Novalis Quotes

Poetry heals the wounds inflicted by reason.

Philosophy is really nostalgia, the desire to be at home.

Life must not be a novel that is given to us, but one that is made by us.

To romanticize the world is to make us aware of the magic, mystery and wonder of the world; it is to educate the senses to see the ordinary as extraordinary, the familiar as strange, the mundane as sacred, the finite as infinite.

Where are we really going? Always home.

A hero is one who knows how to hang on one minute longer.

In a work of art, chaos must shimmer through the veil of order.

Philosophy is really homesickness: the urge to be at home everywhere.

Every disease is a musical problem; every cure is a musical solution.

We are close to waking when we dream that we are dreaming.

Shakespeare said that art is a mirror held up to nature. And that’s what it is. The nature is your nature, and all of these wonderful poetic images of mythology are referring to something in you. When your mind is trapped by the image out there so that you never make the reference to yourself, you have misread the image. The inner world is the world of your requirements and your energies and your structure and your possibilities that meets the outer world. And the outer world is the field of your incarnation. That’s where you are. You’ve got to keep both going. As Novalis said, 'The seat of the soul is there where the inner and outer worlds meet.

One should, when overwhelmed by the shadow of a giant, move aside and see if the colossal shadow isn't merely that of a pygmy blocking out the sun.

Our life is no dream, but it should and will perhaps become one.

Knowledge is only one half. Faith is the other.

The artist stands on the human being as a statue does on a pedestal.

Humanity is a comic role.

And now I awaken, for I am both yours and mine.

Play is experimenting with chance.

Sometimes with the most intense pain a paralysis of sensibility occurs. The soul disintegrates--hence the deadly frost--the free power of the mind--the shattering, ceaseless wit of this kind of despair. There is no inclination for anything any more--the person is alone, like a baleful power--as he has no connection with the rest of the world he consumes himself gradually--and in accordance with his own principle he is--misanthropic and misotheos.

Oh draw at my heart, love, Draw till I'm gone, That, fallen asleep, I Still may love on. I feel the flow of Death's youth-giving flood To balsam and ether Transform my blood -- I live all the daytime In faith and in might And in holy fire I die every night.

One can not understand language because language cannot understand itself; does not want to understand

But even more heavenly than the flashing stars are those infinite eyes which the night opens within us, and which see further even than the palest of those innumerable hosts.

Every individual is the center of a system of emanation.

Genius in general is poetic. Where genius has been active it has been poetically active. The truly moral person is a poet.

To philosophize means to make vivid.

Novalis and Dostoyevsky, awaited me just as do the mother, or the wife, the children, maids, dogs and cats in the case of more sensible people.

Novels arise out of the shortcomings of history.

Love works magic. It is the final purpose of the world story, the Amen of the universe.

We dream of travels throughout the universe: is not the universe within us? We do not know the depths of our spirit. The mysterious path leads within. In us, or nowhere, lies eternity with its worlds, the past and the future.

Humanity is the higher meaning of our planet, the nerve that connects this part of it with the upper world, the eye it raises to heaven.

How can a person have a sense of something if he does not have the germ of it within himself. What I am to understand must develop organically within me--and what I seem to learn is only nourishment--stimulation of the organism.

Light had its allotted time; but timeless and infinite is the reign of the night − the duration of sleep eternal.

There is an energy which springs from sickness and debility: it has a more powerful effect than the real, but, sadly, expires in an even greater infirmity.

Man has his being in truth--if he sacrifices truth he sacrifices himself. Whoever betrays truth betrays himself. It is not a question of lying--but of acting against one's conviction.

The inner world is the world of your requirements and your energies and your structure and your possibilities that meets the outer world. And the outer world is the field of your incarnation. That’s where you are. You’ve got to keep both going. As Novalis said, "The seat of the soul is there where the inner and outer worlds meet." Joseph Campbell, 1991, The Power of Myth, pp.68-69

The world must be romanticized. Only in that way will one rediscover its original senses. Romanticization is nothing less than a qualitative raising of the power of a thing . . . I romanticize something when I give the commonplace a higher meaning, the known the dignity of the unknown, and the finite the appearance of the infinite.

Everything is seed.

Perceptibility is a kind of attentiveness.

Apparently, we go forward.

Whoever sees life other than as a self-destroying illusion is himself still preoccupied with life. Life must not be a novel that is given to us, but one that is made by us.

What delights, what pleasures does your life offer you that outweigh the raptures of death?

The seat of the soul is where the inner world and the outer world meet. Where they overlap, it is in every point of the overlap.

Wer Schmetterlinge lachen hört, der weiß wie Wolken schmecken.

Life is the beginning of death. Life is for the sake of death. Death is at once the end and the beginning—at once separation and closer union of the self. Through death the reduction is complete

Who anyway can define the borderline between gnosis and poetic knowledge? The two modes are not identical, and yet they interpenetrate one another. Are we to call the gnosis of Novalis, Blake, and Shelley a knowledge that is not poetic? In domesticating the Sufis in our imagination, Corbin renders Ibn 1 Arabi and Suhrawardi as a Blakl· and a Shelley whose precursor is not Milton but the Koran.

The imagination places the world of the future either far above us, or far below, or in a relation of metempsychosis to ourselves. We dream of traveling through the universe—but is not the universe within ourselves? The depths of our spirit are unknown to us—the mysterious way leads inwards. Eternity with its worlds—the past and future—is in ourselves or nowhere. The external world is the world of shadows—it throws its shadow into the realm of light. At present this realm certainly seems to us so dark inside, lonely, shapeless. But how entirely different it will seem to us—when this gloom is past, and the body of shadows has moved away. We will experience greater enjoyment than ever, for our spirit has been deprived.

I show that I have understood a writer only when I can act in his spirit, when, without constricting his individuality, I can translate him and change him in diverse ways.

The process of history is combustion.

Longing for Death Down into the womb of the earth, Out of the kingdom of light, Anger, pain, and a savage blow Signal the happy departure.

I live all the daytime In faith and in might And in holy fire I die every night.

Ohne die Träume würden wir gewiss früher alt.

Many books are longer than they seem. They have indeed no end. The boredom that they cause is truly absolute and infinite.

Our life is no dream; but it ought to become one, and perhaps will.

Up to now our thinking was either purely mechanical - discursive - atomistic - or purely intuitive - dynamic. Perhaps now the time for union has come?

