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   2 Hermann Hesse

NEW FULL DB (2.4M)

   2 Hermann Hesse

1:Often he went to the workshop, to encourage the assistant Erich, who continued working at the altar and eagerly awaited his master's return. Sometimes the Abbot unlocked Goldmund's room, where the Mary figure stood, lifted the cloth from the figure carefully and stayed with her awhile. He knew nothing of the figure's origin; Goldmund had never told him Lydia's story. But he felt everything; he saw that the girl's form had long lived in Goldmund's heart. Perhaps he had seduced her, perhaps betrayed and left heR But, truer than the most faithful husband, he had taken her along in his soul, preserving her image until finally, perhaps after many years in which he had never seen her again, he had fashioned this beautiful, touching statue of a girl and captured in her face, her bear­ ing, her hands all the tenderness, admiration, and longing of their love. ~ Hermann Hesse, Narcissus and Goldmund ,

2:Workshops, churches, and palaces were full of these fatal works of art; he had even helped with a few himself. They were deeply disappointing be­ cause they aroused the desire for the highest and did not fulfill it. They lacked the most essential thing-mystery. That was what dreams and truly great works of art had in common : mystery. Goldmund continued his thought: It is mystery I love and pursue. Several times I have seen it beginning to take shape; as an artist, I would like to capture and express it. Some day, perhaps, I'll be able to. The figure of the universal mother, the great birthgiver, for example. Unlike other fi gures, her mystery does not consist of this or that detail, of a particular voluptuousness or sparseness, coarseness or delicacy, power or gracefulness. It consists of a fusion of the greatest contrasts of the world, those that cannot otherwise be combined, that have made peace only in this figure. They live in it together: birth and death, tenderness and cruelty, life and destruction. If I only imagined this fi gure, and were she merely the play of my thoughts, it would not matter about her, I could dismiss her as a mistake and forget about heR But the universal mother is not an idea of mine; I did not think her up, I saw her! She lives inside me. I've met her again and again. She appeared to me one winter night in a village when I was asked to hold a light over the bed of a peasant woman giving birth: that's when the image came to life within me. I often lose it; for long periods it re­ mains remote; but suddenly it Hashes clear again, as it did today. The image of my own mother, whom I loved most of all, has transformed itself into this new image, and lies encased within the new one like the pit in the cherry. As his present situation became clear to him, Goldmund was afraid to make a decision. It was as difficult as when he had said farewell to Narcissus and to the cloister. Once more he was on an impor­ tant road : the road to his mother. Would this mother-image one day take shape, a work of his hands, and become visible to all? Perhaps that was his goal, the hidden meaning of his life. Perhaps; he didn't know. But one thing he did know : it was good to travel toward his mother, to be drawn and called by her. He felt alive. Perhaps he'd never be able to shape her image, perhaps she'd always remain a dream, an intuition, a golden shimmer, a sacred mystery. At any rate, he had to follow her and submit his fate to her. She was his star. And now the decision was at his fingertips; everything had become clear. Art was a beautiful thing, but it was no goddess, no goal-not for him. He was not to follow art, but only the call of his mother. ~ Hermann Hesse, Narcissus and Goldmund ,

*** NEWFULLDB 2.4M ***

1:O, how incomprehensible everything was, and actually sad, although it was also beautiful. One knew nothing. One lived and ran about the earth and rode through forests, and certain things looked so challenging and promising and nostalgic: a star in the evening, a blue harebell, a reed-green pond, the eye of a person or a cow. And sometimes it seemed that something never seen yet long desired was about to happen, that a veil would drop from it all; but then it passed, nothing happened, the riddle remained unsolved, the secret spell unbroken, and in the end one grew old and looked cunning . . . or wise . . . and still one knew nothing perhaps, was still waiting and listening. HERMANN HESSE Narcissus and Goldmund ~ Peter Matthiessen

2:Often he went to the workshop, to encourage the assistant Erich, who continued working at the altar and eagerly awaited his master's return. Sometimes the Abbot unlocked Goldmund's room, where the Mary figure stood, lifted the cloth from the figure carefully and stayed with her awhile. He knew nothing of the figure's origin; Goldmund had never told him Lydia's story. But he felt everything; he saw that the girl's form had long lived in Goldmund's heart. Perhaps he had seduced her, perhaps betrayed and left heR But, truer than the most faithful husband, he had taken her along in his soul, preserving her image until finally, perhaps after many years in which he had never seen her again, he had fashioned this beautiful, touching statue of a girl and captured in her face, her bear­ ing, her hands all the tenderness, admiration, and longing of their love.    ~ Hermann Hesse, Narcissus and Goldmund,

3:Workshops, churches, and palaces were full of these fatal works of art; he had even helped with a few himself. They were deeply disappointing be­ cause they aroused the desire for the highest and did not fulfill it. They lacked the most essential thing-mystery. That was what dreams and truly great works of art had in common : mystery. Goldmund continued his thought: It is mystery I love and pursue. Several times I have seen it beginning to take shape; as an artist, I would like to capture and express it. Some day, perhaps, I'll be able to. The figure of the universal mother, the great birthgiver, for example. Unlike other fi gures, her mystery does not consist of this or that detail, of a particular voluptuousness or sparseness, coarseness or delicacy, power or gracefulness. It consists of a fusion of the greatest contrasts of the world, those that cannot otherwise be combined, that have made peace only in this figure. They live in it together: birth and death, tenderness and cruelty, life and destruction. If I only imagined this fi gure, and were she merely the play of my thoughts, it would not matter about her, I could dismiss her as a mistake and forget about heR But the universal mother is not an idea of mine; I did not think her up, I saw her! She lives inside me. I've met her again and again. She appeared to me one winter night in a village when I was asked to hold a light over the bed of a peasant woman giving birth: that's when the image came to life within me. I often lose it; for long periods it re­ mains remote; but suddenly it Hashes clear again, as it did today. The image of my own mother, whom I loved most of all, has transformed itself into this new image, and lies encased within the new one like the pit in the cherry.    As his present situation became clear to him, Goldmund was afraid to make a decision. It was as difficult as when he had said farewell to Narcissus and to the cloister. Once more he was on an impor­ tant road : the road to his mother. Would this mother-image one day take shape, a work of his hands, and become visible to all? Perhaps that was his goal, the hidden meaning of his life. Perhaps; he didn't know. But one thing he did know : it was good to travel toward his mother, to be drawn and called by her. He felt alive. Perhaps he'd never be able to shape her image, perhaps she'd always remain a dream, an intuition, a golden shimmer, a sacred mystery. At any rate, he had to follow her and submit his fate to her. She was his star.    And now the decision was at his fingertips; everything had become clear. Art was a beautiful thing, but it was no goddess, no goal-not for him. He was not to follow art, but only the call of his mother.    ~ Hermann Hesse, Narcissus and Goldmund,

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