Artist's Way by Julia Cameron The War of Art: Break Through the Blocks and Win Your Inner Creative Battles by Steven Pressfield Business for Authors: How To Be An Author Entrepreneur by Joanna Penn  On Writing Well: The Classic Guide to Writing Nonfiction by William Zinsser Writing Tools: 50 Essential Strategies for Every Writer by Roy Peter Clark On Mindset:  The One Thing: The Surprisingly Simple Truth Behind Extraordinary Results by Gary Keller and Jay Papasan The Art of Exceptional Living by Jim Rohn Vision to Reality: How Short Term Massive Action Equals Long Term Maximum Results by Honorée Corder The 7 Habits of Highly Effective People: Powerful Lessons in Personal Change by Stephen R. Covey Essentialism: The Disciplined Pursuit of Less by Greg Mckeown Mastery by Robert Greene The Success Principles: How to Get from Where You Are to Where You Want to Be by Jack Canfield and Janet Switzer The Game of Life and How to Play It by Florence Scovel Shinn The Compound Effect by Darren Hardy Taking Life Head On: How to Love the Life You Have While You Create the Life of Your Dreams by Hal Elrod Think and Grow Rich by Napoleon Hill In

There is an underlying rhythm to all text. Sentences crashing fall like the waves of the sea, and work unconsciously on the reader. Punctuation is the music of language. As a conductor can influence the experience of the song by manipulating its rhythm, so can punctuation influence the reading experience, bring out the best (or worst) in a text. By controlling the speed of a text, punctuation dictates how it should be read. A delicate world of punctuation lives just beneath the surface of your work, like a world of microorganisms living in a pond. They are missed by the naked eye, but if you use a microscope you will find a exist, and that the pond is, in fact, teeming with life. This book will teach you to become sensitive to this habitat. The more you do, the greater the likelihood of your crafting a finer work in every respect. Conversely the more you turn a blind eye, the greater the likelihood of your creating a cacophonous text and of your being misread.

The master initiate of any craft appears magical to the uninitiated.

Mastery of craft frees the subconscious.

There is no higher calling than the service of your fellow man, and to do so through your own personal mastery of a craft is a gift enjoyed by few.

The rule’s premise is that, regardless of whether one has an innate aptitude for an activity or not, mastery of it takes around ten thousand hours of focused, intentional practice. Analyzing the lives of geniuses in a wide range of intellectual, artistic, and athletic pursuits confirms this concept. From Mozart to Bobby Fischer to Bill Gates to the Beatles, their diverse journeys from nothing toward excellence in their respective fields shared a common denominator: the accumulation of ten thousand hours of unwavering “exercise” of their crafts. To put that number in perspective, if you practiced an activity four hours per day, seven days per week, it would take you about seven years to reach ten thousand hours. That kind of dedication can only come from the heart—a true love and passion for the activity.

Many a cow I milked, but the butter I churned by myself…

I have seen far by seeing through the lens of Jiu Jitsu. I have exchanged a great deal of physical health for these insights, and these were trades worth making. My efforts were worth the return. I have sacrificed much in the name of this craft. Not for trophies or belts or prestige. For these fall away like dust. I pursued this art so fervently because it was not actually Jiu Jitsu I pursued. It was myself.

Know Who You’re Writing For Before you start creating posts, you need to identify who your audience is. Not everyone is going to be receptive to your blog, so you need to craft your posts to appeal to those who are actually willing to sit down and read your blog.

Crafting a vision and executing a plan is the best way to get to where you want to be.

Chess reflects how people long for meaning and purpose in their lives,’ says Robert Desjarlais in the conclusion of his book Counterplay, ‘how we want to live intensely, craft something of beauty, test ourselves against others and achieve a sense of mastery in our endeavours. Chess speaks to the place of ritual and cultural forms in our lives, and how we seek rites, devices, or magical charms to keep anxiety at bay.

Academics place much more importance on rigorous logic. There is also admiration in the profession for subtle reasoning. And mastery of the craft shows itself in the elegance of the intellectual super-structure…. The practitioner, on the other hand, uses economic theory only to the extent that he finds it useful in comprehending the problem at hand, so that practical courses of action will emerge which can be evaluated not merely in narrow economic cost-benefit terms, but by taking into account a wider range of considerations…. A practitioner is not judged by the rigour of his logic or by the elegance of his presentation. He is judged by results.

Practice, work, and improve your craft until you gain mastery. The thought that any work is easy is both a fantasy and a lie. Work is showing up when everyone else thinks the weather is unfavorable.

