Hermann Hesse - Narcissus and Goldmund (1930)
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One thing, however, did become clear to him [Goldmund] – why so many perfect works of art did not please him at all, why they were almost hateful and boring to him, in spite of a certain undeniable beauty. Workshops, churches, and palaces were full of these fatal works of art; he had even helped with a few himself. They were deeply disappointing because they aroused the desire for the highest and did not fulfill it. They lacked the most essential thing – mystery. That was what dreams and truly great works of art had in common: mystery.
All existence seemed to be based on duality, on contrast. Either one was a man or one was a woman, either a wanderer or sedentary burgher, either a thinking person or a feeling person-no one could breathe in at the same time as he breathed out, be a man as well as a woman, experience freedom as well as order, combine instinct and mind. One always had to pay for one with the loss of the other, and one thing was always just as important and desirable as the other.
We fear death, we shudder at life's instability, we grieve to see the flowers wilt again and again, and the leaves fall, and in our hearts we know that we, too, are transitory and will soon disappear. When artists create pictures and thinkers search for laws and formulate thoughts, it is in order to salvage something from the great dance of death, to make something that lasts longer than we do.