I turn away from the light to the holy, inexpressible, mysterious night. Far away lies the world − sunk into a deep vault, its place waste and lonely. Across my heart strings a low melancholy plays. I will fall in drops of dew and merge with the ashes. Distant memories, the wishes of youth, the dreams of childhood, the brief joys and vain hopes of a long life – all arise dressed in grey, like evening mist after sunset. In other lands light has pitched its merry tents. And if it never returned to its children, who would await its dawning with the innocence of faith?

I stood before a mirror and said fearfully: “I want to see how I look in the mirror with my eyes closed.” These wrods of Richter’s, when I first came upon them, made an indescribable commotion in me. As did the following, which seems almost like a corollary of the above—from Novalis: The seat of the soul is where inner world and outer world touch each other. For nobody knows himself, if he is only himself and not also another one at the same time. To take possession of one’s transcendental I, to be the I of one’s I, at the same time, as Novalis expressed it again.

The highest task of education is—to take command of one’s transcendental self—to be at once the I of its I. It is all the less to be wondered at that we lack complete insight and understanding for others. Without perfect self-understanding one will never learn to truly understand others.

Die Welt muß romantisiert werden. So findet man den ursprünglichen Sinn wieder. Romantisieren ist nichts, als eine qualitative Potenzierung. Das niedre Selbst wird mit einem bessern Selbst in dieser Operation identifiziert. (…) Indem ich dem Gemeinen einen hohen Sinn, dem Gewöhnlichen ein geheimnisvolles Ansehn, dem Bekannten die Würde des Unbekannten, dem Endlichen einen unendlichen Schein gebe so romantisiere ich es.

Our body is a moulded river

There are ideal series of events which run parallel with the real ones. They rarely coincide.

When one begins to reflect on philosophy—then philosophy seems to us to be everything, like God, and love. It is a mystical, highly potent, penetrating idea—which ceaselessly drives us inward in all directions. The decision to do philosophy—to seek philosophy is the act of self-liberation—the thrust toward ourselves.

Flight from the communal spirit is death!

The most intimate community of all knowledge—the republic of learning is the high purpose of scholars.

The greatest of sorcerers would be the one who would cast a spell on himself to the degree of taking his own phantasmagoria for autonomous apparitions. Might that not be our case?

Who does not love to wander at twilight, when the light of day and the deep shades of night mingle together in deep coloring?

True anarchy is the generative element of religion. Out of the annihilation of all existing institutions she raises her glorious head, as the new foundress of the world.

For the tragedy of our lives is not created entirely from within. "Character," says Novalis, in one of his questionable aphorisms,–"character is destiny." But not the whole of our destiny.

he who has tasted it, who has stood at the watershed of this world and looked across into the new land, into the dwelling of the night − truly, he will never return to the labours of the world, to the land where the light is housed in ceaseless unrest.

Life is the beginning of death. Life is for the sake of death. Death is at once the end and the beginning—at once separation and closer union of the self. Through death the reduction is complete.

The more narrow-minded a system is the more it will please worldly-wise people. Thus the system of the materialists, the doctrine of Helvetius and also Locke has recieved the most acclaim amongst his class. Thus Kant even now will find more followers than Fichte.

الفلسفةُ حنينٌ إلى الوطن ، ونزعةٌ إلى أن نكون في كلّ مكانٍ ، كما لو في البيت.

اننا نكون قد قاربنا ان نستفيق حين نحلم اننا نحلم

Holy sleep, do not so seldom bring happiness to the night’s beloved in this earthly labour of the day.

There is more truth in their romances than in learned chronicles.

The fate which oppresses us is the inertia of our spirit. Through extending and cultivating our activity we shall transform ourselves into fate. Everything seems to stream inward into us, because we do not stream outward. We are negative because we want to be—the more positive we become, the more negative will the world around us become—until at last there will be no more negation—but instead we are all in all. God wants there to be gods.

From the most ancient days of China to the myths of the Greeks we find the concept of an ideal, heavenly life for men under the hegemony of music. The Glass Bead Game is intimately bound up with this cult of music (“in eternal transmutations the secret power of song greets us here below,” says Novalis).

The world must be romanticized. In this way its original meaning will be rediscovered. Romanticization is nothing but a qualitative realization of potential. The lower self is identified, in this operation, with a better self. As we are ourselves are such a qualitative series of empowerings. This operation is as yet quite unknown. Insofar as I give a higher meaning to what is commonplace, and a mysterious appearance to what is ordinary, the dignity of the unknown to what is known, a semblance of infinity to what is finite, I romanticize it.

What is it that wells up so suddenly and menacingly under my heart, swallowing the soft air of melancholy? Are you pleased with us, dark night? What is it you conceal under your mantle, that grabs invisibly and powerfully at my soul? A rich balm drips off your fingers from a bundle of poppies. You raise up the heavy wings of the soul – darkly and inexpressibly we are moved. I see an earnest face startled with joy – softly and reverently it inclines toward me, and under endlessly entangled locks appears the cherished face of our Mother. How poor and childish the light seems to me now − how welcome and blessed is the day’s departure.

While the poets were above all interested in the fluid and fugitive aspects of Nature, others desired, by slogging away with a hatchet and pickax, to discover the interior structure of Nature and the relationship between the separate morsels. The spirit of our friend Nature dissolved in their hands, leaving nothing but throbbing or dead parts.

We dream of a journey through the universe. But is the universe then not in us? We do not know the depths of our spirit. Inward goes the secret path. Eternity with its worlds, the past and future, is in us or nowhere.

What is nature? An encyclopedic systematic index or plan of our spirit. Why should we be content with the mere catalogue of our treasures—let us examine them for ourselves—and work with them and use them in diverse ways.

Sacrifice of the self is the source of all humiliation, as also on the contrary is the foundation of all true exaltation. The first step will be an inward gaze—an isolating contemplation of ourselves. Whoever stops here has come only halfway. The second step must be an active outward gaze—autonomous, constant observation of the external world. No one will ever achieve excellence as an artist who cannot depict anything other than his own experiences, his favorite objects, who cannot bring himself to study assiduously even a quite strange object, which does not interest him at all, and to depict it at leisure. An artist must be able and willing to depict everything. This is how a great artistic style is created, which rightly is so much admired in Goethe.

Though the heroes and their fates are inventions, yet the spirit in which they are composed is true and natural.

Novels arise out of the shortcoings of history.

„Да станеш човек е изкуство.

