No More Learning

In his mental development during the last six months of his
life (the spring and summer of 1903) new symptoms had ap-
peared, some emotional and some intellectual: despair, mis-
ery, hatred, and at the same time comfort in Divine Grace
which mounted to a feeling of sanctity and of ecstasy. The
conflict had culminated in his suicide.
The suicide was a severe blow to his father. After all he did
not seem to have understood thoroughly how serious the men-
tal condition of his son was, although he was the only one
who had taken Otto's letters as a warning of an inner crisis.
His apparent inability to realize his son's death can be seen
only in the light of his own nature; he rarely, if ever, expressed
outwardly the pain he felt in his heart. The death notice,
which he submitted to the Vienna newspapers and which in
itself caused a sensation because of the words "free will," was
typical of him. It read:
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? Crossing the Border 147
Our poor son, Otto Weininger, doctor philosophiae, yesterday
morning of his own free will took his own life. His friends will please
note that the funeral will take place at 4:30 Tuesday afternoon at
the Matzleindorf Evangelical Cemetery.
Vienna, October 5, 1903 his parents
Although the funeral was heartbreaking, Otto's father kept
calm. Lucka, who attended the service, describes it thus: "1
can still see him clearly, though it was close to twenty years
ago, as he stood by the grave of his eldest son, with unbowed
head, looking the minister straight in the eye as the Lord's
Prayer was said. The funeral was full of heartrending scenes,
but the man stood there as immovable as a statue, looking
neither to the right nor to the left. He did not cry, not then;
but I believe that he carried the pain within him--all the way
inside that closed and cruel thing which must have been deep
in his heart and which I cannot interpret. "
Typical was Leopold Weininger's reaction when Lucka saw
him a few days after Otto's funeral. "With a painful smile--
one of those smiles which often passed quickly over his face--
he showed me a leather case for glasses which Otto had given
to him the day before he committed suicide. Now the father
could understand the gift. "
And again, when reading the inscription he put on his son's
tomb, one gets this same impression of restraint. It reads as
follows:
This stone marks the resting place of a young man whose spirit
found no peace in this world. When he had delivered the message
of his soul, he could no longer remain among the living. He betook
himself to the place of death of one of the greatest of all men, the
Schwarzspanierhaus in Vienna, and there destroyed his mortal body.
There is not one loving word in this memorial. It is a neu-
tral description of a young man who could not find peace. It
reveals nothing of the loss and pain that one would expect a
father to show at the death of his son.
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? 148 Crossing the Border
Certainly, he did not yield to the touching paternal tears
that would have been fitting in a father, just as Otto with all
his capacities, frustrating as they were, did not react in a way
typical of anyone but himself.
Weininger had died and was mourned by only a small circle.
Yet Strindberg, who had written in praise of the book soon
after its appearance, was one of those to note his passing. The
letter he wrote his translator in July was not published until
after Otto's death (in Die Fackel, October 17, 1903). Imme-
diately after the news had come, he wrote an article dated at
. 1 Stockholm, October 12, 1903, and entitled "Idolatry--Gyn-
} olatry: A Postscript by August Strindberg. " In it he expressed
his agreement with Weininger's opinion of women even more
forcibly than in the letters he had written in July.
The interest Strindberg took in Weininger was more than
a coincidence. The two had much the same sort of personal-
ity, and they passed through similar development. Therefore
at base they had much in common and were psychologically
alike. Both had periods of extreme conflict, and each had a
split personality make-up, in which tendency and counter-
tendency, thought and counterthought, action and counter-
action, formed a dominant imaginary world. They both ex-
perienced a continual shifting from self-esteem to feelings of
inferiority and back again, with anxieties in the face of reality.
