my own memory gradually begins—in a cage between decks on the Hagenbeck steamship. It was no four-sided cage with bars, but only three walls fixed to a crate, so that the crate constituted the fourth wall. The whole thing was too low to stand upright and too narrow for sitting down. So I crouched with bent knees, which shook all the time, and since at first I probably did not wish to see anyone and to remain constantly in the darkness, I turned towards the crate, while the bars of the cage cut into the flesh on my back. People consider such confinement of wild animals beneficial in the very first period of time, and today I cannot deny, on the basis of my own experience, that in a human sense that is, in fact, the case. But at that time I didn’t think about it. For the first time in my life I was without a way out—at least there was no direct way out. Right in front of me was the crate, its boards fitted closely together. Well, there was a hole running right through the boards. When I first discovered it, I welcomed it with a blissfully Muffled sobbing, painfully searching out fleas, wearily licking a coconut, banging my skull against the wall of the crate, sticking out my tongue when anyone came near—these were the first occupations in my new life. In all of them, however, there was only one feeling: no way out. Nowadays, of course, I can portray those ape-like feelings only with human words and, as a result, I misrepresent them. But even if I can no longer attain the old truth of the ape, at least it lies in the direction I have described—of that there is no doubt. Up until then I had had so many ways out, and now I no longer had one. I was tied down. If they had nailed me down, my freedom to move would not have been any less. And why? If you scratch raw the flesh between your toes, you won’t find the reason. If you press your back against the bars of the cage until it almost slices you in two, you won’t find the answer. I had no way out, but I had to come up with one for myself. For without that I could not live. Always in front of that crate wall—I would inevitably have died a miserable death. But according to Hagenbeck, apes belong at the crate wall—well, that meant I had to cease being an ape. A clear and beautiful train of thought, which I must have planned somehow with my belly, since apes think with their bellies. I’m worried that people do not understand precisely what I mean by a way out. I use the word in its most common and fullest sense. I am deliberately not saying freedom. I do not mean this great feeling of freedom on all sides. As an ape, I perhaps recognized it, and I have met human beings who yearn for it. But as far as I am concerned, I did not demand freedom either then or today. Incidentally, among human beings people all too often are deceived by freedom. And since freedom is reckoned among the most sublime feelings, the corresponding disappointment is also among the most sublime. In the variety shows, before my entrance, I have often watched a pair of artists busy on trapezes high up in the roof. They swung themselves, they rocked back and forth, they jumped, they hung in each other’s arms, one held the other by clenching the hair with his teeth. “That, too, is human freedom,” I thought, “self-controlled movement.” What a mockery of sacred nature! At such a sight, no structure would stand up to the laughter of the apes. No, I didn’t want freedom. Only a way out—to the right or left or anywhere at all. I made no other demands, even if the way out should be only an illusion. The demand was small; the disappointment would not be any greater—to move on further, to move on further! Only not to stand still with arms raised, pressed again a crate wall. pp. 674-674