The Duty, the Arrogance, and the Solitude of the Genius (Ray Monk, Ludwig Wittgenstein)

Ray Monk, Ludwig Wittgenstein: The Duty of Genius (1990)
[IN A NUTSHELL]
The art of philosophical deconstruction of a solitary thinker whose world-reengineering elitism made him isolated and shivering in loneliness.

What readers expect from a biography will differ from what they expect from a philosophical treatise. Examining the most crucial moments in a philosopher’s life is as enlightening (if not more so) as delving into their own works. What an individual puts out into the world is the most faithful expression of their life, whatever form it may take. A philosophical system, of course, but also works of art, literary compositions, political decisions, and even the attitude of a waiter serving a glass of water to a guest, or the subtle gestures made during a conversation—all of these are acts of self-expression. Therefore, the best way to understand someone’s body of work is to become a thoughtful witness to their life.

Ray Monk made an effort to illuminate both the public and private lives of Ludwig Wittgenstein, citing a significant amount of personal correspondence. Through his equally intriguing life, readers could gain a clearer understanding of his philosophy. However, more serious philosophical readers may feel disappointed that the author devoted too little space to explaining Wittgenstein’s philosophy itself.

In this book, the relatively sparse discussion of philosophical reasoning itself compared to other philosophers’ biographies may stem from the fundamental difference in philosophical attitude between Wittgenstein and other philosophers. Let’s compare Hegel and Wittgenstein. Hegel established a complex and grandiose metaphysical system, upon which he based extensive systematic writings throughout his life on many key areas such as mind, history, logic, politics, law, and religion.

Wittgenstein’s philosophy is more like a sharp dagger piercing through the ambitions of constructing grand philosophical systems.

On the other hand, Wittgenstein’s philosophy is more like a sharp dagger piercing through the ambitions of constructing grand philosophical systems. He believed that it was sufficient to undermine the foundation of philosophical reasoning, namely language. He asserted that the grammar of thought should be poetic rather than systematic or logical, which succinctly summarizes his attitude toward philosophy.

Wittgenstein, instead of constructing another system to dismantle metaphysical frameworks, scrutinizes the fundamental operations of philosophy, namely language and logic. He believed that the “primary condition” for philosophy is “doubt about grammar,”, and if he were to draft his philosophical manifesto, the opening sentence might have been “All philosophy can do is a critique of idols.”1 These idols represent all kinds of grand doctrinal systems attempting to interpret the world and claiming to be successful—be it religious, philosophical, or political. Therefore, perhaps a lengthy discourse might not be necessary to explain his philosophy. Wittgenstein himself did not leave behind a comprehensive philosophical system, nor did he desire one. Furthermore, due to his perfectionist nature, he was unable to publish a single book properly.

Wittgenstein was not interested in addressing the problems that philosophy was supposed (and believed) to solve. Instead, he questioned the validity of philosophizing itself and sought to reveal its inherent limits. Reasoning can only occur through the medium of language, which necessarily consists of symbolic and abstract symbols, and language is inevitably a product of a specific culture. While we reason with the symbolic system of language bestowed upon us by society, we unwittingly accept the worldviews and assumptions deeply embedded within that language. For example, in traditional societies, the prevalent assumption is that there are only two sexes or genders, male and female. There are no words to express various other gender forms (in fact, the concept of gender itself is a modern invention and importation). This demonstrates that the assumptions inherited from traditional societies, namely that biological sex and social gender roles are identical, are already ingrained in the language we use. And language users comprehend the world through these assumptions.

When Wittgenstein said, “The limits of my language are the limits of my world,” he meant precisely this.

However, such assumptions are not a necessary way of perceiving the world but rather arbitrary ones based on the uniqueness of culture and language. Using language without recognizing its historicity and relativity is to uncritically accept the assumptions inherent within it. We do not have our current worldview because of its accuracy but rather because we have inherited it. When Wittgenstein said, “The limits of my language are the limits of my world,” he meant precisely this. This is a very accurate observation and should no longer be a new fact that feels revolutionary now.

“But I did not acquire my picture of the world by convincing myself that it was right. Nor do I acquire it by being convinced that it was correct. Not at all. It is the background we have inherited, and on this background, I distinguish between truth and falsehood.”

Consider people sharing the same language and culture and engaging in conversation using words like justice or love. From a hermeneutic perspective, the meanings each person ‘actually’ intends when using those words must not be equivalent. Simply put, the process through which the meaning of a given word is formed as a specific meaning—emotion, feeling, or image, for instance—for an individual is entirely unique, so even within the same cultural context, the specific meanings of words used by individuals vary. If we were to judge rigorously, communication of the kind where meanings are a hundred percent definitively expressed and interpreted is theoretically impossible.

