Also on Mozart:
The other reason for calling Mozart greater than obiwanobiwan or *nsert person you care for if you don't care for obiwanobiwan here* is what I would colloqiually refer to as The Hero Principle.
Consider a basic narrative.
In a basic narrative--let's take, say, the story of Sir Gareth, or the Knight of the Kitchen, from Sir Thomas Mallory's "Le Morte d'Arthur"--we we have a hero, and this hero usually starts out as an everyman or something close to it. This is the case with Gareth; he's related to Sir Gawain, Athur's nehpew and one of the most celebrated knights of the Round Table--he's my personal favorite and the one I generally identify with...for those who ahve never read a King Arthur story and want to know why I like Sir Gawain, read the famous and influential Medevial poem "Sir Gawain and the Green Knight," it's, obviously, a public domain text and so is available online free in tons of places, or if you, like me, prefer an actual book you should be able to find this story, alone or in a collection, at any self-resepecting bookstore--and so by connection also related to Athur, thus making him by blood pretty damn important.
But he doesn't say this when he first comes to Camelot (or Logres, however broad or precise you want to call the place.) He just acts like a regular guy and asks Arthur for two favors--to stay and do some work for the court and to be given an opportunity for a request some time later on.
And so Gareth works in the kitchens--hence the title, "Sir Gareth, Or, The Knight of the Kitchen,"--under the supervisiory eye of Sir Kay who, in this story at least, is the biggest asshole in Medevial history and definitely in Arthur's court as he constantly taunts this person, who actually has royal blood and is being pretty humble right now, that HE, Sir Kay, is a knight and all this guy can ever hope to be is some sod working in the kitchens and stables.
But Gareth puts up with this for a good long while, never uttering a harsh word in return, until one day some damsel comes to Camelot in distress--shocker!--and says her sister is being held captive--even bigger shocker!--in a castle protected by the Red Knight--really...is ANYONE shocked that this is the situation for an Arthurian tale? ;)
And so Gareth makes his request--to be allowed to go out and save this lady's sister, a favor King Arthur readily grants and makes him a knight, a title Gareth must earn on this quest.
But the lady is none to happy about this, she's infuriated that after her long journey to Camelot and to the Round Table Arthur, instead of sending Lancelot or Gawain or Percivale or some other immensely-brave and famous knight, sends her, to save her sister...some guy from the kitchens. (On reflection...yeah, I can see how that'd get someone angry, sort of like telling MI6 you need the best secret agent they have for a mission of the utmost delicacy and instead of sending James Bond they send Agents Moe, Curly, and Larry.)
So they ride off Gareth and this person, and the entire way the lady berates Gareth, until they come to...THE BLACK KNIGHT! And, of course, if you've EVER seen Monty Python you know the Black Knight says "None shall pass!" and that "The Black Knight ALWAYS WINS!" But...well, true to Monty Python, actually, the Black Knight gets his ass handed to him in combat, but instead of losing all his arms and legs and calling it a flesh wound Gareth kills him in a jousting contest and takes his armor.
But THIS doesn't impress the lady, who now, on top of saying he's not really a knight, derides him for killing a "real" man. (Backseat drivers are the WORST...)
So off they ride to...the GREEN Knight--but not Gawain's Green Knight, another Green Knight, because green, I guess, was just fashionable amongst Medevial knights with amazing powers--and he thinks Gareth, wearing the black armor, is his brother the Black Knight, and learning he's dead makes him pretty damn angry, so they joust, Gareth wins again, and tells this Green Knight to ride back to Camelot with all of his mend and to tell them who sent him.
And the same thing happens when Gareth meets the Puce Knight. (Puce???)
Finally the lady respects Gareth--took her long enough, he just risked his life three times for her!--and so much so she tells him to turn back, that she doesn't want to see him killed by the Red Knight. Gareth says no, however, he's come this far and he's going to finish the job. She says fine, but to fight at sunset or something, because the Red Knight's strenght is multiplied many times as the day goes on, peaking at noon. Gareth says hell no to that, he's no coward or cheat, and so he'll fight him when he's his strongest DESPITE the fact the lawns of his castle are, in fact, littered with the corpses of dead knights.
So they DO indeed fight, and it's a pretty epic fight, as their lances AND shields are shattered by the force of their collision AND their horses die from the impact and so they pull out their swords and have a day-long fight until Gareth finally wins, learns the Red Knight did all this to try and lure Lancelot here so he could kill him, forgives the Red Knight and sends him back home, and the rescues and marries the sister of the lady who rode with him this whole time.
