Wagner Quotes

I just can't listen to any more Wagner, you know...I'm starting to get the urge to conquer Poland.

I personally believe we developed language because of our deep inner need to complain.

you don't have to worry about burning bridges, if you're building your own

Reality is the leading cause of stress amongst those in touch with it.

I love you, Michael Wagner.” “Forever?” he asked. “Forever,” I said.

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

Wagner’s music is better than it sounds.

Joy is not in things; it is in us

Opportunity may knock only once but temptation leans on the door bell

Clever is when one is crafty enough to mistake your imagination for intelligence. Smart is when one assumes they are too educated to notice the difference.

You have to distinguish between things that seemed odd when they were new but are now quite familiar, such as Ibsen and Wagner, and things that seemed crazy when they were new and seem crazy now, like 'Finnegans Wake' and Picasso.

yes, Wagner and the storm intermix with the wine as nights like this run up my wrists and up into my head and back down into the gut

it is only as an aesthetic phenomenon that existence and the world are eternally justified.

I love Wagner, but the music I prefer is that of a cat hung up by its tail outside a window and trying to stick to the panes of glass with its claws.

I can see Richard Wagner standing at the gates of heaven. "You have to let me in," he says. "I wrote Parsifal. It has to do with the Grail, Christ, suffering, pity and healing. Right?" And they answer, "Well, we read it and it makes no sense." SLAM.

Imagination creates reality.

When I was a small boy in Kansas, a friend of mine and I went fishing. I told him I wanted to be a real Major League baseball player, a genuine professional like Honus Wagner. My friend said that he'd like to be President of the United States. Neither of us got our wish.

All my life, I always wanted to be somebody. Now I see that I should have been more specific.

You yourself are your own barrier – rise from within it.

Joy is not in things; it is in us.

Many's the man/ who thought himself wise/ but what he needed/ he did not know...

Never look at the trombones, it only encourages them.

Reality is just a collective hunch.

Wipe your mouth, there's still a tiny bit of bullshit around your lips.

Stop worshiping the bad in boys and start recognizing the good in men

Delusions of grandeur make me feel a lot better about myself.

She could just imagine, all her friends and family mourning around her grave. The tombstone would read Kari Wagner, Died of Sheer Stupidity. It would be almost as bad to have her grave marker read Died of Terminal Bedroom Boredom.

A good response beats a bad reaction any day. Be encouraged

Intercourse is one thing, Intimacy is everything. Be encouraged

One might say that where Religion becomes artificial, it is reserved for Art to save the spirit of religion.

The ability to delude yourself may be an important survival tool.

Okay. There it is. I dressed up. As an owl. And fought crime. Perhaps you begin to see why I half expect this summary of my career to raise more laughs than poor cuckolded Moe Vernon with his foam teats and his Wagner could ever hoped to have done.

I believe in God, Mozart and Beethoven, and likewise their disciples and apostles; - I believe in the Holy Spirit and the truth of the one, indivisible Art; - I believe that this Art proceeds from God, and lives within the hearts of all illumined men; - I believe that he who once has bathed in the sublime delights of this high Art, is consecrate to Her for ever, and never can deny Her; - I believe that through Art all men are saved.

Morality negates life.

A sobering thought: what if, at this very moment, I am living up to my full potential?

ridendo dicere severum. (tr. Through what is laughable say what is somber.)

The oldest, truest, most beautiful organ of music, the origin to which alone our music owes its being, is the human voice.

Parsifal is on his way to the temple of the Grail Knights and says: “I hardly move, yet far I seem to have come”, and the all-knowing Gurnemanz replies: “You see, my son, time turns here into space

The world doesn’t care what you know. What the world cares about is what you do with what you know.

One way to measure a particular doctor's openness and attitude toward women in general is simply to ask about the doctor's opinion of midwifery.

I made some studies, and reality is the leading cause of stress amongst those in touch with it. I can take it in small doses, but as a lifestyle, I found it too confining. It was just too needful; it expected me to be there for it all the time, and with all I have to do--I had to let something go.

If Wagner lived today, he would probably work with film instead of music. He already knew back then that the Great Art Form would include a sort of fourth dimension; it was really film he was talking about.

