From sketch; see 42:9-20: And my sorrow is my baronial castle; like an eagle’s nest be- tween the clouds, it lies high up in the mountains, and no one as yet has dared to come near it. And so I swoop down into actuality and snatch my prey, but I do not stay there. I take an impression of it and weave it into the tapestries in my castle, and there I live as one already dead. And what happened yes- terday is for me as if it were a 1,000 years ago, for one day is for me as 1,000 years, and this one day I use to drop between today and the day before yesterday. It is oblivion, not for for- getting, but a baptism of oblivion unto an eternal life. I have forgotten everything finite in it and remember the infinite, and up there I live like Ossian in recollections of a previous time, among old acquaintances. —And an old gray-haired man, pensive, sits and recounts in a soft voice, almost whispering, and I listen, but this man is myself.—Pap. III B 179:70 n.d., 1841-42 On chapter title page in copy of Either/Or, I; see 45: What Homer says of music is true: of0 axovove, ovde tt t66ve [we only hear, we know nothing]. Iliad, II, 486. One hears it, but one does not know, does not understand it.
532 Supplement On chapter title page in copy of Either/Or, I; see 45: An actual love affair could not be used in the first part, for it always affects a man so profoundly that he enters into the eth- ical. What I could use was a variety of erotic moods. I let these link themselves to Mozart’s Don Giovanni. Essentially they be- long in the world of fantasy and find their satisfaction in mu- sic. In such a situation a girl is much too little, precisely be~ cause she is infinitely much more.—JP V 5632 (Pap. IV A 223) n.d., 1843 Deleted from final draft; see 47:14: sgn Seah and actually is only a kind of despair —Pap. Ill B 172:1 June 13, 1842 Underlined in copy of Either/Or, I; see 49:4-9: Immortal Mozart! You to whom I owe everything—to whom I owe that I lost my mind.
this is no mere phrase; it is an expression for the wild depres- sion of fantasy, which at the next moment manifests itself as quiet depression and thus alternates.—JP III 2781 (Pap. IV A 224) n.d., 1843 See 53:23-54:17: When certain people maintain that they have gone beyond Hegel, it must be regarded at best as a bold metaphor, by which they are trying to express and illustrate the thorough- ness with which they have studied him, to describe the terrific running start they have made to get into his thought—and with their momentum they have not been able to stop but have gone beyond him.—JP II 1573 (Pap. II A 260) September 12, 1838 Something about the Page in “Figaro,” Papageno in “The Magic Flute,” and Don Giovanni Tonight for the first time I shall see The Magic Flute. It has occurred to me that it might have significance with respect to Don Giovanni and might fill out a stage between him and the Page in Figaro. I am of the opinion that in these three stages Mozart has perfected and perfectly presented a development of love on the level of immediacy.
