It is strange the way a horse
continually
bows his head.
Weininger - 1946 - Mind and Death of a Genius
1y6 Genius and Insanity
he understands through and through, since one could not then
help seeing the imperfections which are sure to be found in any
human being, and love deals only with the perfect. Love for a
woman is, therefore, possible only when the real qualities, de-
sires, and interests of the woman are described in so far as they
are in opposition to the localization of superior qualities in her
person. The attempt to find oneself in a woman instead of
looking for herself necessarily involves disregarding her real
personality. This effort is always cruel to the woman, and in it
lies the reason for all the egotism in love as well as the cause of
jealousy, which regards the woman as private property without
attention to her individual mental life. We have thus drawn
the parallel between the cruelty of eroticism and the cruelty of
sexuality. Love is murder. The sexual drive is a negation of the
physical and psychic woman, always erotic to the last. "
Cruelty--or, as it should be more properly called, sadism--
thus here acquired its true meaning for Weininger. He early
became familiar with the problem of sadism-masochism. He
was demonstrating the presence of sadistic tendencies in him-
self when he sought to prove that Ibsen was a sadist and a
masochist. He wrote in his essay on Ibsen (U. L. D. , p. 22):
"While Ibsen at the peak of his production was a thorough
masochist (as proved by The Master Builder), he was not
without certain sadistic traits in his youth. There are traces of
sadism in several of the poems he long withheld from publica-
tion and in Gildet pa Solhaug. . . . In the second act of Peer
Gynt (the stolen bride) and in the first act (the threat against
Solveig) there are positive sadistic qualities; it is possible that
Ibsen here wanted to discipline himself. "
These remarks on self-discipline apply better to himself than
to Ibsen. In composing Sex and Character he was attempting
to gain complete self-control, and that aim was one reason for
his rejection of women and all concerned with them. His orig-
inal sexual desire for women and his love for his fellow humans
were transformed by his own violent sexual urge and appeared
as sadism and masochism, as pain and torment.
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? Genius and Insanity 177
This explanation is supported by his severe behavior in the
face of the world, which reflected only weakly the violent strug-
gle within him. He had good reason not to smile or make jokes.
He disciplined himself, never relaxing his soldierlike man-
ner. Thus when he hated, he certainly did not suffer from his
hate.
His sexual feelings were deranged and caused him painful
experiences--a fact he probably realized fully after Sex and
Character had been published. In the summer of 1903 we find
him writing notes such as these: "All cruel people have pecul-
iarly strained faces, signifying exactly the pain they feel. Like-
wise the ascetic. . . . Cruelty means the desire to inflict real
pain (upon someone as a reality) instead of allowing desire to
mean the aim and value of liberty" (Taschenbuch, p. 38).
These words confirm the suspicion that Weininger himself
suffered mental pain, pain closely related to his entire personal-
ity, including his sexual life. From this grew self-torment that
was especially apparent toward the end of his life. His self-
discipline, however, became voluptuous. He seemed to enjoy
using the ugliest self-hatred to destroy his own life through
ascetic practices.
The torment and hatred he expressed were closely allied
with disgust, which he equated with fear. He said, "Fear and
disgust are identical; they are coordinated so that the criminal
is not only always afraid of himself but also disgusted"
(U. L. D. , p. 118).
Feelings of disgust in general originate in the sublimation
of homosexual components, and Weininger was showing this
process. But there was more to it. The criminalistic impulses,
of which he spoke so much, had their roots in his repressed
sadistic tendencies. Even as he tried to repress them they
emerged into his consciousness as wishes and symptomatic
acts. These acts, which often stem from desires for revenge or
criminalistic impulses, are not usually apparent because they
are not usually acted out. Weininger himself attributed his
desires for revenge and his wish to commit acts of violence to
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? 178 Genius and Insanity
his torturing conscience rather than to his partly repressed
sadistic traits.
His sadistic and masochistic tendencies became more
marked. He himself said (U. L. D. , p. 68): "The masochist
takes everything as destiny. The sadist loves to play destiny. "
More and more he himself wanted to play at being master of
destiny. And he succeeded. In his Weltanshauung the prob-
lem of sex and of woman became a central point; pain and the
infliction of pain, ruling and being ruled, were seen in close
connection with his own sexual drive. His hatred of woman,
to be compared only to that of Strindberg, was closely related
to the wish to play the martyr. His self-torture reached its
climax in the last period of his life, when there was nothing at
all that could win the approval of his extreme asceticism.
"The sadist," he said, "believes in, hopes for, happiness on
earth; he is the man of Tusculum, of San Souci; the masochist
needs a heaven. " Thus it was with Weininger. He, the maso-
chist, needed a heaven.
These sadistic and masochistic strivings were a stage in the
development of his psychosis. He did not suffer physically,
but he did suffer mentally. His was a moral masochism.
What was at the root of these strivings? A feeling of being
basically alone in the world and lonely. We have already seen
Weininger as a fundamentally shut-in person, with feelings of
hostility toward the outer world. He felt impotent--in a
psychological sense, castrated. Like many other masochistic
individuals, he tried to alleviate and overcome the intolerable
fear of his own solitude and powerlessness. This fear, which is
frequently not conscious in such men, is covered over by com-
pensatory feelings of superiority and perfection. If we pene-
trate Weininger's psychodynamics, we find this process go-
ing on.
His masochism was one means of losing himself. In order
to remedy his feelings of insignificance and lack of power, he
made his fear worse. To lessen the conflict between his desire
to be strong and his conviction of his own weakness, he tried
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? Genius and Insanity 179
to reduce self to nothingness. He wished to cease being an
individual and by doing so to save himself from the conflict.
