Page:German Classics of The 19h and 20th C. Vol.19.djvu/287

 reputation who should write stories,—there is no such thing &hellip; Yes, now you are laughing, and still I am only half joking. No problem, none in the world, is more tormenting than that of artistry and its effect on humanity. Take that most extraordinary creation of the most typical and hence mightiest artist, take so morbid and deeply ambiguous a work as Tristan and Isolde, and observe the effect this work has upon a young, healthy man with strongly normal feeling. You see elevation, invigoration, warm and honest enthusiasm, perhaps stimulation to some 'artistic' creation of his own &hellip; The good dilettante! Our hearts look very different from what he dreams, with his 'warm heart' and 'honest enthusiasm.' I have seen artists surrounded by adoring women and shouting youths, whereas I knew about them &hellip; One constantly has the most peculiar experiences with regard to the origin, the co-phenomena, and the conditions of artistry &hellip;"

"In others, Tonio Kröger—excuse me—or not only in others?"

He was silent. He drew his slanting eyebrows together and whistled to himself.

"Let me have your cup, Tonio. It is not strong. And take a fresh cigarette. And anyway, you know quite well that you look at things as they don't necessarily have to be looked at."

"That is Horatio's answer, dear Lisaveta. '’Twere to consider too curiously, to consider so,' am I not right?"

"I say that one can consider them just as curiously from another side, Tonio Kroger. I am simply a stupid, painting female, and if I can make any answer to you at all, if I can take the part of your own calling to protect it a little against you, it is surely nothing new that I am advancing, but only a reminder of what you yourself know quite well &hellip; What then: the purifying, sanctifying power of literature; the destruction of passion by the agency of knowledge and speech; literature as the road to understanding, to forgiveness, and to love; the redeeming power of