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因此，对知识的渴求使加达脱离了世界ศ的客观性而陷入他本人受到激励的主ว观性；对于个不喜欢自己，实际上十分厌恶自己的人来说，这是种可怕的折磨，这点充分地表现在他的小说品味悲哀r之中ณ。在他这部最具自传性质作品中，他疯狂地痛斥代词“我”和其他切代词，视之为思维的寄生虫：“我！全部ຖ代词中的这个ฐ最肮脏字眼儿！全部代词都样！它们是思维中的虱子。思维中有了虱子，思维就要挠痒，就像长了虱子的人样于是，在你的手指甲下面，你会发现代词：人称代词！”
整理者注：参看大陆版译本，“撒旦指环”当为ฦ“土星光环”之误。
啊，有多少次你被看到在汹涌ไ海洋中沉浮，你像大山样突兀，击败并且驾驭了巨เ浪，你长满毛刺的黑背犁开了海ร水，仪态沉稳而端庄！
第三讲：确切
我读到了萨满和民间故事中ณ的人物，读到了被转化为轻松使飞翔进入个神奇的有求必应的境界这样的事成为可能的困苦。我谈到了乘๖着普通家常用具——如只木桶——飞翔的巫师。但是，卡夫卡故事的主人翁看来没有被赋予萨满教或者巫术的力量；大冰山后面的国度看起来是个空木桶有可能被装ณ满的地方。事实上，那ว木桶装得越满，就越不可能飞翔。就这样吧，让我们骑上我们的木桶，来面对未来千年；我们能够往里面装多少东西就装多少，不可抱更大的奢望。例如，轻逸；于轻逸的好处，在这里我已经用尽心思谈论了番๘。
在这讲中，我要尝试向我自己还有诸位解释清楚，我何以认为ฦ轻是种价值而并非缺陷，指出在哪些过往的作品中我发现对轻的理想，并且表明现在我把这种价值放置在何处，又如何将其投射于未来。
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