Über die allmähliche Verfertigung der Gedanken beim Reden

About the Author: Heinrich von Kleist

The dramatist, writer, lyricist, and publicist Heinrich von Kleist was born in Frankfurt an der Oder in 1777 Upon his father s early death in 1788 when he was ten, he was sent to the house of the preacher S Cartel and attended the French Gymnasium In 1792, Kleist entered the guard regiment in Potsdam and took part in the Rhein campaign against France in 1796 Kleist voluntarily resigned from ar

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  • Über die allmähliche Verfertigung der Gedanken beim Reden
  • Heinrich von Kleist
  • German
  • 09 October 2019

Über die allmähliche Verfertigung der Gedanken beim RedenWenn Du Etwas Wissen Willst Und Es Durch Meditation Nicht Finden Kannst, So Rate Ich Dir, Mein Lieber, Sinnreicher Freund, Mit Dem N Chsten Bekannten, Der Dir Aufst T, Dar Ber Zu Sprechen Es Braucht Nicht Eben Ein Scharfdenkender Kopf Zu Sein, Auch Meine Ich Es Nicht So, Als Ob Du Ihn Darum Befragen Solltest Nein Vielmehr Sollst Du Es Ihm Selber Allererst Erz Hlen Ich Sehe Dich Zwar Gro E Augen Machen, Und Mir Antworten, Man Habe Dir In Fr Hern Jahren Den Rat Gegeben, Von Nichts Zu Sprechen, Als Nur Von Dingen, Die Du Bereits Verstehst Damals Aber Sprachst Du Wahrscheinlich Mit Dem Vorwitz, Andere, Ich Will, Da Du Aus Der Verst Ndigen Absicht Sprechest, Dich Zu Belehren, Und So K Nnen, F R Verschiedene F Lle Verschieden, Beide Klugheitsregeln Vielleicht Gut Nebeneinander Bestehen Der Franzose Sagt, L App Tit Vient En Mangeant, Und Dieser Erfahrungssatz Bleibt Wahr, Wenn Man Ihn Parodiert, Und Sagt, L Idee Vient En Parlant

10 thoughts on “Über die allmähliche Verfertigung der Gedanken beim Reden

  1. Evan says:

    What makes this excellent little work by Kleist feel strikingly contemporary is both the intimacy of its contemplative voice and the curious fact that even after than a century of Psychology, the thesis feels counter intuitive and insightful It feels intimate in much the same way as Montaigne, Pascal or Leopardi the reader is drawn into an illusion of the sort of conversation that might be struck up amongst erudite college chums around a cozy fire The thesis that speaking in order to think is better than thinking before we speak still runs counter to the typical view We still tend to believe that those who choose their words carefully are not only judicious, but also wise However, Kleist s contrary proposition hints at existentialism, phenomenology and performativity, a succession of modern perspectives that give primacy to embodied and experiential knowledge It also presages Kleist s own visionary writings on the marionette theater, in which he argues that superior grace and spiritual excellence in the realm of movement and gesture are achieved by suppression of thought and consciousness In other words, those who move well, move first and allow consciousness to emerge from the motion a principle of great inspiration to modern acting theory In this little essay, Kleist suggests not just a theory of mind but a framework for dialogic existence, an ethics of inter being as Thich Nhat Hahn puts it that is quintessentially Romantic and contrary to Enlightenment rationalism There is even a touch of Levinas as Kleist enthuses it is a strangely inspiring thing to have a human face before us as we speak and often a look announcing that a half expressed thought is already grasped gives us it s other half s expression I believe many a great speaker to have been ignorant when he opened his mouth of what he was going to say But the conviction that he would be able to draw all the ideas he needed from the circumstances themselves and from the mental excitement they generated made him bold enough to trust to luck and make a start Kleist s vision of the scene of good thought is performative and like much writing on performance nowadays, even entertains a certain reverence for the failure inevitable to taking a risk to speak before one knows what one will say A faith that the meaningful breakthroughs will only come to those who try again, fail again, and progressively fail better.How retrograde is this perspective to our elite culture of back benchers, biding their time, lying in wait, and never making mistakes And thus circling viciously only over a priori truths.

  2. Jean-Sébastien Herpin says:

    Mais tout de m me, ce qui se con oit bien s nonce clairement Et les mots pour le dire arrivent ais ment.