We may see very clearly how the wrong sound, or “anti-music,” is pathogenic and migrainogenic; while the right sound—proper music—is truly tranquillising, and immediately restores cerebral health. These effects are striking, and quite fundamental, and put one in mind of Novalis’s aphorism: “Every disease is a musical problem; every cure is a musical solution.

Everything that we experience is a communication. In fact, so is the world too a communication -- the revelation of spirit. The time is gone when the spirit of God was comprehensible to us. The meaning of the world has been lost to us. We have seen only its letters. We have lost that which is appearing behind the appearance.

All the chance events of our lives are materials from which we can make what we like. Whoever is rich in spirit makes much of his life. Every acquaintance, every incident would be for the thoroughly spiritual person—the first element in an endless series—the beginning of an endless novel.

من يهرب من الألم ، لن يُحبّ . على العاشق أن يترك الجراحَ مفتوحة.

العبقريّةُ هي القدرةُ على الإهتمام بالأمور الخياليّة والحقائق ومعالجتُها.

One makes a great error if one believes there are 'ancients.' Only now is antiquity starting to arise. It arises in the eyes and soul of the artist.

Doing philosophy is only a threefold or double kind of waking--being awake--consciousness.

Toda enfermedad puede llamarse enfermedad del alma.

La esencia de la enfermedad es tan oscura como la de la vida.

We are more closely connected to the invisible than to the visible.

Aside I turn to the holy, unspeakable, mysterious Night. Afar lies the world -- sunk in a deep grave -- waste and lonely is its place. In the chords of the bosom blows a deep sadness. I am ready to sink away in drops of dew, and mingle with the ashes. -- The distances of memory, the wishes of youth, the dreams of childhood, the brief joys and vain hopes of a whole long life, arise in gray garments, like an evening vapor after the sunset. In other regions the light has pitched its joyous tents. What if it should never return to its children, who wait for it with the faith of innocence?

Is not our body in itself nothing but a common central effect of our senses—if we have mastery over our senses—if we are able to transform them into activity at will—to center them at a common point, then it only depends on us—to give ourselves the body we want. Indeed, in our senses are nothing other than modifications of the mental organ—of the absolute element—then with mastery over this element we shall also be able to modify and direct our senses as we please.

That which the external world perceives as quite motionless has the appearance of being quite at rest. However much it may change, in relation to the external world it always stays at rest. This principle governs all self-modifications. That is why the beautiful appears so much at rest. Everything beautiful is a self-illuminated, perfect individual.

Yimello,' said Bernard finally, breaking the silence. 'Gesundheit?' I asked. 'It's a name for one of the colors that's invisible to us. Yimello," said Bernard. "There could also be glowl and novaly and replitz." 'Yes.' I nodded, stunned the kid could actually string together so many words at once. 'And, uh, don't forget the beautiful grynn, the luminous dulloff, or the subtle winooze.' Bernard's face lit up. He stood and started pacing the room, speaking quickly. 'Or salty, and insomnia, and carefree, and talkative, and lonely, and burnt, and punctual.' 'Some of my favorite colors,' I agreed, nodding. 'We could paint this room whisper. Or zigzag. Or maybe a nice shade of ignored and invisible.

...meine kleine Scheinheimat, wo der Lehnstuhl und der Ofen, das Tintenfaß und die Malschachtel, der Novalis und der Dostojewski auf mich warteten, so, wie auf andere, auf richtige Menschen, wenn sie heimkommen, die Mutter oder Frau, die Kinder, die Mägde, die Hunde, die Katzen warten.

Only fools fail to recognize you, knowing no sleep but the shadow which you, taking pity, cast over us in the twilight before true night. They do not taste you in the golden flood of grapes, in the magic oil of the almond tree and the brown juice of the poppy. They do not know that it is you who hovers over a tender maiden’s bosom, making a heaven of her lap − never suspect that it is you who comes to them out of old stories, opening the doors to heaven and carrying the key to the dwellings of the blessed, a silent messenger of infinite mysteries.

In most religious systems we are regarded as parts of the godhead which, if they do not obey the impulses of the whole, and even if they do not intentionally act against the laws of the whole, but only go their own way and do not want to be parts of it, are medically treated by the godhead—and either endure a painful cure or even are cut off.

Der wahre Leser muss der erweiterte Autor sein.

Hätten wir auch eine Phantastik wie eine Logik, so wäre die Erfindungskunst – erfunden. Zur Phantastik gehört auch die Ästhetik gewissermaßen wie die Vernunftlehre zur Logik.

Inspiration without intellect is useless and dangerous; and the poet will be able to perform few wonders, when he is astonished by wonders.

Totul este bun, dar nu pretutindeni, dar nu oricând, dar nu pentru toţi.

De la "eu sunt" porneşte drumul răului în jos şi cel al binelui în sus.

Ein Kommandowort bewegt Armeen; das Wort Freiheit Nationen.

Many things are too delicate to be thought, much less spoken of in words.

The mystical expression is more an attracting thought. All truth is primeval. The charm of its newness lies only in the variation of expression.

Let the dragon-flies rise; innocent strangers they are, Follow the twin star, exulting, with gifts, this way.

Through incompleteness one becomes susceptible to other influences, and to assimilate those strange influences is the aim.

Adam and Eve. What through a revolution was effected, must through a revolution be overthrown.

I am a profoundly anti-juridical man. . . . I have neither any sense of law or need for law.

Paradise is scattered over the whole earth, and that is why it has become so unrecognizable.

Inni nie przeżyli niczego podobnego, choć wysłuchali tych samych opowieści

Трябва да бъдем горди за болката, всяка болка е едно напомняне за нашата извисеност.

–Memory’s distances, youth’s wishes, childhood’s dreams, the short joys of a whole long life and hopeless hopes come grey-clad, like evening mist after the sun has set.

No one strays farther from the goal than he who imagines that he already knows the strange realm, that he can explain its structure in few words and everywhere find the right path.

mad, were not my perception and reasonings so clear; and this state of mind appears to have brought with it superior knowledge on all subjects.

More heavenly than those flashing stars seem to us the endless eyes that the night opens up within us.

Centripetal force is the synthetic striving of the spirit - centrifugal force the analytical striving of the spirit. Striving toward unity - striving towards diversity. Through the mutual determination of each by the other - that higher synthesis of unity and diversity itself will be produced - whereby one is in all and all in one.

and fueled their mutual passion for the great Romantic texts—Goethe’s Sorrows of Young Werther and Novalis’s Hymns to the Night—which featured protagonists suffering in equal measure from lost loves and undirected ambition.

