Narcissus and Goldmund

Narcissus and Goldmund has been read and relived. It is ironic that a book I had been putting off for a while, and felt the need for a deeper source of patience to get back to, has turned out to be so special a read that I cannot think of many (if any) that I could (or would) place above it.

The book develops the characters of Narcissus and Goldmund so lovingly and with such tender detail, I have truly been able to immerse in the realities they bring forth. Indeed, I have recognized shades of myself in each, as every reader no doubt will. Hermann Hesse, in his true Nobel worth, speaks as though to voice one's innermost quests, leading to deep insights towards the same. Only an enlightened soul could possibly display such intent knowledge of the intricacies of duality that define human existence.

As always, excerpts do follow. Although I 'digitized' 3600 words in all, this may be an evil number to hit you with. I will share with you a fifth of the excerpts below and consider the left-over for a later time.

“We are sun and moon, dear friend; we are sea and land. It is not our purpose to become each other; it is to recognize each other, to learn to see the other and honor him for what he is: each the other’s opposite and complement.”

He thought that fear of death was perhaps the root of all art, perhaps also of all things of the mind. We fear death, we shudder at life’s instability, we grieve to see the flowers wilt again and again, and the leaves fall, and in our hearts we know that we, too, are transitory and will soon disappear. When artists create pictures and thinkers search for laws and formulate thoughts, it is in order to salvage something from the great dance of death, to make something that lasts longer than we do. Perhaps the woman after whom the master shaped his beautiful madonna is already wilted or dead, and soon he, too, will be dead; others will live in his house and eat at his table - but his work will still be standing a hundred years from now, and longer. It will go on shimmering in the quiet cloister church, unchangingly beautiful, forever smiling with the same sad, flowering mouth.

“Because when a man tries to realize himself through the gifts with which nature has endowed him, he does the best and only meaningful thing he can do. ... It is a philosophical concept, I can’t express it in any other way. For us disciples of Aristotle and St. Thomas, it is the highest of all concepts: perfect being. God is perfect being. Everything else that exists is only half, only a part, is becoming, is mixed, is made up of potentialities. But God is not mixed. He is one, he has no potentialities but is the total, the complete reality. Whereas we are transitory, we are becoming, we are potentials; there is no perfection for us, no complete being. But wherever we go, from potential to deed, from possibility to realization, we participate in true being, become by a degree more similar to the perfect and divine. That is what it means to realize oneself. You must know this from your own experience, since you’re an artist and have made many statues. If such a figure is really good, if you have released a man’s image from the changeable and brought it to pure form - then you have, as an artist, realized this human image.”

“Our thinking is a constant process of converting things to abstractions, a looking away from the sensory, an attempt to construct a purely spiritual world. Whereas you take the least constant, the most mortal things to your heart, and in their very mortality show the meaning of the world. You don’t look away from the world; you give yourself to it, and by your sacrifice to it raise it to the highest, a parable of eternity. We thinkers try to come close to God by pulling the masks of the world away from His face. You come closer to Him by loving His creation and recreating it. Both are human endeavors, and necessarily imperfect, but art is more innocent.”

“Neither of us can ever understand the other completely in such things. But there is one realization all men of good will share: in the end our works make us feel ashamed, we have to start out again, and each time the sacrifice has to be made anew.”

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 has fashioned this beautiful, touching statue of a girl and captured in her face, her bearing, her hands all the tenderness, admiration, and longing of their love. He read much of his friend’s history too, in the figures of the lectern pulpit in the refectory. It was the story of a wayfarer, of an instinctive being, of a homeless, faithless man, but what had remained of it here was all good and faithful, filled with living love. How mysterious this life was, how deep and muddy its waters ran, yet how clear and noble what emerged from them.

He had not only sacrificed his horse, his satchel, and his gold pieces; other things, too, had gotten lost or deserted him: youth, health, self-confidence, the color in his cheeks and the force in his eyes. Yet he liked his image: this weak old fellow in the mirror was dearer to him than the Goldmund he had been for so long. He was older, weaker, more pitiable, but he was more harmless, he was more content, it was easier to get along with him. He laughed and pulled down one of the eyelids that had become wrinkled. Then he went back to bed and this time fell asleep.