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is a link in the chain by which God sways the souls of men in whatever way he pleases. The links of this chain run from the Gods, through the muses, the poets, the actors, and lastly to the spectator.

Do you know that the spectator is the last of the rings which, as I am saying, receive the power of the original magnet from one another' The rhapsody like yourself and the actor are intermediate links, and the poet himself is the first of them. Through all these the God sways the souls of men in any direction which he pleases, and makes one man hang down from another. Thus there is a vast chain of dancers and masters and undermasters of choruses, who are suspended, as if from the stone, at the side of the rings which hang down from the Muse. And every poet has some Muse from whom he is suspended, and by whom he is said to be possessed, which is nearly the same thing... for he is taken hold of. (plato: ion .pdf)

is he who, contrary to the senses, looked for the observed movements not in the heavenly bodies, but in himself.

[7]So the central laws of the movements of the heavenly bodies established the truth of that which Copernicus, first, assumed only as a hypothesis, and, at the same time, brought to light that invisible force (Newtonian attraction) which holds the universe together. The latter would have remained forever undiscovered, if Copernicus had not ventured on the experimentcontrary to the senses but still justof looking for the observed movements not in the heavenly bodies, but in the spectator. In this Preface I treat the new metaphysical method as a hypothesis with the view of rendering apparent the first attempts at such a change of method, which are always hypothetical. But in the Critique itself it will be demonstrated, not hypothetically, but apodeictically, from the nature of our representations of space and time. and from the elementary conceptions of the understanding. (kant 'CPR' : 15)

is, in his ideal form, one who lets the scenic world work on him, not aesthetically at all, but vitally and empirically.

We had believed in an aesthetic public and considered the individual spectator sufficiently capable, the more he was in a position to take the work of art as art, that is, aesthetically. This saying of Schlegel's now indicates to us that the completely ideal spectator lets the scenic world work on him, not aesthetically at all, but vitally and empirically. 'O these Greeks!' we sigh, 'they are knocking over our aesthetics!' But once we get used to that idea, we repeat Schlegel's saying every time we talk about the chorus. (Nietzsche 'birth of tragedy' 18)

is not a mere audience waiting to be moved, but rather is tasked with the duty to move the speaker and to stir their spirit. When you want to hear a philosopher, do not say, you say nothing to me, only show yourself worthy or fit to hear and you will.

This is all I have to say to you, and even this against the grain. Why' Because you have not stirred my spirit. For what can I see in you to stir me, as a spirited horse will stir a judge of horses' Your body' That you maltreat. Your dress' That is luxurious. You behavior, your look' Nothing whatever. When you want to hear a philosopher, do not say, You say nothing to me'... only show yourself worthy or fit to hear, and then you will see how you will move the speaker.' (epictetus 'sayings' : 47)

is that fellow who sits on the outskirts of every agony and points.

On the outskirts of every agony sits some observant fellow who points.

is that which if one cannot prevent, then one can be glad to be destined to be its spectator.

When reading historians, Montaigne tells us, he nevertheless always deplores the fact that he has not witnessed the confusions of other nations. His curiosity leads him frankly to consider it an asset that he has seen with his own eyes the drama of the national catastrophe ('this notable spectacle of our public death'), its symptoms, and its form... since he could not prevent it, he is glad he was destined to be its spectator. (blumenberg 1997 : 16)

is that without which nothing and nobody would exist in this world.

Nothing and nobody exist in this world whose very being does not presuppose a spectator.

is the position from which kant wrongly considered art and beauty. He ought to have started from the creator.

Kant, like all the philosophers, just considered art and beauty from the position of 'spectator,' instead of viewing the aesthetic problem through the experiences of the artist (the creator), and thus inadvertently introduced the 'spectator' himself into the concept 'beautiful.' . . . Kant said, 'Something is beautiful if it gives pleasure without interest.' Without interest! (OGM, III: 6)

spectator, n.Dad Jokes

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