花香盈路
1、It"s so much easier to suggest solutions when you don"t know too much about the problem。 当你对问题了解不太多的时候，比较容易提出解决办法。 2、Faith： not wanting to know what the truth is。 信仰就是不想知道真相是什么。 3、It is not a lack of love， but a lack of friendship that makes unhappy marriages。 婚姻不幸福，不是因为缺乏爱，而是因为缺乏友谊。 4、And those who were seen dancing were thought to be insane by those who could not hear the music。 那些听不见音乐的人认为那些跳舞的人疯了。 5、Was macht mich nicht umbringt， macht mich st？rker！那些没能杀死我的，使我变得更坚强！ 6、Neid und Eifersucht sind die Schamteile der menschlichen Seele。嫉妒与猜忌是人类灵魂的污染物。 7、Ignorance is the curse of God， knowledge the wing wherewith we fly to heaven。无知乃是罪恶，知识乃是我们借以飞向天堂的翅膀。 8、The true man wants two things： danger and play。 For that reason he wants woman， as the most dangerous toy。 读书给我更多的憩息，引导我散步在别人的知识与灵魂中。 9、All human errors are impatience， a premature breaking off of methodical procedure，an apparent encing-in of what is apparently at issue。人类的全部错误在于缺乏耐心，过早地打断系统化的程序，公然地对有明显争议的问题下限制性的结论。 10、But it is the same with man as with the tree。 The more he seeks to rise into the height and light， the more vigorousl" y do "his roots struggle earthward， downward， into the dark， the deep - into evil。 其实人跟树是一样的，越是向往高处的阳光，它的根就越要伸向黑暗的地底。 11、Reading makes a full man； conference a ready man； and writing an exact man。读书使人充实，讨论使人机敏，写作使人严谨。 12、The higher we soar the smaller we appear to those who cannot fly。 我们飞得越高，我们在那些不能飞的人眼中的形象就越渺小。 13、Ich bin von heute und ehedem， aber etwas ist in mir， das ist vor morgen und übermorgen und einstmals。我属于今天和过去，但是我的一些东西，将是属于明天后天和今后的。 14、Whoever fights monsters should see to it that in the process he does not become a monster。 And when you look into the abyss， the abyss also looks into you。想要战胜怪物就要了解成为怪物的过程；当你回望无底深渊的时候，无底深渊也回望着你。 15、A wise man never loses anything if he has hilf。 聪明的人只要能掌握自己，便什么也不会失去。 16、That which does not kill us makes us stronger。 那些不能杀死我们的，使我们更强大。 17、Aber mit meiner Liebe und Hoffung beschw？re ich dich： wirf den Helden in deiner Seele nicht weg！ Halte heilig deine h？chste Hoffnung！但是凭着我的爱和希望我请求你：切莫抛弃掉你灵魂中的英雄吧！保持你内心中最高的希望吧！ 18、The two great European narcotics：alcohol and Christianity。两种最厉害的欧洲麻醉剂是：烈性酒和基督教。 19、That is a good book which is opened with expectation and closed with profit。好书使人开卷有所求，闭卷有所获。 20、Wer einst fliegen lernen will， der muss erst stehn und laufen und klettern und tanzen lernen： man erfliegt das Fliegen nicht！谁要学习飞翔，必须先学习站立、奔跑、跳跃和舞蹈：人无法从飞翔中学会飞翔！ 21、He who has a strong enough why can bear almost any how。 一个人知道自己为什么而活，就可以忍受任何一种生活。 22、You have your way。 I have my way。 As for the right way， the correct way， and the only way， it does not exist。 你有你的路。我有我的路。至于适当的路，正确的路和唯一的路，这样的路并不存在。 23、It is not a lack of love， but a lack of friendship that makes unhappy marriages。 一段不幸的婚姻不是缺乏爱，而是缺乏友谊。 24、Real knowledge， like everything else of value， is not to be obtained easily， it must be worked for， studied for， thought for， and more than all， must be prayed for。 真知如同珍宝，不是轻易获得的，必须学习、钻研、思考，最重要的是必须有强烈的求知欲。 25、Zu meinem Ziele will ich， ich gehe meinen Gang， über die Z？gernden und Saumseligen werde ich hinwegspringen。 Also sei mein Gang ihre Untergang！我向着我的目标前进，我遵循着我的路途，我越过踌躇者与落后者。我的前进将是他们的没落！ 26、Alle Vorurteile kommen aus den Eingeweiden。所有的偏见源自内心。 27、Euch rate ich nicht zur Arbeit， sondern zum Kampfe。 Euch rate ich nicht zum Frieden， sondern zum Siege。 Eure Arbeit sei ein Kampf， euer Friede sei ein Sieg！