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—Gotthold Ephraim Lessing, Lob der Faulheit (1747), reproduced in Werke, vol. 1, p. 77-78 (G. Göpfert ed. 1970)(S.H. transl.)
One of the key aspects of Lessing’s voluminous writings on literature and literary esthetics is the relationship between Witz, Humor and Genie—three concepts that can be rendered by their English cognates, wit, humor, and genius (though only in the second case is the English word really coterminous with the German). In general, Lessing valued the English tradition for its development of a kind of humor distinct from the then-prevailing French tradition of ridicule. The English approach reflected a genuinely humanist tradition with foundations in antiquity; in this context, Lessing repeatedly cited a passage from Pindar: “????? ? ????? ????? ???: ???????? ?? ?????? ??????????, ??????? ??” (“Wise is he who knows things through himself”).
This innocent, simple poem is a solid, lighthearted demonstration of Lessing’s principle, and a reminder, much like the works of Mozart, that the lighthearted, self-deprecating aside that aims for a simple chuckle may well be linked to serious genius, whereas a mocking, venomous, ill-spirited attack rarely is.
Remembering Gotthold Ephraim Lessing on his 283rd birthday.
Listen to a setting of the poem by Franz Joseph Haydn (Hoboken XXVIa) (1781), performed by Rüdiger Buell, with Ulrike Zeitler on the piano:
More from Scott Horton:
Six Questions — October 18, 2014, 8:00 pm
Nathaniel Raymond on CIA interrogation techniques.
I recently spent a semester teaching writing at an elite liberal-arts college. At strategic points around the campus, in shades of yellow and green, banners displayed the following pair of texts. The first was attributed to the college’s founder, which dates it to the 1920s. The second was extracted from the latest version of the institution’s mission statement:
The paramount obligation of a college is to develop in its students the ability to think clearly and independently, and the ability to live confidently, courageously, and hopefully.
Let us take a moment to compare these texts. The first thing to observe about the older one is that it is a sentence. It expresses an idea by placing concepts in relation to one another within the kind of structure that we call a syntax. It is, moreover, highly wrought: a parallel structure underscored by repetition, five adverbs balanced two against three.
Percentage of Britons who cannot name the city that provides the setting for the musical Chicago:
An Australian entrepreneur was selling oysters raised in tanks laced with Viagra.
A naked man believed to be under the influence of LSD rammed his pickup truck into two police cars.
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“Shelby is waiting for something. He himself does not know what it is. When it comes he will either go back into the world from which he came, or sink out of sight in the morass of alcoholism or despair that has engulfed other vagrants.”