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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I met the New Passion, then, as democracy, as political enlightenment and the humanitarianism of happiness. I understood its efforts to be toward the politicization of everything ethos; its aggressiveness and doctrinary intolerance consisted – I experienced them personally – in its denial and slander of every nonpolitical ethos. “Mankind” as humanitarian internationalism; “reason” and “virtue” as the radical republic; intellect as a thing between a Jacobin club and Freemasonry; art as social literature and maliciously seductive rhetoric in the service of social “desirability”; here we have the New Passion in its purest political form as I saw it close up. I admit that this is a special, extremely romanticized form of it.
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.
But the boredom of Frau Spatz had by now reached that pitch where it distorts the countenance of man, makes the eyes protrude from the head, and lends the features a corpselike and terrifying aspect. More than that, this music acted on the nerves that controlled her digestion, producing in her dyspeptic organism such malaise that she was really afraid she would have an attack.
Frau Stöhr ... began to talk about how fascinating it was to cough.... Sneezing was much the same thing. You kept on wanting to sneeze until you simply couldn't stand it any longer; you looked as if you were tipsy; you drew a couple of breaths, then out it came, and you forgot everything else in the bliss of the sensation. Sometimes the explosion repeated itself two or three times. That was the sort of pleasure life gave you free of charge.
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.
It seemed that at the end of the lecture Dr. Krokowski was making propaganda for psycho-analysis; with open arms he summoned all and sundry to come unto him. "Come unto me," he was saying, though not in those words, " come unto me, all ye who are weary and heavy-laden." And he left no doubt of his conviction that all those present were weary and heavy-laden. He spoke of secret suffering, of shame and sorrow, of the redeeming power of the analytic. He advocated the bringing of light into the unconscious mind and explained how the abnormality was metamorphosed into the conscious emotion; he urged them to have confidence; he promised relief.
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