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            Ser. A, 
{102}
[1.
               7.]
 
[These paragraphs, in Jeanette's hand, are
            undated, and have been editorially dated so as to preserved their place in the
            source:]
⇧ Genie.Daß
            das Genie von den Wohltaten auch nur der rein wirtschaftlichen Ordnung ausgeschlossen
            ist, trifft es ganz besonders hart. Arbeitet der Fabrikant z.B. für einen größeren Kreis
            von Konsumenten, so bezieht er ungekehrt von diesen nun auch die Mittel seines
            Lebensunterhalts; leistet der Arbeiter eine Arbeit für den Herrn, so erhält auch er
            unmittelbar von diesem den Entgelt seiner Leistung: nur das Genie allein, das zunächst
            für die Zeitgenossen schafft, entbehrt einer so ausgleichend gerechten Beziehung: von
            denjenigen denen es seine Leistungen unmittelbar darbot, erhält es leider nicht ebenso
            unmittelbar seinen Lohn u. andererseits erlebt es meistens diejenigen nicht von denen es
            umgekehrt allenfalls leben könnte. Wohl dem Genie, das schon von seinen eigenen
            Zeitgenossen leben kann!
1
 * Genie.„Mich kostet es selbst so viel“
            ‒ eine ständige Redensart des Durchschnittsmenschen, der aber nie wissen will, wie viel
            es dem Genie, dem großen Menschen kostet, das zu bieten, was er bietet.
 Der ewig unabänderliche Egoismus des
            Durchschnittsmenschen! * 
© Transcription Ian Bent. | 
            Ser. A, 
{102}
[July
               1]
 
[These paragraphs, in Jeanette's hand, are
            undated, and have been editorially dated so as to preserved their place in the
            source:]
⇧ GeniusThat the genius is
            excluded from receiving acts of munificence, even in the purely economic realm, seems
            particularly harsh. For instance, if a manufacturer works for a larger clientele, then
            in return he derives the means of his livelihood also from that clientele. If a laborer
            does a job for his master, then he, too, receives the remuneration for what he has done
            directly from the latter. Only the genius, who creates first and foremost for his
            contemporaries, is without such a just and equitable relationship. Regrettably, he does
            not attain his reward equally directly from those to whom he has directly offered the
            products of his workmanship; and on the other hand he encounters mainly those from whom,
            conversely, he could at best earn a living. Happy the genius who can live solely off his
            own contemporaries!
1
 * Genius"It costs me such a lot" ‒ words one hears
            constantly from average people, who however will never understand how much it costs the
            genius ‒ the great human being ‒ to offer what he offers.
 The eternally unchanging egoism of the mediocre man! * |  
| 
            Ser. A, 
{102}
[1.
               7.]
 
[These paragraphs, in Jeanette's hand, are
            undated, and have been editorially dated so as to preserved their place in the
            source:]
⇧ Genie.Daß
            das Genie von den Wohltaten auch nur der rein wirtschaftlichen Ordnung ausgeschlossen
            ist, trifft es ganz besonders hart. Arbeitet der Fabrikant z.B. für einen größeren Kreis
            von Konsumenten, so bezieht er ungekehrt von diesen nun auch die Mittel seines
            Lebensunterhalts; leistet der Arbeiter eine Arbeit für den Herrn, so erhält auch er
            unmittelbar von diesem den Entgelt seiner Leistung: nur das Genie allein, das zunächst
            für die Zeitgenossen schafft, entbehrt einer so ausgleichend gerechten Beziehung: von
            denjenigen denen es seine Leistungen unmittelbar darbot, erhält es leider nicht ebenso
            unmittelbar seinen Lohn u. andererseits erlebt es meistens diejenigen nicht von denen es
            umgekehrt allenfalls leben könnte. Wohl dem Genie, das schon von seinen eigenen
            Zeitgenossen leben kann!
1
 * Genie.„Mich kostet es selbst so viel“
            ‒ eine ständige Redensart des Durchschnittsmenschen, der aber nie wissen will, wie viel
            es dem Genie, dem großen Menschen kostet, das zu bieten, was er bietet.
 Der ewig unabänderliche Egoismus des
            Durchschnittsmenschen! * 
© Transcription Ian Bent. |  
| 
            Ser. A, 
{102}
[July
               1]
 
[These paragraphs, in Jeanette's hand, are
            undated, and have been editorially dated so as to preserved their place in the
            source:]
⇧ GeniusThat the genius is
            excluded from receiving acts of munificence, even in the purely economic realm, seems
            particularly harsh. For instance, if a manufacturer works for a larger clientele, then
            in return he derives the means of his livelihood also from that clientele. If a laborer
            does a job for his master, then he, too, receives the remuneration for what he has done
            directly from the latter. Only the genius, who creates first and foremost for his
            contemporaries, is without such a just and equitable relationship. Regrettably, he does
            not attain his reward equally directly from those to whom he has directly offered the
            products of his workmanship; and on the other hand he encounters mainly those from whom,
            conversely, he could at best earn a living. Happy the genius who can live solely off his
            own contemporaries!
1
 * Genius"It costs me such a lot" ‒ words one hears
            constantly from average people, who however will never understand how much it costs the
            genius ‒ the great human being ‒ to offer what he offers.
 The eternally unchanging egoism of the mediocre man! * |  
| 
Footnotes
1 This
               sentiment, that a genius is rewarded only by the recognition of later generations,
               not by those who could usefully have sustained him during his lifetime, appears
               elsewhere in Schenker’s writings. In "State and
                  Genius" (1923) from the Miscellanea of 
Tonwille 6 (pp.
               41–42; Eng. transl. vol. 2, p. 36), he observes that the work of an impoverished
               composer like Schubert becomes the source of wealth creation for posterity. Mozart
               and Wagner are cited as other cases in the 
Niedergang essay from 1906–07: "Just
               reckon the monetary value of, for instance, the works of Mozart, how his shares on
               the world market have risen since his death … Consider what capital force Richard
               Wagner represents! He, who in his own times was constantly in financial straits,
               could negotiate royalty payments for his works with the largest banking houses."
               (Eng. transl., pp. 42–43). |  |