She's sweet on Wagner. I think she'd die for Beethoven. she loves the way Puccini lays down a tune, and Verdi's always creeping from her room.

One cannot refute Christianity; one cannot refute a disease of the eye.

Just because you start attempting to do right, doesn’t mean people will let you forget about what you’ve done wrong…Be encouraged

I know of only one composer who measures up to Beethoven, and that is Bruckner.

Sometimes, God brings His greatest rains with a storm. Sometimes, God brings His greatest blessings with your difficulty.

One of the smartest things one can do in life sometimes…is play stupid. Be encouraged

The movies, I thought, have got the soundtrack to war all wrong. War isn't rock 'n' roll. It's got nothing to do with Jimi Hendrix or Richard Wagner. War is nursery rhymes and early Madonna tracks. War is the music from your childhood. Because war, when it's not making you kill or be killed, turns you into an infant. For the past eight days, I'd been living like a five-year-old — a nonexistence of daytime naps, mushy food, and lavatory breaks. My adult life was back in Los Angeles with my dirty dishes and credit card bills.

Beethoven introduced us to anger. Haydn taught us capriciousness, Rachmaninoff melancholy. Wagner was demonic. Bach was pious. Schumann was mad, and because his genius was able to record his fight for sanity, we heard what isolation and the edge of lunacy sounded like. Liszt was lusty and vigorous and insisted that we confront his overwhelming sexuality as well as our own. Chopin was a poet, and without him we never would have understood what night was, what perfume was, what romance was.

They believe one becomes selfless in love because one desires the advantage of another human being, often against one's own advantage. But in return for that they want to possess the other person.

If there are people at once rich and content, be assured that they are content because they know how to be so, not because they are rich

You know what they say; if you're tired of London, you're tired of life.

My space chums think reality was once a primitive method of crowd control that got out of hand. In my view, it’s absurdity dressed up in a three-piece business suit.

He crossed the room to the wardrobe, picked a black aketon from a row of black aketons, and pulled it over his head. It must be so hard for him to decide what to wear each morning .

I have no clan, nor any rank. I am unique.

Bruckner he is my man!

Surrender is the only path to supernatural living.

Amor fati: this is the very core of my being—And as to my prolonged illness, do I not owe much more to it than I owe to my health? To it I owe a higher kind of health, a sort of health which grows stronger under everything that does not actually kill it!—To it, I owe even my philosophy.… Only great suffering is the ultimate emancipator of spirit, for it teaches one that vast suspiciousness which makes an X out of every U, a genuine and proper X, i.e., the antepenultimate letter. Only great suffering; that great suffering, under which we seem to be over a fire of greenwood, the suffering that takes its time—forces us philosophers to descend into our nethermost depths, and to let go of all trustfulness, all good-nature, all whittling-down, all mildness, all mediocrity,—on which things we had formerly staked our humanity.

Kiss me hot,heavy,wet & angry with that attitude like you do when your mouth yells it hates me but your tongue screams it can’t wait for me. Hug me, touch me, submit to me with that insatiable passion like you do when you thought you could leave but the sight of my throbbing rock hard love muscle made you too weak in the knees. Your mind is melting fast, your soul is whispering trust, your eyes are begging please and your anger has turned to lust. Let me undress your body, caress your skin and wetly massage your mind back into making love to me again. I’d rather say I’m sorry and keep my best friend than have this come to an end. Be encouraged but more importantly…be lethal with your make up love.

In this sense the Dionysian man resembles Hamlet: both have once looked truly into the essence of things, they have gained knowledge, and nausea inhibits action; for their action could not change anything in the eternal nature of things; they feel it to be ridiculous or humiliating that they should be asked to set right a world that is out of joint. Knowledge kills action; action requires the veils of illusion: that is the doctrine of Hamlet, not that cheap wisdom of Jack the Dreamer who reflects too much and, as it were, from an excess of possibilities does not get around to action. Not reflection, no--true knowledge, an insight into the horrible truth, outweighs any motive for action, both in Hamlet and in the Dionysian man. Now no comfort avails any more; longing transcends a world after death, even the gods; existence is negated along with its glittering reflection in the gods or in an immortal beyond. Conscious of the truth he has once seen, man now sees everywhere only the horror or absurdity of existence; now he understands what is symbolic in Ophelia's fate; now he understands the wisdom of the sylvan god, Silenus: he is nauseated. Here, when the danger to his will is greatest, art approaches as a saving sorceress, expert at healing. She alone knows how to turn these nauseous thoughts about the horror or absurdity of existence into notions with which one can live: these are the sublime as the artistic taming of the horrible, and the comic as the artistic discharge of the nausea of absurdity. The satyr chorus of the dithyramb is the saving deed of Greek art; faced with the intermediary world of these Dionysian companions, the feelings described here exhausted themselves.