Content, our life advancing To a life that shall abide, Each flame its worth enhancing, The soul is glorified. The starry host shall sink then To bright and living wine, The golden draught we drink then, And stars ourselves shall shine. Love released, lives woundless, No separation more; While life swells free and boundless As a sea without a shore. One night of glad elation, One joy that cannot die, And the sun of all creation Is the face of the Most High.

The letter is only an aid to philosophical communication, the actual essence of which consists in arousing a particular train of thought. Someone speaking thinks and produces—someone listening reflects—and reproduces. Words are a deceptive medium for what is already though—unreliable vehicles of a particular, specific stimulus. The true teacher is a guide. If the pupil genuinely desires truth it requires only a hint to show him how to find what he is seeking. Accordingly the representation of philosophy consists purely of themes—of initial propositions—principles. It exists only for autonomous lovers of truth. The analytical exposition of the theme is only for those who are sluggish or unpracticed. The latter must learn thereby how to fly and keep themselves moving in a particular direction. Attentiveness is a centripetal force. The effective relation between that which is directed and the object of direction begins with the given direction. If we hold fast to this direction we are apodictically certain of reaching the goal that has been set. True collaboration in philosophy then is a common movement toward a beloved world—whereby we relieve each other in the most advanced outpost, a movement that demands the greatest effort against the resisting element within which we are flying.

ah! tüket beni ey sevgili, sonuna kadar tüket ki, uykuya dalayım ve sevebileyim. hissediyorum ölümün gençleştirici akışını, kanım merheme ve uzama dönüşmekte - yaşıyorum gündüz vakitlerinde inanç ve cesaretle geceleri ise kutsal ateşte ölüyorum.

The whole of the visible is incorporated in the invisible and the audible in the inaudible, and the tangible in the intangible. There is no doubt that everything that can be thought about is incorporated into everything that cannot be thought about.

Wir träumen von Reisen durch das Weltall: ist denn das Weltall nicht in uns? Die Tiefen unseres Geistes kennen wir nicht. – Nach Innen geht der geheimnisvolle Weg. In uns, oder nirgends ist die Ewigkeit mit ihren Welten, die Vergangenheit und Zukunft.

É por isso, aliás, que a literatura e a poesia, ao buscarem expressar as coisas do mundo com o uso de metáforas bem construídas, imagens, analogias, diálogos, personagens e eu líricos pungentes, enfim, com todo um trabalho de linguagem e de criação artística, não consistem apenas em uma forma mais bonita de dizer as coisas: a arte abre um novo campo semântico, como se melhorasse a qualidade dessa 'tradução do mundo'. É nesse sentido que o escritor alemão Novalis escreveu: 'Quanto mais poético, mais verdadeiro'.

For a long time, there had no longer been any books capable of saving him, but only sentences, individual sentences, from Novalis, for instance, from Montaigne, from Spinoza, or from Pascal, which he had to clutch at from time to time in order not to go under.

Hegel, marele mag din Suabia, a implinit minunea pe care nici un Merlin n-o încercase vreodata,a făcut să devină reală marea aspiratie a romanticilor. Novalis visa o poezie care să nu spună nimic;- Hegel a construit o întreagă filozofie care nu semnifică nimic.

Sonechka, meanwhile, placid soul that she was—cocooned by the thousand volumes of her reading, lulled by the hazy murmurings of the Greek myths, the hypnotically shrill recorder fluting of the Middle Ages, the misty windswept yearning of Ibsen, the minutely detailed tedium of Balzac, the astral music of Dante, the siren song of the piercing voices of Rilke and Novalis, seduced by the moralistic despair of the great Russian writers calling out to the heart of heaven itself—this placid soul had no awareness that her great moment was at hand.

Dünya uzaklarda - derin bir mezara indirilmiş-, yeri, bir çöl gibi ve yapayalnız. Göğsünün tellerinden derin bir hüznün esintileri yükselmekte. Çiğ taneleriyle birlikte ta aşağılara damlamak ve küllere karışmak istiyorum. -Anıların uzaklığı, gençliğin arzuları, çocukluktaki düşler, bütün bir yaşamın kısacık sevinçleri ve nafile umutları, güneşin ardından etrafı saran akşam sisi gibi, sırtlarında kurşuni giysilerle gelmekteler. Başka yerlerde ışık, neşeli çadırlarını kurmuş. Ya onu masumiyetin inancıyla beklemekte olan çocuklarına bir daha hiç dönmezse?

The true reader must be an extension of the author. He is the higher court that receives the case already prepared by the lower court. The feeling by means of which the author has separated out the materials of his work, during reading separates out again the unformed and the formed aspects of the book—and if the reader were to work through the book according to his own idea, a second reader would refine it still more, with the result that, since the mass that had been worked through would constantly be poured into fresh vessels, the mass would finally become an essential component—a part of the active spirit. Through impartial rereading of his book the author can refine his book himself. With strangers the particular character is usually lost, because the talent of fully entering into another person’s idea is so rare. Often even in the author himself. It is not a sign of superior education and greater powers to justifiably find fault with a book. When receiving new impressions, greater sharpness of mind is quite natural.

He who hears butterflies laugh knows what clouds taste of He will discover the night in the moonlight, unhindered by fear. He will become the plant, if he wishes, the animal, the fool, the sage He will travel the universe within one hour. He knows that he knows nothing, like all the others, too. Only he knows, what he and all the others will have to learn He who feels strange shores within himself and dares to rise will slowly, unhindered by fear, discover himself He looks up to his own summits And calmly takes up the fight with his own underworld He who’s at peace with himself will also die in peace and will be more alive in death than all his heirs.

Wir sind dem Aufwachen nahe, wenn wir träumen, daß wir träumen.

Alles ist gut, nur nicht überall; nur nicht immer, nur nicht für alle.

Ein Traum bricht unsre Banden los Und senkt uns in des Vaters Schoß.

Il senso per la poesia ha molto in comune col senso per il misticismo [...]. Rappresenta l'irrappresentabile, vede l'invisibile, sente il non sensibile.

حين نحلم أننا نحلم فهذه بداية اليقظة.

На един се удаде това - повдигна той булото на богинята от Саис, - но що видя? - видя - чудо на чудесата, самия себе си.

Законите са необходими следствия от несъвършеното мислене или знание.

Aparent mergem înainte

Orice om care gândeşte va găsi întotdeauna adevărul - indiferent unde va voi să se ducă şi cum va voi să meargă.

