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
Then came loneliness with the anguish and the arrogance of this
knowledge, because he could not endure the circle of the innocent with
their happily beclouded minds, and the mark on his brow was
disconcerting to them. But sweeter and sweeter grew to him the joy in
words and in beautiful forms, for he was wont to say (and had already
written it down) that mere knowledge of the soul would infallibly make
us dejected if the pleasure of expression did not keep us awake and
lively....
So he lived in great cities and in the South, from whose sunshine he
promised himself a more luxuriant maturing of his art; and perhaps it
was the blood of his mother that drew him thither. But as his heart was
dead and without love, he fell into adventures of the flesh, sank
deeply into lust and the guilt of passion, and suffered unspeakably
from it all. Perhaps it was the heritage of his father in him, of that
tall, meditative, neatly dressed gentleman with the wild flower in his
button-hole, that made him suffer so down yonder, and that occasionally
set in motion within him a faint, yearning recollection of a pleasure
of the spirit, which had once been his own, and which he could not find
again in all his pleasures.
A loathing and a hatred of the senses seized him, and a thirst for
purity and decency and peace; while after all he was breathing the air
of art, that lukewarm, sweet air of an eternal spring, pregnant with
fragrance, in which a mysterious procreative rapture seethes and
germinates and sprouts. So the only result was that Tonio, without
support between these crass extremes, tossed back and forth between icy
intellectuality and consuming sensual fire, led an exhausting life amid
torments of conscience, an exquisite, debauched, extraordinary life,
which he, Tonio Kröger, abhorred in his heart. What vagaries, he
thought at times. How was it ever possible that I should fall into all
these eccentric adventures? After all, I was no gipsy in a green wagon
to start with ...
But in the same measure that his health was undermined, his artistry
grew keener, becoming fastidious, exquisite, precious, delicate,
irritable toward the banal, and most sensitive in matters of tact and
taste. When he first came forward, there was much noise of approval and
joy among those concerned, for what he had produced was a thing full of
valuable work, of humor, and of acquaintance with suffering. And his
name, the same name that his teachers had once used to reprove him, the
same name that he had signed to his first rhymes to the walnut-tree,
the fountain, and the sea, this mixture of north and south, this
plebeian name with the exotic flavor, swiftly became the standing
symbol of excellence; for with the painful thoroughness of his
experience became associated a rare, tenacious, and ambitious industry,
whose struggle with the finical sensitiveness of his taste produced,
amid exquisite torments, unusual works.
Public-domain text, read in full here on John Shaqi.
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