The German Classics of the Nineteenth and Twentieth Centuries: Masterpieces of German Literature Vol. 19
General
The German Classics of the Nineteenth and Twentieth Centuries: Masterpieces of German Literature Vol. 19
German literature -- 19th century -- Translations into English; German literature -- 20th century -- Translations into English
He went the way he had to go, a little carelessly and unevenly,
whistling to himself, looking into space with head on one side; and if
he went astray, that was because there simply is no right path for some
individuals. If you asked him what in all the world he intended to be,
he would supply varying information, for he was wont to say (and had
already written it down) that he had in him the possibilities of a
thousand forms of existence, together with the secret consciousness
that they really were one and all impossibilities.
Even before he departed from his cramped native city, the clamps and
threads with which it held him had gently loosened their hold. The old
family of the Krögers had little by little begun to crumble and
disintegrate, and men had reason to reckon Tonio Kröger's own existence
and nature among the other features of that process. His father's
mother had died, the head of the family, and not long afterward his
father, the tall, meditative, carefully dressed gentleman with the wild
flower in his buttonhole, had followed her in death. The big Kröger
house together with its honorable history was for sale, and the firm
went out of business. Tonio's mother, however, his beautiful,
passionate mother, who played the piano and the mandolin so
wonderfully, and to whom everything was quite immaterial, married anew
after the lapse of a year, this time a musician, a virtuoso with an
Italian name whom she followed to far-away lands. Tonio Kröger found
this a trifle unprincipled; but was _he_ called upon to prevent her? He
who wrote verses and could not even answer the question what in all the
world he intended to become ...
And he forsook his zigzagging native city, around whose gables the damp
winds whistled, forsook the fountain and the old walnut-tree in the
garden, the familiars of his youth, forsook also the sea that he loved
so dearly, and felt no pain in so doing. For he had grown mature and
shrewd, had come to comprehend how things stood with himself, and was
full of mockery of the stupid and vulgar existence that had so long
held him in its midst.
He surrendered himself wholly to the power which seemed to him the most
lofty on earth, into whose service he felt himself called, and which
promised him rank and honors, the power of the spirit and of speech,
which sits smilingly enthroned over this unconscious and mute life.
With all his young passion he surrendered himself to her, and she
rewarded him with all she has to bestow, and took from him inexorably
all that she is wont to take as equivalent.
She sharpened his eyes and made him see through and through the big
words that swell men's bosoms, she unlocked for him the souls of men
and his own soul, made him a seer, and showed him the heart of the
world and every first cause hidden behind words and deeds. But what he
saw was this: comedy and misery--comedy and misery.
Public-domain text, read in full here on John Shaqi.
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