The road led him to fantasies of suicide, which he finally
acted out.
A good deal has already been said about the symbols and
the meaning of the "Letzte Aphorismen. " These are written in
Weininger's very heart's blood. In them we can see the emo-
tional expression of his psychological structure. At the same
time they show his complete abandonment of two of his most
important principles: his belief in the individual and his
hatred of women.
"Ego does not exist," he wrote (U. L. D. , p. 175), "soul does
not exist; goodness is the only absolute perfect reality, and it
includes all separate things: Individuality is the result of van-
ity: we need an audience, we wish to be seen. A vain person
also takes an interest in others and understands them. " Else-
where we find this passage: "Man's first fall was caused by his
individuality, and the symbol of individuality is the shooting
star. " And in Taschenbuch (p. 42), we read: "The mirror is
the surrogate for creating one's self. The mirror has a relation-
ship to vanity and to individuality as well. . . . The problem
of individuality is the problem of vanity. The reproduction of
life is the consequence of vanity. The criminal is vain because
he wants loneliness. "
Such words are directly opposed to what he had written a
few months earlier in Sex and Character. They disrupt a fun-
damental principle on which he had built his life and his
theory--individualistic intellectualism.
In abandoning his belief in the ego and the soul he gave up
two concepts that had been deeply significant to him, and his
belated disbelief in individuality also disturbed his deep-rooted
faith in immortality. These changes were alarming symptoms.
His moral masochism led him to attempt the annihilation of
the individual self, in order to overcome his loneliness. At the
same time he tried to become part of a larger, more powerful
whole outside himself. When he said, "goodness is the only
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? 180 Genius and Insanity
absolute perfect reality," he was seeking to make himself part
of a larger pattern in which, as participant in a glorious un-
dertaking, he could feel strong and eternal. He submerged
himself in a greater unity that would shelter him and give him
new security. He sought to become a living part of the phe-
nomena about him. His masochistic strivings opened for him
an escape, a means of leaving his conflicts behind him. And
his trend to a faith in a larger whole even went so far as mys-
tical interpretation of time. "In Syracuse I can only be born
or die, but not live," he wrote, and his declaration showed that
for him time and space were fused.
On the problem of woman his views also underwent radical
alteration. In Taschenbuch (p. 24) he wrote: "How can I re-
proach woman for doing nothing but wait for the man? The
man wants nothing else. There is no man who would not be
happy in knowing that he had sexual attraction for a woman.
The hatred of women is nothing but the hatred of sexuality
which he has not yet conquered. "
The personal application is clear; he had on his mind his
own hatred of women, which resulted from hatred of his own
sexual drive. He showed insight into the problem even if his
words expressed resignation. The man who wrote these words
was not unwilling; more probably he was willing but resigned
because he felt that the game was lost. And the spirit behind
the words indicated how chaotic his psychological condition
was.
The abandonment of his earlier beliefs concerning individ-
uality and women were signs of a new development of his
personality. A masochist in need of heaven, he now believed
only in the eternity of the idea of the good. It is not surprising
that on the day before his death he made to Lucka remarks
that implied a connection between his abandonment of his
ideas of individuality and his opinion of suicide (Lucka, p.
The theory that his behavior revealed a disintegrated per-
sonality seemed to be contradicted by his actions. Though his
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? Genius and Insanity 181
mood was dark and sinister, his behavior was not, to all ap-
pearances, very different from his earlier conduct. The conflict
and division within him is illumined by the story of his part-
ing with his father. He asked the elder Weininger to go with
him to the street-car stop, then stood letting one car after an-
other go by until he finally managed to tear himself away.
This was his final, painful, but concealed parting from his
father, to whom he had felt very close. Although hard pressed,
he finally reacted adequately. He was convinced of what he
should do, and he departed from his father.
In the last week of his life he tried also to see Gerber, and
at the end he wrote letters to his father and his brother Rich-
ard. Perhaps the letters and the visits might be interpreted as
expressions of the hope that they might save him from his
fate. Yet while he appeared as usual to his associates he was
headed to his doom.
It is not rare for gifted schizophrenic persons with signs of
personality disintegration to retain--at least superficially--the
power of organized and logical action. Yet fundamentally
their behavior always corresponds to the rhythms of their
inner worlds. From the summer of 1903 until he took his own
life, Weininger presented the picture, not of definite, com-
plete insanity, but of a mental state in which attacks of psy-
chosis were constantly digging into his personality, destroying
it bit by bit, leaving some wounds which never healed.
There was an ambiguity in his disease. As morbid traits
threatened to become dominant, he had to exert great effort
to keep his psychosis under control. He succeeded for the most
part and was such a master at checking his morbid inclinations
that he almost seemed to be playing with his own tendency
to insanity. The night of November 20, 1902, was for him full
of imperative hallucinations which give the impression of a
paranoid form of schizophrenia. But apart from that incident
until the last few days before his suicide his development
showed no obvious signs of flourishing schizophrenia. Though
personality split threatened, he managed to keep his personal-
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? l82
Genius and Insanity
ity integrated. Then after May, 1903, the threat came again,
and he hovered between a split and control of the disease. Yet
he appeared to be always in control of the disease until the
last few days of his life, when he seemed again dominated by
his psychosis.
He himself was aware of the change in his own condition,
though he did not really understand it. He felt his sickness
but could not diagnose his morbid trend. In his quest for
metaphysical meanings, we find him saying these words about
insanity in Vber die letzten Dinge (pp. 124-25): "Even be-
fore I began to study the horse from the point of view of ani-
mal psychology, the head of the horse made a peculiar im-
pression on me, gave me the impression of a lack of freedom.