They both were nagged by feelings of guilt and self-reproach. 7
In his article Strindberg said: "The single fact that men
have created all culture, spiritual as well as material, shows
man's superior position; only the feebleminded would try to
7 A discussion of Strindberg's personality is beyond the scope of this book.
. _~. See S. Rabner, "August Strindberg: Eine pathologische Studie" in Grenzfragen
der Literatur der Medicin, Vol. VI (1907). Rabner makes the unlikely di-
agnosis that Strindberg suffered from melancholia. A. Storch, in a thorough
psychological-psychiatric analysis of his personality ("August Strindberg im
Lichte der Selbstbiographie,' in Grenzfragen des Nerven- und Seelenleben,
1921, especially pp. 21, 25, 58, 63, 73), proves that Strindberg suffered from
-? schizophrenia. See also the impressive study by Karl Jaspers, Strindberg und
Van Gogh (Berlin, 1926).
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? Crossing the Border 149
contest this statement--those who speak well of Rosa Bon-
heur's inferior pictures, of the emancipation literature of
George Sand, and of Bertha Suttner's usurpation of the peace
problem, of which she was not the discoverer. . . . Accord-
ing to the latest analysis, female love consists '50 percent of
sexual desire and 50 percent of hatred. This seems strange, but
it is not. Regardless of the sympathies and tastes, opinions,
etc. , we find that when a woman loves a man she hates him--
hates him because she is tied to him and feels inferior to him.
In her love there is no constant flow, but a continual repolariz-
ing, eternal changing in the current, which shows the negative,
the passive, element in her being, as opposed to the positive
and active in man. . . .
"Put in a few words, this was the secret that Otto Wei-
ninger had the courage to disclose; this was his discovery of the
feminine being and nature, which is set down in his virile
book Sex and Character, and for it he had to pay with his life.
"I place a wreath on his grave because I honor his memory
as that of one of the courageous, masculine thinkers. "
After Weininger's death, Gerber got in touch with Strind-
berg, who wrote two letters in reply. These show the similarity
in the spiritual Worlds of Weininger and Strindberg. Since
they have not been published before in English, they are
quoted at length here.
Dear Doctor:
I understood our dead friend, and I thank you. Some years ago
when I felt the same ambition that Weininger felt to go further,
I wrote in my diary: "Why do I keep going on? Cato gave himself
up to death when he realized that he could not stay clear of the
swamp of sin. Therefore Dante absolved him from his suicide. Now
I am sinking and I don't want to sink, therefore . . . Bang! " I was
on the road uphill until a woman dragged me down. Yet I went
on living because I understood that connection with a woman was
a sacrifice, a duty, a test. We must not live like gods here on earth;
we must live in filth and still stay pure, etc. Do you remember the
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? 150 Crossing the Border
Maeterlinck case? It was exactly the same! He was far above the
material (he Tresor des humbles), when the earthly woman came
along. . . . He fell so deep that he carried his naked spirit of earth
around to exhibit it! Is that not tragic?
When Dr. Luther married he wrote to a friend: "I marry! In-
credible! I am ashamed! But it seems that God wants to make a fool
of me! "
Can you send me the biographies and everything? Shering wrote
me when he died: "Weininger has conquered his faith by death. "
Yes, I was at the point of doing the same thing in 1880! I should
have, but for my discovery. It was not a concept, but a discovery,
and Weininger was a discoverer.
The new generation seems to find new truths; the zoological
Weltanschauung ended up as veterinary psychology. We searchers
seek for immortal souls and are therefore called religious. I am, but
I have no use for a creed.
Call me a "Christian freethinker" until I can think of something
better.
Your unknown friend at a distance,
Stockholm August Strindberg
Karlavagen 40
October 22,1903
Dear Doctor:
That strange, that mysterious man, Weininger! He was born
with a sense of guilt like mine! I came into the world with a guilty
conscience, with fright at everything, with anxiety for people and
for life. I believe now that I did something wrong before I was born.