(1) The Page in Figaro is the first level in the development. This is the level of undefined, awakening desire in an uncon- scious conflict with the environment: it is a play of colors from which gradually there develops a pure color: it is the level not of a given I but of the becoming I with its searching feelers. Just as all coming into existence [Tilblivelse] is a polemic, so also is life itself: on the first level {it is] not conscious but is a continual approximation toward consciousness. It identifies itself in a way with the world (the child’s “me’’),5 but pre- cisely because it is a life, a development, precisely for that rea- son there is an endless approach toward definite conscious de- sire, yet without its thereby appearing as a final factor, since it rather comes all at once as a new point of departure and cannot be explained by everything that has happened previously. All the abundance of life and the full range in which it is to move on the different levels of its development are given: the whole horizon of life with all its variety is given (but simply because the I is not given, the question could perhaps arise as a conclu- sion at the highest stage of approximation: Why did one not see the earth, which after all is also a celestial body in the heav- ens)—therefore, like the plant imprisoned at one spot, it ex- hales its longing, sheds forth the fragrance of its desire, but the longing and desire are not so definite that they wrench him from the earth in order to find what is sought after. On the contrary, it seems as if the objects of his desiring glide past him C 125 303 C125 304 C 125 305 534 Supplement in great numbers, and when he wants to grasp at a particular one and at the same time leave it alone, it is not because it dis- appears before him—in such a case his desire would either be so intense that it would suddenly wrench him loose from the earth in which he sprouted or else he would follow the vanish- ing object of desire with the yearning gaze of Ingeborg—but because something just as glorious and beautiful appears that very moment, something which, as it too vanishes, is suc- ceeded by something equally glorious and beautiful etc.—and this again is not because everything in all the fully developed abundance is equally beautiful, but because the individual at this point has not detached himself and therefore cannot ac- tually establish any criterion, not even that of the plant that closes up in bad weather or at a profane touch (because the plant does not have desire in this sense). —And how could I better express this than to recall the Page’s rapture over every girl he sees along the way; indeed, he even reacts the same way to old Dr. Bartholo’s housekeeper. From the foregoing, the basis of what is distinctive in the melancholy of this level should be evident, that it arises because the whole fullness of life presses down and, so to speak, overwhelms one; whereas the melancholy of another level (the romantic) can express it- self, inasmuch as the individual, pursuing his vanishing object, is as if brought to a standstill by what it would call the poor, prosaic world.
That which is not taken up into the idea is the accidental and unessential, which results from the reception of a foreign ad- ditive when it [the idea] is represented in a particular person- ality. This is the case with the Page, in that, so it seems, he is deeply forliebt [infatuated] with the Countess, but this is ac- counted for in part by what I have just emphasized, and in part by the fact that the Page in Figaro has gone a little beyond the very middle point of that stage, and in this way a glimpse of one side of the third stage is seen. —So it is in Papageno’s duet in the fourth act, which shows that Mozart has filled out Pa- pageno’s position with inner consciousness. (Perhaps all his Either/Or, I 535 wanderings were for that purpose? Silence is imposed upon him, a sojourn with Isis and Osiris, where the flightiness must settle down.) Instead of the first and second stages being rounded out in the third stage as in Don Giovanni, Mozart has an individual at this point arrive at gratification. The Page’s in- fatuation is to be interpreted in the same way, although it is not so obvious there.
Note: In the awakening of the Page’s love is there not some- thing unbeautiful with respect to the as yet undeveloped sen- suousness? May this perhaps be explained as being more nat- ural in Italian life?
But the longing becomes more definite or, more correctly, by means of a contradiction (a continuous desire and an all too great gratification that is still not gratification), the first stage must move into the second stage. The longing detaches itself from the home soil and takes to wandering. The heart beats faster, the objects appear and disappear more rapidly, but still before every disappearance there is an instant [et Nu] of pleas- ure, brief but happy, gleaming like a firefly, inconstant and fleeting as a butterfly, countless kisses, but so hurriedly en- joyed, as if he tore them away from one girl in order to give them to the next one, and yet with occasional darts of desire for a deeper satisfaction, which, however, never gets time to take form as such.* (2) Papageno in The Magic Flute.** This is the second stage, just as the perpendicular direction of plant life is superseded by the horizontality of locomotion. Melancholy does not take form at all as on the previous level, because the desire follow- ing upon the pleasure is satisfied at once by a new pleasure— even though not completely (see above) yet in such a way that the remaining desire is again gratified by a new pleasure—even though not completely—and so on and on endlessly. It is not the melancholy stare, itself fixed, as it were, that seemingly *It is the level found in plants with the male and female on the same stem. “Skjervek in Apothekeren og Doctoren''® is somewhat analogous to Papa- geno.
C125 306 C 125 536 Supplement cannot forget the past object upon the presentation of the new—and so on endlessly; it is like the concentration of the soul in the eyes all at once for an instant—a single object—and then concentrating on the next, and so on endlessly, but yet in such a way that the full concentration does not take place be- cause almost at the same instant a new pleasure presents itself.