Whatever I thought right seemed bad to others; whatever seemed wrong to me, others approved of. I ran into feuds wherever I found myself, I met disfavor wherever I went; if I longed for happiness, I only stirred up misery; so I had to be called “Woeful”: Woe is all I possess. Wagner, Die Walküre

One puts to one’s lips what drives one faster into the abyss”.

I worry whoever thought up the term 'quality control' thought if we didn't control it, it would get out of hand.

Don't forget what people intend to use for harm, God can use for His greater good. Let offenses slide today, and watch how God works!

Sometimes God remains silent to see if we'll remain faithful. The stillness exposed our intentions.

When we set about accounting for a Napoleon or a Shakespeare or a Raphael or a Wagner or an Edison or other extraordinary person, we understand that the measure of his talent will not explain the whole result, nor even the largest part of it; no, it is the atmosphere in which the talent was cradled that explains; it is the training it received while it grew, the nurture it got from reading, study, example, the encouragement it gathered from self-recognition and recognition from the outside at each stage of its development: when we know all these details, then we know why the man was ready when his opportunity came.

We cannot escape from our daily routine, because it will go with us wherever we go.... God must be sought and found in the things of our world. By regarding our daily duties as something performed for the honour and glory of God, we can convert what was hitherto soul-killing monotony, to a living worship of God in all our actions. Everyday life must become itself our prayer.

Dionysus had already been scared form the tragic stage, by a demonic power speaking through Euripides. Even Euripides was, in a sense, only a mask: the deity that spoke through him was neither Dionysus nor Apollo, but an altogether newborn demon, called Socrates.

Socrates, the dialectical hero of the Platonic drama, reminds us of the kindred nature of the Euripidean hero who must defend his actions with arguments and counterarguments and in the process often risks the loss of our tragic pity; for who could mistake the optimistic element in the nature of the dialectic, which celebrates a triumph with every conclusion and can breathe only in cool clarity and consciousness.

It is an eternal phenomenon: the insatiable will always finds a way to detain its creatures in life and compel them to live on, by means of an illusion spread over things.

At the moment you are most in awe of all there is about life that you do not understand, you are closer to understanding it all than at any other time.

the existence of the world is justified only as an aesthetic phenomenon.

Are you prepared?" she asked when the other Valkyries had their passengers in place. "Sure," Matt said. "But we could use a soundtrack this time. Maybe a little Wagner. Da-da-da DUM dum." Hildar looked back at hiim blankly. "Wagner? Ride of the Valkyries? Da-da-da...Er, never mind." "Oh!" Baldwin said. "I know that one!" "Don't feed the geek," Fen muttered. "Hey," Matt said. "I'm not a-" "Oh, yeah, you are, Thorsen. You really are," Fen said in a voice that might have been teasing.

Words are words. Nothing more, nothing less. It is the user's intent of the word that is good or evil. If you do not intend to use it for a dark purpose, I do not believe you should be restricted from using a word.

His name is Tristan, by the way." "Tristan?" "Yes. Oh, I should have told you. You must have wondered about my own name. It was my father. Great Wagnerian. It nearly ruled his life. It was music all the time -- mainly Wagner. "I'm a bit partial myself." "Ah well, yes, but you didn't get it morning, noon and night like we did. And then to be stuck with a name like Siegfried. Anyway, it could have been worse-- Wotan, for instance.

~Tonight's Sea~ Meet me by the sea, Under the stars. Where we can gaze With our hearts. Today, I am restless, Waiting for tonight's meet. I cannot believe how endless These hours can be. I hope the constellations Are aligned. For tonight we'll see Where our connection wanders. I'll hold on to this dream. My grip isn't fading. My memory isn't gone. Tonight we will be wading In the sea waters of love. -Rachel Nicole Wagner Original

See, the human mind is kind of like...a pinata. When it breaks open, there's a lot of surprises inside. Once you get the pinata perspective, you see that losing your mind can be a peak experience.

