From sketch; see 77:21-26:
The Young Man is perfectly right in saying that love is a contradiction, and if one wants to reflect oneself into it one will never attain it. Begin in another way; understand that it is recklessness and the greatest genius of all recklessness.—Pap. V B 183:5 n.d., 1844
From sketch; see 77:27-78:9:
. . . . . when the gods had finished her in this way, they hid [V B 183 20 320] all this from her in the modesty* that nevertheless is a form of sensuality.**
*for the gods did not dare tell her how beautiful she was for fear of acquiring someone who shared the secret and could betray it and hinder the deception.
**and the devotee of erotic love who like Pyramis places [V B 183 20 321] his ear against the partition of modesty has intimations of all that is behind it.
inviting by her shrinking from notice, constraining
by her fleeing, irresistible by her continual resisting.
—Pap. V B 183:20 n.d., 1844
From draft; see 80:17:
You do woman a great injustice. I also am certainly aware of the unloveliness, but it is not her fault—and in that case she is not with her seducer.—Pap. V B 185 n.d., 1844
Penciled in sketch; see 71:26:
. . . . . . his speech consists of nothing but shower clouds
—Pap. V B 183:8 n.d., 1844
From draft; see 81:1-4:
To break off requires strength. To break off is an art, precisely because the strength expresses itself only negatively, and therefore is not seen, indeed, in a way lets itself be feigned, insofar as what should indeed be an act of freedom happens to one, for that something stops and that it is broken off are by no means identical, and yet in a certain sense the result is the same. This is why to most people the pleasure of breaking off is and remains a secret, something cryptic that nevertheless in their minds is not confused with strength ad modum [in the manner of] Kryptkirke and Kraftkirke,86 for they have no knowledge at all that it exists.—Pap. VI B 1:1 n.d., 1844
From draft; see 82:18-23:
As police agents, it is true, and yet the night had made it possible to assume that they themselves were rowdies. Not a word was said, but each, as wary and concealed as possible, took his place; then Victor burst out: Oh, my God, it’s Judge William and his wife.
In margin: was about to take his place
in order to surround the terrain
—Pap. VI B 1:3 n.d., 1844
From sketch; see 83:4-8:
It is not so with married people, but of course they have a trustworthiness to cling to that the lovers do not have; they have the confirmation of the Church and of the state. Certainly this is not very difficult to obtain, but they have made for themselves a chain of testimony. [Deleted: The tea stood on the table.] Married folk they were, but how long—Pap. VI B 1:4 n.d., 1844
From draft; see 85:18-29:
. . . He pressed a kiss upon her lips and with a passion with which married people are seldom credited, and, taking her by the arm as if to lean on her for support, he went out of the arbor, and the last words he said were these: You see, I cannot consider the matter seriously; I have too many “ors” for that.
The participants in the banquet, hidden in the foliage, had listened and looked, and it had made a singular impression upon them. Constantin had made a few parodying witty asides, and Johannes said to the Young Man: What do you say now that you have seen this, and he answered: I see nothing, my eyes are shut to anything I call spiritual trial. [*] The five still stood there while the Judge, accompanied by his lovely spouse, went into a bypath, and they looked just like rowdies. And if anyone up to now had had the right to call them that only in a figurative sense, V. E. suddenly qualified himself further. For what happens—without saying a word he runs to a room opening onto the garden. . . .
[*]In margin: and around this paradise those enemies had pitched their camp.—Pap. V B 189 n.d., 1844
From draft; see 85:22-28:
. . . . . the plunder [Bytte] they had taken was a peculiar kind of outcome [Udbytte]. Only V. E. would not go home empty-handed. Without saying a word he turns to a garden room with a door standing open. . . . .
Presumably, V. E. was not satisfied with this outcome,
In margin: None of them was satisfied with this outcome; the others were satisfied with making a malicious remark.—Pap. VI B 1:7 n.d., 1844
From draft; see 87:1-4:
Some Reflections on Marriage
in Answer to Objections
by
a Married Man.
(On Marriage, Married Happiness,
Married Love, etc.)
by
A Married Man.