What does that mean? Only the theosophists have the courage to
answer. Like Weininger, I became religious out of fear, the fear of
becoming inhuman. I adored Beethoven as he did, even established
a Beethoven club where we played only Beethoven, but I noticed
that so-called good people did not like Beethoven. The man who is
unhappy, restless, cannot be called heavenly; he is certainly tran-
scendental.
Weininger's fate? Did he indeed betray the secret of the gods?
Did he steal the fire? The air was too heavy for him here, therefore
he was suffocated. This cynical life became too cynical for him!
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? Crossing the Border 151
That he is gone means to me that he had the Supreme permission
to go. Otherwise, such things do not happen.
So it was written.
Yours,
Stockholm August Strindberg
December 8,1903
P. S. Please don't publish my letters until after my death.
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? Senilis and
Insanity
V%/here is the borderline between the normal and the
T abnormal mind? How often have we not seen an
apparently normal individual suddenly indulge in aberrant or
quite abnormal actions, and then just as suddenly resume his
conventional character? Imagine a man who is highly gifted,
intellectually endowed, a meteor in the realm of thought, who
has developed theories and concepts opposed to all the
thought of the past and clings to his own ideas even when his
constructive intelligence should tell him that they are mis-
taken. Is such a man normal or abnormal?
Look at Weininger. In spite of his violent mental conflicts
and the serious internal struggles which sometimes threatened
to split his personality, he was still able to control his trend to
insanity. After a short period of confusion, he still seemed
capable of organized, logical action. In spite of the bizarre and
fanciful ideas he presented to the bewildered reader of his
book, he often displayed profound insight into the unexplored
realms of psychology--an insight not infrequently brightened
with flashes of genius. In addition, after that eventful Novem-
ber night when his suicide was averted, Weininger presented
to the men about him, at least to those with no knowledge of
mental disease, an exterior in no way out of the ordinary.
Apparently he was in the borderland of normality. What
were the aspects of his somewhat equivocal mental condition?
A clue to understanding it and his general personal make-up
may be found in his basic shut-in (schizoid) attitude, which
explains why he showed no overt abnormal manifestations,
apart from the episode of the night of November 20, 1902.
His closest friends, Gerber and Lucka, knew that he had an
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? Genius and Insanity 153
1
odd nature, but it seemed to them no more than odd; they
certainly did not realize that his peculiarity might develop into
insanity. Even though a few of his friends had some knowl-
edge of psychology, they were still unable to judge his state of
mind.
It is not surprising that Swoboda says (p. 34): "I was never
able to discover any trace of abnormal feeling in Weininger,
and I would certainly have noticed anything of the sort in our
intimate relationship. On the contrary, I can definitely state
that Weininger was as sane as one can possibly expect a gen-
ius to be. " Yet it is surprising that after such remarks he con-
cluded with these words (p. 44), "The various disturbances
in his emotions and intellect were a result of disturbances in
his biological drives. "
Lucka knew of no insanity in the Weininger family, nor
did he consider Weininger's mind in any way diseased or
schizophrenic (Letter VIII). This opinion he had expressed
shortly after Weininger's death in Die Fackel, October 17,1903
(p. 16): "Not for one minute of his life was Weininger insane.
I talked with him myself the night before he killed himself. He
talked with his publisher the same evening, and with his own
family even later. Neither I nor anyone else noticed any de-
rangement or any exceptional excitement in him. "
This view contrasted with the opinion expressed when in
his book (Ofro Weininger: Der Mensch und sein Werfe, pp.
4, 5) he maintained that during the first part of 1903 it be-
came more and more difficult to get along with Weininger,
who was completely absorbed in his own thoughts.
This
change continued in Weininger after Sex and Character had
been published, and he usually appeared gloomy and uncom-
fortable.
It is interesting in his connection to consider Rappaport's
observation (U. L. D. , p. xv): "Weininger could easily place
himself in the position of a criminal. Because of his universal
disposition, it is probable that he had all the instincts of the
criminal. But were they the original motive power? It is com-
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? 154 Genius and Insanity
mon knowledge that the phenomena of crime and insanity are
sometimes parallel. The continual desire to lie, to tyrannize,
to murder--perhaps they were all merely obsessional ideas.
