Geburtstag: 29. September 1864
Todesdatum: 31. Dezember 1936
Miguel de Unamuno y Jugo war ein spanischer Philosoph und Schriftsteller.
Plädoyer des Müßiggangs. Ausgewählt und aus dem Spanischen übersetzt von Erna Pfeiffer, Literaturverlag Droschl Graz - Wien, 2. Auflage 1996, ISBN 3-85420-442-6, S. 19
Wie man einen Roman macht. Aus dem Spanischen übersetzt von Erna Pfeiffer, Literaturverlag Droschl Graz - Wien, 2000, ISBN 3-85420-543-0, S. 71
Wie man einen Roman macht. Aus dem Spanischen übersetzt von Erna Pfeiffer, Literaturverlag Droschl Graz - Wien, 2000, ISBN 3-85420-543-0, S. 96
Plädoyer des Müßiggangs. Ausgewählt und aus dem Spanischen übersetzt von Erna Pfeiffer, Literaturverlag Droschl Graz - Wien, 2. Auflage 1996, S. 21 ISBN 3-85420-442-6
Wie man einen Roman macht. Aus dem Spanischen übersetzt von Erna Pfeiffer, Literaturverlag Droschl Graz - Wien, 2000, ISBN 3-85420-543-0, S. 65
Wie man einen Roman macht. Aus dem Spanischen übersetzt von Erna Pfeiffer, Literaturverlag Droschl Graz - Wien, 2000, ISBN 3-85420-543-0, S. 114
Plädoyer des Müßiggangs. Ausgewählt und aus dem Spanischen übersetzt von Erna Pfeiffer, Literaturverlag Droschl Graz - Wien, 2. Auflage 1996, ISBN 3-85420-442-6, S. 18
Wie man einen Roman macht. Aus dem Spanischen übersetzt von Erna Pfeiffer, Literaturverlag Droschl Graz - Wien, 2000, ISBN 3-85420-543-0, S. 127
Wie man einen Roman macht. Aus dem Spanischen übersetzt von Erna Pfeiffer, Literaturverlag Droschl Graz - Wien, 2000, ISBN 3-85420-543-0, S. 97
— Miguel de Unamuno, Del sentimiento trágico de la vida
Das Tragische Lebensgefühl. Deutsch von Robert Friese. München: Meyer & Jessen 1925, S. 116. Oft verkürzt zu: "Die Wissenschaft ist ein Friedhof toter Ideen."
Original spanisch: "La ciencia es un cementerio de ideas muertas, aunque de ellas salga vida." - Del sentimiento trágico de la vida. Renacimiento, 1913, p. 92 books.google https://books.google.de/books?id=Pxg2AQAAMAAJ&q=cementerio
The Tragic Sense of Life (1913), IV : The Essence of Catholicism
The Tragic Sense of Life (1913), VI : In the Depths of the Abyss
Kontext: Yes, I know well that others before me have felt what I feel and express; that many others feel it today, although they keep silence about it.... And I do not keep silence about it because it is for many the thing which must not be spoken, the abomination of abominations — infandum — and I believe that it is necessary now and again to speak the thing which must not be spoken.... Even if it should lead only to irritating the devotees of progress, those who believe that truth is consolation, it would lead to not a little. To irritating them and making them say: "Poor fellow! if he would only use his intelligence to better purpose!... Someone perhaps will add that I do not know what I say, to which I shall reply that perhaps he may be right — and being right is such a little thing! — but that I feel what I say and I know what I feel and that suffices me. And that it is better to be lacking in reason than to have too much of it.
Recalled by Walter Starkie from a conversation he had with Unamuno, as related in the Epilogue of Unamuno http://books.google.com/books?id=u8DG-eCTtM4C&lpg=PR1&dq=Unamuno&pg=PA240#v=onepage&q=%22There%20is%20no%20tyranny%20in%20the%20world%20more%20hateful%20than%20that%20of%20ideas%22&f=false.