See Mastery as Salvation The misery that oppresses you lies not in your profession but in yourself! What man in the world would not find his situation intolerable if he chooses a craft, an art, indeed any form of life, without experiencing an inner calling? —Johann Wolfgang von Goethe

In artistry, it can be very limiting and ineffective to bow to the categories that have been set in place through evolving traditions. When the artist places herself in a pigeon-hole, that comes with both advantages and disadvantages.

The greatest tragedy in life is when people lack mastery of their craft and turn on excuses, pointing fingers and blaming others for their shortcomings.

To live a fulfilling life, we need to be ourselves and follow our dreams. Go after that big idea if you have the vision. Even if those who distrust you say otherwise, you are on the right path to victory. You should remain true to yourself and prove them wrong. Making your legacy of dreams into history is up to you. Take determination, bravery, and cunning to the next level. Gain mastery of your craft, so you can identify your own potential and succeed.

When the work is done in the name of getting better, of enjoying the process, of searching for mastery of the craft, then confidence gradually grows. A feeling that “I’ve been here before, I’m prepared for this challenge.” It’s the writer who shows up at his desk every day and writes. The dancer who spends countless hours perfecting her routine. The executive who game-planned just about every scenario possible. The result might not always end up as hoped for, but doing the work provides a secure confidence founded in something concrete

The crafting of imaginary worlds, in both cummings’s and Spender’s cases, took more than a mastery of language; it took an ability to relive sense impressions almost at will. Other writers have said much the same. Robert Frost called his poetry a process of “carrying out some intention more felt than thought. . . . I’ve often been quoted: ‘No tears in the writer, no tears in the reader. No surprise in the writer, no surprise for the reader.

But Brown argues that play is not an option. In fact he writes, “The opposite of play is not work—the opposite of play is depression.” He explains, “Respecting our biologically programmed need for play can transform work. It can bring back excitement and newness to our job. Play helps us deal with difficulties, provides a sense of expansiveness, promotes mastery of our craft, and is an essential part of the creative process. Most important, true play that comes from our own inner needs and desires is the only path to finding lasting joy and satisfaction in our work. In the long run, work does not work without play.”2

Aristotle described virtue as a kind of craft, something to pursue just as one pursues the mastery of any profession or skill. “We become builders by building and we become harpists by playing the harp,” he wrote. “Similarly, then, we become just by doing just actions, temperate by doing temperate actions, brave by doing brave actions.” Virtue is something we do. It’s something we choose.

Respect the Process—Mastery THE FOOLS IN LIFE WANT THINGS FAST AND EASY-MONEY, SUCCESS, ATTENTION. BOREDOM IS THEIR GREAT ENEMY AND FEAR. WHATEVER THEY MANAGE TO GET SLIPS THROUGH THEIR HANDS AS FAST AS IT COMES IN. YOU, ON THE OTHER HAND, WANT TO OUTLAST YOUR RIVALS. YOU ARE BUILDING THE FOUNDATION FOR SOMETHING THAT CAN CONTINUE TO EXPAND. TO MAKE THIS HAPPEN, YOU WILL HAVE TO SERVE AN APPRENTICESHIP. YOU MUST LEARN EARLY ON TO ENDURE THE HOURS OF PRACTICE AND DRUDGERY, KNOWING THAT IN THE END ALL OF THAT TIME WILL TRANSLATE INTO A HIGHER PLEASURE—MASTERY OF A CRAFT AND OF YOURSELF. YOUR GOAL IS TO REACH THE ULTIMATE SKILL LEVEL—AN INTUITIVE FEEL FOR WHAT MUST COME NEXT.

