Spring Properties Double Quotes

Wittgenstein came to believe that a great many philosophical puzzles arise out of people misusing language in this way. Take, for example, the statement ‘I have a pain’, which is grammatically akin to ‘I have a hat’. This similarity might mislead us into thinking that pains, or ‘experiences’ in general, are things we have in the same way that we have hats. But it would be strange to say ‘Here, take my pain’. And though it would make sense to say ‘Is this your hat or mine?’, it would sound odd to ask ‘Is this your pain or mine?’ Perhaps there are several people in a room and a pain floating around in it; and as each person in turn doubles up in agony, we exclaim: ‘Ah, now he’s having it!’ This sounds merely silly; but in fact it has some fairly momentous implications. Wittgenstein is able to disentangle the grammar of ‘I have a hat’ from ‘I have a pain’ not only in a way that throws light on the use of personal pronouns like ‘I’ and ‘he’, but in ways which undermine the long-standing assumption that my experiences are a kind of private property. In fact, they seem even more like private property than my hat, since I can give away my hat, but not my pain. Wittgenstein shows us how grammar deceives us into thinking this way, and his case has radical, even politically radical, consequences. The task of the philosopher, Wittgenstein thought, was not so much to resolve these inquiries as to dissolve them – to show that they spring from confusing one kind of ‘language game’, as he called it, with another.

Tragedy springs from its own peculiar sorcery, with treachery, born of envy or ambition, a usual instigator. Treachery is apparent only after the events staged are well over, as we know, its victims dead, or living and smarting under its tricks, realizing too late how they have been misused: if indeed they are ever cognizant of its role, if still players, to this wonder and rue. Most unacceptable is its subtlety, the double-face which double-deals, the Iago perpetrators hidden for decades, smiling the smiles of polite and not so polite society. They nod and wave, heroes to many; sly politicians these Claudiuses. Time favours the Macbeths and forgets the maligned. The former enjoy live, some even oblivious to their lies as being lies, for they prefer to bask in blessings, aping the certainties of creed, cheating death and duty while in pavilions of ease. They succeed on their success, trite or vast; wealth for some, and enviably, fame for the few. The unaware, their victims, float off to obscurity on ruptured vessels of injustice to theater lands unknown, never really knowing why, if the job's done property. Normality is, truthfully, life's whore, readily embraced and conveniently embracing; secretly, it has the clap. Thinking of plot should then give pause. The treacherous cheat fate and re-write, their 'intended history'. Call it fate. They become authors of an illicit story, penmen of their own gods, living their own fresh creation through a new, egregious, utilitarian drama that is untouched by either truth or beauty.