His fear of becoming a murderer, which led him to his suicide,
was probably a phobia. In that case he was a victim of in-
sanity. " I have been told that Rappaport believed that Weinin-
ger committed suicide only because he wished to ward off his
strong inclinations to commit actual murder.
Weininger's sister maintained that no one of her family
was ever insane and that Otto was always well except during
the last months of his life, when his health was poor. "His
body was weakened by the many nights when he worked by
candlelight. His nervous system suffered, as you can see in his
writings" (Letter IX).
An expert has directed my attention to some curious parallels
in the conduct of Jonathan Swift, Heinrich von Kleist, and
Weininger. It is generally agreed that both Swift and Kleist
had small, inadequately developed genital organs. It is possible
that a similar deficiency lay behind the tragedy of Weininger,
affecting his mental development.
The picture his friends drew of his mental condition is quite
perplexing. Yet his mental make-up may explain the conflict-
ing statements. His mental state was neither normal nor, as
his friends may have thought, one of simple and usual depres-
sion. There was much more to it. Only Swoboda was on the
right track when he felt that Weininger's derangement was
due to disturbances in his biological drives. He, however,
halted his examination just where he should have started.
Therefore, let us look more closely at one aspect of his state
of mind--the phenomehon of hysteria. Clearly his hysterical
symptoms do not necessarily change our general view of his
mental disorder. Manifestations of hysteria are not uncom-
mon phenomena in schizophrenic diseases. When the sup-
posedly hysterical patient gradually turns to permanent de-
mentia, then the case is probably not hysteria but schizo-
phrenia.
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? Genius and Insanity 155
In Weininger the hysterical traits are so obvious and so
pure that one might easily believe he suffered from hysteria.
Mobius was well aware of this fact when he wrote in his long
article that "the history of Otto Weininger gives a definite
impression of a hysterical mask. " 1 Probst thought that Wei-
ninger suffered from hysteria with symptoms of a manic-
depressive disease (Der Fall, pp. 35-39).
Wilhelm Stekel also found hysterical traits in Weininger.
"The way I see it--and my impression has been confirmed by
an intimate friend of his--Weininger always felt a deep fas-
cination for all that was feminine and for everything con-
cerned with sex, and this impression is borne out by his pecul-
iarly stereotyped choice of literature, reading which must have
required several years, probably going back to his schooldays.
With this heavy ballast of knowledge, with his neuropatholog-
ical and probably hysterical disposition, which caused him to
suffer from displaced and painful sexual thoughts, he finally
turned to women, and his physical nature failed. Reality could
never live up to his dreams and his indefatigable imagination"
(Die Wage, No. 45, November, 1904, p. 1032). Thus, Wei-
ninger's morbid development was due to a repression of his
sexual life.
These hysterical traits appeared so clearly in Weininger
after his eighteenth year that the question arises as to whether
they were not bound up with his personality make-up.
When his whole life is viewed, he seems a man in need of
showing off. This tendency developed gradually during his
childhood, at school, and at the university, becoming more or
less conscious. The desire to proclaim himself was deeply
rooted in his personality. His attitude toward his father when
he begged for permission to study at the University, his duel,
his demonstrative conversion to Christianity the day he re-
ceived his degree, his threats to kill himself in 1902--all these
show a strong tendency to exhibitionism. Bumke's words are
true of Weininger, "The natural attitude of a hysteric is
1 Ceschlecht und Unbescheidenheit (Halle an der Saale, 1907), pp. 28-29.
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? 156 Genius and Insanity
the pose. " Even if Weininger often wanted to get away, to
hide himself, nevertheless whatever he touched became part
of his dramatic attitude. He had a natural talent for the dra-
matic, as well as for the tragic. His whole life was, indeed, a
tragic drama, as is often the case with such a personality type.