我不劝告你们工作，而劝告你们奋斗。我不劝告你们和平，只劝告你们胜利。让你们的工作是一个奋斗，让你们的和平是一个胜利吧！ 28、Jetzt bin ich leicht， jetzt fliege ich， jetzt sehe ich mich unter mir， jetzt tanzt ein Gott durch mich。现在我轻盈了，现在我飞翔，现在我看见自己驾凌于我自己，现在我看见一个上帝在我身上舞蹈。 29、Everything the State says is a lie， and everything it has it has stolen。 国家所说的一切都是谎言， 它所拥有的一切都是偷取的。 30、What is earnest is not always true； on the contrary， error is often more earnest than truth。重要的并不总是确实的。相反，谬误往往比真理来的更为重要。 31、Knowledge， in truth， is the great sun in the firmament。 Life and power are scattered with all its beams。知识的确是天空中硕大无比的太阳。它的光辉撒下生命和力量。 32、That which does not kill us makes us stronger。 那些没有消灭你的东西，会使你变得更强壮。 33、Man approaches the unattainable truth through a succession of errors。人们通过不断犯错误接近不可企及的真理。 34、Growth in wisdom may be exactlyi measured by decrease in bitterness。 智慧的增长可用痛苦的减少来精确衡量。 35、Knowledge is a city to the building of which every human being brought a stone。知识是一座城堡，每个人都应为它增砖添瓦。 36、Knowledge， in truth， is the great sun in the firmament。 Life and power are scattered with all its beams。 知识的确是天空中硕大无比的太阳，它的光辉撒下生命和力量。 37、Without music， life would be a mistake。 如果没有音乐，生活就是一个错误。 38、"Glaube" hei？t Nicht-wissen-wollen， was wahr ist。“信仰”意味着不想知道，这是真的。 39、Man liebt zuletzt seine Begierde， und nicht das Begehrte。人最终喜爱的是自己的欲望，而不是自己想要的东西。 40、A casual stroll through the lunatic asylum shows that faith does not prove anything。 在疯人院随便逛一下你就能了解，信仰什么也证明不了。 41、The reading of all good books is like a conversation with the finest men of past centuries。所有的好书，读起来就如同和过去世界上最杰出的人谈话。 42、Words can have no single fixed meaning。 Like wayward electrons， they can spin away from their initial orbit and enter a wider magnetic field。 No one owns them or has a proprietary right to dictate how they will be used。字词不是只有一个固定含义。就像任性的电子，它们从最初的轨道里蹦出来，进入一个更大的磁常他们不属于谁，谁也没有权力限定应该怎样使用它们。 43、Der Mensch ist ein Seil， geknüpft zwischen Tier und übermensch - ein Seil über einem Abgrunde。人是一根绳索，连接在动物与超人之间——绳索悬于深渊上方。 44、That which does not kill us makes us stronger。 但凡不能杀死你的，最终都会使你更强大。 45、Morality is the herd instinct in the individual。道德是个人心目中的群居本能。
2岁半的猫
尼采：英文名Friedrieh Nietzsche （1884—1900）这个在中国广为人知而又知之不多的人物，有着他独特的生活经历和思想特点。他是大学教授，然而他否定其他兢兢业业从事教育的教授工作；他是哲学家，但他异常起劲地反对出现在他以前的诸家哲学。他高喊出一个惊世骇俗的口号：重新估定一切价值！不仅在东方，就是在西方哲学史上，尼采向来就是一个有争论的人物。尼采哲学是资本主义社会发展到一定阶段的产物，他以独特的方式预示了现代西方社会中深刻的精神危机。尼采的思想反映了当时正在形成的垄断资产阶级的要求和愿望。他谴责自由资产阶级，称他们为因循守旧、苟且偷生的庸人，认为必须否定受理性主义、基督教以及人道主义的影响而日趋没落的西方文明，提倡主观战斗精神和对生活的肯定态度，强调进化即是权力意志实现其自身的过程，人生的目的就在于发挥权力，扩张自我。鼓吹超人哲学，认为“超人”才是历史的创造者，他有权奴役群众，而普通人只是“超人”实现自己权力意志的工具。他反对民主、社会主义和妇女解放运动，甚至谴责医生拯救病人是一种犯罪。主张艺术是权力意志的一种表现形式，而艺术家就是高度扩张自我、表现自我的人。但尼采也确乎提出过新的思想。当弗洛伊德正在酝酿他的精神分析学的时候，他吃惊地发现，尼采早已道出了他的基本思想。雅斯贝尔斯、海德格尔和一切存在主义者都把尼采看作为他们开拓了道路的人。许多西方作者也极受其影响。尼采的学说预示了西方社会进入了价值观念根本变化的时代，因此，可以说不了解尼采，就不可能了解我们这个世纪的西方哲学思潮、文艺思潮和社会思潮。1844年 10月15日诞生于普鲁士萨克森州（Sachsen）的洛肯镇（Lutzen）。好几代的祖父与父亲皆为路德教派的牧师。1849年 5岁 7月30日，父亲是脑软化症病逝。1850年 6岁 举家迁往塞尔河畔的南姆堡（Naumburg）。1858年 14岁 10月起，在南姆堡近郊普尔塔高等学校读书。1864年 20岁 10月，进波昂大学，修习神学与古典文献学。1865年 21岁 10月，转入莱比锡大学。初次获读叔本华的著作《意志与表象的世界》。1866年 22岁 开始与李契门下厄尔温·罗德（ErvinRohde）交往。1867年 23岁 10月，被征召入南姆堡炮兵联队。从马上摔下，胸骨受重伤。1868年 24岁 4月，因伤退伍。11月8日初识年格纳。1869年 25岁 2月，受聘巴塞尔大学，担任古典文献学的额外教授。4月，脱难普鲁士国籍，成为瑞士人。5月17日初次访问琉森（Luzern）近效托里普森的瓦格纳家。5月28日在巴塞尔大学发表就任讲演，讲题为“荷马与古典文学”。布克哈特（Jacob Buckchardt）缔交。1870年 26岁 3月，升为正教授。8月，普法战争爆发，志愿从军担任卫生兵。罹赤痢与白喉。10月退伍，返巴塞尔大学。与神学家奥瓦贝克（Franz Overbeck）开始交往。1871年 27岁 执笔《悲剧的诞生》。1872年 28岁 1月，出版《悲剧的诞生》。