German novelist and Nobel Prize laureate (1875–1955)
Paul Thomas Mann (6 June 1875 – 12 August 1955) was a German novelist, short story writer, social critic, philanthropist, essayist, and 1929 Nobel Prize laureate, known for his series of highly symbolic and ironic epic novels and mid-length stories, noted for their insight into the psychology of the artist and the intellectual.
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Alternative Names:
Paul Thomas Mann
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Even in a personal sense, after all, art is an intensified life. By art one is more deeply satisfied and more rapidly used up. It engraves on the countenance of its servant the traces of imaginary and intellectual adventures, and even if he has outwardly existed in cloistral tranquility, it leads in the long term to overfastidiousness, over-refinement, nervous fatigue and overstimulation, such as can seldom result from a life of the most extravagant passions and pleasures.
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.
One can say that he consumed one whole week waiting for the return of that single hour every seven days — and waiting means racing ahead, means seeing time and the present not as a gift, but as a barrier, denying and negating their value, vaulting over them in your mind. Waiting, people say, is boring. But in actuality, it can just as easily be diverting, because it devours quantities of time without our ever experiencing or using them for their own sake.
Passionate — that means to live for the sake of living. But one knows that you all live for the sake of experience. Passion, that is self-forgetfulness. But what you all want is self-enrichment. C'est ça. You don't realize what revolting egoism it is, and that one day it will make you the enemies of the human race.
Or was he merely a mollycoddled favorite, enjoying capriciously prejudiced love? Schenback was inclined to believe the latter. Inborn in nearly every artist’s nature is a voluptuous, treacherous tendency to accept the injustice if it creates beauty and to grant sympathy and homage to aristocratic preferences.
It was the smile of Narcissus bending over the water mirror, the deep, enchanted, protracted smile with which he stretched out his arms to the reflection of his own beauty, an ever so slightly contorted smile — contorted by the hopelessness of his endeavor to kiss the lovely lips of his shadow — and coquettish, inquisitive and mildly pained, beguiled and beguiling.
Al igual que el tiempo, el espacio trae consigo el olvido; aunque lo hace desprendiendo a la persona humana de sus contingencias para transportarla a un estado de libertad originaria; incluso del pedante y el burgués hace, de un solo golpe, una especie de vagabundo. El tiempo, según dicen, es Lete, el olvido; pero también el aire de la distancia es un bebedizo semejante, y si bien su efecto es menos radical, cierto es que es mucho más rápido.
Δεν υπάρχει τίποτε πιο παράξενο και πιο δύσκολο απ’ τη σχέση δύο ανθρώπων που γνωρίζονται μόνο με τα μάτια –που κάθε μέρα, κάθε ώρα, συναντά, παρατηρεί ο ένας τον άλλον, κι είναι ταυτόχρονα αναγκασμένοι κάτω από την πίεση της ευπρέπειας ή από κάποια δική τους παραξενιά να καμώνονται πως είναι αδιάφοροι και ξένοι μεταξύ τους, δίχως ένα χαιρετισμό ή μία λέξη. Ανάμεσά τους υπάρχει κάτι που αναστατώνει, που κεντρίζει την περιέργεια, μια υστερική επιθυμία, ανικανοποίητη και αφύσικα καταπιεσμένη, να γνωριστούν και να μιλήσουν, και προπαντός ένα είδος σεβασμού μαζί με αγωνία και ένταση. Γιατί ο άνθρωπος αγαπά και σέβεται τον άλλον όσο δεν τον ξέρει αρκετά καλά για να τον κρίνει, και η επιθυμία του είναι αποτέλεσμα ατελούς γνώσης.
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.