198

Rhythmical sacrifices. Good writers change the rhythm of some sentences simply because they do not credit the ordinary reader with the ability to grasp the meter of the sentence in its first version. So they simplify it for the reader, by choosing better-known rhythms.
Such consideration for the contemporary reader's lack of rhythmical ability has already elicited some sighs, for much has already been sacrificed to it. Do good musicians experience the same thing?

199

Incompleteness as an artistic stimulation. Incompleteness is often more effective than completeness, especially in eulogies. For such purposes, one needs precisely a stimulating incompleteness as an irrational element that simulates a sea for the listener's imagination, and, like fog, hides its opposite shore, that is, the limitation of the subject being praised. If one mentions the well-known merits of a man, and is exhaustive and expansive in doing so, it always gives rise to the suspicion that these are his only merits. He who praises completely places himself above the man being praised; he seems to take him in at a glance. For that reason, completeness has a weakening effect.

200

Caution in writing and teaching. Whoever has once begun to write and felt the passion of writing in himself, learns from almost everything he does or experiences only what is communicable for a writer. He no longer thinks of himself but rather of the writer and his public. He wants insight, but not for his own use. Whoever is a teacher is usually incapable of doing anything of his own for his own good. He always thinks of the good of his pupils, and all new knowledge gladdens him only to the extent that he can teach it. Ultimately he regards himself as a thoroughfare of learning, and in general as a tool, so that he has lost seriousness about himself.

201

Bad writers necessary. There will always have to be bad writers, for they reflect the taste of undeveloped, immature age groups, who have needs as much as the mature do. If human life were longer, there would be more of the individuals who have matured than of the immature, or at least as many. But as it is, the great majority die too young, which means there are always many more undeveloped intellects with bad taste. Moreover, these people demand satisfaction of their needs with the greater vehemence of youth, and they force the existence of bad authors.

202

Too near and too far. Often reader and author do not understand each other because the author knows his theme too well and finds it almost boring, so that he leaves out the examples he knows by the hundred; but the reader is strange to the matter and finds it poorly substantiated if the examples are withheld from him.