At the same time I realized that the head might seem ridicu-
lous.
It is strange the way a horse continually bows his head.
Not with the same certainty as when I thought of the dog, but
still with the surety of a guiding thought, I had the feeling
that the horse represents insanity. The alogical element in the
behavior of horses, the nervous and neurasthenic feeling akin
to insanity which always causes one to complain and feel sur-
prise, served to confirm the impression. "
He also made the comment that "the danger of insanity is
always present in those who try to penetrate" the discipline of
logic and pure knowledge. Since he had devoted years to the
search for pure knowledge, he obviously had fears for his own
sanity.
Moreover, his doubts of his own reasoning power and his
conclusions made him consider his thoughts as sinful and
created in him a feeling of guilt. To this feeling he gave open
expression in an aphorism probably written in the summer of
1903. "When a man becomes insane, it is only a result of his
own guilt" (U. L. D. , p. 59).
This feeling of guilt was not only a starting point for his
mental crisis, but also the very substance of it. The fight to
overcome his guilt--arising out of sexual cravings he could not
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? Genius and Insanity 183
overcome--was the heart of the crisis which he underwent
while trying to preserve a cool exterior.
Beneath his control, his attitude was shy and uncertain,
quite unlike his earlier fighting spirit. His imagination was
haunted by thoughts of evil, and his behavior was a queer
confusion of self-reproach and ideas of his own sanctity and
purity. The last two days and nights he wrote furiously away
at the "Letzte Aphorismen," and some of the words he wrote
give clear hints of the approaching catastrophe. "Everything
I have created," he said in a passage that appeared only in the
first edition (p. xx), "must perish because it was written in
an evil spirit--with, perhaps, the one exception that God or
the good exists in no separate thing in nature. " As Rappaport
says (U. L. D. , p. xx): "He was engulfed in complete darkness.
He was haunted by the most complete pessimism, which he
felt as guilt"
We know that feelings of guilt may result from the suppres-
sion of desires and feelings of hatred and revenge. In general
the more violent the unconscious feelings of revenge, the more
pronounced is the inclination to delusional ideas of guilt.
Weininger's belief that all evil was due to his own guilt can
be understood only by considering his psychological develop-
ment, particularly his inclinations to hatred and revenge. He
hated Jews and women. It is not surprising, therefore, when
we find that the aphorisms that he wrote on the last night of
his life are charged with hatred. He turned against the Jews
and Judaism in rage. "It is Jewish," he wrote (U. L. D. , p. 183),
"to blame the other (Christianity). Judaism means laying all
blame on someone else. The devil is the man who blames the
faithful (God). In this respect Judaism is the radical evil. He
is stupid who laughs frivolously at the question, who does not
recognize the problem: The Parsifal Legend. The Jew takes no
blame: 'How can I help it? ' The Christian assumes all guilt.
The Jew will accept no guilt (i. e. , no problem either) . . . he
is opposed to the will of God who wants evil. "
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? 184 Genius and Insanity
The last three aphorisms, of which portions have just been
quoted, are the last of the sixty-two aphorisms printed in the
first edition of Vber die letzten Dinge. The book contains only
eight more aphorisms concerning Jews and the Jewish prob-
lem. Rappaport omitted these final commentaries from the
later editions. Reading them and seeing the vicious hatred
they express, we can well understand why. As a friend of
Weininger, Rappaport probably wished to hide such hate-
filled and morbid expressions.
In the final analysis the contempt and rage of Weininger
were directed against himself. He felt weak and powerless,
filled with anxiety. He had constantly within him the fear of
impotence and a feeling that he was castrated (castration com-
plex). In general this feeling of castration is the deepest un-
conscious root of anti-Semitism, and it was the basis of Wei-
ninger's monstrous anti-Semitism. His wild hatred of women
also rose from the same feeling. It is interesting to note what
Freud himself says on this point. "Weininger (the young phi-
losopher who, highly gifted but sexually deranged, committed
suicide after producing his remarkable book Geschlecht und
Charakter), in a chapter that has attracted much attention,
treated Jews and women with equal hostility and overwhelmed
them with the same insults. " Freud goes on to say that Wein-
inger was completely swayed by "his infantile complexes; and
from that standpoint what is common to Jews and women is
their relation to the castration complex. " 15
Weininger sought passionately to deny Judaism because that
would mean to deny self. Basically the denial of his mother
religion was also directed against his mother, whom he hated.
His hatred of Judaism and Jews was connected with feelings of
guilt at his conversion to Christianity. He felt despair and
the need for atonement, and his guilt was in his mind related
to his desire for sanctity. He believed that no one else had
ever understood Jesus Christ as well as he did (U. L. D. , p.
xviii), and possibly in the last period of his life he naively
1S Sigmund Freud, Collected Papers, III (London, 1925), 179.
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? Genius and Insanity 185
thought that he was God or at least godlike (U. L. D. , p. 43).
Another of the aphorisms deleted after the first edition says
(U. L. D. , p. 182), "Even at the time of the birth of Christ
there must have been many great men who were not chosen
and have been forgotten. " He may have felt that he was a
great man chosen for a new atonement of the sins of the
world. He certainly tried to free himself of sexual desire by
becoming the master of it. In his gigantic struggle, he took
upon his own shoulders the responsibility of dealing with man
and the universe. He thereby identified himself with the whole
world and inevitably concluded that all evil was his own guilt.
