Markings (1964)
“Man's maturity: to have regained the seriousness that he had as a child at play.”
Variant: The maturity of man—that means, to have reacquired the seriousness that one had as a child at play
Source: Beyond Good and Evil
As It Is: Playing With Fate (p. 196)
Straw Dogs: Thoughts on Humans and Other Animals (2002)
Quote, I've never wanted to fit in Abbaji's shoes: Ustad Zakir Hussain
Mozart brauchte kein Programm für seine Musik. Er musizierte und sang mit der göttlichen Leichtigkeit eines Kindes.
Michael: a German fate in diary notes (1926)
“Eternity is a child playing, playing checkers; the kingdom belongs to a child.”
Quoted by Hippolytus, Refutation of all heresies, IX, 9, 4 (Fragment 52), as translated in Reality (1994), by Carl Avren Levenson and Jonathan Westphal, p. 10
Variants:
History is a child building a sand-castle by the sea, and that child is the whole majesty of man’s power in the world.
As quoted in Contemporary Literature in Translation (1976), p. 21
A lifetime is a child playing, playing checkers; the kingdom belongs to a child.
As quoted in The Beginning of All Wisdom: Timeless Advice from the Ancient Greeks (2003) by Steven Stavropoulos, p. 95
Time is a game played beautifully by children.
As quoted in Fragments (2001) translated by Brooks Haxton
Lifetime is a child at play, moving pieces in a game. Kingship belongs to the child.
As quoted in The Art and Thought of Heraclitus (1979) translated by Charles H. Kahn
The Principle of Reason (1955–1956) as translated by Reginald Lilly (1991) <!-- Bloomington: Indiana UP -->
Context: The Geschick of being: a child that plays... Why does it play, the great child of the world-play Heraclitus brought into view in the aiôn? It plays, because it plays. The "because" withers away in the play. The play is without "why." It plays since it plays. It simply remains a play: the most elevated and the most profound. But this "simply" is everything, the one, the only... The question remains whether and how we, hearing the movements of this play, play along and accommodate ourselves to the play.
Section 1.3 <!-- p. 10 -->
The Crosswicks Journal, A Circle of Quiet (1972)
Context: The concentration of a small child at play is analogous to the concentration of the artist of any discipline. In real play, which is real concentration, the child is not only outside time, he is outside himself. He has thrown himself completely into whatever it is he is doing. A child playing a game, building a sand castle, painting a picture, is completely in what he is doing. His self-consciousness is gone; his consciousness is wholly focused outside himself.
