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" "Daß man wird, was man ist, setzt voraus, daß man nicht im entferntesten ahnt, was man ist.
Friedrich Wilhelm Nietzsche (15 October 1844 – 25 August 1900) was a German philosopher, cultural critic, composer, poet, writer, and philologist whose work has exerted a profound influence on modern intellectual history. His critiques of contemporary culture, religion, and philosophy centered on a basic question regarding the foundation of values and morality.
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Language as putative science. -
The significance of language for the evolution of culture lies in this, that mankind set up in language a separate world beside the other world, a place it took to be so firmly set that, standing upon it, it could lift the rest of the world off its hinges and make itself master of it. To the extent that man has for long ages believed in the concepts and names of things as in aeternae veritates he has appropriated to himself that pride by which he raised himself above the animal: he really thought that in language he possessed knowledge of the world. The sculptor of language was not so modest as to believe that he was only giving things designations, he conceived rather that with words he was expressing supreame knowledge of things; language is, in fact, the first stage of occupation with science. Here, too, it is the belief that the truth has been found out of which the mightiest sources of energy have flowed. A great deal later - only now - it dawns on men that in their belief in language they have propagated a tremendous error. Happily, it is too late for the evolution of reason, which depends on this belief, to be put back. - Logic too depends on presuppositions with which nothing in the real world corresponds, for example on the presupposition that there are identical things, that the same thing is identical at different points of time: but this science came into existence through the opposite belief (that such conditions do obtain in the real world). It is the same with mathematics, which would certainly not have come into existence if one had known from the beginning that there was in nature no exactly straight line, no real circle, no absolute magnitude.
Wie nun der Philosoph zur Wirklichkeit des Daseins, so verhält sich der künstlerisch erregbare Mensch zur Wirklichkeit des Traumes; er sieht genau und gern zu: denn aus diesen Bildern deutet er sich das Leben, an diesen Vorgängen übt er sich für das Leben. Nicht etwa nur die angenehmen und freundlichen Bilder sind es, die er mit jener Allverständigkeit an sich erfährt: auch das Ernste, Trübe, Traurige, Finstere, die plötzlichen Hemmungen, die Neckereien des Zufalls, die bänglichen Erwartungen, kurz die ganze "göttliche Komödie" des Lebens, mit dem Inferno, zieht an ihm vorbei, nicht nur wie ein Schattenspiel - denn er lebt und leidet mit in diesen Scenen - und doch auch nicht ohne jene flüchtige Empfindung des Scheins; und vielleicht erinnert sich Mancher, gleich mir, in den Gefährlichkeiten und Schrecken des Traumes sich mitunter ermuthigend und mit Erfolg zugerufen zu haben: "Es ist ein Traum! Ich will ihn weiter träumen!" Wie man mir auch von Personen erzählt hat, die die Causalität eines und desselben Traumes über drei und mehr aufeinanderfolgende Nächte hin fortzusetzen im Stande waren: Thatsachen, welche deutlich Zeugniss dafür abgeben, dass unser innerstes Wesen, der gemeinsame Untergrund von uns allen, mit tiefer Lust und freudiger Nothwendigkeit den Traum an sich erfährt.
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The various languages placed side by side show that with words it is never a question of truth, never a question of adequate expression; otherwise, there would not be so many languages. The "thing in itself" (which is precisely what the pure truth, apart from any of its consequences, would be) is likewise something quite incomprehensible to the creator of language and something not in the least worth striving for. This creator only designates the relations of things to men, and for expressing these relations he lays hold of the boldest metaphors.' To begin with, a nerve stimulus is transferred into an image: first metaphor. The image, in turn, is imitated in a sound: second metaphor. And each time there is a complete overleaping of one sphere, right into the middle of an entirely new and different one.