It is no cause for wonder that his friends and companions
did not fathom the conditions behind his suicide. Apart from
the most ordinary cases it is hard, generally speaking, to find
the true motives for suicide. Sometimes even the diaries of
those who die a natural death give a false picture of the cir-
cumstances prior to death, as Goethe's Dichtung und Wahr-
heit (Poetry and Truth) does. In Weininger's case the people
around him did not understand what was going on in him,
even after he realized that his own life was at stake. He wrote
of Sex and Character that "this book means a sentence of
death upon either the book or the author. " And when he left
Vienna for Italy he made a statement (printed only in the
first edition of U. L. D. ) that he had decided not to return to
Vienna before matters were settled. The same thought echoed
in his words (U. L. D. , p. xx), "My return to Vienna should
have been another incarnation. "
The fact that his associates did not understand his mental
condition may have furthered his suicide plans. Yet it seems
doubtful whether his close friends could have helped him out
of his mental crisis. They admired him too much and had too
uncritical an attitude. The reverence Rappaport showed in
writing (U. L. D. , pp. xx-xxi) about Weininger's funeral was
typical: "It should be mentioned that at the time of his fu-
neral there was a partial eclipse of the moon in Vienna which
ended at the exact moment when his body was lowered into
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? 186 Genius and Insanity
the grave. Schopenhauer relates that when Immanuel Kant
was buried, 'a white cloud went up into the sky, making it
clearer and purer than before. ' " 19
Another friend, Lucka, showed the same reverent and un-
critical attitude. "There are," he said, "sufficient facts about
this suicide to indicate that his motives were quite extraor-
dinary--in fact something which has never before happened
in the modern world. This assertion, however, cannot yet be
proved" (Die Fackel, October 17, 1903, p. 16).
The explanations of the suicide offered by commentators
have not been very satisfactory. Probst's attempt to show that
Weininger shot himself because he had once spoken of suicide
in a restaurant seems obviously false and fruitless. The ex-
planation Weininger's father offered--that Otto had com-
mitted suicide because he did not wish others to believe that
he had indulged in vain boasting--is no more helpful.
Stekel believed that Weininger committed suicide because
he had realized that the arguments of Sex and Character were
untrue. "Before the book was published, a well-known neu-
rologist in Vienna (probably Freud) read the book and con-
sidered it dangerous--written by a genius who wanted above
all to become famous. " The work was done with the confi-
dence of youth. Even though the author may have confused
transitory moods with the basis of his philosophic world view,
surely this was the extent of Weininger's dishonesty--hardly
enough to cause a remorseful suicide.
Weininger's self-esteem was seemingly so great that attack
upon his ideas served only to plant them more firmly within
him. Criticism only strengthened his faith in his principles
after the book was published. The struggle between his own
moral strictures of his conduct and the strength of his biolog-
ical drives ended in a strange religious metaphysic, centered
completely about his ego. In spite of the pathos and senti-
16 It was only in the first edition that Rappaport mentioned the eclipse of the
moon. The Astrophysical Institute of Oslo has informed me that a partial
eclipse of the moon did take place over the southeastern part of Europe on
October 6, 1903.
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? Genius and Insanity 187
mentalism with which he surrounded himself, he was still a
striving man, living within the circle of his own fantasies. His
suicide could then have resulted from his desire not to destroy
his theory by his own practice. 17
Finally, the possible explanation that he was in a state of
delirium during the last days of his life must be discarded. His
conduct was too composed and organized to admit of delir-
ium. He talked with his family, with Lucka, and with his pub-
lisher. None of them noticed anything strange in his behavior.
And even when he rented the room in the house where Bee-
thoven died he transacted the required business normally.
The true and accurate explanation of the suicide must be
found in the course of his mental illness, which developed to
an acute phase in the summer of 1903. We have already seen
how schizophrenia was in progress. Weininger advanced to a
final submersion in a sort of mystic life in communion with a
superior force (God) and ended in cosmic experiences, in ideas
of atonement, sanctity, and destruction. He identified himself
with the idea of Christlike sanctity and struggled against a
sense of overwhelming guilt, bred of his self-isolation, his in-
trospection, and his feelings of hatred and revenge.
In the last week of his life his mental crisis grew more and
more acute, the conflict grew more fierce. The contrasts within
him were deep. The desire to live struggled in him with the
desire to die. As soon as he returned to Vienna he wished to
leave once more. His attempts to see Gerber, his protracted
parting from his father, his final letters, were all expressions
of his hope to be saved from death. At the same time he did
not want to live. Conflicting tendencies whirled in his mind;
every thought called forth its antithesis, bringing continuous
contradiction. This ambivalence reached the point where he
wished at the same time both to live and to die. He had been
unsuccessful in his attempt to repress his hostility. Hatred of
his own sexual desires had led to hatred of himself and to feel-
ings of hostility. His attempts at repression were only partially
17 Carl Dallago, Otto Weininger und sein Werk (Innsbruck, 1912), p. 7.
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? 188
Genius and Insanity
successful, and hostile feelings popped to the surface whenever
he felt that he had neutralized them. His final diatribes
against the Jews showed his violent inclinations to revenge
and his overwhelming sense of guilt. He was stricken with de-
spair, which gradually spread within him until it amounted to
actual despair of his life.