“We cannot speak about what a word means. … How do I know that when two people say they believe in God, they mean the same thing?”

The traditional philosophy that relies on language can say nothing at all. Such philosophy is nothing but a meaningless language game, and the arrows shot by so-called academic philosophers miss the target of truth entirely, flying off into absurd directions. Therefore, philosophy must now remain silent. Philosophy speaks about what cannot be spoken about, and what Wittgenstein meant to say is this very ‘not-being-able-to-be-spokenness.’ Wittgenstein ruptures this language game. He cleanses the “foundation of language,” which supports our world of meaning, in order to collapse that world, which is like a “house of cards made of language.” Perhaps this is the duty of the genius Wittgenstein.


It is clear that we cannot reach complete objective truth through a specific language, which is a product of culture. Nevertheless, we still make sense of our lives based on our inherited cultural background. Even though our perspectives may be confined by specific languages and methodologies, the meaning we give to our lives is never ‘non-truth.’ It is through this meaning-making that makes us human. This is the essence of being human, and therefore, we inevitably need a horizon of meaning. Wittgenstein also understood this point well and acknowledged the validity of religion in providing a horizon of meaning.

I have my own picture of the world. Is it true or false? Above all, it is the foundation of all my inquiries and assertions. There is no reason why religious faith cannot provide this foundation, and there is no reason why religious belief should not become part of “the background against which we distinguish between true and false, the background we have inherited.”

Like iconoclasts, it was Wittgenstein’s duty to shatter all philosophical idols. However, after completing the demolition of philosophical dogmas, he generously left room for religious faith. Since life is lived not through rigorous philosophy but through passion, Wittgenstein himself longed for such faith. Of course, this faith does not mean intellectual agreement with doctrines but rather a specific attitude aroused by passion. He distinguished between wisdom (philosophy and rigor) and passion (faith and action), stating that “wisdom is ashy” while “life and religion are colored.” In other words, a passionate attitude (faith) redeems human existence.

Faith is not about my rational intellect; it is about believing in what my heart and my soul demand. Because what needs to be saved is not my abstract mind but my soul, which is imbued with passion, so to speak, with flesh and blood.


The subtitle of the book, “The Duty of Genius,” makes me somewhat uncomfortable. It reminds me of a friend armed with an elitist consciousness. Although we are now estranged, he is also the one who recommended this book to me. He bears many resemblances to Wittgenstein in various aspects, so I couldn’t help but wonder if he gave me this book as his own introduction to me. I even had the thought that he was imitating and mimicking Wittgenstein, adopting his tastes and attitudes as if they were his own. And certain aspects of both of them made me quite uncomfortable.

Wittgenstein’s philosophizing is undoubtedly valuable, but his arrogant attitude is almost unbearable.

Wittgenstein’s philosophizing is undoubtedly valuable, but his arrogant attitude is almost unbearable. He completely disdained tastes that did not meet his standards and openly expressed his discomfort with individuals who held such tastes. Social conventions and etiquette were lightly dismissed, like ignoring STOP signs on the road, and his emotions were expressed unfiltered to those around him. Perhaps because his greatest ethical challenge in life was uncompromising honesty, he seemed quite content with this “honest” attitude of his, which was sufficient to isolate himself.

He showed his first-class instinct for human re-engineering without hesitation towards those who seemed to be ill-cultivated among his acquaintances, and I found these very traits in the friend who recommended this book to me. Elitism, the mission of re-engineering humans and the world, and the discomfort and pettiness expressed when one’s own will is not fulfilled, are, of course, uncomfortable aspects that are found in a milder form (this is very fortunate) in me as well.

“My day passes with logics, whistling, walking, and getting depressed.”

Due to his incredibly meticulous thinking and even more meticulous sense of elitism, Wittgenstein was lonelier than anyone else and sometimes wanted comfort from a same-sex lover. However, he tortured himself by thoroughly hating his vulnerability and solitude. He firmly believed that it was his “perpetual alienation”-the fact that he did not belong to any specific relationship or community-that made him a philosopher. He wrote, “My day passes with logic, whistling, walking, and getting depressed.” His loneliness was self-inflicted, and the gravity of his loneliness is heavy enough to evoke the reader’s sympathy. If we closely and kindly witness to life of a human being, it would be hard not to feel sympathy for him or her.

