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Perhaps all of these factors played a role in his unshakeable determination to live his intellectual and creative life to the highest degree, whatever the cost.
The multitalented Ludwig showed both precocious ability in many areas, including music, the natural sciences, architecture, and especially engineering.
He goes back into solitude to work on his second philosophical masterpiece, that he won't live to see published.
Back in Cambridge, dying with prostate cancer, he's watched over by his friends... After we take a brief look at Wittgenstein's life and major ideas, we'll explore what Jarman makes of it all in his extraordinary film .
Many of Ludwig's siblings excelled at music, and his brother Paul became a famous concert pianist (after losing an arm in World War I, Ravel, Prokofiev, and Britten wrote one-hand pieces specifically for him).
The family also knew tragedy, as three of Ludwig's other brothers committed suicide.
In what you might call his big picture, Wittgenstein has set up a series of correspondences: the shape of ideas in the mind parallels the relationship of words in a sentence, and those in turn are identical in form to the structure of reality that they represent.
Basically, a thought is a logical picture of a fact.
Analogously, the complexity of the world can be simplified into a series of basic, or what he calls "atomic," facts.
But the only language precise enough to make sense of the world is that of science.
Any attempt to transcend "atomic" facts and reach for something more grandiose — like aesthetics, ethics, or metaphysics — is, as Wittgenstein put it, "non-sense." The book's key line is both a warning and, for some, an inspiration to do better: " sprang from its particular time, and author.
In terms of intellectual history, it has its roots in both romanticism — the image of the titanic genius wrestling with The Truth — and modern science, with the underlying belief that the world can be analyzed and understood, and that progress is possible.
For all of its exhaustively logical decimal numbering (proposition 1 is modified by 1.1, which in turn is augmented by 1.11, 1.12 and 1.13, and so forth), it's a highly literary style, with compressed language that's both poetic and, for all of its rigor, at times mystical.
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[the] mystical." Later he remarked, to his young chronicler Maurice O'Connor Drury, that although he was not a Christian "I cannot help seeing every problem from a religious perspective" (in the film this remark is aptly addressed to Bertrand Russell).