Stefan Zweig Quotes

Someone who's on top of the world isn't much of an observer: happy people are poor psychologists. But someone who's troubled about something is on the alert. The perceived threat sharpens his senses - he takes in more than he usually does.

Confidences are always risky: a secret entrusted to a stranger make him less of one. You've given away something of yourself, given him the advantage.

Names have a mysterious transforming power. Like a ring on a finger, a name may at first seem merely accidental, committing you to nothing; but before you realize its magical power, it's gotten under your skin, become part of you and your destiny.

He looked at her again, now with the vague abject shyness that older men often have with young women, as though asking their indulgence for no longer being young.

The soul is made of stuff so mysteriously elastic that a single event can make it big enough to contain the infinite.

In the end one needs forbearance to get by in this world.

The dressmaker doesn't have problems unless the dress has to hide rather than reveal.

All office workers are afraid of being late for work.

Once shame touches your being at any point, even the most distant nerve is implicated, whether you know it or not; any fleeting encounter or random thought will rake up the anguish and add to it.

Adultery is in most cases a theft in the dark. At such moments almost every woman betrays her husband's innermost secrets; becomes a Delilah who discloses to a stranger, discloses to her lover, the mysteries of her husband's strength or weakness. What seems to me treason is, not that women give themselves, but that a woman is prone, when she does so, to justify herself to herself by uncovering her husband's nakedness, exposing it to the inquisitive and scornful gaze of a stranger.

When a man has a passion for a woman, and when that passion is of such a nature that he regards her with reverent admiration as an image of purity, none the less, in the unconscious, his desires turn towards bodily fulfillment, none the less the goal of physical possession is prefigured in the deepest recesses of his imagination. But when the passion is confined to the realm of the spirit, and, in that realm, is a man's passion for a man, how can it seek fulfillment? Unrestingly, the fancy wanders over the honored form, flaming up again and again to fresh ecstasy, but never finding repose in a last surrender. It flows on without pause in a current that can never empty the reservoir from which it comes. This passion is insatiable, as the spirit invariably is.

England rose before our eyes; the island girdled by the stormy waters in which all the continents of the globe are laved. In that sea-girt isle, the ocean holds sway. The cold and clear gaze of the watery element is reflected in the eyes of the inhabitants. Every one of the dwellers in that land is one of the sea-folk, is himself an island. The storms and dangers of the sea have left their mark, and live on to-day in these English, whose ancestors for centuries were vikings and sea-raiders. Now peace broods over the isle. But the dwellers therein, used to storms, crave for the lie of the sea with its daily perils. When it is denied them, they create its stormy likeness for themselves in blood-sports. They build wooden lists for beast-baiting. The voluptuous horror of the spectators is stimulated in bestial fashion by watching cock-fights or by looking on while bears are torn by dogs. Soon here is a demand for a loftier tension of the senses, such as can be derived from the spectacle of heroic human conflicts. Thus there grows out of the medieval religious mysteries, the great drama of human effort, in which the adventures and the voyages of earlier days are depicted - voyages no longer sailed on a real sea, but on the inner sea of man's feelings. A new infinity, another ocean with spring tides of passion and an uprush of the spirit; a determination to steer a course through the waters on which heretofore they were driven at the mercy of winds and waves - such are the new longings of the late-born and vigorous Anglo-Saxon race. Such is the origin of the Elizabethan drama.

Youth is always right. Those who follow the counsels of youth are wise.

Nothing moves young people so much as to witness a sublime and virile gloom. Michelangelo's thinker staring down into the abyss of his own thoughts, Beethoven's poignantly drawn lips; these tragical masks of universal suffering touch the crude emotions of youth far more than Mozart's silver melodies or the crystalline light that radiates from Leonardo's figures. Being itself beauty, youth has no need of transfiguration. In the superabundance of its vital forces, it is allured by the tragical, and in its inexperience, is prone to accept the embraces of melancholy. That, too, is why youth is always ready for danger, and ever willing to extend a brotherly hand towards mental pain.

To the young, what can be more disturbing, what more unsettling and tantalizing, than the play of vague suspicions? The fancy, ceasing to wander in the void, concentrates upon a definite aim, and luxuriates in the febrile pleasures of the chase.