Wittgenstein was undoubtedly a genius, and he was faithful to the duty given to the genius. He prayed, “May I become more intelligent and may everything become clear to me in the end, or else may I not need to live longer (146).” Is there an item on the sacred duty list of geniuses, such as “Must be arrogant!” in addition to examining the presuppositions of our world and presenting new perspectives? I often sense a sign of a dictator in geniuses who show almost missionary zeal to reengineer the world. A sentence written by Michel Foucault in the “Preface” of Gilles Deleuze and Felix Guattari’s Anti-Oedipus: Capitalism and Schizophrenia suggests a certain relationship between a dictator and a genius who is trying to fulfill his or her sacred duty.

How does one keep from being fascist, even (especially) when one believes oneself to be a revolutionary militant? How do we rid our speech and our acts, our heart and our pleasures, of fascism? How do we ferret out the fascism that is ingrained in our behavior?

  1. All Wittgenstein citations are my private reverse translations from the Korean translation of the original English work. ↩︎

Life as Thirty Variations (Bach’s Goldberg Variations by Ólafsson)

  • Wednesday, February 7, 2024 / Carnegie Hall, NY, USA
  • Vikingur Ólafsson
  • J. S. Bach’s Goldberg Variations
[IN A NUTSHELL]
Reflecting on the essence of life through Bach's music, and the faithful rendition of it by Olafsson's performance.

When I boarded the subway at the World Trade Center in Lower Manhattan, there was still a hint of afternoon light lingering. Exiting at 59th Street, near the entrance to Central Park, I found myself amidst a throng of people, and the sky had already begun to darken. Eager to warm up and nourish my body, I stopped by Le Pain Quotidien for a lentil soup before setting out again for the performance.

At just past 8 o’clock, Vikingur Ólafsson, tall and elegantly dressed in a suit, strode onto the stage. After a light nod of greeting, he promptly took his seat at the piano. Due to his large stature and long legs, the chair appeared smaller and somewhat uncomfortable. After taking a deep breath, he lightly swept his hands from the middle of the piano keyboard to the farthest ends, and then, to everyone’s anticipation, he played the first notes of the music.

J. S. Bach’s Goldberg Variations, composed in 1741, consists of an Aria followed by 30 variations, concluding with a repeat of the initial Aria. Ostensibly, it was composed as a study and exercise in musical form and performance technique. However, according to some scholars—albeit with questionable credibility—Bach had a particular insomniac Count in mind when composing this music. According to this story, the Count, unable to sleep, would call upon a young musician he employed to play for him. One day, the Count requested Bach to provide new keyboard music for this young musician to play, and that musician happened to be none other than Bach’s student, Goldberg.

With such a famous piece already interpreted and performed by countless musicians, how can one possibly appeal to the audience in a unique way? Trying too hard to inject personal flair may backfire. On this day, Ólafsson’s performance demonstrated just that.

Trying too hard to inject personal flair may backfire. On this day, Ólafsson’s performance demonstrated just that.

From the very first phrase of the famous Aria, there was a sense of unease. The performer’s rubato seemed particularly pronounced that day, to the point where even a classical music amateur like myself could almost certainly detect a slight mistouch. Of course, not being an expert, I couldn’t decisively determine whether it was a mistake or intentional expression of freedom. I remember making an effort to understand it positively, attributing it to youthful impetuosity or a stylistic choice akin to a private play. I recalled a recital by Khatia Buniatishvili, especially when performing Chopin’s Polonaise, her rubato was nearly unbearable at times. In comparison, Ólafsson’s performance that day didn’t feel as jarring.

How did the young Goldberg, barely in his teens, play this mucis? Unlike Ólafsson, who had to persuasively perform the music that had been reinterpreted countless times, Goldberg likely experienced a different kind of pressure. Imagine the heightened sensitivity of the count, plagued by insomnia, as he implored, “Please, play something to lull me to sleep.” In such a scenario, Goldberg might have rushed to convey some specific feelings through his playing, perhaps even unaware of what exactly he was playing.

I found myself adjusting my posture, holding my breath until the end of the Aria, feeling each note resonate throughout my being.

However, as each variation unfolded one by one, Goldberg would have started to confront only the music of his master. And when he played the Aria again at the very end, he wouldn’t have tried to evoke any particular feeling anymore. Just as Ólafsson did.

As the performance progressed into the latter part, Ólafsson’s playing gradually became more serene. It was a depiction of him letting go of himself, solely focusing on allowing the music to be fully expressed through him. The last of the thirty variations was intense yet carried a subdued melancholy that was palpable. It seemed to foreshadow the impending arrival of the final Aria. How many seconds passed between the end of the 30th variation and the first note of that last Aria? Amidst the poignant silence, he played that mournful first note with perfect timing, and I found myself adjusting my posture, holding my breath until the end of the Aria, feeling each note resonate throughout my entire being.