I settled in and told Michael, "Now, if only we had some Wagner to send us on our way." I saw Gard's reflection in the chopper's front windows look up at my words. Then she flicked a couple of switches, and "Ride of the Valkyries" started thrumming through the helicopter's cabin. "Yee-haw," I said as my elbows and knees started a nagging ache. "As long as we're going, we might as well go out in style.

What does it do?" said Loeser. "You feel as if you're being sucked down this fathomless, gloomy tunnel. Or to put it another way, it's as if all the different weights and cares of the world have been lifted from your shoulders to he replaced by a single, much larger sort of consolidated weight. Your limbs stop working and you can't really talk. If you take enough then it can last for hours and hours, but it seems like even longer because time slows down." Hildkraut smiled wistfully. "It's fantastic." At their feet, somebody groaned softly as if in enthusiastic assent. "And it makes Wagner sound really good.

There was only greed for living and dread, and out of dread, out of stupid childish dread of the cold, of loneliness, of death, two people fled to one another, kissed, embraced, rubbed cheek to cheek, put leg to leg, cast new human beings into the world. That was how it was.

...the total number of pregnancies in which powerful and dangerous drugs are used is 60 percent, or nearly two-thirds of all births. It is rediculous to think that two-thirds of American women have such lousy uteruses that they must be whipped into shape with drugs in order to have babies.

DRAMA: Be careful about being baited into the personal battles and confusion of others. If you want to help someone out emotionally, be certain he or she has made a commitment to the sacrifice before you intervene for his or her success. If you don’t, you’re likely to be drained of all your healthy energy with his or her selfish petty, pitiful pretending and negotiating. Be encouraged but more importantly if you can’t make it better, whatever you do don’t make it worse, for them and especially yourself

At present, however, science, spurred on by its powerful delusion, is hurrying unstoppably to its limits, where the optimism hidden in the essence of logic will founder and break up. For there is an infinite number of points on the periphery of the circle of science, and while we have no way of foreseeing how the circle could ever be completed, a noble and gifted man inevitably encounters, before the mid-point of his existence, boundary points on the periphery like this, where he stares into that which cannot be illuminated. When, to his horror, he sees how logic curls up around itself at these limits and finally bites its own tail, then a new form of knowledge breaks through, tragic knowledge, which, simply to be endured, needs art for protection and as medicine.” Friedrich Nietzsche, “Foreword to Richard Wagner” in The Birth of Tragedy, ed. R. Geuss & R. Speirs, Cambridge, 2007, 163. (p.114)

I can't see the logic in medicating a grieving person like there was something wrong with her, and yet it happens all the time... you go to the doctor with symptoms of profound grief and they push an antidepressant at you. We need to walk through our grief, not medicate it and shove it under the carpet like it wasn't there.

Because a new love affair always gives hope, the irrational mortal loneliness is always crowned, that thing I saw (that horror of a snake emptiness) when I took the deep iodine deathbreath on the Big Sur beach is now justified and hosannah'd and raised up like a sacred urn to Heaven in the mere fact of the taking off of clothes and clashing wits and bodies in the inexpressibly nervously sad delight of love- don't let no old fogies tell you otherwise, and on top of that nobody in the world even ever dares to write the true story of lovem it's awful, we're stuck with a 50% incomplete literature and drama- lying mouth to mouth, kiss to kiss in the pillow dark, loin to loin in unbelievable surrendering sweetness so distant from all our mental fearful abstractions it makes you wonder why men have termed God antisexual somehow- the secret underground truth of mad desire hiding under fenders under buried junkyards throughout the world, never mentioned in newspapers, written about haltingly and like corn by authors and painted tongue in cheek by artists, agh, just listen to Tristan und Isolde by Wagner and think of him in a Bavarian field with his beloved naked beauty under fall leaves.