Weininger himself discussed the human desire to make an
impression in "Ego Problems and Genius" (Sex and Charac-
ter, p. 226): "A great man--that is, a man to whom time has
no importance--seeks to increase his own value in the pres-
ence of his intelligible ego, his moral and intellectual con-
science. His vanity is always a vanity toward itself. A desire
originates in him to impress others by his thoughts, actions,
and productivity. This vanity is the original vanity of genius,
possessing its own worth, and it is not concerned with what
the opinion of others may be. It is, however, not a praise-
worthy quality, and ascetic natures (Pascal) would suffer
heavily from this vanity if they did not get rid of it. "
Thanks to his psychological insight, he discovered his own
wish to impress himself and others, the desire to appear
something more than he was, "to experience more than one is
capable of," in the words of Karl Jaspers. According to his own
theories, the phenomenon of hysteria is characterized by a
desire to display emotions or ideas--a conclusion at which
Klages also later arrived. 2
The urge to make an impression decisively influenced his
later development. He always had to push ahead, assume an
attitude, play a role. His craving to expose and display himself
was so dominating that it drove him on to new conquests, to
greater insight into human psychology, and especially into the
psychology of the talented. The greater part of the chapter
"Talent and Genius" in Sex and Character is nothing but auto-
biography. It was the urge to exhibit himself that led him to
understand talent and genius. He said (p. 141), "Genius is a
2 L. Klages, Die Grundlagen der Charakterkunde (Leipzig, 1928), pp. 103,
126,127. See also Friedrich Stumpfl, Studien uber Vererbungen und Entstehung
geistiger Stbrungen (Berlin, 1935), p. 139.
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? Genius and Insanity 157
higher type of virility. " And (pp. 134-35): "In order to de-
scribe a man one must be similar to him. But in order to cre-
ate similar activities, one must reproduce the psychological
conditions in oneself. By this reasoning, only a thief can un-
derstand another thief; an honest man can never understand
him. . . . To understand a man means being the man.
"The man of genius is he who has a greater comprehension
of his fellow men than does the average man. It is said that
Goethe said of himself that there was no vice or crime of
which he could not trace an inclination in himself. The genius
is, therefore, a more complicated, more richly endowed, more
varied man. If comprehension of a human being only flickered
in him like the light from a faulty candle, then he would be
unable to kindle the flame of life in his heroes, and his crea-
tions would be without glow and power. The ideal artistic
genius is the man who lives the part of his character, who loses
himself in his subject in order to reveal himself to the multi-
tude. And so the aim of the philosopher is to discover all per-
sonalities within himself, to fuse them into a unity which is
his own unity. "
The urge to expose himself, becoming a guiding principle
with Weininger, encouraged the tendency to exaggeration,
which was already present and now gradually took a violent
form in the craving to show off. His desire to be sensational
finally led to eccentricity. Hence his suicide in the death house
of Beethoven. His associates accepted his own implied expla-
nation of this act. His father put into the inscription on Wein-
inger's tomb the statement that to take his own life he had
gone to the place of death of one of the greatest of all men.
Lucka said that "it was no coincidence that he rented a room
in that house. " Both apparently felt that Weininger was a
genius and therefore should die in a house where another gen-
ius had died. They thus took over Weininger's own estimate
and approved an action that certainly showed a great deal of
eccentricity.
