Musil on Writing and Ideas

13 August 1910. Before I went to sleep, one or two other things occurred to me about my way of working (in the novellas). What matters to me is the passionate energy of the idea. In cases where I am not able to work out some special idea, the work immediately begins to bore me; this is true for almost every single paragraph. Now why is it that this thinking, which after all is not aiming at any kind of scientific validity but only a certain individual truth, cannot move at a quicker pace? I found that in the reflective element of art there is a dissipative momentum–here I only have to think of the reflections that I have sometimes written down in parallel with my drafts. The idea immediately moves onward in all directions, the notions go on growing outward on all sides, the result is a disorganized, amorphous complex. In the case of exact thinking, however, the idea is tied up, delineated, articulated, by means of the goal of the work, the way it is limited to what can be proven, the separation into probable and certain, etc., in short, by means of the methodological demands that stem from the object of investigation. In art, this process of selection is missing. Its place is taken by the selection of the images, the style, the mood of the whole.

I was annoyed because it is often the case with me that the rhetorical precedes the reflective. I am forced to continue the inventive process after the style of images that are already there and this is often not possible without some amputation of the core of what one would like to say. I am only able at first to develop the thought-material for a piece of work to a point that is relatively close by, then it dissolves in my hands. Then the moment arrives when the work in hand is receiving the final polish, the style has reached maturity, etc. It is only now that, both gripped and constrained by what is now in a finished state, I am able to “think” on further.

There are two opposing forces that one has to set in balance–the dissipating, formless one from the realm of the idea and the restrictive, somewhat empty and formal one relating to the rhetorical invention.

Tying this together to achieve the greatest degree of intellectual compression, this final stepping beyond the work in accordance with the needs of the intellectual who abjures everything that is mere words, this intellectual activity comes only after these two stages. Here the effect of the understanding is astringent, but here it is directed toward the unity of form and content that is already present whereas, whenever it is merely a question of thinking out the content, it dissipates. (Even in cases where one already has the basic idea around which everything is to be grouped, as long as the capacity for creating images is missing it will not work; if one restricts oneself in the extensive mode one goes to far in the intensive mode and one becomes amorphous.)

Diaries, p. 117

Note, contra Kant, ideas are formless content, rhetoric and language are form. I.e., if categories could be expressed we’re already expressing more than categories. This seems to be a German hermeneutic motif, the unspeakable but absolute idea beneath the text; Gadamer uses it too. Or to put it another way:

Jede Philosophie, die unsere Möglichkeiten des Zugangs zur Wirklichkeit von der Sprache abhängig macht – nicht nur vom Sprachbesitz überhaupt, sondern vom dem einer bestimmten, faktisch gewordenen Sprache, diese also als das Gesamtsystem aller Differenzierungen und Sichtweisen in der Erfahrung definiert, macht das Unsagbare auch im Sinne des noch nicht Gesagten heimatlos. Zugleich macht sie den Verdacht auf einen unüberwindbaren Relativismus der Alltagssprachen, der Nationalsprachen oder auch der wissenschaftlichen Sprachen unausweichlich. Nichts ist uns gegeben, was uns nicht durch Sprache vorgegeben wäre. Ist das befriedigend? Oder müssen wir nicht auch davon sprechen, daß die Sprache der Erweiterung unserer Erfahrung als der Einengung des Unsagbaren nachzukommen hat? Davon sprechen, daß sie umgebildet werden muß in bezug auf Leistungen, die im Sprachbestand noch nicht faktisch vorgegeben waren?

Blumenberg, Theory of an Unconceptuality, posth. 2008

(Thanks Antonia. And congratulations.)

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