Part 18

That sometimes, and apparently without any reason, long-forgotten scenes suddenly come into the memory, is, in many cases, due to the recurrence of a scarcely perceptible odour, of which we were conscious when those scenes actually took place; for it is well known that odours more easily than anything else awaken memories, and that, in general, something of an extremely trifling nature is all that is necessary to call up a nexus idearum.

And by the way, I may say that the sense of sight has to do with the understanding, the sense of hearing with reason, and the sense of smell with memory, as we see in the present case. Touch and taste are something real, and dependent on contact; they have no ideal side.

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Memory has also this peculiarity attached to it, that a slight state of intoxication very often enhances the remembrance of past times and scenes, whereby all the circumstances connected with them are recalled more distinctly than they could be in a state of sobriety; on the other hand, the recollection of what one said or did while in a state of intoxication is less clear than usual, nay, one does not recollect at all if one has been very drunk. Therefore, intoxication enhances one's recollection of the past, while, on the other hand, one remembers little of the present, while in that state.

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That arithmetic is the basest of all mental activities is proved by the fact that it is the only one that can be accomplished by means of a machine. Take, for instance, the reckoning machines that are so commonly used in England at the present time, and solely for the sake of convenience. But all analysis finitorum et infinitorum is fundamentally based on calculation. Therefore we may gauge the "profound sense of the mathematician," of whom Lichtenberg has made fun, in that he says: "These so-called professors of mathematics have taken advantage of the ingenuousness of other people, have attained the credit of possessing profound sense, which strongly resembles the theologians' profound sense of their own holiness."

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As a rule, people of very great capacities will get on better with a man of extremely limited intelligence than with a man of ordinary intelligence; and it is for the same reason that the despot and the plebeians, the grandparents and the grandchildren, are natural allies.

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I am not surprised that people are bored when they are alone; they cannot laugh when they are alone, for such a thing seems foolish to them. Is laughter, then, to be regarded as merely a signal for others, a mere sign, like a word? It is a want of imagination and dulness of mind generally (ἀναισθησια και βραδυτης ψυχης), as Theophrastus puts it, that prevents people from laughing when they are alone. The lower animals neither laugh when they are alone nor in company.

Nyson, the misanthropist, was surprised as he was laughing to himself by one of these people, who asked him why he laughed when he was alone. "That is just why I was laughing," was the answer.

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People who do not go to the theatre are like those who make their toilet without a looking-glass;--but it is still worse to come to a decision without seeking the advice of a friend. For a man may have the most correct and excellent judgment in everything else but in his own affairs; because here the will at once deranges the intellect. Therefore a man should seek counsel. A doctor can cure every one but himself; this is why he calls in a colleague when he is ill.

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The natural gesticulation of everyday life, such as accompanies any kind of lively conversation, is a language of its own, and, moreover, is much more universal than the language of words; so far as it is independent of words, and the same in all nations; although each nation makes use of gesticulation in proportion to its vivacity, and in individual nations, the Italian, for instance, it is supplemented by some few gesticulations which are merely conventional, and have therefore only local value.

Its universal use is analogous to logic and grammar, since it expresses the form and not the matter of conversation. However, it is to be distinguished from them since it has not only an intellectual relation but also a moral--that is, it defines the movements of the will. And so it accompanies conversation, just as a correctly progressive bass accompanies a melody, and serves in the same way to enhance the effect. The most interesting fact about gesticulation is that as soon as conversation assumes the same form there is a repetition of the same gesture. This is the case, however varied the matter, that is to say, the subject-matter, may be. So that I am able to understand quite well the general nature of a conversation--in other words, the mere form and type of it, while looking out of a window--without hearing a word spoken. It is unmistakably evident that the speaker is arguing, advancing his reasons, then modifying them, then urging them, and drawing his conclusion in triumph; or it may be he is relating some wrong that he has suffered, plainly depicting in strong and condemnatory language the stupidity and stubbornness of his opponents; or he is speaking of the splendid plan he has thought out and put in execution, explaining how it became a success, or perhaps failed because fate was unfavourable; or perhaps he is confessing that he was powerless to act in the matter in question; or recounting that he noticed and saw through, in good time, the evil schemes that had been organised against him, and by asserting his rights or using force frustrated them and punished their author; and a hundred other things of a similar kind. But what gesticulation alone really conveys to me is the essential matter--be it of a moral or intellectual nature--of the whole conversation in abstracto. That is to say the quintessence, the true substance of the conversation, remains identical whatever has brought about the conversation, and consequently whatever the subject-matter of it may be.

The most interesting and amusing part of the matter, as has been said, is the complete identity of the gestures for denoting the same kind of circumstances, even if they are used by most diverse people; just as the words of a language are alike for every one and liable to such modifications as are brought about by a slight difference in accent or education. And yet these standing forms of gesticulation which are universally observed are certainly the outcome of no convention; they are natural and original, a true language of nature, which may have been strengthened by imitation and custom. It is incumbent on an actor, as is well known, and on a public speaker, to a less extent, to make a careful study of gesture--a study which must principally consist in the observation and imitation of others, for the matter cannot very well be based on abstract rules; with the exception of some quite general leading principles--as, for instance, that the gesture must not follow the word, but rather immediately precede it, in order to announce it and thereby rouse attention.

The English have a peculiar contempt for gesticulation, and regard it as something undignified and common; this seems to me to be only one of those silly prejudices of English fastidiousness. For it is a language which nature has given to every one and which every one understands; therefore to abolish and forbid it for no other reason than to gratify that so much extolled, gentlemanly feeling, is a very dubious thing to do.

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The state of human happiness, for the most part, is like certain groups of trees, which seen from a distance look wonderfully fine; but if we go up to them and among them, their beauty disappears; we do not know wherein it lay, for it is only trees that surround us. And so it happens that we often envy the position of others.

FOOTNOTES:

Grundpr. der Ethik, p. 48; Welt als Wille und Vorstellung, vol. i. p. 338.

Vierfache Wurzel, § 21.

Pererga, vol. ii. § 311.

METAPHYSICS OF LOVE.

We are accustomed to see poets principally occupied with describing the love of the sexes. This, as a rule, is the leading idea of every dramatic work, be it tragic or comic, romantic or classic, Indian or European. It in no less degree constitutes the greater part of both lyric and epic poetry, especially if in these we include the host of romances which have been produced every year for centuries in every civilised country in Europe as regularly as the fruits of the earth. All these works are nothing more than many-sided, short, or long descriptions of the passion in question. Moreover, the most successful delineations of love, such, for example, as Romeo and Juliet, La Nouvelle Héloise, and Werther, have attained immortal fame.

Rochefoucauld says that love may be compared to a ghost since it is something we talk about but have never seen, and Lichtenberg, in his essay Ueber die Macht der Liebe, disputes and denies its reality and naturalness--but both are in the wrong. For if it were foreign to and contradicted human nature--in other words, if it were merely an imaginary caricature, it would not have been depicted with such zeal by the poets of all ages, or accepted by mankind with an unaltered interest; for anything artistically beautiful cannot exist without truth.

"Rien n'est beau que le vrai; le vrai seul est aimable."--BOIL.