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Absolutely everything beloved and cherished of the bourgeoisie, the conservative, the cowardly, and the impotent — the State, family life, secular art and science — was consciously or unconsciously hostile to the religious idea, to the Church, whose innate tendency and permanent aim was the dissolution of all existing worldly orders, and the reconstitution of society after the model of the ideal, the communistic City of God.
Thomas Mann
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There are so many different kinds of stupidity, and cleverness is one of the worst.
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I stand between two worlds, am at home in neither, and in consequence have rather a hard time of it. You artists call me a commoner, and commoners feel tempted to arrest me … I do not know which wounds me more bitterly. Commoners are stupid; but you worshippers of beauty who call me phlegmatic and without yearning, ought to reflect that there is an artistry so deep, so primordial and elemental, that no yearning seems to it sweeter and more worthy of tasting than that for the raptures of common-placeness.
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Hidden away amongst Aschenbach's writing was a passage directly asserting that nearly all the great things that exist owe their existence to a defiant despite: it is despite grief and anguish, despite poverty, loneliness, bodily weakness, vice and passion and a thousand inhibitions, that they have come into being at all. But this was more than an observation, it was an experience, it was positively the formula of his life and his fame, the key to his work.
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We come out of the dark and go into the dark again, and in between lie the experiences of our life. But the beginning and end, birth and death, we do not experience; they have no subjective character, they fall entirely in the category of objective events, and that's that.
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What was it that drove these thousands into the arms of his art — what but the blissfully sensuous, searing, sense-consuming, intoxicating, hypnotically caressing, heavily upholstered — in a word, the luxurious quality of his music?
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Gustav Aschenbach was the writer who spoke for all those who work on the brink of exhaustion, who labor and are heavy-laden, who are worn out already but still stand upright, all those moralists of achievement who are slight of stature and scanty of resources, but who yet, by some ecstasy of the will and by wise husbandry, manage at least for a time to force their work into a semblance of greatness.
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How strange a vehicle it is, coming down unchanged from times of old romance, and so characteristically black, the way no other thing is black except a coffin — a vehicle evoking lawless adventures in the plashing stillness of night, and still more strongly evoking death itself, the bier, the dark obsequies, the last silent journey!
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This was Venice, the flattering and suspect beauty — this city, half fairy tale and half tourist trap, in whose insalubrious air the arts once rankly and voluptuously blossomed, where composers have been inspired to lulling tones of somniferous eroticism.
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Solitude gives birth to the original in us, to beauty unfamiliar and perilous—to poetry. But also, it gives birth to the opposite: to the perverse, the illicit, the absurd.
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What we call mourning for our dead is perhaps not so much grief at not being able to call them back as it is grief at not being able to want to do so.
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The myth is the foundation of life; it is the timeless schema, the pious formula into which life flows when it reproduces its traits out of the unconscious. Certainly when a writer has acquired the habit of regarding life as mythical and typical there comes a curious heightening of his artistic temper, a new refreshment to his perceiving and shaping powers, which otherwise occurs much later in life; for while in the life of the human race the mythical is an early and primitive stage, in the life of the individual it is a late and mature one.
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Forbearance in the face of fate, beauty constant under torture, are not merely passive. They are a positive achievement, an explicit triumph.
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Has the world ever been changed by anything save the thought and its magic vehicle the Word?
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Never had he felt the joy of the word more sweetly, never had he known so clearly that Eros dwells in language.
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There is both rhyme and reason in what I say, I have made a dream poem of humanity. I will cling to it. I will be good. I will let death have no mastery over my thoughts. For therein lies goodness and love of humankind, and in nothing else.
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Writing well was almost the same as thinking well, and thinking well was the next thing to acting well. All moral discipline, all moral perfection derived from the soul of literature, from the soul of human dignity, which was the moving spirit of both humanity and politics. Yes, they were all one, one and the same force, one and the same idea, and all of them could be comprehended in one single word... The word was — civilization!
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Speech is civilisation itself. The word, even the most contradictory word, preserves contact—it is silence which isolates.
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Language is civilization itself. The Word, even the most contradictory word, binds us together. Wordlessness isolates.
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The new hero-type favored by Aschenbach, and recurring in his books in a multiplicity of individual variants, had already been remarked upon at an early stage by a shrewd commentator, who had described his conception as that of an intellectual and boyish manly virtue, that of a youth who clenches his teeth in proud shame and stands calmly on as the swords and spears pass through his body … the figure of Saint Sebastian is the most perfect symbol if not of art in general, then certainly of the kind of art in question.
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In our time the destiny of man presents its meanings in political terms.
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This fantastic state of mind, of a humanity that has outrun its ideas, is matched by a political scene in the grotesque style, with Salvation Army methods, hallelujahs and bell-ringing and dervishlike repetition of monotonous catchwords, until everybody foams at the mouth. Fanaticism turns into a means of salvation, enthusiasm into epileptic ecstasy, politics becomes an opiate for the masses, a proletarian eschatology; and reason veils her face.
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A solitary, unused to speaking of what he sees and feels, has mental experiences which are at once more intense and less articulate than those of a gregarious man.
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I love and reverence the Word, the bearer of the spirit, the tool and gleaming ploughshare of progress.
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He was all for catharsis and purification, he dreamed of an aesthetic consecration that should cleanse society of luxury, the greed of gold and all unloveliness.
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Often I have thought of the day when I gazed for the first time at the sea. The sea is vast, the sea is wide, my eyes roved far and wide and longed to be free. But there was the horizon. Why a horizon, when I wanted the infinite from life?
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Nothing is stranger or more ticklish than a relationship between people who know each other only by sight, who meet and observe each other daily - no hourly - and are nevertheless compelled to keep up the pose of an indifferent stranger, neither greeting nor addressing each other, whether out of etiquette or their own whim.
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Isn't it grand, isn't it good, that language has only one word for everything we associate with love - from utter sanctity to the most fleshly lust? The result is perfect clarity in ambiguity, for love cannot be disembodied even in its most sanctified forms, nor is it without sanctity even at its most fleshly. Love is always simply itself, both as a subtle affirmation of life and as the highest passion; love is our sympathy with organic life.
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We, when we sow the seeds of doubt deeper than the most up-to-date and modish free-thought has ever dreamed of doing, we well know what we are about. Only out of radical skepsis, out of moral chaos, can the Absolute spring, the anointed Terror of which the time has need.
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Politics has been called the art of the possible, and it actually is a realm akin to art insofar as, like art, it occupies a creatively mediating position between spirit and life, the idea and reality.
Thomas Mann
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Quote of the day
In deep sadness there is no place for sentimentality.
William S. Burroughs
Thomas Mann
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Born:
June 6, 1875
Died:
August 12, 1955
(aged 80)
Bio:
Paul Thomas Mann was a German novelist, short story writer, social critic, philanthropist, essayist, and the 1929 Nobel Prize in Literature laureate.
Known for:
The Magic Mountain (1924)
Buddenbrooks (1901)
Death in Venice (1912)
Joseph and His Brothers (1943)
Confessions of Felix Krull (1954)
Most used words:
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love
time
word
man
death
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music
thought
beauty
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idea
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