Cagliostro Quotes

That old Cagliostro does weird things, He's a most elegant devil , But he won't cry with me over death And he doesn't know what conscience is.

Regarding a woman, for example, those men who are more modest consider the mere use of the body and sexual gratification a sufficient and satisfying sign of “having,” of possession. Another type, with a more suspicious and demanding thirst for possession, sees the “question mark,” the illusory quality of such “having” and wants subtler tests, above all in order to know whether the woman does not only give herself to him but also gives up for his sake what she has or would like to have: only then does she seem to him “possessed.” A third type, however, does not reach the end of his mistrust and desire for having even so: he asks himself whether the woman, when she gives up everything for him, does not possibly do this for a phantom of him. He wants to be known deep down, abysmally deep down, before he is capable of being loved at all; he dares to let himself be fathomed. He feels that his beloved is fully in his possession only when she no longer deceives herself about him, when she loves him just as much for his devilry and hidden insatiability as for his graciousness, patience, and spirituality. One type wants to possess a people—and all the higher arts of a Cagliostro and Catiline suit him to that purpose. Someone else, with a more subtle thirst for possession, says to himself: “One may not deceive where one wants to possess.” The idea that a mask of him might command the heart of the people irritates him and makes him impatient: “So I must let myself be known, and first must know myself.

The direction of this new force, liberated by the love, vanity, and inspiration of a sharp little shop assistant, was through the spirit of the times to a personal power that were content to wish as large as possible, without any limitation or detailed idea. This spirit, since it was the Age of Reason, was love of Mystery. For it cannot be disguised that the prime effect of knowledge of the universe in which we are shipwrecked is a feeling of despair and disgust, often developing into an energetic desire to escape reality altogether. The age of Voltaire is also the age of fairy tales; the vast Cabinet de Fèes, some volumes of which Marie Antoinette took into her cell to console her, it is said, stood alongside the Encyclopèdie ... This impression of disgust, and this impulse to escape were naturally very strong in the eighteenth century, which had come to a singularly lucid view of the truth of the laws that govern our existence, the nature of mankind, its passions and instincts, its societies, customs, and possibilities, its scope and cosmical setting and the probable length and breadth of its destinies. This escape, since from Truth, can only be into Illusion, the sublime comfort and refuge of that pragmatic fiction we have already praised. There is the usual human poverty of all its possible varieties ... there are all the drugs, from subtle, all conquering opium to cheating, cozening cocaine. There is religion, of course, and music, and gambling; these are the major euphorias. But the queerest and oldest is the sidepath of Magic... At its deepest, this Magic is concerned with the creative powers of the will; at lowest it is but a barbarous rationalism, the first of all our attempts to force the heavens to be reasonable.

Restated constructively, the end of the adventure already drags the course of the man; he (Cagliostro) is in love with satiety. But she (Seraphina) is in love with adventure. Her pitch is higher.

The walls were draped with banners covered with cabalistic signs, an abundance of owls of all kinds, scarabs and ibises, and Oriental divinities of uncertain origin. Near the rear wall was a dais, a proscenium of burning torches held up by rough logs, and in the background an altar with a triangular altarpiece and statuettes of Isis and Osiris. The room was ringed by an amphitheater of figures of Anubis, and there was a portrait of Cagliostro (it could hardly have been of anyone else, could it?), a gilded mummy in Cheops format, two five-armed candelabra, a gong suspended from two rampant snakes, on a podium a lectern covered by calico printed with hieroglyphics, and two crowns, two tripods, a little portable sarcophagus, a throne, a fake seventeenth-century fauteuil, four unmatched chairs suitable for a banquet with the sheriff of Nottingham, and candles, tapers, votive lights, all flickering very spiritually.

—Sin embargo, yo he oído decir que no existe ladrón alguno que no deje detrás de él alguna huella.

Number is no strength, courage only is.

El hacha voltea, el aire se estremece, pero el ala se abre y se vuela hasta Dios.

Die Beeinflussung der Massen ist [...] keine Schwarzkunst, gegen die an die weisse Magie der Eliten zu appellieren wäre. Sie ist eine geschichtliche Aufgabe, und vieles [...] spricht dafür, dass der Charlatan ihr zu seiner Zeit und auf seine Weise entsprochen hat. Gewiss nicht immer auf eine säuberliche. Aber die Versuche, profanes Wissen an die Massen heranzubringen, sind noch niemals desinteressiert gewesen. Dennoch stellten sie einen Fortschritt dar. Oft hat ihm der Charlatan selbst noch da gedient, wo er am rücksichtslosesten seinem Vorteil nachging. Ein Cagliostro und Saint-Germain rächten den dritten Stand an der Herrenkaste. Sie waren authentische Zeitgenossen von Beaumarchais.

«Arsenio Lupin, el caballero ladrón, volverá cuando los muebles de esta mansión sean auténticos».

didn’t tell him how I had deduced that magicians in the past like Cagliostro and the Comte de St. Germain had grown rich and famous, but finally their powers had deserted them and they ended badly. I think their downfall came from telling, and from demanding too much.