(3) Now we approach the third stage, Don Giovanni, who is the unity of both stages and is the final stage of the devel- opment of immediacy (by calling it immediacy, I wish to in- dicate that as striving it has not yet reached consciousness of its relation to the world, but magnetically seeks its gratification). This stage is a unity of the two previous ones, in that the deep, infinitely melancholy draining of the whole fullness of love (like the horn from which Thor drank at Loki’s, the horn with its tip in the ocean)'"” is united on one side with the exuberant variety, and therefore all the striving is infinite in intensity as well as in extensity and thus in constant contradiction with it- self.[*] Moreover, I do not believe that the first aspect (inten- sity) is sufficiently emphasized in the adaptations we have of Don Juan, although significant clues in this respect are found, of course, in Mozart.
Just one more observation: naturally, all three stages, being immediate, are purely musical,** and any attempt in another presentation is likely to endow them with far too much con- sciousness.
(Note: does not the more mediated love-life begin in Faust, insofar as he reproduces Don Juan?)
Thursday afternoon, January 26, 1837 {*]In margin: Through this contradiction appears the significance of married life—debauchery (for there can be no question of this in the first stage).
In margin: “*I mean, specifically, that the immediate (lyrical) level is com- pleted through a steady ascent in music (prose—immediate musical verse— reflective musical verse—music). All the reflections about this are so sparse, because it is by far an einfachere [simpler] medium for one’s expression. The significance of music in the treatment of the insane. Music completes the im- mediate level, just as actions another, concepts another.— —JP IV 4397 (Pap. IC 125) January 26, 1837 The World-Famous Master of the Black Arts and Sorcerer Doctor Johan Faust, and the Pact He Made with the Devil, His Amazing Life and Horrible Death [woodcut of bust] Copenhagen.
See 99:16-22: During this time I have read various things by A. v. Arnim, among others “Armuth, Reichthum, Schuld und Busse der Grafinn Dolores.” 2 volumes."18 II, p. 21, where he speaks of her seducer...—JP V 5221 (Pap. II A 70) May 16, 1837 From final draft; see 105:34-36: Prof. Hauch has also produced a D. J. It is less related to Moliére and is on the verge of falling within the category of the interesting. We shall see later how successful the poet was.— Pap. Ii B 172:2 n.d., 1842 538 Supplement See 110:2-111:25: It is strange to note the naiveté with which the legend given here treats Faust’s relation to Mephistopheles. The inability to rise to the conception of absolute mastery over nature’s pow- ers, riches, glory, etc., is constantly manifest, and for that rea- son Faust is allowed to get into many scrapes, gets hold of money in all kinds of ways, accepts bribes, etc., but this of course is not conceived humorously (as it was in a certain sense in the case, for example, of Moliére’s Don Juan and, if] am not mistaken, Heiberg’s Don Juan; the humor lies precisely in seeing a hero like that in such a scrape). Inasmuch as the folk- consciousness has been unable to detach itself from life’s bar- riers, to that extent its position is a kind of humorous com- mentary on the folk-consciousness itself, which, wanting to understand such a striving, has been unable to understand it clearly.—JP V 5170 (Pap. IC 109) October 29, 1836 See 121.6: Elvira (in Don Giovanni) is not really a character; she lacks the required definite and more explicit contours; she is a trans- parent, diaphanous figure, through which we sce the finger of God, providence, which in a way mitigates the impression of the all too vindictive nemesis in the Commendatore, because it continually opens for D. G. the possibility of escaping it. El- vira is all too ethereal for a character; she is like the fairy maid- ens who have no back.—JP III 2785 (Pap. | A 240) September 13, 1836 See 122:27-33: Actually, the important thing in reasoning is the ability to see the part within the whole. Most people never actually en- joy a tragedy; it falls into separate pieces for them—nothing but monologues—and an opera into arias etc. The same sort of thing happens in the physical world if, for example, I walked along a road parallel to two other roads with interspersed Either/Or, I 539 strips of ground; most people would only see the road, the strip of ground, and then the road, but would be unable to see the whole as being like a piece of striped cloth.