Pentru poet, obiectivitatea este totul, pentru filoyof, subiectivitatea. Poertul este glasul universului, filoyoful este glasul Unului elementar, al principiului.

Simbolicul incită, stimulează - înduioşătorul emoţionează şi mişcă.

Raţiunea şi fantezia sunt religie - raţiunea şi inteligenţa, ştiinţă.

Raţiunea practică este fantezie creatoare pură.

Academia ar trebui să fie un institut eminamente filozofic - Doar o unică facultate - întreg aşezământul organizat în vederea stimulării şi exersării adecvate a forţei de gândire.

La donna è il nutrimento corporale più elevato.

Hinüber wall ich, Und jede Pein Wird einst ein Satchel Der Wollust sein. Noch wenig Zeiten, So bin ich los, Und liege trunken Der Lieb' im Schoß

Man abides in truth. As one prizes truth, so one cherishes oneself. Whoever betrays truth, betrays himself. We speak not of lies here, but rather of acts against convictions.

Error and bias are burdens, indirectly attracting remedies, as every load balances. For the frail they are certainly a weakening agent.

Most revolutionaries neither exactly know--nor knew--what they want: Form or Unform.

Through incompleteness one becomes susceptible to other influences, and to assimilate those strange influences if the aim.

There is no religion that is not Christianity.

Aynı masalları dinlemelerine rağmen ötekiler hiç böyle bir şey yaşamadılar.

Il senso per la poesia ha molto in comune con il senso per il misticismo. [...] Rappresenta l'irrappresentabile, vede l'invisibile, sente il non sensibile.

Wir sind dem Aufwachen nah, wenn wir träumen, daß wir träumen.

Der Sinnenrausch ist zur Liebe, was der Schlaf zum Leben.

A poem must be quite inexhaustible, like a human being.

Den Satz des Widerspruchs zu vernichten ist vielleicht die höchste Aufgabe der höheren Logik

Куда же мы идем? Всегда домой.

الفلسفة حنين الى الوطن ونزعة ان نكون فى كل مكان كما لو فى البيت

كل علم يصير شعرا بعد ان كان فلسفة

الموت تجاوز للذات يؤدى الى وجود اكثر راحة

In the end, the comprehensibility of phenomena rests upon faith and will. If I make a mystery of a manifestation, then it is a mystery for me. It is therefore the same with boundaries.

Ama geceye sadık kalır Gizli yüreğim Ve gecenin kızı olan Yaratıcı sevgiye. Gösterebilir misin bana Sonrasız sadık bir yürek? Senin güneşinin Sevgi dolu gözleri var mı Beni tanıyabilen?

Să fie oare corpul şi sufletul în vreun fel anume separate - şi nu este semn de slăbiciune faptul că afecşiunea unuia este totodată şi afecţiunea celuilalt - fără niciun amestec al voinţei?

Tot ce-i la modă mi-a repugnat întodeauna.Probabil că sufăr de ceea ce am numit egoism artistic,în privinţa artei vreau totul numai pt mine,vreau să-l am singur pe Schopenhauer al meu,pe Pascal al meu,pe Novalis al meu şi pe mult iubitul meu Gogol,vreau să posed numai eu singur aceste produse de artă,aceste agresiuni artistice geniale,vreau să-i am eu singur pe Michelangelo,Renoir,Goya.

Ich weiß nicht, aber mich dünkt, ich sähe zwei Wege um zur Wissenschaft der menschlichen Geschichte zu gelangen. Der eine, mühsam und unabsehlich, mit unzähligen Krümmungen, der Weg der Erfahrung; der andere, fast ein Sprung nur, der Weg der innern Betrachtung. Der Wanderer des ersten muß eins aus dem andern in einer langwierigen Rechnung finden, wenn der andere die Natur jeder Begebenheit und jeder Sache gleich unmittelbar anschaut, und sie in ihrem lebendigen, mannigfaltigen Zusammenhange betrachten, und leicht mit allen übrigen, wie Figuren auf einer Tafel, vergleichen kann.

Актът на надскачане на себе си е навсякъде най-висшият, изначалният момент, генезисът на живота... Така всяка философия започва там, където философстващият философства себе си, т.е. едновременно разгражда себе си... и се самообновява... Така всяка жива моралност започва с това, че от добродетелност извършвам нещо против добродетелта; с това започва животът на добродетелта, чрез който капацитетът ѝ нараства до безкрайност.

The obsession with originality is a *coarse* scholarly egotism. Whoever is incapable of treating every foreign thought as though it were his own, and a personal thought as though it were foreign—is no true scholar.

Der mystische Ausdruck ist ein Gedankenreiz mehr. Alle Wahrheit ist uralt. Der Reiz der Neuheit liegt nur in den Variationen des Ausdrucks. Je kontrastierender die Erscheinung, desto größer die Freude Des Wiedererkennens.

Almost all genius up to now was one-sided—the result of a sickly constitution. One type had too much sense of the external, the other too much inner sense. Seldom could nature achieve a balance between the two—a complete constitution of genius. Often a perfect proportion arose by chance, but this could never endure because it was not comprehended and fixed by the spirit—they remained fortunate moments. The first genius that penetrated itself found here the exemplary germ of an immeasurable world. It made a discovery which must have been the most remarkable in the history of the world—for with it there begins a whole new epoch for humanity—and true history of all kinds becomes possible for the first time at this stage—for the way that had been traversed hitherto now makes up a proper whole that can be entirely elucidated. That point outside the world is given, and now Archimedes can fulfill his promise.

The ideal of morality has no more dangerous rival than the ideal of supreme strength, of a life of maximum vigor, which has also been called the ideal of aesthetic greatness. That life is in truth the ultimate attainment of the barbarian, and unfortunately in these days of civilization’s withering it has won a great many adherents. In pursuance of this ideal man becomes a hybrid thing, a brute-spirit, whose cruel mentality exerts a horrible spell upon weaklings.

Arta este: desăvârşirea activităţii noastre - a voi într-un anume fel - potrivit unei idei - a voi şi a făptui e aici acelaşi lucru. Numai prin exersarea repetată a activităşii noastre, ce devine tot mai precisă şi mai viguroasă, apare arta.

The true philosophical act is the slaying of the self; this is the real beginning of all philosophy, therein lies the requirement for all philosophic youths, and only this act answers all criteria and conditions for the transcendental deed.

