Death in Venice

"To him it seemed his work had ceased to be marked by that fiery play of fancy which is the product of joy, and more, and more potently, than any intrinsic content, forms in turn the joy of the receiving world."

"Outsiders might be pardoned for believing that his Maia world and the epic amplitude revealed by the life of Frederick were a manifestation of great power working under high pressure, that they came forth, as it were, all in one breath. It was the more triumph for his morale; for the truth was that they were heaped up to greatness in layer after layer, in long days of work, out of hundreds and hundreds of single inspirations; they owed their excellence, both of mass and detail, to one thing and one alone; that their creator could hold out for years under the strain of the same piece of work."

"Mirror and image! His eyes took in the proud bearing of that figure there at the blue water’s edge; with an outburst of rapture he told himself that what he saw was beauty’s very essence; form as divine thought, the single and pure perfection which resides in the mind, of which an image and likeness, rare and holy, was here raised up for adoration."

"What discipline, what precision of thought were expressed by the tense youthful perfection of this form! And yet the pure, strong will which had laboured in darkness and succeeded in bringing this godlike work of art to the light of day—was it not known and familiar to him, the artist? Was not the same force at work in himself when he strove in cold fury to liberate from the marble mass of language the slender forms of his art which he saw with the eye of his mind and would body forth to men as the mirror and image of spiritual beauty?"

"Socrates held forth to youthful Phædrus upon the nature of virtue and desire, wooing him with insinuating wit and charming turns of phrase. He told him of the shuddering and unwonted heat that come upon him whose heart is open, when his eye beholds an image of eternal beauty; spoke of the impious and corrupt, who cannot conceive beauty though they see its image, and are incapable of awe; and of the fear and reverence felt by the noble soul when he beholds a godlike face or a form which is a good image of beauty."

"He would write, and moreover he would write in Tadzio’s presence. This lad should be in a sense his model, his style should follow the lines of this figure that seemed to him divine; he would snatch up this beauty into the realms of the mind, as once the eagle bore the Trojan shepherd aloft. Never had the pride of the word been so sweet to him, never had he known so well that Eros is in the word, as in those perilous and precious hours when he sat at his rude table, within the shade of his awning, his idol full in his view and the music of his voice in his ears, and fashioned his little essay after the model Tadzio’s beauty set: that page and a half of choicest prose, so chaste, so lofty, so poignant with feeling, which would shortly be the wonder and admiration of the multitude."

"When Aschenbach put aside his work and left the beach he felt exhausted, he felt broken—conscience reproached him, as it were after a debauch."

"Beauty, then, is the beauty-lover’s way to the spirit—but only the way, only the means."

"Amor, in sooth, is like the mathematician who in order to give children a knowledge of pure form must do so in the language of pictures; so, too, the god, in order to make visible the spirit, avails himself of the forms and colours of human youth, gilding it with all imaginable beauty that it may serve memory as a tool, the very sight of which then sets us afire with pain and longing."

"Überreizt von der schwierigen und gefährlichen, eben jetzt eine höchste Behutsamkeit, Umsicht, Eindringlichkeit und Genauigkeit des Willens erfordernden Arbeit der Vormittagsstunden, hatte der Schriftsteller dem Fortschwingen des produzierenden Triebwerkes in seinem Innern, jenem „motus animi continuus”, worin nach Cicero das Wesen der Beredsamkeit besteht."

"Aschenbach ... had, at least ever since he commanded means to get about the world at will, regarded travel as a necessary evil, to be endured now and again willy-nilly for the sake of one’s health. Too busy with the tasks imposed upon him by his own ego and the European soul, too laden with the care and duty to create, too preoccupied to be an amateur of the gay outer world, he had been content to know as much of the earth’s surface as he could without stirring far outside his own sphere—had, indeed, never even been tempted to leave Europe. Now more than ever, since his life was on the wane, since he could no longer brush aside as fanciful his artist fear of not having done, of not being finished before the works ran down, he had confined himself to close range, had hardly stepped outside the charming city which he had made his home."

"And so the new impulse which thus late and suddenly swept over him was speedily made to conform to the pattern of self-discipline he had followed from his youth up. He had meant to bring his work, for which he lived, to a certain point before leaving for the country, and the thought of a leisurely ramble across the globe, which should take him away from his desk for months, was too fantastic and upsetting to be seriously entertained. Yet the source of the unexpected contagion was known to him only too well. This yearning for new and distant scenes, this craving for freedom, release, forgetfulness—they were, he admitted to himself, an impulse towards flight, flight from the spot which was the daily theatre of a rigid, cold, and passionate service. That service he loved, had even almost come to love the enervating daily struggle between a proud, tenacious, well-tried will and this growing fatigue, which no one must suspect, nor the finished product betray by any faintest sign that his inspiration could ever flag or miss fire. On the other hand, it seemed the part of common sense not to span the bow too far, not to suppress summarily a need that so unequivocally asserted itself."