—Pap. V B 190:1 n.d., 1844
In margin of draft; see 92:28:
Let them heap together all the arguments to marriage; I will certainly be ready, if I just have time and opportunity. I promptly classify them in two sections: the objections which one best answers, as Hamann so splendidly says of particular individuals, by saying “Bah.” With them I am quickly finished, and I will also be finished with those worth answering.—Pap. V B 190:2 n.d., 1844
From draft; see 112:25-27:
He is a poor wretch or he is a brazen mutineer, and I could easily be tempted to say of him what stands in an old book
[two blank lines]
In margin: somewhere in Agrippa, De matrimonio87
—Pap. V B 190:5 n.d., 1844
From draft; see 131:11-16 fn.:
p. CLXXVII. line 1 from top.
Note
Precisely because I do not want to appeal to the theater arts, which also could seem precarious since here everything concentrates on the demand of the moment, it is all the more joy for me to see. . . . . —Pap. VI B 4:1 n.d., 1844
See 131:11-132:43:
On an attached sheet.
Pap. VI B 8:8 n.d., 1844
From draft; see 131:11-132:10-34 fn.:
[VI B 2 74] To Be Added Somewhere in the Judge’s Papers.
Without wanting to appeal to the theater arts, it is nevertheless always a joy to find the true and to find the truth therein. The actress who really portrays the feminine is Mme. Nielsen. [VI B 2 75] The character she portrays and the voice with which she moves us is precisely what must be called: the essentially feminine. Many an actress has become great and admired because of virtuosity in an accidental aspect of the feminine, but from the beginning this admiration is time’s booty when the accessories have vanished on which the triumphal performance rested. This is not the case with Mme. N. [deleted: since she was young] and therefore time has no power over her. In every period of her life [deleted: since she was young] she will express the essential just as she began her beautiful career with it, and if she becomes one hundred years old she will continue to be perfect. I know of no more noble triumph for an actress than this, that the person who in the whole kingdom is most afraid of offending such an actress, that he, as I do, with confidence dares to mention the one hundred years, which ordinarily is the last thing one mentions about an actress. She will in turn portray a great-grandmother by means of the essential, just as the young girl did not produce an effect by some extraordinary beauty or by being able to dance but by the dedication that is the pact of pure femininity with the imperishable. Ordinarily I detest the pandering in calling artists priests, but Mme. N. could justifiably be called a priestess. And although it is easy at the theater to think about the vanity of life and youth and beauty and charm, one is safe in admiring her because one knows that it does not pass away.—Pap. VI B 2 n.d., 1844
Addition to Pap. VI B 2:
The essential in the exalted and the essential in the corrupted, [VI B 3 75] whereas a chance portrayal along the latter line produces, despite all virtuosity, either the one or the other deviation: that one forgets that the corrupted one is a woman or that one thinks her to be better than she appears because one does not see the corruption lying in the essentially feminine and consequently does not see that sh
e is and remains a woman but has suffered damage to her soul in demonic passion, in a hardening of mind, in worldly, vain, soft, voluptuous, [VI B 3 76] aristocratic license. An actress who does not have the exalted in her power will portray the corrupted in such a way that one involuntarily comes either to believe that it is an exaggeration or has excuses readily at hand, that her surroundings, her upbringing, have corrupted her. But Mme. Nielsen’s performance is always within the boundaries of femininity, and yet in such a way that one comprehends, yes, almost in a tangible way, that such a woman is herself the original inventor of the corruption, that she has the corrupted at first hand as a primus motor [first mover] that could corrupt the entire sex precisely because she still belongs essentially to the sex.—Pap. VI B 3 n.d., 1844-45
From draft; see 136:4-7:
. . . . . and just as cream rises from milk in the pantry from morning until evening, just so ever new deliciousness continually rises from this happy domestic life.—Pap. V B 190:11 n.d., 1844
From draft; see 141:2:
. . . . . (who in this respect make just as disgusting an impression upon me as when a crowd of louts rushes at the poor peasant’s* nice assortment of foodstuffs, not in order to buy, but in order to carry them away)
*The story is told about the 3 per cent bonds.88
—Pap. V B 190:12 n.d., 1844
In margin of final copy; see 146:15-20:
A place in Serapionsbrüder. Must be looked into.—Pap. VI B 8:9 n.d., 1844
In margin of final copy; see 152:18:
N.B.