Ich sehe die Szene schon vor mir, wie ich oben ankomme, mit dem Typ, der meinen Namen auf der Liste sucht und nicht findet. "Wie heißen Sie nochmal?" "Novecento." "Nosjinskij, Notarbartolo, Novalis, Nozza..." "Es ist nämlich so, daß ich auf einem Schiff geboren bin." "Wie bitte?" "Ich bin aif einem Schiff geboren und da auch gestorben, ich weiß nicht, ob das da aus der Liste hervorgeht..." "Schiffbruch?" "Nein. Explodiert. Dreizehn Zentner Dynamit. Bum." "Aha. Ist soweit alles in Ordnung?" "Ja, ja, bestens... das heißt... da ist noch die Sache mit dem Arm... ein Arm ist weg... aber man hat mir versichert..." "Ein Arm fehlt ihnen?" "Ja. Wissen Sie, bei de Explosion..." "Da müßte noch ein Paar liegen... welcher fehlt Ihnen denn?" "Der linke." "Ach herrje." "Was soll das heißen?" "Ich fürchte, es sind zwei rechte, wissen Sie." "Zwei rechte Arme?" "Tja. Unter Umständen können Sie Schwierigkeiten haben,..." "Ja?" "Ich meine, wenn Sie einen rechten Arm nehmen würden..." "Einen rechten Arm anstelle des linken?" "Ja." "Aber... nein, oder doch,... lieber einen rechten als gar keinen..." "Das meine ich auch. Warten Sie einen Moment, ich hole ihn." "Ich komme am besten in ein paar Tagen wieder vorbei, dann haben Sie vielleicht einen linken da..." "Also, ich habe hier einen weißen und einen schwarzen..." "Nein, nein, einfarbig... nichts gegen Schwarze, hm, es ist nur eine Frage der..." Pech gehabt. Eine ganze Ewigkeit im Paradies mit zwei rechten Armen. (Näselnd gesprochen.) Und jetzt schlagen wir ein schönes Kreuz! (Er setzt zu dieser Geste an, hält aber inne. Er betrachtet seine Hände.) Nie weiß man, welche man nehmen soll. (Er zögert einen Augenblick, dann bekreuzigt er sich schnell mit beiden Händen.) Sich eine ganze ewigkeit, Millionen Jahre, zum Affen machen. (Wieder schlägt er mit beiden Händen ein Kreuz.) Die Hölle. Da gibt's nichts zu lachen. (Er dreht sich um, geht auf die Kulissen zu, bliebt einen Schritt vor dem Abgang stehen, dreht sich erneut zum Publikum, und seine Augen leuchten.) Andererseits... du weißt ja, daß Musik... mit diesen Händen, mit zwei rechten... wenn da nur ein Klavier ist...

Ferice de limba noastră căci e lipsită de supleţe - ceş puternic o supune, cel slab e supus de ea - în primul caz manifestarea forţei e mai vădită, mai frumoasă; în al doilea, neputunţa mai izbitoare - şi astfel tărâmul frumuseţii rămâne mai pur, mai nobil, mai neamestecat.

In serene souls there is no jesting. Jesting indicates a loss of equilibrium; it is both a succession of disturbances and the center's restoration. The sharpest wit has passion. The condition of the dissolution of all proportion - despair and spiritual death - is most fearfully witty.

The punctilious description of this inner world history is the true theory of Nature. Through the inter-coherence of his own world of thought and its harmony with the universe, a system of thought arises spontaneously as the true image and formula of the Universe. But the art of peaceful Meditation, of generative cosmic speculation is difficult. The undertaking is furthered by incessant reflection, by a severe austerity, and its satisfaction will be not the applause of contemporaries who shrink from fatigue, but only the joy of knowledge and growth, an inner rhythm with the Universe.

Pudoarea e probabil un sentiment de profanare. Prietenia, iubirea, evlavia ar trebui tratate în chip tainic. Ar trebui să vorbim despre ele doar în clipe rare, intime, să ne înţelegem în tăcere cu privire la ele - Multe lucruri sunt prea gingaşe spre a fi gândite, şi mai multe spre a fi rostite.

Trebuie să poţi începe şi sfârşi când vrei - sau trebuie să-ţi faci rost de o voinţă. Voinţa e întotdeauna raţională - şi puternică. Dacă vrei, atrunci poţi. Dar n-ai o voinţă fermă, sau n-ai deloc, dacă eşti şi acţionezi neraţional - dacă nu începi şi nu încvhizi cartea când e bine şi-nşelept s-o faci.

A criminal cannot complain about wrongs done him because one treats him harshly and inhumanely. His offense was an entry into the realm of violence, power and tyranny. There is no restraint and proportion in that realm, and therefore he should not be surprised at the disproportion of its counter-reaction.

Η συναναστροφή μας με τη φύση είναι ίδια κι απαράλλαχτη όπως η συναναστροφή μας με τους ανθρώπους: παρουσιάζει μιαν απειρόμορφη ποικιλία. Η φύση ξέρει να γίνεται παιδιάστικη για ένα παιδί, και να φωλιάζει στα μικρά του στήθη με τον ίδιο τρόπο που ξέρει να γίνεται θεϊκή για τους θεούς και ν’ απηχεί το υψηλό τους πνεύμα.

In the earliest times of the discovery of the faculty of judgment, every new judgment was a find. The worth of this find rose, the more practical and fertile the judgment was. Verdicts which now seem to us very common then still demanded an unusual level of intellectual life. One had to bring genius and acuity together in order to find new relations using the new tool. Its application to the most characteristic, interesting, and general aspects of humanity necessarily aroused exceptional admiration and drew the attention of all good minds to itself. In this way those bodies of proverbial sayings came into being that have been valued so highly at all times and among all peoples. It would easily be possible for the discoveries of genius we make today to meet with a similar fate in the course of time. There could easily come a time when all that would be as common as moral precepts are now, and new, more sublime discoveries would occupy the restless spirit of men.

Bütün tutkular bir trajedi gibi son bulur. Tek yanlı her şey, ölümle biter -işte duygu felsefesi- işte hayal gücü felsefesi, işte düşünce felsefesi. Bütün hayat, yaşlılık ve ölümle son bulur. Her şiirde trajik bir yan vardır. Hakikî şakanın temelinde ciddiyet yatar. Farsın, kukla oyunun, en renkli hayatın, âdînin, trajik etkisi.