This sense of guilt was connected with his feelings of
sadism. In him, as in any individual with an insatiable sadism
directed against all, the sadism was repressed in his uncon-
sciousness. As in other cases, so in Weininger too this severe
repression brought pain and depression. Weininger also had
the suppressed desire to be a criminal, the most wicked crim-
inal in the world, with greater guilt than any other. This urge,
with the repression of his sadistic tendencies, strengthened his
self-reproach, anxieties, and despondency.
he understands through and through, since one could not then
help seeing the imperfections which are sure to be found in any
human being, and love deals only with the perfect. Love for a
woman is, therefore, possible only when the real qualities, de-
sires, and interests of the woman are described in so far as they
are in opposition to the localization of superior qualities in her
person. The attempt to find oneself in a woman instead of
looking for herself necessarily involves disregarding her real
personality. This effort is always cruel to the woman, and in it
lies the reason for all the egotism in love as well as the cause of
jealousy, which regards the woman as private property without
attention to her individual mental life. We have thus drawn
the parallel between the cruelty of eroticism and the cruelty of
sexuality. Love is murder. The sexual drive is a negation of the
physical and psychic woman, always erotic to the last. "
Cruelty--or, as it should be more properly called, sadism--
thus here acquired its true meaning for Weininger. He early
became familiar with the problem of sadism-masochism. He
was demonstrating the presence of sadistic tendencies in him-
self when he sought to prove that Ibsen was a sadist and a
masochist. He wrote in his essay on Ibsen (U. L. D. , p. 22):
"While Ibsen at the peak of his production was a thorough
masochist (as proved by The Master Builder), he was not
without certain sadistic traits in his youth. There are traces of
sadism in several of the poems he long withheld from publica-
tion and in Gildet pa Solhaug. . . . In the second act of Peer
Gynt (the stolen bride) and in the first act (the threat against
Solveig) there are positive sadistic qualities; it is possible that
Ibsen here wanted to discipline himself. "
These remarks on self-discipline apply better to himself than
to Ibsen. In composing Sex and Character he was attempting
to gain complete self-control, and that aim was one reason for
his rejection of women and all concerned with them. His orig-
inal sexual desire for women and his love for his fellow humans
were transformed by his own violent sexual urge and appeared
as sadism and masochism, as pain and torment.
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? Genius and Insanity 177
This explanation is supported by his severe behavior in the
face of the world, which reflected only weakly the violent strug-
gle within him. He had good reason not to smile or make jokes.
He disciplined himself, never relaxing his soldierlike man-
ner. Thus when he hated, he certainly did not suffer from his
hate.
His sexual feelings were deranged and caused him painful
experiences--a fact he probably realized fully after Sex and
Character had been published. In the summer of 1903 we find
him writing notes such as these: "All cruel people have pecul-
iarly strained faces, signifying exactly the pain they feel. Like-
wise the ascetic. . . . Cruelty means the desire to inflict real
pain (upon someone as a reality) instead of allowing desire to
mean the aim and value of liberty" (Taschenbuch, p. 38).
These words confirm the suspicion that Weininger himself
suffered mental pain, pain closely related to his entire personal-
ity, including his sexual life. From this grew self-torment that
was especially apparent toward the end of his life. His self-
discipline, however, became voluptuous. He seemed to enjoy
using the ugliest self-hatred to destroy his own life through
ascetic practices.
The torment and hatred he expressed were closely allied
with disgust, which he equated with fear. He said, "Fear and
disgust are identical; they are coordinated so that the criminal
is not only always afraid of himself but also disgusted"
(U. L. D. , p. 118).
Feelings of disgust in general originate in the sublimation
of homosexual components, and Weininger was showing this
process. But there was more to it. The criminalistic impulses,
of which he spoke so much, had their roots in his repressed
sadistic tendencies. Even as he tried to repress them they
emerged into his consciousness as wishes and symptomatic
acts. These acts, which often stem from desires for revenge or
criminalistic impulses, are not usually apparent because they
are not usually acted out. Weininger himself attributed his
desires for revenge and his wish to commit acts of violence to
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? 178 Genius and Insanity
his torturing conscience rather than to his partly repressed
sadistic traits.
His sadistic and masochistic tendencies became more
marked. He himself said (U. L. D. , p. 68): "The masochist
takes everything as destiny. The sadist loves to play destiny. "
More and more he himself wanted to play at being master of
destiny. And he succeeded. In his Weltanshauung the prob-
lem of sex and of woman became a central point; pain and the
infliction of pain, ruling and being ruled, were seen in close
connection with his own sexual drive. His hatred of woman,
to be compared only to that of Strindberg, was closely related
to the wish to play the martyr. His self-torture reached its
climax in the last period of his life, when there was nothing at
all that could win the approval of his extreme asceticism.
"The sadist," he said, "believes in, hopes for, happiness on
earth; he is the man of Tusculum, of San Souci; the masochist
needs a heaven. " Thus it was with Weininger. He, the maso-
chist, needed a heaven.
These sadistic and masochistic strivings were a stage in the
development of his psychosis. He did not suffer physically,
but he did suffer mentally. His was a moral masochism.
What was at the root of these strivings? A feeling of being
basically alone in the world and lonely. We have already seen
Weininger as a fundamentally shut-in person, with feelings of
hostility toward the outer world. He felt impotent--in a
psychological sense, castrated. Like many other masochistic
individuals, he tried to alleviate and overcome the intolerable
fear of his own solitude and powerlessness. This fear, which is
frequently not conscious in such men, is covered over by com-
pensatory feelings of superiority and perfection. If we pene-
trate Weininger's psychodynamics, we find this process go-
ing on.
His masochism was one means of losing himself. In order
to remedy his feelings of insignificance and lack of power, he
made his fear worse. To lessen the conflict between his desire
to be strong and his conviction of his own weakness, he tried
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? Genius and Insanity 179
to reduce self to nothingness. He wished to cease being an
individual and by doing so to save himself from the conflict.
