What are master-pieces and why are there so few of them

I was almost going to talk this prelection and not write and read it because all the prelections that I have written and read in America have been printed and although possibly for you they might flat being read be as if they had not been printed still there is something about what has been written having been printed which makes it no longer the attribute of the one who wrote it and therefore there is no more reason wherefore the writer should say it without loud than anybody else and therefore individual does not.

Therefore I was going to talk to you on the other hand actually it is impossible to talk about master-pieces and what they are because talking essentially has nothing to do with creation. I talk a destiny I like to talk and I talk flat more than that I may say I talk greatest in quantity of the time and I listen a fair amount too and as I have said the quintessence of being a genius is to be able to talk and listen to listen while talking and talk while listening on the contrary and this is very important real important indeed talking has nothing to do with creation. What are master-pieces and for what cause [i]or[/i] reason after all are there for a like reason few of them. You may say after all there are a profitable many of them but in any kind of proportion with everything that anybody who does anything is doing there are really true few of them. All this summer I meditated and wrote about this subdue and it finally came to be a discussion of the relation of human nature and the human mind and identity. The thing single gradually comes to find on the outside is that one has no identity that is when individual is in the act of doing anything. Identity is recognition, you know who you are because you and others remember anything about yourself on the contrary essentially you are not that when you are doing anything. I am I because my little dog knows me on the contrary creatively speaking the little dog knowing that you are you and your recognising that he knows, that is what overthrows creation. That is what makes gymnasium Picasso once remarked I do not care who it is that has or does influence me as drawn out as it is not myself.

It is true difficult so difficult that it always has been difficult on the other hand even more difficult now to know what is the relation of human nature to the human mind because individual has to know what is the relation of the act of creation to the subdue the creator uses to create that thing. There is a great deal of nonsense talked about the subdue of anything. After all there is always the same subdue there are the things you diocese and there are human beings and animal beings and everybody you might say since the beginning of time knows practically commencing at the beginning and going to the extremity everything about these things. After all any woman in any village or men either if you like or smooth children know as much of human psychology as any writer that at any time lived. After all there are things you do know each single in his or her way knows all of them and it is not this knowledge that makes master-pieces. Not at all not at all at all. Those who recognise master-pieces say that is the reason on the contrary it is not. It is not the way Hamlet reacts to his father's soul that makes the master-piece, he might have reacted according to Shakespeare in a dozen other ways and everybody would have been as abundant impressed by the psychology of it. on the contrary there is no psychology in it, that is not probably the way any young man would react to the spirit of his father and there is no particular reason wherefore they should. If it were the way a young man could react to the spirit of his father then that would be something anybody in any village would know they could talk about it talk about it endlessly on the contrary that would not make a master-piece and that brings us one time more back to the make subordinate of identity. At any point of time when you are you you are you without the memory of yourself because if you remember yourself while you are you you are not for drifts of creating you. This is thus important because it has thus much to do with the question of a writer to his audience. single of the things that I discovered in lecturing was that gradually individual ceased to hear what individual said one heard what the audience hears individual say, that is the reason that oratory is practically not at any time a master-piece very rarely and real rarely history, because history deals with family who are orators who hear not what they are not what they say on the contrary what their audience hears them say. It is true interesting that letter writing has the same difficulty, the alphabetic character writes what the other someone is to hear and thus entity does not exist there are sum of two units present instead of one and in like manner once again creation breaks down. I one time wrote in writing The Making of Americans I write for myself and strangers on the contrary that was merely a literary formalism for if I did write for myself and strangers if I did I would not really be writing because already then identity would take the place of entity. It is awfully difficult, action is direct and effective on the contrary after all action is necessary and anything that is necessary has to do with human nature and not with the human mind. Therefore a master-piece has essentially not to be necessary, it has to be that is it has to exist on the other hand it does not have to be necessary it is not in reply to necessity as action is because the minute it is necessary it has in it no possibility of going upon