—JP II 2245 (Pap. 1 A 111) January 7, 1836 From final draft; see 130:13: wid It is something that rarely happens; here it is com- pletely as it should be and throws a new light on the structure of the overture. The overture seeks to stoop to find footing in the scenic actuality; the Commendatore and D. G. have al- ready been heard in the overture; next to them, Leporello is the most important figure. He, however, cannot be elevated up into that battle in the atmosphere, and yet he belongs to that more than anyone else does. Therefore, the piece begins with him in such a way that he stands in immediate connection with the overture.—Pap. III B 172:3 n.d., 1842 From final draft; see 135:12, end: June 13, °42 —Pap. Ill B 172:4 See 137:4: I was just searching for an expression to designate the kind of people I would like to write for, convinced that they would share my views, and now I find it in Lucian: magavexeoi.!!? (one who like me is dead), and I would like to issue a publica- tion for nagavexeot.—JP 5295 (Pap. II A 690) January 9, 1838 In margin of copy of Either/Or, I; see 137:4: I perhaps could also have called these Mewo8avator [per- suaders of suicide] and thereby called to mind the nickname the Cyrenaic Hegesias!”° was given because he spoke so excel- lently about the wretchedness of life. (See Tennemann, Gesch. d. Phil.,'2 Il, p. 106.)—Pap. IV A 225 n.d., 1843 540 Supplement From sketch; see 141:4-25: I must include hypochondria in “Either/Or’’ in order al- ways to characterize the isolated elements in isolated subjectiv- ity. This I should like to do in “Either/Or’’—and then mediate in B’s papers in part two.—JP V 5549 (Pap. III B 130) n.d., 1842 See 144:32-33: There are several absolutely wonderful great ideas in Grabbe’s Don Juan, each one of which shoots up suddenly like an enormous spruce and stands before us.—JP V 5315 (Pap. Il A 733) n.d., 1838 Deleted from sketch; see 148:5-16: A child’s sorrow when it sees an adult suffer is deeper than an adult’s; its pain is less—nature has boundlessly deep sor- row—no pain, this with respect to the spectator Deleted from margin of final draft; see 149:20-22: In a certain sense it is now very correct, for by means of an everlasting “Go to the next house!” one attains no substantial qualification, and it would indeed be making oneself a fool if one were to seek the author of the guilt through seventeen ancestors ins Blaue hinein [in the distant past].—Pap. III B 132:2 n.d., 1841-42 See 151:12-22: As well as being interesting, Philoctetes borders on being drama. Philoctetes’ mounting bitterness and the progressive self-contradiction in his behavior connected with it are pro- foundly true psychologically, but the whole thing is not clas- sical.—JP V 5547 (Pap. III C 40) n.d., 1841-42 In Philoctetes even the situation itself is reflective, ll. 878, 879.—Pap. III C 39 n.d., 1841-42 From sketch; see 153:13:14: She wears sorrow and not just the apparel of sorrow—Pap. III B 83 n.d., 1841-42 See 153:33: I must get at my Antigone again. The task is a psychological development and motivation of the presentiment of guilt. With that in mind I have been thinking of Solomon and David, of the relation of Solomon’s youth to David, for no doubt both Solomon’s good sense (dominant in the relationship) and his sensuality are the results of David’s greatness. He had had earlier intimations of David’s deep agitation without realizing what guilt might rest upon him, and yet he had seen this pro- foundly God-fearing man give such an ethical expression to his repentance, but it would have been a quite different matter if David had been a mystic. These ideas, these presentiments, smother energies (except in the form of imagination), evoke reflection, and this combination of imagination and reflection, where the factor of the will is lacking, is sensuality proper.— JPV 5669 (Pap. IV A 114) n.d., 1843 See 153:36: See 153:36: No doubt I could bring my Antigone to an end if1 let her be a man. He forsook his beloved because he could not keep her together with his private agony. In order to do it right, he had to turn his whole love into a deception against her, for other- wise she would have participated in his suffering in an utterly unjustifiable way. This outrage enraged the family: a brother, for example, stepped forward as an avenger; I would then have my hero fall in a duel.