The road led him to fantasies of suicide, which he finally
acted out.
A good deal has already been said about the symbols and
the meaning of the "Letzte Aphorismen. " These are written in
Weininger's very heart's blood. In them we can see the emo-
tional expression of his psychological structure. At the same
time they show his complete abandonment of two of his most
important principles: his belief in the individual and his
hatred of women.
"Ego does not exist," he wrote (U. L. D. , p. 175), "soul does
not exist; goodness is the only absolute perfect reality, and it
includes all separate things: Individuality is the result of van-
ity: we need an audience, we wish to be seen. A vain person
also takes an interest in others and understands them. " Else-
where we find this passage: "Man's first fall was caused by his
individuality, and the symbol of individuality is the shooting
star. " And in Taschenbuch (p. 42), we read: "The mirror is
the surrogate for creating one's self. The mirror has a relation-
ship to vanity and to individuality as well. . . . The problem
of individuality is the problem of vanity. The reproduction of
life is the consequence of vanity. The criminal is vain because
he wants loneliness. "
Such words are directly opposed to what he had written a
few months earlier in Sex and Character. They disrupt a fun-
damental principle on which he had built his life and his
theory--individualistic intellectualism.
In abandoning his belief in the ego and the soul he gave up
two concepts that had been deeply significant to him, and his
belated disbelief in individuality also disturbed his deep-rooted
faith in immortality. These changes were alarming symptoms.
His moral masochism led him to attempt the annihilation of
the individual self, in order to overcome his loneliness. At the
same time he tried to become part of a larger, more powerful
whole outside himself. When he said, "goodness is the only
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? 180 Genius and Insanity
absolute perfect reality," he was seeking to make himself part
of a larger pattern in which, as participant in a glorious un-
dertaking, he could feel strong and eternal. He submerged
himself in a greater unity that would shelter him and give him
new security. He sought to become a living part of the phe-
nomena about him. His masochistic strivings opened for him
an escape, a means of leaving his conflicts behind him. And
his trend to a faith in a larger whole even went so far as mys-
tical interpretation of time. "In Syracuse I can only be born
or die, but not live," he wrote, and his declaration showed that
for him time and space were fused.
On the problem of woman his views also underwent radical
alteration. In Taschenbuch (p. 24) he wrote: "How can I re-
proach woman for doing nothing but wait for the man? The
man wants nothing else. There is no man who would not be
happy in knowing that he had sexual attraction for a woman.
The hatred of women is nothing but the hatred of sexuality
which he has not yet conquered. "
The personal application is clear; he had on his mind his
own hatred of women, which resulted from hatred of his own
sexual drive. He showed insight into the problem even if his
words expressed resignation. The man who wrote these words
was not unwilling; more probably he was willing but resigned
because he felt that the game was lost. And the spirit behind
the words indicated how chaotic his psychological condition
was.
The abandonment of his earlier beliefs concerning individ-
uality and women were signs of a new development of his
personality. A masochist in need of heaven, he now believed
only in the eternity of the idea of the good. It is not surprising
that on the day before his death he made to Lucka remarks
that implied a connection between his abandonment of his
ideas of individuality and his opinion of suicide (Lucka, p.
The theory that his behavior revealed a disintegrated per-
sonality seemed to be contradicted by his actions. Though his
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? Genius and Insanity 181
mood was dark and sinister, his behavior was not, to all ap-
pearances, very different from his earlier conduct. The conflict
and division within him is illumined by the story of his part-
ing with his father. He asked the elder Weininger to go with
him to the street-car stop, then stood letting one car after an-
other go by until he finally managed to tear himself away.
This was his final, painful, but concealed parting from his
father, to whom he had felt very close. Although hard pressed,
he finally reacted adequately. He was convinced of what he
should do, and he departed from his father.
In the last week of his life he tried also to see Gerber, and
at the end he wrote letters to his father and his brother Rich-
ard. Perhaps the letters and the visits might be interpreted as
expressions of the hope that they might save him from his
fate. Yet while he appeared as usual to his associates he was
headed to his doom.
It is not rare for gifted schizophrenic persons with signs of
personality disintegration to retain--at least superficially--the
power of organized and logical action. Yet fundamentally
their behavior always corresponds to the rhythms of their
inner worlds. From the summer of 1903 until he took his own
life, Weininger presented the picture, not of definite, com-
plete insanity, but of a mental state in which attacks of psy-
chosis were constantly digging into his personality, destroying
it bit by bit, leaving some wounds which never healed.
There was an ambiguity in his disease. As morbid traits
threatened to become dominant, he had to exert great effort
to keep his psychosis under control. He succeeded for the most
part and was such a master at checking his morbid inclinations
that he almost seemed to be playing with his own tendency
to insanity. The night of November 20, 1902, was for him full
of imperative hallucinations which give the impression of a
paranoid form of schizophrenia. But apart from that incident
until the last few days before his suicide his development
showed no obvious signs of flourishing schizophrenia. Though
personality split threatened, he managed to keep his personal-
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Genius and Insanity
ity integrated. Then after May, 1903, the threat came again,
and he hovered between a split and control of the disease. Yet
he appeared to be always in control of the disease until the
last few days of his life, when he seemed again dominated by
his psychosis.
He himself was aware of the change in his own condition,
though he did not really understand it. He felt his sickness
but could not diagnose his morbid trend. In his quest for
metaphysical meanings, we find him saying these words about
insanity in Vber die letzten Dinge (pp. 124-25): "Even be-
fore I began to study the horse from the point of view of ani-
mal psychology, the head of the horse made a peculiar im-
pression on me, gave me the impression of a lack of freedom.