"WHAT" you may ask "WAS POSSIBLY THE POINT OF TELLING THAT NEAT BUT TOTALLY-LONG-WINDED ARTHUR STORY, OBIWAN?!"
Again, I said I would place Mozart as being qualitatively a greater person than 100 obiwanobiwans (or, again, if you dislike me...why are you reading this, for one thing, but for another, if you dislike me, 100 regular people that you DO like) because of that Hero Principle, and the Hero Principle in a narrative is that of someone who becomes qualitatively better for his experiences. He often doesn't START OUT as the guy who's able to vanquish the Red Knight who's many times stronger than normal men, but as they go along in life they perform various deeds and grow and, in the end, have acquired a quality about themselves which makes them better than the average Joe. Gareth, despite his noble birth, doesn't start out as the guy who's ready to go out on a famed Medevial quest. He's not ready to deal with being insulted all along the way. He'd DEFINITELY not ready to be fight the Black or Green or Puce (seriously, why Puce?) or Red Knights and rescue the maiden in distress.
He GAINS all of that, those things which make him better than the average kitchen boy.'
He GAINS that ability to take insults and slanders against him from enduring Sir Kay all that time. He works his way up to being able to take on the Red Knight by taking on the first three. His year just working in the kitchens despite his noble birth makes him more patient.
He progresses and becomes something greater as a result--he works at it and becomes a Hero, and so the Hero Principle makes him greater than the average person because he has qualities--his incredible patience, his chivalrous attitude towards women, his prowess jousting and swordfighting--that you or I or Joe down the street lack.
Gareth in the heroic sense is BETTER than you or I, and what's more--and what's better--he's NOT better because of some noble birth or any garbage like that, he casts that aside at the very start of the story so he can earn his knightly spurs the right way, though actions and deeds and actual growth and acquisition of greatness, not just because of familial relations.
And the same may be sad of Mozart, or Shakespeare, or Abe Lincoln, or most figures, I'd say, that we as a culture praise and view as being "great" somehow.
Shakespeare wasn't BORN the best playwright ever, and he didn't even start off that way; I love "Titus Andronicus," but read that and "Romeo and Juliet" and you're reading works that are good, sure, but not the best of all-time, not even of HIS time, Thomas Kyd and Christopher Marlowe and Thomas Middleton and Thomas Dekker (seriously, was every other playwright in the Elizabethan era named "Thomas?") wrote FAR better plays, better traedies than those two works.
But Shakespeare kept at it and kept working, and eventually DID, as a result of labors and the creative process and learning what worked well with his style and what could be done better, become the greatest of his era and at the very least one of the indisputable strongest candidates for "Greatest Author Ever," even if you don't see him as such you have to admit that he has a lot more power behind his candidacy than most authors, not because they're BAD, far from it--Shakespeare's tales just have endured better than Kyd's, are more universal than Middleton's, are less possibly offensive and more modern than Marlowe's (if you thought "The Merchant of Venice" had a few questionable moments regarding the treatment of Jews, try Marlowe's similar-yet-incredibly-more-Anti-Semetic "The Jew of Malta.)
Abe Lincoln DEFINITELY didn't start out as the great president many see him as (including myself.) He really didn't have a first year or so...the nation breaking apart ans seceding is usually going to hurt your poll numbers a little. He even endorsed slavery.
But he kept at it, kept an open mind, and through it all grew as a leader and a man, and so the Lincoln that was shot in 1865 was not the same Lincoln who took office in 1861. He certainly DID support reunification with or without slavery, at first he didn't care, and then he came to see freeing blacks as nothing more than a potential too to help the Northern whites win the war, and finally he DID, by the time of his death, actually come to the position that slavery and being treated like that was counter to that "all men ar created equal" bit and just morally wrong.
He GREW into becoming a hero in a way you and I have not, not because we're bad people or because Lincoln was an Ubermensch--ha! you thought I was going to use that, didn't you?--but simply because he underwent a journey of sorts and found the strength within himself to change as well as the reasons without and around himself to change, to grow and become that man we immortalized on Mt. Rushmore, a giant marble statue and memorial, and, yes, even our copper penny! ;)
Abe Lincoln is worth more than obiwan, as are Mozart and Shakespeare and innumerable figures.
