119 quotes
I think of my suffering, of the problem of my suffering. What am I suffering from? From knowledge — is it going to destroy me? What am I suffering from? From sexuality — is it going to destroy me?
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.
The Magic Mountain (1924)
The purifying, healing influence of literature, the dissipating of passions by knowledge and the written word, literature as the path to understanding, forgiveness and love, the redeeming might of the word, the literary spirit as the noblest manifestation of the spirit of man, the writer as perfected type, as saint.
The Magic Mountain (1924)
What was life? It was warmth, the warmth generated by a form-preserving instability, a fever of matter, which accompanied the process of ceaseless decay and repair of protein molecules that were too impossibly ingenious in structure.
The Magic Mountain (1924)
This was love at first sight, love everlasting: a feeling unknown, unhoped for, unexpected — in so far as it could be a matter of conscious awareness; it took entire possession of him, and he understood, with joyous amazement, that this was for life.
He is no longer with me—by my orders—but then that is merel the carrying-out of an order, after all a kind of negative being-with-me, as he would say. As for any independent life which Bashan might lead without me during these hours—that is not to be thought of.
Rough translation of this passage written in French: The body, love, death, these three are just one. For the body, this is the disease and exquisite delight, and this that does die, yes, they are carnal both of them, love and death, and thus their terror and their great magic!
The Magic Mountain (1924)
It is in physical and mental oppression that fascism believes; this is what it practices, loves, honors, and glorifies. Oppression is not the ultimate goal but the first principle of fascism, and we know only too well that force as a principle is just as eternally human as its opposite, the idea of justice.
The Coming Victory Of Democracy (1938)
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.
Death in Venice (1912)
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.
Suffering and Greatness of Richard Wagner (1933)
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!
Death in Venice (1912)
I will keep faith with death in my heart, yet will remember that faith with death and the dead is only wickedness and dark voluptuousness and enmity against humankind, if it is given power over our thought and contemplation. For the sake of goodness and love, man shall let death have no sovereignty over his thoughts. And with that, I wake up.
The Magic Mountain (1924)
The anti-human, dictatorial mentality of our day ignores “ original sin,” or what may be called spiritual conscience. It considers the consciousness of sin, or spirituality, as injurious to military prowess. It teaches optimistic heroics — in direct and stupid contradiction of the extreme contempt for humanity, which it exalts in the same breath.
The Coming Victory Of Democracy (1938)
To place Russian communism on the same moral level with Nazi fascism, because both are totalitarian, is, at best, superficial, in the worse case it is fascism. He who insists on this equality may be a democrat; in truth and in his heart, he is already a fascist, and will surely fight fascism with insincerity and appearance, but with complete hatred only communism.
A black pall, you know, with a silver cross on it, or R.I.P. — requiescat in pace — you know. That seems to me the most beautiful expression — I like it much better than ‘He is a jolly good fellow,’ which is simply rowdy.
The Magic Mountain (1924)
Irony, forsooth! Guard yourself, Engineer, from the sort of irony that thrives up here; guard yourself altogether from taking on their mental attitude! Where irony is not a direct and classic device of oratory, not for a moment equivocal to a healthy mind, it makes for depravity, it becomes a drawback to civilization, an unclean traffic with the forces of reaction, vice and materialism.
The Magic Mountain (1924)
The meeting in the open of two dogs, strangers to each other, is one of the most painful, thrilling, and pregnant of all conceivable encounters; it is surrounded by an atmosphere of the last canniness, presided over by a constraint for which I have no preciser name; they simply cannot pass each other, their mutual embarrassment is frightful to behold.
Here and there, among a thousand other peddlers, are slyly hissing dealers who urge you to come along with them to allegedly "very beautiful" girls, and not only to girls. They keep at it, walk alongside, praising their wares until you answer roughly. They don't know that you have resolved to eat nothing but rice just to escape from sexuality!
Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.
Death in Venice (1912)