2月——3月，在巴塞尔大学演讲，发表《德国教育设施之前瞻》（殁后作为遗著初次出版）。四月华格纳家迁离托里普森。5月在贝鲁特祭剧场的开工典礼上，与华格纳重晤。1873年 29岁 《季节的深思》第一篇出版。发表《希腊人悲剧时代的哲学》中之部分文字（殁后作为遗稿初次出版）。1873年 30岁 发表《季节的深思》第二篇、第三篇。初读法国作家斯汤达尔的小说《红与黑》，如受电击。1875年 31岁 10月，初识音乐家彼德·卡斯特（ReterGast,本名HeinrichKoselitz）。1876年 32岁 7月，《季节的深思》第四篇出版。八月，贝鲁特剧场演出第一次祝祭剧。9月，与心理学家保罗·李（RaulRee）缔交，病况恶化。因病，巴塞尔大学课程请假休讲。冬，与保罗·李及梅森伯格同任于索特林。10月11月在索特林与华格纳作最后的晤谈。撰写了《人性，太人性的》最初的备忘录。1877年 33岁 9月，回巴塞尔，复于大学授课。1877年 34岁 与华格纳的友谊关系终结。1月3日华格纳赠送《帕西法尔》（Rarsifal）一书。5月《人性，太人性的》第一篇出版；至华格纳最后一封信，附《人性，太人性的》赠书一册。1879年 35岁 重病。辞去巴塞尔大学教席。《人性，太人性的》第二篇上半部出版。1880年 36岁 发表《漂泊者及其影子》，后来作为《人性，太人性的》第二篇下半部分出版。春天，初抵日内瓦，10月，在日内瓦过乘冬。1881年 37岁 1月完成《曙光》，6月出版，7月在西尔斯·马莉亚过夏，8月，孕育了“永恒之流”的思想。11月27日，在日内瓦初次聆赏比才的《卡门》。1881年-1882年 37-38岁 执笔《快乐的科学》并于同年出版。1882年-1888年 38-44岁 对一切的价值作价值转换的尝试。1882年 38岁 3月，至西西里旅行。四月开始与罗·落乐美交际。5月，完成《快乐的科学》（Diefroliche Wissenschaft），并出版。11月以后，在拉伯罗过冬。1883年 39岁 2月，华格纳病逝。执笔撰写《查拉图斯特拉如是说》第一部，6月，出版。7月，执笔《查拉图斯特拉如是说》第二部。12月，在尼斯过冬。1884年 40岁 1月，在威尼斯，执笔撰写《查拉图斯特拉如是说》第三部。8月斯泰因访尼采。11月起执笔《查拉图斯特拉如是说》第四部（1885年私家出版），读杜思妥也夫斯基的小说《罪与罚》，深深感动。1885年 41岁 执笔《善与恶的超越》。1886年 42岁 5-6月，在莱比锡与厄尔温·罗德做最后一次之晤面。7月，《善与恶的超越》出版。1886年 43岁 7月，完成《道德的系谱》，11月，私家出版。11月11日，致厄尔温·罗德最后一封信。1888年 44岁 1月，因丹麦文艺史家布兰斯的介绍始知有齐克果其人。4月，第一次往在托里诺（Torio）。布兰德斯在哥本哈根大学开“德国哲学家弗烈特李希·尼采讲座”。5月-8日执笔《华格纳事件》，9月出版，《戴奥尼索斯之颂》脱稿。8月-9月撰写《偶像的黄昏》（1889年出版）。9月，撰写完反《反基督》，10月-11日撰写《瞧！这个人》，12月撰写《尼采对华格纳》《心理学家的公文书》，死后收入全集中出版。1889年 45岁 1月初旬，在托里诺遭到最后的打击，患了严重的中风。出现精神分裂现象，被送进耶拿大学医院精神科，母亲赶来照顾。1897年 53岁 复活节，母亲病逝。与妹移居威玛（Weimar），由其妹朝夕看护。1900年 56岁 8月25日在威玛咽下最后一口气息，8月28日葬于故乡洛肯镇。死后的柏拉图、亚里斯多德、威宾诺莎、康德、叔本华、黑格尔并列为世界哲学史上不朽的思想家。
迷路的豆豆
NIErZSCHE found in classical Athenian tragedy an art form thattranscended the pessimism and nihilism of a fundamentallymeaningless world. Nietzsche discusses the history of the tragicform and introduces an intellectual dichotomy between the Dionysianand the Apollonian. Nietzsche claims life always involves astruggle between these two elements， each battling for control overthe existence of humanity.Twilight of the Idols was written in just over a week. AsNietzsche's fame and popularity was spreading both inside andoutside Germany， he felt that he needed a text that was a shortintroduction to his work; Twilight of the Idols is his attempt atthis，An Attempt at Self-Criticism [Note that this first section of the Birth of Tragedy was added to the book many years after it first appeared, as the text makes clear. Nietzsche wrote this "Attempt at Self-Criticism" in 1886. The original text, written in 1870-71, begins with the Preface to Richard Wagner, the second major section] Whatever might have been be the basis for this dubious book, it must have been a question of the utmost importance and charm, as well as a deeply personal one. Testimony to that effect is the time in which it arose (in spite of which it arose), that disturbing era of the Franco-Prussian war of 1870-71. While the thunderclap of the Battle of Worth was reverberating across Europe, the meditative lover of enigmas whose lot it was to father this book sat somewhere in a corner of the Alps, extremely reflective and perplexed (thus simultaneously very distressed and carefree) and wrote down his thoughts concerning the Greeks, the kernel of that odd and difficult book to which this later preface (or postscript) should be dedicated. A few weeks after that, he found himself under the walls of Metz, still not yet free of the question mark which