I said last week that I don't like it or accept it when folks I talk to refer to me as a "philosoher" or even a writer, and was angry as all hell about how those terms are abused and flung around today.
I said it's an HONOR to be called those things, that you EARN that title.
And you earn it the same way Gareth earned his knightly title--not by being BORN better than people, not by simply being stronger than other people, but by being chivalrous (hence his sending the defeated knights to live in Camelot instead of brutally chopping their heads off while they were down) and courteous even when treated unkindly and patient and all the rest...being a good knight OVERALL.
And that's what the Hero Principle really is, you can call it the Knight Principle, I suppose.
I'm not better than those figures because they, though their won hard work, achieved something on their own personal quests, their own lifelong missions, that allowed them to acquire something internally that makes them great figures--Lincoln's sense of justice and tolerance was acquired, not inherent, and Shakespeare and Mozart might have had raw talent but they acquired the ability to rank at or amongst the top of their artistic categories through their own hard work and revelations and experiences.
Most people DON'T have those experiences or revelations, most don't even go on the "quest."
I've already used Trek, so I'll go ahead and use "House M.D." now to punctuate a point (or at least attempt to, for all I know it could fail miserably):
House treats a patient in one episode who doesn't want to be ressucitated if something goes wrong and he loses his ability to play his horn.
House asks if that's all there is to him, just that damn horn, and the patient shoots back and points out that really, for House, the world begins and ends with his medical cases, he NEEDS that, it gives him purpose, and without a medical mystery...well, if you've ever watched the who you know that just like Sherlock Holmes is incredibly bored when he doesn't have a case and takes to using coccaine, House gets incredibly bored with no case and generally takes to self-destructive behavior as well (and usually even more so than Holmes, Holmes seems to have more discipline in that area.)
The patient says, to paraphrase, that MOST PEOPLE get married and have kids andthat's where they find purpose, or at least most of their purpose in life, and so they don't act as misantropic as Hosue or this patient does (or as Holmes is at least capable of doing, for that matter.) But for those people like him, the horn player, and like House, they have that one thing that they can, working hard enough at it, do better than those people, do it to a better and greater degree than most people, and THAT'S where they get purpose from...so without that one thing, they're like a flat tire--useless, or at least that's how they feel.
Take that into account with that fact that a great deal of thinkers and artists in history have either been bachelors or at least had troubled relationships--Nietzsche, Mozart had a troubled relationship, Kierkegaard, Kant, Hobbes, Sartre, John Lennon certainly had his woman issues between Cynthia, Yoko, and Yoko's friend, van Goh, da Vinci, Poe, etc.--and I think there's some truth to what that horn-playing patient has to day.
Maybe not absolute thruth, but certainly two of the three I started out giving an account on, Mozart and Lincoln, are known to at least have had issues with their marriage, Lincoln in particlar; we don't know much about Shakespeare's personal life, he married and had children, but of course we don't have great knowledge on how happily or not he was in marriage, and in any event, like I said, it's not an absolute that you must either have the one thing or marriage, it just seems to have somewhat of a root in truth when it at least comes to artists and writers and philosohpers (and, with Lincoln, I think we can throw politicians in there a bit, PLENTY of poor marriages in political history...the Clintons and Edwards families certainly are/were not great marriages, though that might be due more to their naughty, naughty husbands than their husbands being good at that one thing that's their calling--unless, of course, that "one thing" that DRIVES them and they're good at is, in fact...) ;)
So in essence, yes, that's why a Mozart or a Shakespeare or a Lincoln is worth more than me or the average person--they've earned it on that Hero's Principle, at least in a more modern sense of it. Most people don't devote their lives to writing and thinking about the big questions in life or trying to compose music that hits closer and truer to whatever sort of soul, metaphysical or mental or emotional or otherwise, we might have, and most people don't run an entire war for reunification and have to deal with the question of the fundamental rights of an entire race and of all races.
So yes, for those that do, I consider them of higher and greater being and importance--but even better I consider that importance ACQUIRED, not earned through the blood, so really anyone can become a modern-day Sir Gareth and earn their knightly spurs in whatever field they wish.
I choose to believe that, that rather than saying "everyone's special" like this world of ever-increasing mediocrity loves to do, it seems, I PREFER to say "some people are GENUINELY special...and if I work hard and dedicate myself to it, perhaps I can earn my wings, too."