—JP V 5569 (Pap. III A 207) November 20, 1842 542 Supplement See 154:14-155:11: It is very remarkable that the wrath of the gods pursues the family of Labdakos; it is evident in Oedipus’ fate; the daugh- ters of his unhappy marriage are Antigone and Ismene. As we see, however, Antigone is engaged to Creon’s son. The family develops very tranquilly. This is Greek tragedy. Romantic tragedy could be joined to it if, for example, I had Antigone fall in love with all the energy of love, but in order to halt the vengeance of the gods she would not get married, she would regard herself as a sacrifice to the wrath of the gods because she belonged to the family of Oedipus, but she would not leave behind any family that could again become the object for the angry gods’ persecution.—JP V 5546 (Pap. III C 37) n.d., 1841-42 Deleted from margin of final draft; see 155:11-17: As for the meaning of anxiety and its characteristic tragic element, there are several notes [Pap. II A 585] that apply to this in the little oblong book in my desk, illustrations taken from hero tales.—Pap. III B 132:3 n.d., 1842.
See 155:24-29: For something to be really depressing, there must develop first of all, in the midst of all possible favors, a presentiment that it might just be all wrong; one does not oneself become conscious of anything very wrong, but it must lie in the fa- milial context; then original sin displays its consuming power, which can grow into despair and have a far more frightful ef- fect than the particular whereby the truth of the presentiment is verified. This is why Hamlet is so tragic. This is why Robert le diable, driven by a disquieting presentiment,* asks how it could ever be that he does so much evil. —The blessing is changed into a curse. —It is an extremely poctic governance that makes the girl dumb, she who alone can comprehend what is behind Robert le diable’s assumed madness (his pen- ance).
Either/Or, I 543 *When Hggne, whom his mother had conceived with a troll, sees his image in the water, he asks her why his body is shaped that way.
See Nordiske Kempehistorier by Rafn, II, p. 242. —JP IV 3999 (Pap. II A 584) n.d., 1837 From sketch; see 156:32-157:7: The fruit of sorrow in the bowls of pain, silver fruit in golden bowls—a trousseau that is not destroyed by time—she is, so to speak, marriageable Allow me now to invite your interest—Pap. III B 129 n.d., 1841-42 From sketch: doce os this clinging to life is genuinely Greek—therefore, when someone is willing to sacrifice himself for the other, the Greek is content with it and does not know the hollow reflec- tion that does not want to permit it.—Pap. II] B 125 n.d., 1841- 42 From sketch; see 157:32-158:6: Woman’s destiny is to be a bride—this expresses that she lacks something—a similar expression is to hide a secret; she is a mother; it stirs under her breast ——God’s bride, the analogy in the esthetic silence —Pap. WI B 126 n.d., 1841-42 From final draft; see 162:30: I am not very interested in the nature of the person with whom she is in love; I am interested only in my Antigone. She is in love—indeed she is; I say it with pain—she is head over heels in love.—Pap. III B 132:4 n.d., 1842 544 Supplement Deleted from sketch; see 164:21-28: I feel that my life must soon end—it goes with me as with Epaminondas after the battle at Mantinea; my secret is an ar- row sticking in my heart; as long as it remains sticking there I can no doubt live, but as soon as I pull it out, I must die. Now I have revealed myself; now I must die.—Pap. HI B 179:40 n.d., 1841-42 Deleted from sketch; see 164:31-37: And just as it went with Hercules, so it goes with me. It was predicted to him that he would not be murdered by a living person but by a dead one; thus, the recollection of her murders me.—Pap. III B 179:41 n.d., 1841-42 From final draft; see 164, end: January 30, °42, —Pap. Ii B 132:5 From final draft; see 165:1-2: Psychological Diversion [changed from: Venture (Forseg) in the Black Arts]. —Pap. 1 B 173:1 n.d., 1842 See 166:5-10: A Spanish Song (Lessing, vol. XVII, p. 281 Gestern liebt ich, [Yesterday I loved, Heute leid’ ich, Today I suffer, Morgen sterb’ ich, Tomorrow I die, Dennoch denk’ ich, Yet, today and tomorrow, Heut’ und morgen, I like to think Gern an gestern Of yesterday].