See Aus meinem Leben, Sämtlich. W., the small edition,89 XXV, p. 292, or Book 10 at the very beginning.—Pap. VI B 8:10 n.d., 1844
From draft; see 176:38-177:1:
. . . . . an arrow in Epaminondas’s90 heart, enough for one life [penciled in margin: N.B.]
—Pap. V B 190:20 n.d., 1844
In margin of draft; see 182:7-14:
The god [Guden] continually avenges himself, as on Prometheus,91 on the person who wants to trick him out of something or wants to trick him out of spirit and does not want to receive it as it has pleased the god to apportion it. But in these spheres, even if there is a justification, there is this cunning, that the god strikes with his revenge.—Pap. V B 190:24 n.d., 1844
From draft; see 183:36-184:8:
And yet I shall throw you away, you wretched pen—my choice is made; I follow the beckoning and the invitation. Let a wretched author sit trembling when thoughts present themselves in a lucky moment, trembling lest someone disturb him—I am not afraid of it. Tomorrow, if I have the time, the day after tomorrow, in a week, I shall write further, more about marriage, but not now, even if I could convince the whole world; I am breaking off; even if it means that I never write again. As a girl she taught me to write short sentences, for at times she sat beside me, and at the end of each sentence I would talk with her, and she rewarded me with a kiss for each sentence; if as wife she prevents me from becoming an author, I am in turn satisfied with a kiss. . . . —Pap. V B 190:26 n.d., 1844
From draft; see 185:
Guilty?/Not-Guilty?
A Story of Suffering
An Imaginary Psychological Construction
[deleted: edited]
by
Frater Taciturnus
—Pap. V B 142 n.d., 1844
From draft; see 185:
Guilty?/Not-Guilty?
My life’s question
My need portio mea et poculum [my portion and cup]92
My pain
My stopping
My annihilation
—Pap. V B 114 n.d., 1844
From draft; see 185, 199-200, 232-34, 250-52, 276-88, 360-63:
The short articles to be inserted into “ ‘Guilty?’/‘Not-Guilty?’ ”
1. Father-concern. See journal, pp. 25 and 26 top. See p. 77 top [Pap. IV A 65, 147].93
2. A Leper’s Self-Contemplation. See journal, p. 55 [Pap. IV A 110, 111].
3. See journal, p. 57; cf. p. 75 bot. and p. 76 top [Pap. IV A 114, 144].94
4. Recollections of My Life by Nebuchadnezzar. See journal, p. 59 [Pap. IV A 119].
5. Abelard. See journal, p. 96 bot. and p. 13 top [Pap. IV A 177, 31].
6. Quiet despair. See journal, p. 121 [Pap. V A 33].
7. See Fenelon’s Lebensbeschreibungen und Lehrsätze der alten Weltweisen. Periander’s life noted in my copy on pp. 79 ff.95
—Pap. V B 124 n.d., 1844
From final draft; see 190:4-8:
. . . . . torn from the New Testament containing four verses from John’s Epistle, and other similar articles that only to the owner can have a value equal to the very valuable jewelry. The manuscript is entirely unchanged as I found it.—Pap. V B 143:3 n.d., 1844
From final draft; see 190:32:
As for the date, by my own calculation and Mr. Bonfil’s published table I have found that the whole thing fits the year 1750 or the year the Seven Years’ War began. One is compelled to go somewhat back in time or to assume that an error crept into the information, or that the whole thing is a poetic venture, and that he threw it into the water because he was tired of it.
As for reviewers—unless there suddenly emerged a new and authorized reviewer—I shall speak quite honestly: it is my wish that they keep perfectly quiet. If one is able to acquire a claim to a person’s gratitude in such an easy manner, lucky fellow: unless the reviewers could not possibly keep silent. N.B. see p. 7
—Pap. V B 143:6 n.d. 1844
Addition to Pap. V B 143:6; see 191:7-13:
Continuation of the Preface.