At the same time I realized that the head might seem ridicu-
lous.
It is strange the way a horse continually bows his head.
Not with the same certainty as when I thought of the dog, but
still with the surety of a guiding thought, I had the feeling
that the horse represents insanity. The alogical element in the
behavior of horses, the nervous and neurasthenic feeling akin
to insanity which always causes one to complain and feel sur-
prise, served to confirm the impression. "
He also made the comment that "the danger of insanity is
always present in those who try to penetrate" the discipline of
logic and pure knowledge. Since he had devoted years to the
search for pure knowledge, he obviously had fears for his own
sanity.
Moreover, his doubts of his own reasoning power and his
conclusions made him consider his thoughts as sinful and
created in him a feeling of guilt. To this feeling he gave open
expression in an aphorism probably written in the summer of
1903. "When a man becomes insane, it is only a result of his
own guilt" (U. L. D. , p. 59).
This feeling of guilt was not only a starting point for his
mental crisis, but also the very substance of it. The fight to
overcome his guilt--arising out of sexual cravings he could not
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? Genius and Insanity 183
overcome--was the heart of the crisis which he underwent
while trying to preserve a cool exterior.
Beneath his control, his attitude was shy and uncertain,
quite unlike his earlier fighting spirit. His imagination was
haunted by thoughts of evil, and his behavior was a queer
confusion of self-reproach and ideas of his own sanctity and
purity. The last two days and nights he wrote furiously away
at the "Letzte Aphorismen," and some of the words he wrote
give clear hints of the approaching catastrophe. "Everything
I have created," he said in a passage that appeared only in the
first edition (p. xx), "must perish because it was written in
an evil spirit--with, perhaps, the one exception that God or
the good exists in no separate thing in nature. " As Rappaport
says (U. L. D. , p. xx): "He was engulfed in complete darkness.
He was haunted by the most complete pessimism, which he
felt as guilt"
We know that feelings of guilt may result from the suppres-
sion of desires and feelings of hatred and revenge. In general
the more violent the unconscious feelings of revenge, the more
pronounced is the inclination to delusional ideas of guilt.
Weininger's belief that all evil was due to his own guilt can
be understood only by considering his psychological develop-
ment, particularly his inclinations to hatred and revenge. He
hated Jews and women. It is not surprising, therefore, when
we find that the aphorisms that he wrote on the last night of
his life are charged with hatred. He turned against the Jews
and Judaism in rage. "It is Jewish," he wrote (U. L. D. , p. 183),
"to blame the other (Christianity). Judaism means laying all
blame on someone else. The devil is the man who blames the
faithful (God). In this respect Judaism is the radical evil. He
is stupid who laughs frivolously at the question, who does not
recognize the problem: The Parsifal Legend. The Jew takes no
blame: 'How can I help it? ' The Christian assumes all guilt.
The Jew will accept no guilt (i. e. , no problem either) . . . he
is opposed to the will of God who wants evil. "
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? 184 Genius and Insanity
The last three aphorisms, of which portions have just been
quoted, are the last of the sixty-two aphorisms printed in the
first edition of Vber die letzten Dinge. The book contains only
eight more aphorisms concerning Jews and the Jewish prob-
lem. Rappaport omitted these final commentaries from the
later editions. Reading them and seeing the vicious hatred
they express, we can well understand why. As a friend of
Weininger, Rappaport probably wished to hide such hate-
filled and morbid expressions.
In the final analysis the contempt and rage of Weininger
were directed against himself. He felt weak and powerless,
filled with anxiety. He had constantly within him the fear of
impotence and a feeling that he was castrated (castration com-
plex). In general this feeling of castration is the deepest un-
conscious root of anti-Semitism, and it was the basis of Wei-
ninger's monstrous anti-Semitism. His wild hatred of women
also rose from the same feeling. It is interesting to note what
Freud himself says on this point. "Weininger (the young phi-
losopher who, highly gifted but sexually deranged, committed
suicide after producing his remarkable book Geschlecht und
Charakter), in a chapter that has attracted much attention,
treated Jews and women with equal hostility and overwhelmed
them with the same insults. " Freud goes on to say that Wein-
inger was completely swayed by "his infantile complexes; and
from that standpoint what is common to Jews and women is
their relation to the castration complex. " 15
Weininger sought passionately to deny Judaism because that
would mean to deny self. Basically the denial of his mother
religion was also directed against his mother, whom he hated.
His hatred of Judaism and Jews was connected with feelings of
guilt at his conversion to Christianity. He felt despair and
the need for atonement, and his guilt was in his mind related
to his desire for sanctity. He believed that no one else had
ever understood Jesus Christ as well as he did (U. L. D. , p.
xviii), and possibly in the last period of his life he naively
1S Sigmund Freud, Collected Papers, III (London, 1925), 179.
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? Genius and Insanity 185
thought that he was God or at least godlike (U. L. D. , p. 43).
Another of the aphorisms deleted after the first edition says
(U. L. D. , p. 182), "Even at the time of the birth of Christ
there must have been many great men who were not chosen
and have been forgotten. " He may have felt that he was a
great man chosen for a new atonement of the sins of the
world. He certainly tried to free himself of sexual desire by
becoming the master of it. In his gigantic struggle, he took
upon his own shoulders the responsibility of dealing with man
and the universe. He thereby identified himself with the whole
world and inevitably concluded that all evil was his own guilt.
