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" "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.
Otto Weininger (April 3, 1880 – October 4, 1903) was an Austrian philosopher of Jewish descent. In 1903, he published the book Geschlecht und Charakter (Sex and Character), which gained popularity after his suicide at the age of 23. Today, Weininger is generally viewed as misogynistic and antisemitic in academic circles, but was held to be a great genius by the philosopher Ludwig Wittgenstein and the writer August Strindberg.
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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.
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.
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