Finally, I spoke of the necessity of recounting frankly every human experience, including, I said emphatically, what seems unsayable and what we do not speak of even to ourselves.
“Necessity is the mother of invention.”
Sayfa 68
Kant’s strategy with regard to each of the transcendental principles of knowledge is the same. He begins by showing that they exhibit the specific marks of the a priori, namely genuine universality and absolute necessity, at least for a certain realm of knowledge and hence for a certain realm of objects (cf. e.g. B 3 f, also A 1 f). He then
depressive psychosis
Depressive psychosis is the extreme on the continuum of too much necessity, that is, too much finitude, too much limitation by the body and the behaviors of the person in the real world, and not enough freedom of the inner self, of inner symbolic possibility. This is how we understand depressive psychosis today: as a bogging down in the demands of others—family, job, the narrow horizon of daily duties. In such a bogging down the individual does not feel or see that he has alternatives, cannot imagine any choices or alternate ways of life, cannot release himself from the network of obligations even though these obligations no longer give him a sense of self-esteem, of primary value, of being a heroic contributor to world life even by doing his daily family and job duties. As I once speculated, the schizophrenic is not enough built into his world—what Kierkegaard has called the sickness of infinitude; the depressive, on the other hand, is built into his world too solidly, too overwhelmingly.
“'The most important thing’ ….? That’s 'life,’ isn’t it ….?”
“Life is a necessity. But have you ever thought about 'for what reason’ that there is life?”
And they think it is the prince's interest that there be as little of this left as may be, as if it were his advantage that his people should have either riches nor liberty, since these things make them less easy and willing to submit to a cruel and unjust government. Whereas necessity and poverty blunts them, makes them patient, beats them down, and breaks that height of spirit that might otherwise dispose them to rebel.
Sayfa 35Kitabı okudu
The Concerto was a great cry of rebellion. It was a "No" flung at some vast process of the struggle to break free. The sounds were like a voice saying:
There is no necessity for pain—why, then, is the worst pain reserved for those who will not accept its necessity?—we who hold the love and the secret of joy, to what punishment have we been sentenced for it, and by whom?... The sounds of torture became defiance, the statement of agony became a hymn to a distant vision for whose sake anything was worth enduring, even this. It was the song of rebellion—and of a desperate quest.
Sayfa 69Kitabı okudu
