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@@ -434,8 +434,8 @@ SELF-OVERESTIMATION IN THE BELIEF IN ARTISTS AND PHILOSOPHERS.-- We all think th
 205. PAINTING IN WRITING.-- When portraying important objects, one will do best to take the colors for the painting from the object itself, as would a chemist, and then to use them as would an artist, allowing the design to develop out of the distinctions and blendings of the colors. In this way, the painting acquires something of the thrilling innate quality that makes the object itself significant.
 
 206. BOOKS WHICH TEACH ONE TO DANCE.-- There are writers who, by portraying the impossible as possible, and by speaking of morality and genius as if both were merely a mood or a whim, elicit a feeling of high-spirited freedom, as if man were rising up on tiptoe and simply had to dance out of inner pleasure.
-207
-UNCOMPLETED THOUGHTS.-- Just as youth and childhood have value in themselves (as much as the prime of life) and are not to be considered a mere transition or bridge, so too do unfinished thoughts have their own value. Thus we must not pester a poet with subtle interpretations, but should take pleasure in the uncertainty of his horizon, as if the road to various other thoughts were still open. We stand on the threshold; we wait as if a treasure were being dug up; it is as if a lucky trove of profundity were about to be found. The poet anticipates something of the thinker’s pleasure in finding a central thought and in doing so makes us covetous, so that we snatch at it. But it flutters past over our heads, showing the loveliest butterfly wings--and yet it slips away from us.
+
+207. UNCOMPLETED THOUGHTS.-- Just as youth and childhood have value in themselves (as much as the prime of life) and are not to be considered a mere transition or bridge, so too do unfinished thoughts have their own value. Thus we must not pester a poet with subtle interpretations, but should take pleasure in the uncertainty of his horizon, as if the road to various other thoughts were still open. We stand on the threshold; we wait as if a treasure were being dug up; it is as if a lucky trove of profundity were about to be found. The poet anticipates something of the thinker’s pleasure in finding a central thought and in doing so makes us covetous, so that we snatch at it. But it flutters past over our heads, showing the loveliest butterfly wings--and yet it slips away from us.
 
 208. THE BOOK BECOME ALMOST HUMAN.-- Every writer is surprised anew when a book, as soon as it has separated from him, begins to take on a life of its own. He feels as if one part of an insect had been severed and were going its own way. Perhaps he almost forgets the book; perhaps he rises above the views set down in it; perhaps he no longer understands it and has lost those wings on which he soared when he devised that book. Meanwhile, it goes about finding its readers, kindles life, pleases, horrifies, fathers new works, becomes the soul of others’ resolutions and behavior--in short, it lives like a being fitted out with mind and soul and yet it is nevertheless not human.-- The most fortunate author is one who is able to say as an old man that all he had of life-giving, invigorating, uplifting, enlightening thoughts and feelings still lives on in his writings, and that he himself is only the gray ash, while the fire has been rescued and carried forth everywhere.-- If one considers, then, that a man’s every action, not only his books, in some way becomes the occasion for other actions, decisions, and thoughts; that everything which is happening is inextricably tied to everything which will happen; then one understands the real immortality, that of movement: what once has moved others is like an insect in amber, enclosed and immortalized in the general intertwining of all that exists.