he had set down beside the alleged "serenity" of the Greeks and of Greek culture, until, in An Attempt at Self-Criticism [Note that this first section of the Birth of Tragedy was added to the book many years after it first appeared, as the text makes clear. Nietzsche wrote this "Attempt at Self-Criticism" in 1886. The original text, written in 1870-71, begins with the Preface to Richard Wagner, the second major section] Whatever might have been be the basis for this dubious book, it must have been a question of the utmost importance and charm, as well as a deeply personal one. Testimony to that effect is the time in which it arose (in spite of which it arose), that disturbing era of the Franco-Prussian war of 1870-71. While the thunderclap of the Battle of Worth was reverberating across Europe, the meditative lover of enigmas whose lot it was to father this book sat somewhere in a corner of the Alps, extremely reflective and perplexed (thus simultaneously very distressed and carefree) and wrote down his thoughts concerning the Greeks, the kernel of that odd and difficult book to which this later preface (or postscript) should be dedicated. A few weeks after that, he found himself under the walls of Metz, still not yet free of the question mark which he had set down beside the alleged "serenity" of the Greeks and of Greek culture, until, in An Attempt at Self-Criticism [Note that this first section of the Birth of Tragedy was added to the book many years after it first appeared, as the text makes clear. Nietzsche wrote this "Attempt at Self-Criticism" in 1886. The original text, written in 1870-71, begins with the Preface to Richard Wagner, the second major section] Whatever might have been be the basis for this dubious book, it must have been a question of the utmost importance and charm, as well as a deeply personal one. Testimony to that effect is the time in which it arose (in spite of which it arose), that disturbing era of the Franco-Prussian war of 1870-71. While the thunderclap of the Battle of Worth was reverberating across Europe, the meditative lover of enigmas whose lot it was to father this book sat somewhere in a corner of the Alps, extremely reflective and perplexed (thus simultaneously very distressed and carefree) and wrote down his thoughts concerning the Greeks, the kernel of that odd and difficult book to which this later preface (or postscript) should be dedicated. A few weeks after that, he found himself under the walls of Metz, still not yet free of the question mark which he had set down beside the alleged "serenity" of the Greeks and of Greek culture, until, in for those baptized in music, those who are bound together from the start in secret and esoteric aesthetic experiences, a secret sign recognized among artistic blood relations, an arrogant and rhapsodic book, which right from the start hermetically sealed itself off from the profane vulgarity of the "intelligentsia" even more than from the "people," but a book which, as its effect proved and continues to prove, must also understand enough of this issue to search out its fellow rhapsodists and tempt them to new secret paths and dancing grounds. At any rate here a strange voice spoke (curious people understood that, as did those who found it distasteful), the disciple of an as yet unknown God, who momentarily hid himself under