Write your routine, Ronan. Now. While I watch. I want to see it." 7:45 A.M.: The most important meal of the day. 8:00 A.M.: Feed animals. 9:30 A.M.: Repair barns or house. 12:00 P.M.: Lunch @ that weird gas station. 1:30 P.M.: Ronan Lynch's marvelous dream emporium. "What does this one mean, Ronan?" It meant practice makes perfect. It meant ten thousand hours to mastery, if at first you don't succeed, there is no try only do. Ronan had spent hours over the last year dreaming ever more complex and precise objects into being, culminating in an intricate security system that rendered the Barns largely impossible to find unless you knew exactly where you were going. After Cambridge, though, it felt like all the fun had run out of the game. "I don't ask what you do at work, Declan." 6:00 P.M.: Drive around. 7:15 P.M.: Nuke some dinner, yo. 7:30 P.M.: Movie time. 11:00 P.M.: Text Parrish. Adam's most recent text had said simply: $4200. It was the amount Ronan had to send to cover the dorm room repairs. *11:30 P.M.: Go to bed. *Saturday/Sunday: Church/DC *Monday: Laundry & Grocery *Tuesday: Text or call Gansey These last items were in Declan's handwriting, his addendums subtly suggesting all the components of a fulfilling grown-up life Ronan had missed when crafting it. They only served to depress Ronan more. Look how you can predict the next forty-eight hours, seventy-two hours, ninety-six hours, look how you can predict the rest of your life. The entire word routine depressed Ronan. The sameness. Fuck everything. Gansey texted: Declan told me to tell you to get out of bed. Ronan texted back: why He watched the morning light move over the varied black-gray shapes in his bedroom. Shelves of model cars; an open Uilleann pipes case; an old scuffed desk with a stuffed whale on it; a metal tree with wondrously intricate branches; heaps of laundry curled around beet-red wood shavings. Gansey texted back: don't make me get on a plane I'm currently chained to one of the largest black walnut trees in Oregon

Write your routine, Ronan. Now. While I watch. I want to see it." 7:45 A.M.: The most important meal of the day. 8:00 A.M.: Feed animals. 9:30 A.M.: Repair barns or house. 12:00 P.M.: Lunch @ that weird gas station. 1:30 P.M.: Ronan Lynch's marvelous dream emporium. "What does this one mean, Ronan?" It meant practice makes perfect. It meant ten thousand hours to mastery, if at first you don't succeed, there is no try only do. Ronan had spent hours over the last year dreaming ever more complex and precise objects into being, culminating in an intricate security system that rendered the Barns largely impossible to find unless you knew exactly where you were going. After Cambridge, though, it felt like all the fun had run out of the game. "I don't ask what you do at work, Declan." 6:00 P.M.: Drive around. 7:15 P.M.: Nuke some dinner, yo. 7:30 P.M.: Movie time. 11:00 P.M.: Text Parrish. Adam's most recent text had said simply: $4200. It was the amount Ronan had to send to cover the dorm room repairs. *11:30 P.M.: Go to bed. *Saturday/Sunday: Church/DC *Monday: Laundry & Grocery *Tuesday: Text or call Gansey These last items were in Declan's handwriting, his addendums subtly suggesting all the components of a fulfilling grown-up life Ronan had missed when crafting it. They only served to depress Ronan more. Look how you can predict the next forty-eight hours, seventy-two hours, ninety-six hours, look how you can predict the rest of your life. The entire word routine depressed Ronan. The sameness. Fuck everything. Gansey texted: Declan told me to tell you to get out of bed. Ronan texted back: why He watched the morning light move over the varied black-gray shapes in his bedroom. Shelves of model cars; an open Uilleann pipes case; an old scuffed desk with a stuffed whale on it; a metal tree with wondrously intricate branches; heaps of laundry curled around beet-read wood shavings. Gansey texted back: don't make me get on a plane I'm currently chained to one of the largest black walnut trees in Oregon

You can only learn so much by reading books. Real mastery of any craft requires application.

Masters give all of their life to their art; they invest more effort, sweat, toil, and tears into mastering their craft than ordinary people. Mastery demands grit, determination, and total focus.

When the work is done in the name of getting better, of enjoying the process, of searching for mastery of the craft, then confidence gradually grows. A feeling that “I’ve been here before, I’m prepared for this challenge.

There is an undeniable truth that as one progresses further in his understanding of a craft the rest of his life progresses along with it. This symbiotic relationship between all things is experienced on a daily basis, but rarely articulated through conscious thought.

Studies of people with extraordinary abilities, like Ted Williams, have given rise to what Swedish psychologist Dr. K Anders Ericsson called the “10,000 hour” rule. The rule’s premise is that, regardless of whether one has an innate aptitude for an activity or not, mastery of it takes around ten thousand hours of focused, intentional practice. Analyzing the lives of geniuses in a wide range of intellectual, artistic, and athletic pursuits confirms this concept. From Mozart to Bobby Fischer to Bill Gates to the Beatles, their diverse journeys from nothing toward excellence in their respective fields shared a common denominator: the accumulation of ten thousand hours of unwavering “exercise” of their crafts.