Bütün tutkular bir trajedi gibi son bulur. Tek yanlı her şey, ölümle biter -işte duygu felsefesi- işte hayal gücü felsefesi, işte düşünce felsefesi. Bütün hayat, yaşlılık ve ölümle son bulur. Her şiirde trajik bir yan vardır. Hakikî şakanın temelinde ciddiyet yatar. Farsın, kukla oyununun, en renkli hayatın, âdînin, trajik etkisi.

Bütün tutkular bir trajedi gibi son bulur. Tek yanlı her şey, ölümle biter -işte duygu felsefesi- işte hayal gücü felsefesi, işte düşünce felsefesi. Bütün hayat, yaşlılık ve ölümle son bulur. Her şiirde trajik bir yan vardır. Hakikî şakanın temelinde ciddiyet yatar. Farsın, kukla oyununun, en renkli hayatın, âdînin, arabeskin trajik etkisi.

To understand Nature we must let Nature evolve herself to the fullest in us. For this enterprise we must make up our mind to be determined solely by divine aspirations towards beings that resemble us, and to distinguish their essential characteristics. For verily all Nature is only comprehensible as the instrument and medium of the intelligence of a reasonable Being.

It is the most capricious prejudice to believe that a human being is denied the capacity to be outside himself, to be consciously beyond the senses. He is capable at any moment of being a suprasensual being. Without this he would not be a citizen of the world—he would be an animal. It is true that under these circumstances reflection, the discovery of oneself—is very difficult, since they are so ceaselessly, so necessarily connected with the change in our other circumstances. But the more conscious of these circumstances we can be, the more lively, powerful, and ample is the conviction which derives from them—the belief in true revelations of the spirit. It is not seeing—hearing—feeling—it is a combination of all three—more than all three—a sensation of immediate certainty—a view of my truest, most actual life—thoughts change into laws—wishes are fulfilled. For the weak person the fact of this moment is an article of faith. The phenomenon becomes especially striking at the sight of many human forms and faces—particularly so on catching sight of many eyes, expressions, movements—on hearing certain words, reading certain passages—at certain views of life, world, and fate. Very many chance incidents, many natural events, particular times of the day and year bring us such experiences. Certain moods are especially favorable to such revelations. Most last only an instant—few linger—fewest of all remain. In this respect there are great differences between people. One is more capable of experiencing revelations than another. One has more sense of them, the other more understanding. The latter kind will always remain in their soft light; even if the former has only intermittent flashes of illumination, they are brighter and more varied. This capacity is also susceptible to illness, which signifies either excessive sense and deficient understanding—or excessive understanding and deficient sense.

In ultima perioadă a vieţii, Gogol a fost cuprins de remuşcări: personajele sale, credea el, nu erau decat viciu, vulgaritate, gunoi. Trebuia să aibă grijă să le dăruiască şi virtuţi, să le smulgă din noroiul lor. Şi astfel scrise partea a doua a Sufletelor moarte; din fericire, a pus-o pe foc. Nu exista «salvare» pentru eroii săi. Unii au pus gestul pe seama nebuniei, cînd, de fapt, îşi avea obîrşia în scrupulele conştiinţei sale de artist: scriitorul l-a învins pe profet. Ne plac la el cruzimea, dispreţul faţă de oameni, viziunea unei lumi osîndite; cum să fi suportat o caricatură moralizatoare? Pierdere ireparabilă, spun unii; pierdere salutară, mai curînd. In ultima sa perioadă, Gogol mai păstrează o forţă obscură pe care însă nu ştie s-o folosească; se prăbuşeşte într-o letargie străbătută cînd şi cînd de tresăriri; tresăririle unei fantome. Umorul ce-i îngăduia să-şi stăpînească «accesele de spaimă» dispare. O jalnică perioadă începe. Prietenii îl părăsesc. Face un gest necugetat: publică Pagini alese din corespondenţa cu prietenii, care au fost, o recunoaşte chiar el, o «palmă pentru public, o palmă pentru prieteni, o palmă pentru mine». Slavofili şi prooccidentali îl reneagă deopotrivă. Cartea era o apologie a puterii, un delir reacţionar. Spre nenorocirea lui, Gogol s-a legat de un anume părinte Matvei, nesimţitor la artă, mărginit, agresiv, şi care a avut asupra lui o autoritate de duhovnic, de călău. Scrisorile primite de la acesta le purta asupra sa în permanenţă, le citea şi le răscitea; cură de stupiditate, de idioţie. Cînd talentul unui scriitor se epuizează, inepţiile unui duhovnic umplu golul inspiraţiei. Influenţa părintelui Matvei asupra lui Gogol a fost mai mare decît a lui Puşkin; acesta îi încuraja geniul; al doilea se străduia să-i înăbuşe orice rămăşiţă de geniu... Neajungîndu-i predicile, Gogol a simţit nevoia să se pedepsească şi mai mult; opera lui conferea farsei, grimasei un sens universal; frămîntările sale religioase nu puteau rămîne străine de asta. Unii ar putea susţine că Gogol îşi merita încercările, că prin ele îşi ispăşea cutezanţa de-a fi schimonosit chipul omului. Adevărat îmi pare mai curînd contrariul; trebuia să plătească pentru că avusese dreptate: în materie de artă, ne ispăşim nu greşelile, ci «adevărurile», realitatea pe care am surprins-o. Personajele sale îl urmăreau. După propria-i mărturisire, îi purta neîncetat în el pe Klestakovi şi Cicikovi: subumanitatea lor îl strivea. Nu-l salvase pe niciunul; ca artist, nici nu ar fi putut s-o facă. Apoi, pierzandu-şi geniul, a vrut să se mîntuiască măcar. Eroii săi l-au împiedicat. De aceea, contrar voinţei sale, a trebuit să rămînă credincios neantului din ei. Ajunşi aici, nu ne gîndim la Regent (despre care Saint-Simon scria că «se născuse plictisit»), nici la Baudelaire ori la Ecclesiast, ci la o fiinţă ce şi-ar întoarce rugăciunile împotriva ei înseşi, în această fază, plictisul dobandeşte un soi de demnitate mistică. «Orice senzaţie absolută, spune Novalis, este religioasă.» La Gogol, plictisul s-a substituit, cu timpul, credinţei, devenind pentru el senzaţie absolută, religie.