It is no cause for wonder that his friends and companions
did not fathom the conditions behind his suicide. Apart from
the most ordinary cases it is hard, generally speaking, to find
the true motives for suicide. Sometimes even the diaries of
those who die a natural death give a false picture of the cir-
cumstances prior to death, as Goethe's Dichtung und Wahr-
heit (Poetry and Truth) does. In Weininger's case the people
around him did not understand what was going on in him,
even after he realized that his own life was at stake. He wrote
of Sex and Character that "this book means a sentence of
death upon either the book or the author. " And when he left
Vienna for Italy he made a statement (printed only in the
first edition of U. L. D. ) that he had decided not to return to
Vienna before matters were settled. The same thought echoed
in his words (U. L. D. , p. xx), "My return to Vienna should
have been another incarnation. "
The fact that his associates did not understand his mental
condition may have furthered his suicide plans. Yet it seems
doubtful whether his close friends could have helped him out
of his mental crisis. They admired him too much and had too
uncritical an attitude. The reverence Rappaport showed in
writing (U. L. D. , pp. xx-xxi) about Weininger's funeral was
typical: "It should be mentioned that at the time of his fu-
neral there was a partial eclipse of the moon in Vienna which
ended at the exact moment when his body was lowered into
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? 186 Genius and Insanity
the grave. Schopenhauer relates that when Immanuel Kant
was buried, 'a white cloud went up into the sky, making it
clearer and purer than before. ' " 19
Another friend, Lucka, showed the same reverent and un-
critical attitude. "There are," he said, "sufficient facts about
this suicide to indicate that his motives were quite extraor-
dinary--in fact something which has never before happened
in the modern world. This assertion, however, cannot yet be
proved" (Die Fackel, October 17, 1903, p. 16).
The explanations of the suicide offered by commentators
have not been very satisfactory. Probst's attempt to show that
Weininger shot himself because he had once spoken of suicide
in a restaurant seems obviously false and fruitless. The ex-
planation Weininger's father offered--that Otto had com-
mitted suicide because he did not wish others to believe that
he had indulged in vain boasting--is no more helpful.
Stekel believed that Weininger committed suicide because
he had realized that the arguments of Sex and Character were
untrue. "Before the book was published, a well-known neu-
rologist in Vienna (probably Freud) read the book and con-
sidered it dangerous--written by a genius who wanted above
all to become famous. " The work was done with the confi-
dence of youth. Even though the author may have confused
transitory moods with the basis of his philosophic world view,
surely this was the extent of Weininger's dishonesty--hardly
enough to cause a remorseful suicide.
Weininger's self-esteem was seemingly so great that attack
upon his ideas served only to plant them more firmly within
him. Criticism only strengthened his faith in his principles
after the book was published. The struggle between his own
moral strictures of his conduct and the strength of his biolog-
ical drives ended in a strange religious metaphysic, centered
completely about his ego. In spite of the pathos and senti-
16 It was only in the first edition that Rappaport mentioned the eclipse of the
moon. The Astrophysical Institute of Oslo has informed me that a partial
eclipse of the moon did take place over the southeastern part of Europe on
October 6, 1903.
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? Genius and Insanity 187
mentalism with which he surrounded himself, he was still a
striving man, living within the circle of his own fantasies. His
suicide could then have resulted from his desire not to destroy
his theory by his own practice. 17
Finally, the possible explanation that he was in a state of
delirium during the last days of his life must be discarded. His
conduct was too composed and organized to admit of delir-
ium. He talked with his family, with Lucka, and with his pub-
lisher. None of them noticed anything strange in his behavior.
And even when he rented the room in the house where Bee-
thoven died he transacted the required business normally.
The true and accurate explanation of the suicide must be
found in the course of his mental illness, which developed to
an acute phase in the summer of 1903. We have already seen
how schizophrenia was in progress. Weininger advanced to a
final submersion in a sort of mystic life in communion with a
superior force (God) and ended in cosmic experiences, in ideas
of atonement, sanctity, and destruction. He identified himself
with the idea of Christlike sanctity and struggled against a
sense of overwhelming guilt, bred of his self-isolation, his in-
trospection, and his feelings of hatred and revenge.
In the last week of his life his mental crisis grew more and
more acute, the conflict grew more fierce. The contrasts within
him were deep. The desire to live struggled in him with the
desire to die. As soon as he returned to Vienna he wished to
leave once more. His attempts to see Gerber, his protracted
parting from his father, his final letters, were all expressions
of his hope to be saved from death. At the same time he did
not want to live. Conflicting tendencies whirled in his mind;
every thought called forth its antithesis, bringing continuous
contradiction. This ambivalence reached the point where he
wished at the same time both to live and to die. He had been
unsuccessful in his attempt to repress his hostility. Hatred of
his own sexual desires had led to hatred of himself and to feel-
ings of hostility. His attempts at repression were only partially
17 Carl Dallago, Otto Weininger und sein Werk (Innsbruck, 1912), p. 7.
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? 188
Genius and Insanity
successful, and hostile feelings popped to the surface whenever
he felt that he had neutralized them. His final diatribes
against the Jews showed his violent inclinations to revenge
and his overwhelming sense of guilt. He was stricken with de-
spair, which gradually spread within him until it amounted to
actual despair of his life.
This sense of guilt was connected with his feelings of
sadism. In him, as in any individual with an insatiable sadism
directed against all, the sadism was repressed in his uncon-
sciousness. As in other cases, so in Weininger too this severe
repression brought pain and depression. Weininger also had
the suppressed desire to be a criminal, the most wicked crim-
inal in the world, with greater guilt than any other. This urge,
with the repression of his sadistic tendencies, strengthened his
self-reproach, anxieties, and despondency.
