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Updated: May 19, 2025
As may be seen, Stirner does not recognise the efforts and endeavours of all these tendencies to which we ascribe the complete transformation of Europe in the last century, but, on the contrary, is prepared to perceive in them rather an intensification of the servitude in which the free Ego is held.
If several such local groups wish to unite into a larger association, this might be done, but no compulsion must thereby be exercised upon individuals. The influence of Stirner, with whom Bakunin was acquainted before 1840, must account for this.
I do not wish here to use the word "I" in connection with philosophizing, lest the impersonal "I" should be understood in place of the man that philosophizes; for this concrete, circumscribed "I," this "I" of flesh and bone, that suffers from tooth-ache and finds life insupportable if death is the annihilation of the personal consciousness, must not be confounded with that other counterfeit "I," the theoretical "I" which Fichte smuggled into philosophy, nor yet with the Unique, also theoretical, of Max Stirner.
Nevertheless, even here Stirner is not frightened at the most extreme consequences of this theory, nor at the thought that one would have to defend one's property daily and hourly with a weapon in one's hand; and he is therefore inclined to make some concession to a voluntary form of organisation.
Only when in the sixties, with the reviving Social-Democratic movement there naturally arose also its opposite, the "Anti-Authoritative Socialism," did men proceed to complete the work begun by Proudhon and Stirner.
In the prologue to one of his plays he tells his audience that to Wedekind must they come if they wish to see genuine wild and beautiful beasts. This sounds like Stirner. He lays much stress on the fact that literature, whether poetic or otherwise, has become too "literary" hardly a novel idea; and boasts that none of his characters has read a book.
But modern Anarchism celebrated its renascence in a totally different form: times and men had changed; the philosophic period was passed, Stirner was dead, and Proudhon near his end; Russian godfathers stood round the cradle of modern Anarchism.
So, I'm neither logical nor sincere; nevertheless, I maintain the opinion that absolute music, not programme, not music-drama, is the apogee of the art. A Beethoven string quartet holds more genuine music for me than the entire works of Wagner. There's a prejudiced statement for you! Second: I fear and dislike the music of Arnold Schoenberg, who may be called the Max Stirner of music.
Here for the second time we meet with the idea of a union, without Stirner expressing himself exactly about its character. Only in one other place does he happen to speak about the ideas of this union. He says the end of society is agreement or union.
The fuller men's souls had been of surging and stormy ideals, and wishings and vague longings of all kinds, the emptier did they now become, and not only Stirner could with justice give to his "only individual" the motto, "I have placed my all on nothing," but it was the motto of all Germany at that time. And yet in one thing Stirner is the type of his people as contrasted with Proudhon.
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