Good. That's enough,” Deme said. “You may sit down.” Marus remained where he was, face now almost the colour of his robes, and a snarl forming on his lips. Ebryn felt the flow of force, gathering in towards Marus, the first lightning flickers forming around his hands. “That's enough — sit down,” Deme said again. This time the words came from her mouth like a lash, raw with power, and Marus rocked backwards as if struck. The force of her casting washed over the room like a dousing of ice water. Marus returned to his seat like a drunken man, tripping over the feet of fellow students, and lurching from side to side. “So, who understands what I did there?” Deme asked, moving around the floor again. “No? I used the deeper craft to control another's casting. Once you can do this, the inner nature of what we do is revealed to you, and you have achieved the beginning of mastery. “Much of what we will explore in these lessons is about improvement of your craft. So we learn what is common to all casting, not methods specific to any of the orders. Do you understand?” Deme stood in the middle of the room, looking around the chamber, at the rows of faces. “So, let us begin with a few simple mind exercises.

Phrases can build grace into sentences. Taut declarations lend clarity, but too many of them can start to sound like a Dick-and-Jane story. A strategically placed phrase can turn a staccato burst into a more lyrical sentence. This is what we mean by “turning a phrase”—using our command of language and our mastery of the rhythms of a sentence to affect style as well as substance

The sheer volume of granite, diorite, and alabaster that was cut precisely into statues around Luxor attests to the ancient Egyptians' mastery of their craft. The Greeks and Romans did not sculpt statues in igneous rock. Granite was not fashioned into statues until the development of more modern power tools with steel bits. In "The Materials of Sculpture", Nicholas Penny writes: "Granite had occasionally been worked in shallow relief, for architectural ornament where it was the local building stone, and for the stiff figures of sixteenth-century cavalries in Brittany, but, before the advent of improved metals and power-driven tools in the nineteenth century, the idea of making statues out of it was seldom seriously entertained by sophisticated sculptors.

We are not complete in ourselves without others, without a world to complement our self-conception—and were we to become so complete, we could not bear it! The fullness of ourselves would break us. We burn. The point of Figment/Fragment/Filament”—claws spread to encompass the whole warehouse space—“is to reflect, refract the beauty of physical form, the glorious futility of our quest for complete knowledge, mastery, or independence.

Where is the counterpart to this closed system of will, goal and interpretation? Why is the counterpart lacking? . . . Where is the other ‘one goal’? . . . But I am told it is not lacking, not only has it fought a long, successful fight with that ideal, but it has already mastered that ideal in all essentials: all our modern science is witness to that, – modern science which, as a genuine philosophy of reality, obvi- ously believes only in itself, obviously possesses the courage to be itself, the will to be itself, and has hitherto got by well enough without God, the beyond and the virtues of denial. However, I am not impressed by such noise and rabble-rousers’ claptrap: these people who trumpet reality are bad musicians, it is easy enough to hear that their voices do not come from the depths, the abyss of scientific conscience does not speak from them – for the scientific conscience today is an abyss –, the word ‘science’ is quite simply an obscenity in the traps of such trumpeters, an abuse, an indecency. 109 On the Genealogy of Morality Precisely the opposite of what they are declaring here is the truth: science today has absolutely no faith in itself, let alone in an ideal above it, – and where it is still passion, love, fire, suffering, it is not the opposite of the ascetic ideal but rather the latter’s own most recent and noble manifestation. Does that sound strange to you? . . . There are enough worthy and modest workers even amongst the scholars of today, who like their little corner and therefore, because they like being there, are occasionally somewhat pre- sumptuous in making their demand heard that people today ought to be content in general, especially with science – there being so much useful work to be done. I do not deny it: I am the last to want to spoil the pleasure of these honest workers in their craft: for I delight in their work. But the fact that nowadays people are working hard in science, and that they are contented workmen, does not at all prove that today, science as a whole has a goal, a will, an ideal, a passion of great faith. The opposite, as I said, is the case: where it is not the most recent manifestation of the ascetic ideal – there are too few noble, exceptional cases for the general judgment to be deflected – then science today is a hiding place for all kinds of ill-humour, unbelief, gnawing worms, despectio sui,113 bad conscience – it is the disquiet of the lack of ideals itself, the suffering from a lack of great love, the dis- content over enforced contentedness. Oh, what does science not conceal today! how much it is supposed to conceal, at any rate! The industry of our best scholars, their unreflective diligence, heads smoking night and day, their very mastery of their craft – how often does all that mean trying to conceal something from themselves? Science as a means of self-anaesthetic: do you know that? . . . Everyone in contact with scholars has the experience that they are sometimes wounded to the marrow by a harmless word, we anger our scholarly friends at the very moment when we want to honour them, we make them lose their temper and control simply because we were too coarse to guess who we were actually dealing with, with sufferers who do not want to admit what they are to themselves, with people drugged and dazed who fear only one thing: coming to consciousness . . .