Otto Weininger Quotes

As the mental endowment of a man varies with the organisation of his accumulated experiences, the better endowed he is, the more readily will he be able to remember his whole past, everything that he has ever thought or heard, seen or done, perceived or felt, the more completely in fact will he be able to reproduce his whole life. Universal remembrance of all its experiences, therefore, is the surest, most general, and most easily proved mark of a genius.

Colour-blindness always extends to the complementary colours. Those who are red blind are also green blind; those who are blind to blue have no consciousness of yellow. This law holds good for all mental phenomena; it is a fundamental condition of consciousness.

Universality is the distinguishing mark of genius. There is no such thing as a special genius, a genius for mathematics, or for music, or even for chess, but only a universal genius. … The theory of special genius, according to which for instance, it is supposed that a musical genius should be a fool at other subjects, confuses genius with talent. … There are many kinds of talent, but only one kind of genius, and that is able to choose any kind of talent and master it.

There are men who are willing to marry a woman they do not care about merely because she is admired by other men. Such a relation exists between many men and their thoughts.

The great genius does not let his work be determined by the concrete finite conditions that surround him, whilst it is from these that the work of the statesman takes its direction and its termination. … It is the genius in reality and not the other who is the creator of history, for it is only the genius who is outside and unconditioned by history.

With ordinary men the moments which are united in a close continuity out of the original discrete multiplicity are very few, and the course of their lives resembles a little brook, whereas with the genius it is more like a mighty river into which all the little rivulets flow from afar; that is to say, the universal comprehension of genius vibrates to no experience in which all the individual moments have not been gathered up and stored.

Woman, in short, has an unconscious life, man a conscious life, and the genius the most conscious life.

A man is first reverent about himself, and self-respect is the first stage in reverence for all things.

In men of genius, sterile years precede productive years, these again to be followed by sterility, the barren periods being marked by psychological self-depreciation, by the feeling that they are less than other men; times in which the remembrance of the creative periods is a torment, and when they envy those who go about undisturbed by such penalties. Just as his moments of ecstasy are more poignant, so are the periods of depression of a man of genius more intense than those of other men [Wie seine Ekstasen gewaltiger sind als die der anderen, so sind auch seine Depressionen fürchterlicher]. Every great man has such periods, of longer or shorter duration, times in which he loses self-confidence, … times in which, indeed, he may be sowing the seeds of a future harvest, but which are devoid of the stimulus to production.

Memory, then, is a necessary part of the logical faculty. … The proposition A = A must have a psychological relation to time, otherwise it would be A_t1 = A_t2.

The psychical condition of men’s minds may be compared with a set of bells close together, and so arranged that in the ordinary man a bell rings only when one beside it sounds, and the vibration lasts only a moment. In the genius, when a bell sounds it vibrates so strongly that it sets in action the whole series, and remains in action throughout life. The latter kind of movement often gives rise to extraordinary conditions and absurd impulses, that may last for weeks together and that form the basis of the supposed kinship of genius with insanity.

To understand a man is really to be that man.

Idiocy: crudeness’ intellectual equivalent.

Zola, who has so faithfully described the impulse to commit murder, did not himself commit a murder, because there were so many other characters in him. The actual murderer is in the grasp of his own disposition: the author describing the murder is swayed by a whole kingdom of impulses. Zola would know the desire for murder much better than the actual murderer would know it, he would recognise it in himself, if it really came to the surface in him, and he would be prepared for it. In such ways the criminal instincts in great men are intellectualised and turned to artistic purposes as in the case of Zola, or to philosophic purposes as with Kant, but not to actual crime.

Most of the time man does not do what he wills, but what he has willed. Through his decisions, he always gives himself only a certain direction, in which he then moves until the next moment of reflection. We do not will continuously, we only will intermittently, piece by piece. We thus save ourselves from willing: principle of the economy of the will. But the higher man always experiences this as thoroughly immoral.