How soon, indeed, are human things forgotten! As we meet here this morning, the Southern sun is shining on their place of burial, and the waves sparkling and the sea-gulls circling around Fort Wagner's ancient site. But the great earthworks and their thundering cannon, the commanders and their followers, the wild assault and repulse that for a brief space made night hideous on that far-off evening, have all sunk into the blue gulf of the past, and for the majority of this generation are hardly more than an abstract name, a picture, a tale that is told. Only when some yellow-bleached photograph of a soldier of the 'sixties comes into our hands, with that odd and vivid look of individuality due to the moment when it was taken, do we realize the concreteness of that by-gone history, and feel how interminable to the actors in them were those leaden-footed hours and years.

Bolshevik intellectuals did not confine their reading to Marxist works. They knew Russian and European literature and philosophy and kept up with current trends in art and thoughts. Aspects of Nietzsche’s thought were either surprisingly compatible with Marxism or treated issues that Marx and Engels had neglected. Nietzsche sensitized Bolsheviks committed to reason and science to the importance of the nonrational aspects of the human psyche and to the psychpolitical utility of symbol, myth, and cult. His visions of “great politics” (grosse Politik) colored their imaginations. Politik, like the Russian word politika, means both “politics” and “policy”; grosse has also been translated as “grand” or “large scale.” The Soviet obsession with creating a new culture stemmed primarily from Nietzsche, Wagner, and their Russian popularizers. Marx and Engels never developed a detailed theory of culture because they considered it part of the superstructure that would change to follow changes in the economic base.

Men told that Kane was a giant in stature, more powerful than ten strong men. In battle no man could stand before him, for he fought with a sword in either hand - wielding easily weapons that another warrior could scarcely lift. His hair was red as blood, and he feasted on the still-beating hearts of his enemies. His eyes were the eyes of Death himself, and they cast a blue flame that could shrivel the souls of his victims. His only delight was in rapine and slaughter, and after each victory his banquet halls echoed with the tortured screams of captive maidens.

Inside the church, the bondsmaids were walking slowly down the aisle, with the little petal girls. Trinity turned to give Mimi her last words of motherly advice: 'Walk straight. Don't slouch. And for heavens's sake, smile! It's your bonding!?' Then she too walked through the door and down the aisle. The door shut behind her, leaving Mimi alone. Finally, Mimi heard the orchestra play the first strains of the 'Wedding March.' Wagner. Then the ushers opened the doors and Mimi moved to the threshold. There was an appreciative gasp from the crowd as they took in the sight of Mimi in her fantastic dress. But instead of acknowledging her triumph as New York?s most beautiful bride, Mimi looked straight ahead, at Jack, who was standing so tall and straight at the altar. He met her eyes and did not smile. 'Let's just get this over with.' His words were like an ice pick to the heart. He doesn't love me. He has never loved me. Not the way he loves Schuyler. Not the way he loved Allegra. He has come to every bonding with this darkness. With this regret and hesitation, doubt and despair. She couldn't deny it. She knew her twin, and she knew what he was feeling, and it wasn't joy or even relief. What am I doing? "Ready" Forsyth Llewellyn suddenly appeared by her side. Oh, right, she remembered, she had said yes when Forsyth had offered to walk her down the aisle. Here goes nothing. As if in a daze, Mimi took his arm, Jack's words still echoing in her head. She walked, zombie-like, down the aisle, not even noticing the flashing cameras or the murmurs of approval from the hard-to-impress crowd.

In their castle beyond night Gather the Gods in Darkness, With darkness to pattern man's fate. The colors of darkness are no monotonous hue - For the blackness of Evil knows various shades, Full many as Evil has names. Vengeance and Madness, inseparable twins, Born together and worshipped as one; Nor can the Gods tell one from his brother. In their castle beyond night Gather the Gods in Darkness And darkness weaves with many shades.

Grief mixed with shock is such a difficult state to be in; it's hard even to describe it. On the one hand, I was numb and felt like I was in some sort of dream state - I couldn't believe Natalie was gone, but I knew it was true. And despite the shock, which makes you feel like you're muffled in cotton, my nerve ends were screaming. I was in emotional pain so intense it was physical.