the hood of a learned man, under the gravity and dialectical solemnity of the German man, even under the bad manners of the followers of Wagner. Here was a spirit with alien, even nameless, needs, a memory crammed with questions, experiences, secret places, beside which the name Dionysus was written like a question mark. Here spoke (so people told themselves suspiciously) something like a mystic and an almost maenad-like soul, which stammered with difficulty and arbitrarily, as if talking a foreign language, almost uncertain whether it wanted to communicate something or remain silent. This "new soul" should have sung, not spoken! What a shame that I did not dare to utter as a poet what I had to say at that time. Perhaps I might have been able to do that! Or at least as a philologist—even today in this area almost everything is still there for philologists to discover and dig up, above all the issue that there is a problem right here and that the Greeks will continue remain, as before, entirely unknown and unknowable as long as we have no answer to the question, "What is the Dionysian?" 4 Indeed, what is the Dionysian? This book offers an answer to that question: a "knowledgeable person" speaks there, the initiate and disciple of his own god. Perhaps I would now speak with more care and less eloquently about such a difficult psychological question as the origin of tragedy among the Greeks. A basic issue is the relationship of the Greeks to pain, the degree of their sensitivity. Did this relationship remain constant? Or did it turn itself around? That question whether their constantly strong desire for beauty, feasts, festivities, and new cults arose out of some lack, deprivation, melancholy, or pain. If we assume that this desire for the beautiful and the good might be quite true—and Pericles, or, rather, Thucydides, in the great Funeral Oration gives us to understand that it is—where must that contradictory desire stem from, which appears earlier than the desire for beauty, namely, the desire for the ugly or the good strong willing of the ancient Hellenes for pessimism, for tragic myth, for pictures of everything fearful, angry, enigmatic, destructive, and fateful as the basis of existence? Where must tragedy come from? Perhaps out of desire, out of power, out of overflowing health, out of overwhelming fullness of life? And psychologically speaking, what then is the meaning of that madness out of which tragic as well as comic art grew, the Dionysian madness? What? Is madness perhaps not necessarily the symptom of degradation, collapse, cultural decadence? Is there perhaps (a question for doctors who treat madness) a neurosis associated with health, with the youth of a people, and with youthfulness? What is revealed in that synthesis of god and goat in the satyr? Out of what personal experience, what impulse, did the Greeks have to imagine the Dionysian enthusiast and original man as a satyr? And what about the origin of the tragic chorus? In those centuries when the Greek body flourished and the Greek soul bubbled over with life, perhaps there were endemic raptures, visions, and hallucinations which entire communities, entire cultural bodies, shared. What if it were the case that the Greeks, right in the midst of their rich youth, had the desire for tragedy and were pessimists? What if it was clearly