Each time I happen to recall—nostalgically—the surrealist rebellion as expressed in its original purity and intransigence, it is the personality of Antonin Artaud that stands out in its dark magnificence, it is a certain intonation in his voice that injects specks of gold into his whispering voice. … Antonin Artaud: I do not have to account in his stead for what he has experienced nor for what he has suffered. … I know that Antonin Artaud saw, the way Rimbaud, as well as Novalis and Arnim before him, had spoken of seeing. It is of little consequence, ever since the publication of Aurelia, that what was seen this way does not coincide with what is objectively visible. The real tragedy is that the society to which we are less and less honored to belong persists in making it an inexpiable crime to have gone over to the other side of the looking glass. In the name of everything that is more than ever close to my heart, I cheer the return to freedom of Antonin Artaud in a world where freedom itself must be reinvented. Beyond all the mundane denials, I place all my faith in Antonin Artaud, that man of prodigies.

Wir träumen von Reisen durch das Weltall: ist denn das Weltall nicht in uns? Die Tiefen unseres Geistes kennen wir nicht. - Nach Innen geht der geheimnisvolle Weg. In uns, oder nirgends ist die Ewigkeit mit ihren Welten, die Vergangenheit und Zukunft. Die Außenwelt ist die Schattenwelt, sie wirft ihren Schatten in das Lichtreich. Jetzt scheint es uns freilich innerlich so dunkel, einsam, gestaltlos, aber wie ganz anders wird es uns dünken, wenn diese Verfinsterung vorbei, und der Schattenkörper hinweggerückt ist. Wir werden mehr genießen als je, denn unser Geist hat entbehrt.

The moral system must become a natural system. All sickness is the equivalent of sin; it is through an excess that it is transcended. Our sicknesses are all phenomena of a heightened sensation that in great force will overflow. As man would become God, he sins-- The sickness of plants is animalization; the sickness of animals is rationalization; the sickness of stones is vegetation. Shouldn't each plant correspond to a stone and to an animal? Reality of sympathy. Parallelisms of the natural realm. --Plants are dead stones; animals are dead plants, and so forth. Theory of metempsychosis.

When the Thinker, said a third, treads the strenuous path as Adept, and seeks by a skilful application of his spiritual activities to reduce the Sum of Things to a simple enigmatic Figure, one might say 'Nature dances,' and when he describes in words the curves of her movements the Lover of Nature must admire this audacious undertaking, and rejoice too at the success of this human enterprise. The Adept reasonably esteems action highly. His existence is Action and Production by Knowledge and Will, and his Art consists in applying his tools to everything, in representing the world in his fashion. Hence the principle of his world is Action, and his world is his Art.

Die Phantasie setzt die künftige Welt entweder in die Höhe, oder in die Tiefe, oder in der Metempsychose zu uns. Wir träumen von Reisen durch das Weltall: ist denn das Weltall nicht in uns? Die Tiefen unseres Geistes kennen wir nicht. – Nach Innen geht der geheimnisvolle Weg. In uns, oder nirgends ist die Ewigkeit mit ihren Welten, die Vergangenheit und Zukunft. Die Außenwelt ist die Schattenwelt, sie wirft ihren Schatten in das Lichtreich. Jetzt scheint es uns freilich innerlich so dunkel, einsam, gestaltlos, aber wie ganz anders wird es uns dünken, wenn diese Verfinsterung vorbei, und der Schattenkörper hinweggerückt ist. Wir werden mehr genießen als je, denn unser Geist hat entbehrt.

Men travel by many different paths. Whoever tracks and compares their ways will see wonderful figures arising; figures that seem to belong to the great Manuscript of Design which we descry everywhere, [...] From afar I heard one say: "Unintelligibility originates in Unintelligence. This seeks what it already has, and therefore attains to nothing further. Speech is not understood, because speech does not understand itself, and will not be understood. Genuine Sanscrit speaks for the sake of speaking, because speech is its pleasure and its essence." Not long after this another said: "Holy Writ needs no commentary. Whoso speaks truly is full of everlasting life, and his Evangel seems to us wonderfully linked with Genuine Secrets, for it is a harmony out of the Universal Symphony." The Voice must certainly have spoken of our Master, for he knows how to collect the indications that are scattered on all sides.

159. За да определим Аза, трябва да го съотнесем към нещо. Съотнасянето става чрез различия - и двете с помощта на тезата за абсолютна сфера на съществуването. Това е голото съществуване или хаосът. Ако би имало и една по-висша сфера, то това би била сферата между битие и небитие, витаенето между двете - нещо неизразимо; и тук именно имаме понятието за живот. Животът не може да бъде нищо друго. Човекът умира, материята остава, междинното звено, ако мога да се изразя така, между материя и унищожение го няма, материята става неопределяема, всичко си присвоява каквото може. Тук философията спира и трябва да спре; защото животът се състои тъкмо в това, че не може да бъде разбран. Всяка философия може да има за предмет само битието. Човекът усеща границата, която обгражда всичко за него и самия него - това е първото действие; той трябва да вярва в нея, колкото и сигурно да знае всичко друго. Следователно тук ние още не сме трансцендентни, а сме един Аз и за Аза. За да разбере самия себе си, Азът трябва да си представи една друга, еднаква с него същност, сякаш да я анатомизира. Тази друга, еднаква нему същност не е нищо друго освен самият Аз. Той възприема акта на тази алиенация и съответно производство също така само посредством този мисловен препарат, открива, че при него самия трябва да бъде същото, че действието при него не се осъществява по друг начин, който да предхожда тази рефлексия... Естествено движение на рефлексията към резултата и от резултата към рефлексията - като резултат на резултата. Животът е нещо съставено от синтеза, теза и антитеза и все пак нито едно от трите. Всички последващи тези, синтези и антитези трябва да имат съдържанието на тезата и формата на първата синтеза и антитеза. Следователно битието трябва да бъде характерът на всички тези, а разделянето и съотнасянето - характерът на всички антитези и синтези. Не е ли всяка философия възможна само за употреба или за нуждите на рефлексията? Ето защо тя трябва да бъде догматична и да изглежда трансцендентна. Какво разбираме ние под "Аз"? Не е ли вложил Фихте твърде произволно всичко в Аза? На какво основание? Може ли един Аз да се определи като Аз без друг Аз или Не-Аз? (Как Аз и Не-Аз са противопоставими?) Аз-ът притежава йероглифна способност. Трябва да има някакъв Не-Аз, за да може Азът да се определя като Аз. (Теза, антитеза, синтеза.) Действието, чрез което Азът се определя като Аз, трябва да бъде свързано с антитезата на един независим Не-Аз и с отношението към една обгръщаща ги сфера: тази сфера може да бъде наречена Бог или Аз.