I often ask, "What do you want to work at? If you have the chance. When you get out of school, college, the service, etc." Some answer right off and tell their definite plans and projects, highly approved by Papa. I'm pleased for them* but it's a bit boring, because they are such squares. Quite a few will, with prompting, come out with astounding stereotyped, conceited fantasies, such as becoming a movie actor when they are "discovered" "like Marlon Brando, but in my own way." Very rarely somebody will, maybe defiantly and defensively, maybe diffidently but proudly, make you know that he knows very well what he is going to do; it is something great; and he is indeed already doing it, which is the real test. The usual answer, perhaps the normal answer, is "I don't know," meaning, "I'm looking; I haven't found the right thing; it's discouraging but not hopeless." But the terrible answer is, "Nothing." The young man doesn't want to do anything. I remember talking to half a dozen young fellows at Van Wagner's Beach outside of Hamilton, Ontario; and all of them had this one thing to say: "Nothing." They didn't believe that what to work at was the kind of thing one wanted. They rather expected that two or three of them would work for the electric company in town, but they couldn't care less, I turned away from the conversation abruptly because of the uncontrollable burning tears in my eyes and constriction in my chest. Not feeling sorry for them, but tears of frank dismay for the waste of our humanity (they were nice kids). And it is out of that incident that many years later I am writing this book.

If a bell failed to ring, if a stove smoked, if a wheel on a machine stuck, you knew at once where to look and did so with alacrity; you found the defect and knew how to cure it. But the thing within you, the secret mainspring that alone gave meaning to life, the thing within us that alone is living, alone is capable of feeling pleasure and pain, of craving happiness and experiencing it- that was unknown. You knew nothing about that, nothing at all, and if the mainspring failed there was no cure. Wasn't it insane?

For it is the fate of every myth to creep by degrees into the narrow limits of some alleged historical reality, and to be treated by some later generation as a unique fact with historical claims...this is the way in which religions are wont to die out: under the stern, intelligent eyes of an orthodox dogmatism, the mythical premises of a religion are systematized as a sum total of historical events; one begins apprehensively to defend the credibility of the myths, while at the same time one opposes any continuation of their vitality and growth; the feeling for myth perishes, and its place is taken by the claim of religion to historical foundations.

Why is it that of every hundred gifted young musicians who study at Juilliard or every hundred brilliant young scientists who go to work in major labs under illustrious mentors, only a handful will write memorable musical compositions or make scientific discoveries of major importance? Are the majority, despite their gifts, lacking in some further creative spark? Are they missing characteristics other than creativity that may be essential for creative achievement—such as boldness, confidence, independence of mind? It takes a special energy, over and above one’s creative potential, a special audacity or subversiveness, to strike out in a new direction once one is settled. It is a gamble as all creative projects must be, for the new direction may not turn out to be productive at all. Creativity involves not only years of conscious preparation and training but unconscious preparation as well. This incubation period is essential to allow the subconscious assimilation and incorporation of one’s influences and sources, to reorganize and synthesize them into something of one’s own. In Wagner’s overture to Rienzi, one can almost trace this emergence. There are echoes, imitations, paraphrases, pastiches of Rossini, Meyerbeer, Schumann, and others—all the musical influences of his apprenticeship. And then, suddenly, astoundingly, one hears Wagner’s own voice: powerful, extraordinary (though, to my mind, horrible), a voice of genius, without precedent or antecedent. The essential element in these realms of retaining and appropriating versus assimilating and incorporating is one of depth, of meaning, of active and personal involvement.

The satyr, as the Dionysiac chorist, dwells in a reality sanctioned by myth and ritual. That tragedy should begin with him, that the Dionysiac wisdom of tragedy should speak through him, is as puzzling a phenomenon as, more generally, the origin of tragedy from the chorus. Perhaps we can gain a starting point for this inquiry by claiming that the satyr, that fictive nature sprite, stands to cultured man in the same relation as Dionysian music does to civilization. Richard Wagner has said of the latter that it is absorbed by music as lamplight by daylight. In the same manner, I believe, the cultured Greek felt himself absorbed into the satyr chorus, and in the next development of Greek tragedy state and society, in fact everything that separates man from man, gave way before an overwhelming sense of unity that led back into the heart of nature. This metaphysical solace (which, I wish to say at once, all true tragedy sends us away) that, despite every phenomenal change, life is at bottom indestructibly joyful and powerful, was expressed most concretely in the chorus of satyrs, nature beings who dwell behind all civilization and preserve their identity through every change of generations and historical movement. With this chorus the profound Greek, so uniquely susceptible to the subtlest and deepest suffering, who had penetrated the destructive agencies of both nature and history, solaced himself. Though he had been in danger of craving a Buddhistic denial of the will, he was saved through art, and through art life reclaimed him.