Bach’s intricate music will itself reveal its sublime essence to us.

Bach himself emphasized a light and even touch when it came to keyboard playing. In light of Bach’s approach, one should simply play lightly and follow the score as written. Then, Bach’s intricate music will itself reveal its sublime essence to us.

After completing all the performances, Ólafsson explained why he couldn’t perform an encore this time. He didn’t want to compromise the integrity of Bach’s music. He said that the only suitable encore for this music would be the Aria he had just performed, and that once he started playing the Aria, he would have to replay all the variations that followed it. It was a witty explanation to appease the somewhat disappointed audience, but I thought his explanation eloquently represented the essence of Bach’s music.

“In my beginning is my end.”

T. S. Eliot

Bach’s Goldberg Variations conclude with the repetition of the first Aria at the end. After performing the initial Aria, the musician, having traversed thirty variations in a whirlwind, must now play the same Aria once again. The performer encounters the Aria anew, as if playing it for the first time. Therefore, this time, they play it differently, with a gentle touch, effortlessly.

The end of my exploring will be to arrive where we started and know the place for the first time.”

T. S. Eliot

Our lives are likewise. Ignorant of the meaning of life, we begin our world, traversing diverse variations of life before encountering once again where we stared. When we face moments of questioning who we are and what the meaning of our lives is, that’s when we rediscover the roots of our existence—the existential conditions given to us (times, race, region, parents, gender, class, etc.). Only after these thirty variations do we finally come to know and embrace our starting point anew, i.e., the world we are thrown into. It’s not that we have changed; it’s that we have begun to recognize ourselves anew. Therefore, life is a journey of thirty variations, leading towards the aria of self-realization.

Crispy on the outside and tender on the inside (Brahms’ Symphony no.1)

  • Sunday, February 4, 2024
  • Carnegie Hall, Manhattan, NY
  • Munich Philharmonic – Zubin Mehta (Conductor)
  • Brahms Symphony 1 & Symphony 2
[IN A NUTSHELL]
The Munish Philharmonic plays, with its dignified sound, the music that appears tough on the outside but is tender on the inside, music that resembles ourselves.

Instead of Brahms’ Second Piano Concerto, his First Symphony was performed. Having recently been let down by a disappointing performance of the same piece from another orchestra, my interest in this piece had waned. Furthermore, with no time to find a replacement for Bronfman, the cancellation of the piano concerto left a sense of regret.

I found myself deeply engrossed in the music, realizing how wonderful Brahms’ First Symphony truly is.

As the performance began, the Munich Philharmonic’s rich and stable sound helped to fully immerse in the music. While some may find their sound a bit too blunt, preferring more agile pieces and auditory pleasure, the orchestra’s performance allowed for a focused appreciation of the music. Having performed Brahms’ First Symphony in their previous concert, there likely wasn’t even time for a rehearsal for this performance. Hence, Mehta conducted Symphony №1 with a bold baton, making the music feel more familiar and accessible compared to Symphony №2 performed in the second half. Ultimately, thanks to their excellent performance, I found myself deeply engrossed in the music, realizing how wonderful Brahms’ First Symphony truly is.


The sweetness hidden behind the solemnity of an earnest artist must have been reserved only for a few.

The first movement was majestic to the extent to which it felt almost pathetic, while the following movements were serene and gentle. In the fourth movement, the energy surged again, making the overall experience crispy and tender at once, much like the texture of a well-prepared dish. The first and fourth movements wrapped the piece with toughness while tenderly embracing a soft interior in between I may not know much about Brahms as a composer, but I couldn’t help but think, “Ah, this must have been what he was like.” The sweetness hidden behind the solemnity of an earnest artist must have been reserved only for a few.

The fourth movement, though tougher compared to the second and third ones, was less crispy compared to the first movement. It felt much softer, almost as if the crispy exterior was infused with a moist interior. Especially in the middle of the fourth movement when the theme of the first movement was repeated, there was a sense of maturity yet youthfulness, exuding an air of a presentable young man. Brahms must have reconciled with his past self. The sharpness and stiffness of his youth softened, revealing a more tender interior.

Still, I hope they don’t lose their moist interior.

I know several people around me who are crispy on the outside and tender inside, some by nature, and some to withstand the harsh realities of the world. Perhaps more and more people are in the process of ripening, under the scorching sun of competition and labor, pretending not to care about the harsh storms just to survive, trying not to appear weak in the midst of competition.

Still, I hope they don’t lose their moist interior. I hope they courageously display their simple, tender side as often as possible. I hope they become affectionate people who recognize innocence, vulnerability, and sadness of each other beneath the prickly exterior.