“In the case of complex personalities the matter stands thus: one of these can understand other men better than they can understand themselves, because within himself he has not only the character he is grasping, but also its opposite. Duality is necessary for observation and comprehension.”

— Otto Weininger , book Sex and Character

Source: Sex and Character (1903), pp. 109-110.

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Otto Weininger 41

austrian philosopher and writer 1880–1903

Брайанна Рид

“No one can understand love who has not experienced infatuation. And no one can understand infatuation, no matter how many times he has experienced it.”

Mignon McLaughlin (1913–1983) American journalist

The Complete Neurotic's Notebook (1981), Love

“If one cannot state a matter clearly enough so that even an intelligent twelve-year-old can understand it, one should remain within the cloistered walls of the university and laboratory until one gets a better grasp of one's subject matter.”

Margaret Mead (1901–1978) American anthropologist

Source: 1970s, Margaret Mead: Some Personal Views (1979), p. 252-253

“That is why man can also never understand himself: For he is himself a timeless act; an act which he performs continuously, and there is no moment in which he might not perform it, as there would have to be to understand himself.”

Otto Weininger (1880–1903) austrian philosopher and writer

Collected Aphorisms

“The drum major instinct can lead to exclusivism in one's thinking and can lead one to feel that because he has some training, he's a little better than that person who doesn't have it. Or because he has some economic security, that he's a little better than that person who doesn't have it. And that's the uncontrolled, perverted use of the drum major instinct.”

Martin Luther King, Jr. (1929–1968) American clergyman, activist, and leader in the American Civil Rights Movement

1960s, The Drum Major Instinct (1968)

“He has grasped it, but no one is interested. He is of interest to no one. He is fascinating. He is unnoticed. Since no one understands, how could they notice him? Because there is only understanding, he is beloved, and no one comes to see him. Because there is only truth, he is likely to become famous. Since there is only joy, he will not be remembered. Because you have already understood, you find it necessary to touch his hand. Since you love so much and are not understood, you find it possible to touch his ears. He smiles at you. You notice a sudden spiritual "Brightness."”

Adi Da Samraj (1939–2008) American writer

Aham Da Asmi. I Am He. Everything has already died. This is the other world.
Page 423, 2004 Standard Edition.
The Knee of Listening

“So far as one understands a man, one is that man. The man of genius takes his place in the above argument as he who understands incomparably more other beings than the average man. Goethe is said to have said of himself that there was no vice or crime of which he could not trace the tendency in himself, and that at some period of his life he could not have understood fully. The genius, therefore, is a more complicated, more richly endowed, more varied man; and a man is the closer to being a genius the more men he has in his personality, and the more really and strongly he has these others within him.”

Otto Weininger book Sex and Character

Einen Menschen verstehen heißt also: auch er sein. Der geniale Mensch aber offenbarte sich an jenen Beispielen eben als der Mensch, welcher ungleich mehr Wesen versteht als der mittelmäßige. Goethe soll von sich gesagt haben, es gebe kein Laster und kein Verbrechen, zu dem er nicht die Anlage in sich verspürt, das er nicht in irgend einem Zeitpunkte seines Lebens vollauf verstanden habe. Der geniale Mensch ist also komplizierter, zusammengesetzter, reicher; und ein Mensch ist um so genialer zu nennen, je mehr Menschen er in sich vereinigt, und zwar, wie hinzugefügt werden muß, je lebendiger, mit je größerer Intensität er die anderen Menschen in sich hat.
Source: Sex and Character (1903), p. 106.

“This vain presumption, of understanding everything, can have no other basis than never understanding anything. For anyone who had experienced just once the understanding of one single thing, thus truly tasting how knowledge is accomplished, would then recognize that of the infinity of other truths, he understands nothing.”

Kim Stanley Robinson book Galileo's Dream

Source: Galileo's Dream (2009), Ch. 15, p. 354; note: though this statement is incorporated into the story as one Galileo spoke, it is actually a quotation of one he historically made in his Dialogue Concerning The Two Chief World Systems http://www4.ncsu.edu/~kimler/hi322/Dialogue-extracts.html as translated by Stillman Drake.

“I don't understand how many painters can be so short-sighted to value art from earlier periods as completely worthless. Every art is an expression of an era and only for that reason already it is interesting. A Rembrandt has gone other ways, but he has certainly also pursued the highest goals. That one can assert: it is not necessary for a painter to have an impression when he is painting an Image, is nonsense. Certainly an artist, if he is really an artist, always has an inner urge to create an Image and thus sees an impression for himself that he may not always be able to explain, because deeper feelings are very difficult to grasp in words, but he has an impression - otherwise he only makes paintings as pure brain work. And intellectual art I can't bear. You can not make abstract art as something on its own. One feel various forms in their inner coherence. For example: when reading a fairy tale I can get the idea to paint a forest in completely abstract forms with motifs of trees. Every abstract form has an inner meaning for me.”

Jacoba van Heemskerck (1876–1923) Dutch painter

translation from Dutch, Fons Heijnsbroek, 2018
version in Dutch / citaat van Jacoba van Heemskerck, in het Nederlands vertaald: Ik begrijp niet hoe veel schilders zo kortzichtig kunnen zijn kunst uit vroegere perioden als volkomen waardeloos aan te merken. Elke kunst is een uiting van een tijdperk en alleen daarom al interessant. Een Rembrandt is andere wegen gegaan maar heeft zeker ook de hoogste doelen nagestreefd. Dat men beweren kan: een schilder hoeft bij het schilderen van een Bild geen voorstelling te hebben, is onzin. Zeker heeft een kunstenaar, als hij werkelijk artiest is, altijd een innerlijke drang een Bild te scheppen en ziet dus een Bild voor zich dat hij misschien niet altijd verklaren kan omdat diepere gevoelens heel moeilijk in woorden te vatten zijn, maar een voorstelling heeft hij - anders maakt hij schilderijen en is het puur hersenwerk. En intellectuele kunst staat mij zeer tegen. Abstracte kunst is niet op zich zelf staand te maken. Men voelt verscheidene vormen in hun innerlijke samenhang. Bijvoorbeeld: bij het lezen van een sprookje kan ik de ingeving krijgen een bos in geheel abstracte vormen met boommotieven te schilderen. Elke abstracte vorm heeft voor mij een innerlijke betekenis.
Quote of Jacoba van Heemskerck in her letter of 1 May 1920, to Gustave Bock in Giessen, Germany; as cited in Jacoba van Heemskerck van Beest, 1876 – 1923: schilderes uit roeping, A. H. Huussen jr. (ed. Marleen Blokhuis), (ISBN: 90-400-9064-5) Waanders, Zwolle, 2005, p. 168
1920's

“A man is what he is, not what men say he is. His character no man can touch. His character is what he is before his God and his Judge; and only himself can damage that. His reputation is what men say he is. That can be damaged; but reputation is for time, character is for eternity.”

John Bartholomew Gough (1817–1886) Anglo-American temperance orator

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 46.

“In the case of complex personalities the matter stands thus: one of these can understand other men better than they can understand themselves, because within himself he has not only the character he is grasping, but also its opposite. Duality is necessary for observation and comprehension.”

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Otto Weininger 41

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