As long as the sole ruler and disposer of the universe, the nous, remained excluded from artistic activity, things were mixed together in a primeval chaos: this was what Euripides must have thought; and so, as the first "sober" one among them, he had to condemn the "drunken" poets. Sophocles said of Aeschylus that he did what was right, though he did it unconsciously. This was surely not how Euripides saw it. He might have said that Aeschylus, because he created unconsciously, did what was wrong. The divine Plato, too, almost always speaks only ironically of the creative faculty of the poet, insofar as it is not conscious insight, and places it on a par with the gift of the soothsayer and dream-interpreter: the poet is incapable of composing until he has become unconscious and bereft of understanding.

What one should add here is that self-consciousness is itself unconscious: we are not aware of the point of our self-consciousness. If ever there was a critic of the fetishizing effect of fascinating and dazzling "leitmotifs", it is Adorno: in his devastating analysis of Wagner, he tries to demonstrate how Wagnerian leitmotifs serve as fetishized elements of easy recognition and thus constitute a kind of inner-structural commodification of his music. It is then a supreme irony that traces of this same fetishizing procedure can be found in Adorno's own writings. Many of his provocative one-liners do effectively capture a profound insight or at least touch on a crucial point (for example: "Nothing is more true in pscyhoanalysis than its exaggeration"); however, more often than his partisans are ready to admit, Adorno gets caught up in his own game, infatuated with his own ability to produce dazzlingly "effective" paradoxical aphorisms at the expense of theoretical substance (recall the famous line from Dialectic of Englightment on how Hollywood's ideological maniuplation of social reality realized Kant's idea of the transcendental constitution of reality). In such cases where the dazzling "effect" of the unexpected short-circuit (here between Hollywood cinema and Kantian ontology) effectively overshadows the theoretical line of argumentation, the brilliant paradox works precisely in the same manner as the Wagnerian leitmotif: instead of serving as a nodal point in the complex network of structural mediation, it generates idiotic pleasure by focusing attention on itself. This unintended self-reflexivity is something of which Adorno undoubtedly was not aware: his critique of the Wagnerian leitmotif was an allegorical critique of his own writing. Is this not an exemplary case of his unconscious reflexivity of thinking? When criticizing his opponent Wagner, Adorno effectively deploys a critical allegory of his own writing - in Hegelese, the truth of his relation to the Other is a self-relation.

THE BEET IS THE MOST INTENSE of vegetables. The radish, admittedly, is more feverish, but the fire of the radish is a cold fire, the fire of discontent not of passion. Tomatoes are lusty enough, yet there runs through tomatoes an undercurrent of frivolity. Beets are deadly serious. Slavic peoples get their physical characteristics from potatoes, their smoldering inquietude from radishes, their seriousness from beets. The beet is the melancholy vegetable, the one most willing to suffer. You can't squeeze blood out of a turnip . . . The beet is the murderer returned to the scene of the crime. The beet is what happens when the cherry finishes with the carrot. The beet is the ancient ancestor of the autumn moon, bearded, buried, all but fossilized; the dark green sails of the grounded moon-boat stitched with veins of primordial plasma; the kite string that once connected the moon to the Earth now a muddy whisker drilling desperately for rubies. The beet was Rasputin's favorite vegetable. You could see it in his eyes. In Europe there is grown widely a large beet they call the mangel-wurzel. Perhaps it is mangel-wurzel that we see in Rasputin. Certainly there is mangel-wurzel in the music of Wagner, although it is another composer whose name begins, B-e-e-t——. Of course, there are white beets, beets that ooze sugar water instead of blood, but it is the red beet with which we are concerned; the variety that blushes and swells like a hemorrhoid, a hemorrhoid for which there is no cure. (Actually, there is one remedy: commission a potter to make you a ceramic asshole—and when you aren't sitting on it, you can use it as a bowl for borscht.) An old Ukrainian proverb warns, “A tale that begins with a beet will end with the devil.” That is a risk we have to take.