Lines of a Girl Who Has Been Seduced eas spare me your pity—you understand neither my sorrow nor my joy—I still love him so much that I have but one wish: to be young again in order to be seduced by him once again.—JP V 5498 (Pap. III A 116) n.d., 1841 From final draft; see 215, end: July 25, 42 —Pap. Il] B 173:2 See 219;1-5: Somewhere in England there is a gravestone with only these words on it: The Unhappiest One. I can imagine that someone would read it and think that no one at all lies buried there but that it was destined for him.—JP V 5447 (Pap. III A 40) n.d., 1840 From final draft; see 227:1-4: Let us with hushed voice sing out the scale of unhappiness; each note is in itself precise and brief, and yet constantly with- out interruption it sounds in life’s perpetual repetition.—Pap. Il B 174:1 #.d., 1842 From final draft; see 228:24: ates but his ardor was not a smoke that rises freely to- ward heaven but was pressed down.—Pap. II] B 174:2 n.d., 1842 Underlined in copy of Either/Or, I; see 230:18-21: But what am I saying—‘‘the unhappiest’”? I ought to say “the happiest,” for this is indeed precisely a gift of fortune that no one can give himself.
Addition: One may think that this exclamation “the unhap- 546 Supplement piest one is the happiest”’ is a rhetorical turn. By no means, it is a turn in the thought; for to be the unhappiest person is ac- tually a gift that no one can give himself. I may be able to make myself the guiltiest of persons, but in the esthetic sense I can- not make myself into the unhappiest—the contrast is found in Part II, p. 246, at the bottom of the page, “‘ifI dared to call my- self the greatest tragic hero,’ which I cannot possibly make myself, since that involves an element of fate.-—Pap. IV A 227 n.d., 1843 From final draft; see 232:1-3: This review was planned to be the first esthetic article in a periodical I had planned to publish at unspecified times. Ah, but what are all human plans!—Pap. III B 40 n.d., 1841 From sketch; see 242:1-243-9: A scene or two may also be taken from the theater. —The moment the curtain rises, when the chandelier slowly rises and in farewell once again throws light on the young girls in the first balcony.—Pap. III B 95 n.d., 1841-42 See 260:17:19: Previously the tendency was to make fractional men out of human beings; today they are changed into an abstraction. Everybody looks exactly alike (““venturesome, sensitive, en- thusiastic Danes’’), and now it becomes easy for a Wehmaler to come forward and paint Hungarian and Danish national fa- cial types, portraits that are painted before seeing the individ- ual. Everything is directed toward getting everyone a national physiognomy, just as one has a national costume.—JP I 1967 (Pap. I A 337) n.d., 1836-37 From draft; see 286: 36-38: Instead of increasing the debt, they want to pay it off and even do it all at once. The state is heading for disaster, that is Either/Or, I 547 clear; if it survives the next consultative assembly, it will as- suredly receive its death wound!