All of us will accept a little psychological insight, some powers of observation, but when this science or art manifests itself in its interminable amplitude, when it abandons minor transactions on the streets and in the dwellings in order to scurry after its favorite: the person inclosingly reserved—then men grow weary.—JP V 5721 (Pap. V B 147) n.d., 1844
Deleted from margin of draft; see 193:6:
“Guilty?”/“Not-Guilty?”
My life question.
Portio mea et poculum
[My portion and cup].96
My daily consuming.
—Pap. VI B 8:11 n.d., 1844
From draft; see 195:1:
[V B 191 334] The Wrong and the Right.
Preface.
Perhaps it is my fault, perhaps it is just as much the fault of several others, perhaps it is not the fault of any of us. To me [V B 191 335] it seems that the empty courtesy with which one enters into a social group, the empty courtesy with which one leaves it is the weak side of social life, a Chinese seasoning that clashes with and works against the animating principle: the meaninglessness that is the key to and the screen around the light game of conversation and the droll intermingling of incidentals and the cheerful carefreeness of sociality, lest something meaningful and serious enter in disturbingly.[*] Even if there is the prospect of meeting pleasant company, the foolish importance of an introduction can easily appear to someone as too high an entrance fee, and what is worse, it can easily waste a half hour before one arrives at the happy interplay—indeed, what is worse, can transform the whole evening into a boring children’s game. Even if one has passed a pleasant hour, perhaps even two, and wishes to preserve the mood, the leavetaking’s return to stiff, unnatural importance can easily seem to one to be too high a tax, indeed, what is worse, can easily spoil the enjoyment.
deadly
[*] In margin: with its insipid and haughty hollowness.
In the same way it seems to me that upon the publication of a book a preface is the weak side, is a dubiousness one must try to slip past as quietly as possible. This, you see, is why I say nothing at all, my dear reader, but carry you in medias res non secus ac notas [into the middle of things as if already known], as the poet says, and furthermore do what the poet bids the poet: quae desperat tracata nitescere posse relinquit [what he fears he cannot make attractive with his touch he abandons].97 The elegant bow of the preface
I believe myself unable to perform with elegance, because I continually bear in mind what the busybody says: To the point, please, to the point.98
Therefore, if you like, I blurt out what I have to say without a single word about how I as editor am connected with this little book. Anyone who wishes introductory compliments, the painful silence of the beginning, the monotonous sound of what is usually said on this occasion, can be justifiably angry at me for breaking with ceremony. Anyone who instead of wanting to read a book would rather read what can activate his conjectural criticism, the untruths, theories, and fables as [V B 191 336] one finds them in a preface, let him shrug his shoulders at me for not being man enough to think up a single lie, but let him also bear in mind that by not saying a single word I open up the widest territory to his research. The reader who desires to read a book, my reader who desires to read this book, no doubt says with the busybody: To the point, please, to the point.
That is what I say, to repeat, and only add: Where there is a wrong, there is also a right; thus on the one side the wrong, on the other the right, or on the one side the right and on the other side the wrong, without its thereby having been decided on which side is the right or who has the right on his side.
—Pap. V B 191 n.d., 1844
In top margin of draft; see 187:1, 195:1:
[Heading, crossed out with pencil: Notice: Owner Sought] Above the beginning of text:
N.B. What is written in the morning is the reproduction of the love affair, consequently what happened the year before. What is written at midnight is something later, what happens in the current year.—Pap. V B 99:1-2 n.d., 1844
From draft; see 195:1:
The insertions in “ ‘Guilty?’/‘Not-Guilty?’ ”should all be dated the fifth [changed in pencil from: the third) of each month. It begins the third of January.—Pap. V B 134 n.d., 1844
In margin of draft; see 197:12-16:
I also desired a little joy in life, a little joy in existence; I will stake everything on her. When I experience happy times, how blessed to share, indeed, to keep less for myself. And I will surely constrain the darkness within me; at least she must not come to suffer under it.—Pap. V B 99:7 n.d., 1844
Stages on Life’s Way Page 63