lunacy, to use a saying from Plato, which brought the greatest blessings throughout Hellas? And, on the other hand, what if, to turn the issue around, it was clearly during the time of their dissolution and weakness that the Greeks became constantly more optimistic, more superficial, more hypocritical, with a lust for logic and rational understanding of the world, as well as "more cheerful" and "more scientific"? What's this? In spite of all "modern ideas" and the judgments of democratic taste, could the victory of optimism, the developing hegemony of reasonableness, practical and theoretical utilitarianism, as well as democracy itself (which occurs in the same period) perhaps be a symptom of failing power, approaching old age, physiological exhaustion, all these factors rather than pessimism? Was Epicurus an optimist for the very reason that he was suffering? We see that this book was burdened with an entire bundle of difficult questions. Let us add its most difficult question: What, from the point of view of living, does morality mean?
霸气甫爷
Friedrich Wilhelm Nietzsche (15 October 1844 – 25 August 1900) was a German philosopher, whose critiques of contemporary culture, religion, and philosophy centered on a basic question regarding the foundation of values and morality.Ursprünglich preußischer Staatsbürger, war er seit seiner Übersiedlung nach Basel 1869 staatenlos.Im Alter von 24 Jahren wurde Nietzsche unmittelbar im Anschluss an sein Studium Professor für klassische Philologie in Basel. Bereits zehn Jahre später legte er 1879 aus gesundheitlichen Gründen die Professur nieder. Von nun an bereiste er – auf der Suche nach Orten, deren Klima sich günstig auf seine Migräne und Magenleiden auswirken sollte – Frankreich, Italien, Deutschland und die Schweiz. Ab seinem 45. Lebensjahr (1889) litt er unter einer schweren psychischen Krankheit, die ihn arbeits- und geschäftsunfähig machte. Seinen Anfang der 1890er Jahre rasch einsetzenden Ruhm hat er deshalb nicht mehr bewusst erlebt. Er verbrachte den Rest seines Lebens als Pflegefall in der Obhut zunächst seiner Mutter, dann seiner Schwester, und starb 1900 im Alter von 55 Jahren.Den jungen Nietzsche beeindruckte besonders die Philosophie Schopenhauers. Später wandte er sich von dessen Pessimismus ab und stellte eine radikale Lebensbejahung in den Mittelpunkt seiner Philosophie. Sein Werk enthält scharfe Kritiken an Moral, Religion, Philosophie, Wissenschaft und Formen der Kunst. Die zeitgenössische Kultur war in seinen Augen lebensschwächer als die des antiken Griechenlands. Wiederkehrendes Ziel von Nietzsches Angriffen ist vor allem die christliche Moral sowie die christliche und platonistische Metaphysik. Er stellte den Wert der Wahrheit überhaupt in Frage und wurde damit Wegbereiter postmoderner philosophischer Ansätze. Auch Nietzsches Konzepte des „Übermenschen“, des „Willens zur Macht“ oder der „ewigen Wiederkunft“ geben bis heute Anlass zu Deutungen und Diskussionen.Nietzsches Denken hat weit über die Philosophie hinaus gewirkt und ist bis heute unterschiedlichsten Deutungen und Bewertungen unterworfen. Nietzsche schuf keine systematische Philosophie. Oft wählte er den Aphorismus als Ausdrucksform seiner Gedanken. Seine Prosa, seine Gedichte und der pathetisch-lyrische Stil von Also sprach Zarathustra verschafften ihm auch Anerkennung als Schriftsteller.
