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My privilege is to be spectator of my life drama, to be fully conscious of the tragi-comedy of my own destiny, and, more than that, to be in the secret of the tragi-comic itself, that is to say, to be unable to take my illusions seriously, to see myself, so to speak, from the theater on the stage, or to be like a man looking from beyond the tomb into existence. I feel myself forced to feign a particular interest in my individual part, while all the time I am living in the confidence of the poet who is playing with all these agents which seem so important, and knows all that they are ignorant of. It is a strange position, and one which becomes painful as soon as grief obliges me to betake myself once more to my own little rôle, binding me closely to it, and warning me that I am going too far in imagining myself, because of my conversations with the poet, dispensed from taking up again my modest part of valet in the piece. Shakespeare must have experienced this feeling often, and Hamlet, I think, must express it somewhere. It is a Doppelgängerei, quite German in character, and which explains the disgust with reality and the repugnance to public life, so common among the thinkers of Germany. There is, as it were, a degradation a gnostic fall, in thus folding one's wings and going back again into the vulgar shell of one's own individuality. Without grief, which is the string of this venturesome kite, man would soar too quickly and too high, and the chosen souls would be lost for the race, like balloons which, save for gravitation, would never return from the empyrean.
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8 November 1852

 

Henri-Frederic Amiel

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To God, world history is the royal stage where he, not accidentally but essentially, is the only spectator, because he is the only one who can be that. Admission to this theater is not open to any existing spirit. If he fancies himself a spectator there, he has simply forgetting that he himself is supposed to be the actor in that little theater and is to leave it to that royal spectator and poet how he wants to use him in that royal drama, The Drama of Dramas. This applies to the living, and only they can be told how they ought to live; and only by understanding this for oneself can one be lead to reconstruct a dead person’s life, if it must be done at all and if there is time for it. But it is indeed upsidedown, instead of learning by living one’s own life, to have the dead live again, then to go on wanting to learn from the dead, whom one regards as never having lived, how one ought-indeed, it is unbelievable how upside-down it is-to live-if one is already dead. Concluding Unscientific Postscript, Hong p. 158

 

Soren Aabye Kierkegaard

 

Everyone is aware of the difficult and menacing situation in which human society -- shrunk into one community with a common fate — finds itself, but only a few act accordingly. Most people go on living their every-day life: half frightened, half indifferent, they behold the ghostly tragi-comedy which is being performed on the international stage before the eyes and ears of the world. But on that stage, on which the actors under the floodlights play their ordained parts, our fate of tomorrow, life or death of the nations, is being decided.

 

Albert Einstein

 

Part of life has a public orientation, but part of it does not. He has a private self that looks inward, and he should be able to feel with some distinctness the difference between public and private roles. It strikes me that those eighteenth century individuals who wrote letters to the newspapers signed “Publius” or something like that, were giving expression to this difference. When the writer appeared before the public in the common interest, he was conscious of stepping outside of his private considerations and entering into another capacity, of assuming a posture. The rest of the time he was his own man, which his thoughts and feelings reserved for himself.

 

Richard Weaver

 

What does an instinctively popular poet do in contemporary America, where serious poetry is no longer a popular art? The public whose values and sensibility he celebrates is unaware of his existence. Indeed, even if they were aware of his poetry, they would feel no need to approach it. Cut off from his proper audience, this poet feels little sympathy with the specialized minority readership that now sustains poetry either as a highly sophisticated verbal game or secular religion. His sensibility shows little similarity to theirs except for the common interest in poetry. And so the popular poet usually leads a marginal existence in literary life. His fellow poets look on him as an anomaly or an anachronism. Reviewers find him eminently unnewsworthy. Publishers see little prestige attached to printing his work. Critics, who have been trained to celebrate complexity, consider him an amiable simpleton.

 

Dana Gioia

 

It is important to understand from the very beginning that I am not formulating any philosophy or any theological structure of ideas or theological concepts. It seems to me that all ideologies are utterly idiotic. What is important is not a philosophy of life but to observe what is actually taking place in our daily life, inwardly and outwardly. If you observe very closely what is taking place and examine it, you will see that it is based on an intellectual conception, and the intellect is not the whole field of existence; it is a fragment, and a fragment, however cleverly put together, however ancient and traditional, is still a small part of existence whereas we have to deal with the totality of life.

 

Jiddu Krishnamurti