This impression of his urge toward self-display is confirmed
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? 158 Genius and Insanity
by the manner in which Sex and Character originated as a
theory on talent. At first glance, it does not seem peculiar that
a young man should want to write a theoretical essay on tal-
ent, and indeed it would not have been peculiar were it not
for the fact that the artistic and intellectual talents of Otto
Weininger and his own inner conflict served as the basis for
the whole investigation. Obviously he was writing about him-
self. One may guess that his theory was intriguing, nearly
harmless, although a little superficial. He attacked earlier
metaphysical thinking and believed, as Ewald says (p. 36),
that "great talent in a man was supposed to be the result of a
higher development of his sensuality. "
Given Weininger's nature, it is certainly not surprising that
he should write about talent on the theory that the man with
the greatest sensuality has the most talent. As the book de-
veloped from this early plan, one can follow the development
of the man who wrote it. "The book was originally meant as a
chapter on structural psychology; it grew into a universal study
of character and ethics and finally became a mystical philos-
ophy of release. This change of focus expressed the different
stages of the quick development through which Weininger
went. The psychologist became a philosopher, the philosopher
became a religious mystic. The stages are easily recognized as
the first, second, and third parts of Sex and Character"
(Ewald, pp. 65-66).
As he changed, the book, too, changed radically. The prob-
lem of sex was substituted for the problem of talent as the
central theme, and the sex question became, as Ewald says,
"more acute . . . more dualistic, and more tragic. " 3
The close relation between man and work appeared even
more distinctly after his experience on the November night of
1902. That experience colored his mind, and his feelings are
expressed strikingly in Sex and Character. Many pages reflect
his suicidal mood. While research work is, as a rule, done
3 Ewald's evidence is supported by other sources. Weininger originally planned
to call his book Eros and Psyche, so Ewald tells us, and in a letter to Professor
Jodl, Otto referred to it by the initials "E. und P. "
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? Genius and Insanity 159
coolly and without fear, Weininger wrote the main part of
Sex and Character with the thought of self-destruction always
present. Reading this part of the book, even without any
knowledge of the author, leaves an impression not only of the
author's great mind, but also of his mood while writing. The
book was written for another world, the world he voluntarily
entered a half year after the book's publication. The funereal
atmosphere of his words fully reflects his inward nature.
Usually the relationship between an author and his work is
more hidden than in Weininger's case. The author's own per-
sonality is one of the main characteristics of Sex and Charac-
ter. There he presented what was most significant in the very
depths of his soul. The material for his theory of talent he
found in his own thoughts and experiences at a time when his
mind did not seem troubled by any morbid process. The mere
fact that he took up the study of talent seems to show his own
desire for self-display. The root of this desire was the intrinsic
value he found in his egocentric world, a value stemming from
his own sexual drive. He always gave in to the urge to play a
role, even at the cost of his own life. The result was that his
personality and the genuine value of his work were dimin-
ished. His personal life indeed became merely the stage for his
theatrical experiences, and his hysterical struggle became a
fight against his inner conflicts.
The development of his mental condition was marked by
hysterical symptoms to such a degree that his real mental state
was concealed. We can reach the significant part of his per-
sonality only by peeling off the layers of hysterical traits which
cover it. Only then do we see his conflicts, his repressed sexual
drive, his narcissism, his isolation, and his periods of split per-
sonality. Then his emotional and intellectual struggles make his
hysterical traits appear practically as caricature. True, those
traits did color the development of his personality, but hysteria
was not the center of his mental state.
Hysteria and schizophrenia are similar because both orig-
inate in repressed sexual feelings. The two diseases express
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? 160 Genius and Insanity
themselves to a large extent by the same means, and in the
early stages it is possible for a schizophrenic patient to be mis-
taken for a hysteric. In spite of these manifestations in com-
mon, there is a profound difference. Yet since their traits in
common are psychosexual in nature, it is easy to see why
Weininger's mental condition might superficially appear as
hysteria although it was in reality schizophrenia.
It is interesting to note that several of Otto Weininger's
friends thought he suffered from epilepsy "because epilepsy
and genius are related" (Der Fall, p. 9). And there is some
indication that Weininger may have ascribed epilepsy to him-
self. He believed that there was a close relationship between
the mind of the epileptic and that of the criminal. A remark
in "Letzte Aphorismen," found only in the first edition of
Vber die letzten Dinge (p. 81), establishes a linkage: "Psy-
chologist--criminal; scientist--neurasthenic.