From page 34:
My regret was for the present day, for all the countless hours and days that I lost in mere passivity and that brought me nothing, not even the shocks of awakening. But, thank God, there were exceptions…. I set myself to recall the last of these experiences. It was at a concert of lovely old music. After two or three notes of the piano the door was opened of a sudden to the other world. I sped through heaven and saw God at work. I suffered holy pains. I dropped all my defences and was afraid of nothing in the world. I accepted all things and to all things I gave up my heart. It did not last very long, a quarter of an hour perhaps; but it returned to me in a dream at night, and since, through all the barren days, I caught a glimpse of it now and then.
Dead Goethe speaking to Harry Haller, page 111:
“You take the old Goethe much too seriously, my young friend. you should not take old people who are already dead seriously. It does them injustice. We immortals do not like things to be taken seriously. We like joking. Seriousness, young man, is an accident of time. … Eternity is a mere moment, just long enough for a joke.”
page 128, describing Hermine:
…she seemed to know more of life than is known to the wisest of the wise. It might be the highest wisdom or the merest alertness. It is certain in any case that life is quite disarmed by the gift to live so entirely in the present, to treasure with such eager care every flower by the wayside and the light that plays on every passing moment.
p. 149
Oh, the devil, he made one sick, this Herr Haller! And yet I clung to him all the same, or to the mask of him that was already falling away, clung to his coquetting with the spiritual, to his bourgeois horror of the disorderly and accidental (to which death, too, belonged) ….
p. 174 Hermine and Harry, Hermine speaking first:
“Time and the world, money and power belong to the small people and the shallow people. To the rest, to the real men belongs nothing. Nothing but death.”
“Nothing else?”
“Yes, eternity.”
“You mean a name, and fame with posterity?”
“No, Steppenwolf, not fame. Has that any value? And do you think taht all true and real men have been famous and known to posterity?”
“No, of course not.”
“Then it isn’t fame. Fame exists in that sense only for the schoolmasters. No, it isn’t fame. It is what I call eternity. The pious call it the kingdom of God. I say to myself: all we who ask too much and have a dimension too many could not contrive to live at all if there were not another air to breathe outside the air of this world, if there were not eternity at the back of time; and this is the kingdom of truth.”
Mozart to Haller, page 242.
“Just listen, you poor creature, listen without either pathos or mockery, while far away behind the veil of this hopelessly idiotic and ridiculous apparatus the form of this divine music passes by. Pay attention and you will learn something. Observe how this crazy funnel apparently does the most stupid, the most useless and the most damnable thing in the world. It takes hold of some music played where you please, without distinction, stupid and coarse, lamentably distorted, to boot, and chucks it into space to land where it has no business to be; and yet after all this it cannot destroy the original spirit of the music; it can only demonstrate its own senseless mechanism, it inane meddling and marring. Listen, then, you poor thing. Listen well. You have need of it. And now you hear not only a Handel who, disfigured by radio, is, all the same, in this most ghastly of disguises still divine; you hear as well and you observe, most worthy sir, a most admirable symbol of al life. When you listen to radio you are a witness of the eerlasting war between idea and appearance, between time and eternity, between the human and the divine. Exactly, my dear sir, as the radio for ten minutes together projects the most lovely music without regard into the most impossible places, into respectable drawing rooms and attics and into the midst of chattering, guzzling, yawning and sleeping listeners, and exactly as it strips this music of its sensuous beauty, spoils and scratches and beslimes it and yet cannot altogether destroy its spirit, just so does life, the so-called reality, deal with the sublime picture-play of the world and make a hurley-burley of it. It makes its unappetizing tone–slime of the most magic orchestral music. Everywhere it obstrudes its mechanism, its activity, its dreary exigencies and vanity between the ideal and the real, between orchestra and ear. All life is so, my child, and we must let it be so; …”