Kontext: There is no tyranny in the world more hateful than that of ideas. Ideas bring ideophobia, and the consequence is that people begin to persecute their neighbors in the name of ideas. I loathe and detest all labels, and the only label that I could now tolerate would be that of ideoclast or idea breaker.
The Tragic Sense of Life (1913), II : The Starting-Point
Kontext: Knowledge is employed in the service of the necessity of life and primarily in the service of the instinct of personal preservation. The necessity and this instinct have created in man the organs of knowledge and given them such capacity as they possess. Man sees, hears, touches, tastes and smells that which it is necessary for him to see, hear, touch, taste and smell in order to preserve his life. The decay or loss of any of these senses increases the risks with which his life is environed, and if it increases them less in the state of society in which we are actually living, the reason is that some see, hear, touch, taste and smell for others. A blind man, by himself and without a guide, could not live long. Society is an additional sense; it is the true common sense.
The Tragic Sense of Life (1913), III : The Hunger of Immortality
Kontext: Glorious is the risk! — καλος γαρ ο κινδυνος, glorious is the risk that we are able to run of our souls never dying … Faced with this risk, I am presented with arguments designed to eliminate it, arguments demonstrating the absurdity of the belief in the immortality of the soul; but these arguments fail to make any impression on me, for they are reasons and nothing more than reasons, and it is not with reasons that the heart is appeased. I do not want to die — no; I neither want to die nor do I want to want to die; I want to live for ever and ever and ever. I want this "I" to live — this poor "I" that I am and that I feel myself to be here and now, and therefore the problem of the duration of my soul, of my own soul, tortures me.
The Tragic Sense of Life (1913), VII : Love, Suffering, Pity
Kontext: Consciousness (conscientia) is participated knowledge, is co-feeling, and co-feeling is com-passion. Love personalizes all that it loves. Only by personalizing it can we fall in love with an idea. And when love is so great and so vital, so strong and so overflowing, that it loves everything, then it personalizes everything and discovers that the total All, that the Universe, is also a person possessing a Consciousness, a Consciousness which in its turn suffers, pities, and loves, and therefore is consciousness. And this Consciousness of the Universe, which a love, personalizing all that it loves, discovers, is what we call God.
The Tragic Sense of Life (1913), Conclusion : Don Quixote in the Contemporary European Tragi-Comedy
Kontext: Science does not give Don Quixote what he demands of it. "Then let him not make the demand," it will be said, "let him resign himself, let him accept life and truth as they are." But he does not accept them as they are, and he asks for signs, urged thereto by Sancho, who stands by his side. And it is not that Don Quixote does not understand what those understand who talk thus to him, those who succeed in resigning themselves and accepting rational life and rational truth. No, it is that the needs of his heart are greater. Pedantry? Who knows!... And he wishes, unhappy man, to rationalize the irrational and irrationalize the rational. And he sinks into despair of the critical century whose two greatest victims were Nietzsche and Tolstoi. And through this despair he reaches the heroic fury of which Giordano Bruno spoke — that intellectual Don Quixote who escaped from the cloister — and became an awakener of sleeping souls (dormitantium animorum excubitor), as the ex-Dominican said of himself — he who wrote: "Heroic love is the property of those superior natures who are called insane (insano) not because they do not know, but because they over-know (soprasanno)."
The Tragic Sense of Life (1913), VIII : From God to God
Kontext: And He is the God of the humble, for in the words of the Apostle, God chose the foolish things of the world to confound the wise and the weak things of the world to confound the things which are mighty (I Cor. i. 27) And God is in each of us in the measure in which one feels Him and loves Him. "If of two men," says Kierkegaard, "one prays to the true God without sincerity of heart, and the other prays to the an idol with all the passion of an infinite yearning, it is the first who really prays to the idol, while the second really prays to God." It would be better to say that the true God is He to whom man truly prays and whom man truly desires. And there may even be a truer revelation in superstition itself than in theology.