In margin: Everything retrogresses; even the theater is changed for the intelligent by its striving to be not only for pleasure, an alarming tendency toward the other side.—Pap. II] B 122:1 n.d., 1841-42 From draft; see 287:21-38: All the artists from Paris, London, America would stream here; in all probability the Queen of England and the Emperor of Russia would come also. I propose that we kidnap one of these majesties beloved of their people and release them for enormous sums of money. What would they do to us? Den- mark is the happiest country in all Europe. It holds the balance of power; it is a secret.—Pap. III B 122:2 n.d., 1841-42 From draft; see 288:37-38: This class of animals I believe actually results from a gene- ratio equivoca [spontaneous generation]; they do not even have the privileged marriage-bed sultriness to thank for their ori- gin; even less are they the fruit of man’s appetite and woman’s desire. This accounts for the widespread folk-saying that the stork brings babies. The stork as a rule stays in swampy, marshy areas, and what can such areas produce except torpid, useful creatures, whose torpidity is demonstrated especially by their busyness.—Pap. III B 122:3 n.d., 1841-42 From draft; see 290:17-19: shale S it is found especially among Englishmen—(it can be described in a few lines.—)—Pap. III B 122:4 n.d., 1841-42 From draft; see 291:10-13: panda, 3 the nothing from which God creates, the nothing the devil chews on in vain, the nothing—Pap. II] B 122:5 n.d., 1841-42 548 Supplement From draft; see 291:34-292:9: Most people attempt this by traveling*—one is europamtide [weary of Europe] and goes to America—or by another kind of extensity, for example, Nero, by burning Rome™* In margin: *With regard to boredom, they do what accord- ing to Horace the merchant does with regard to poverty and with the same restlessness, as the verse so excellently depicts: per mare pauperiem fugiens per saxa per ignes [fleeing poverty through sea, through rocks, through flames].!¥ In margin: **The great emperor Anthony was wise in an en- tirely different way. He says: Restoration to life is in your power; look at things in another way than you have looked at them until now, for in this consists the restoration to life.
see ad se ipsum, translation, VII, 2, end.'%4 —Pap. Ill B 122:6 n.d., 1841-42 In margin of draft; see 292:19: bey it is a durability similar to the durability of cloth in the old days, when it was not unheard of to have a dress coat turned three times.—Pap. III B 122:7 n.d., 1841-42 From draft; see 292:24-26: art oa I shall not speak of more important things, for ex- ample, when a pretty girl lives right across the street and sometimes appears at the window. What a meticulous ob- server one becomes then; the least little expression does not es- cape one, and while here the external change is very slight, the greater is the change one can experience in oneself, and this lit- tle externality continually reflects itself in it.—Pap. HI B 122:8 n.d., 1841-42 In margin of draft; see 293:5-7: Recollection is in every way to be preferred to hope; in rec- ollection a person is sure. He can always turn back to it; he can let it explain itself to him.—Pap. III B 122:9 n.d., 1841-42 The Archimedean point from which one lifts the world. Forgetting possesses the same as recollecting, somewhat as the stage in darkness exhibits the same as the stage when it is illu- minated.—Pap. III B 122:10 n.d., 1841-42 From draft; see 295:11-13: Consequently, it is the law for all rotation, the movement between forgetting and recollecting. The person who has be- come a virtuoso in this art has around the breast that triple cop- per that Horace speaks of, that he had who first ventured out upon the sea in a boat.!?5 And to what indeed can the art of liv- ing be better compared than to the art of navigation.— In order, however, to keep this current continually fresh, one must make sure not to get stuck in any single life relation- ship.—Pap. IIf B 122:11 n.d., 1841-42 From draft; see 295:14-16: Guard, therefore, against friendship. What is a friend? A friend is not what the philosophers call the necessary other but the superfluous other.
N.B. At this point comes a polemic that I have essentially ready in the red book at home.—Pap. IH B 122:12 n.d., 1841- 42 See 295:14-16: arenes A friend is not what we philosophers call the neces- sary other but the superfluous other.—JP II 1282 (Pap. III A 119) n.d., 1841 From draft; see 295:30-34: