Hoffmann Quotes

Why should not a writer be permitted to make use of the levers of fear, terror and horror because some feeble soul here and there finds it more than it can bear? Shall there be no strong meat at table because there happen to be some guests there whose stomachs are weak, or who have spoiled their own digestions?

Let me ask you outright, gentle reader, if there have not been hours, indeed whole days and weeks of your life, during which all your usual activities were painfully repugnant, and everything you believed in and valued seemed foolish and worthless?

Bulgakov always loved clowning and agreed with E. T. A. Hoffmann that irony and buffoonery are expressions of ‘the deepest contemplation of life in all its conditionality

Perhaps, too, you will then believe that nothing is more wonderful, nothing more fantastic than real life, and that all that a writer can do is to present it as "in a glass, darkly".

I may be permitted, kind reader, to doubt whether you have ever been enclosed in a glass bottle, unless some vivid dream has teased you with such magical mishaps.

It is only in the morning that one should marry, read unfavourable reviews, make one's will, beat one's servants, and so forth.

Oh, where have you gone, you blissful dreams of future happiness

So stark ist der Zauber der Musik und, immer mächtiger werdend, musste er jede Fessel einer andern Kunst zerreißen." (Beethovens Instrumentalmusik)

Being alone feels more honest.

Scientific research is based on the idea that everything that takes place is determined by laws of nature, and therefore this holds for the action of people. For this reason, a research scientist will hardly be inclined to believe that events could be influenced by a prayer, i.e. by a wish addressed to a Supernatural Being. - Albert Einstein, 1936, responding to a child who wrote and asked if scientists pray; quoted in: Albert Einstein: The Human Side, edited by Helen Dukas & Banesh Hoffmann

None but a poet can understand a poet; none but a romantic spirit transported with poetry and consecrated in the Holy of Holies an comprehend what the ordained utters out of his inspiration.

Wer kann es sagen, wer nur ahnen, wie weit das Geistesvermögen der Tiere geht!

There are... otherwise quite decent people who are so dull of nature that they believe that they must attribute the swift flight of fancy to some illness of the psyche, and thus it happens that this or that writer is said to create not other than while imbibing intoxicating drink or that his fantasies are the result of overexcited nerves and resulting fever. But who can fail to know that, while a state of psychical excitement caused by the one or other stimulant may indeed generate some lucky and brilliant ideas, it can never produce a well-founded, substantial work of art that requires the utmost presence of mind.

No one of real intelligence will accept anything just because some authority declares it be so. Don't accept the truth of anything you have not confirmed for yourself.

It is the phantom of our own self whose deep affinity and profound influence on our state of mind either damns us to hell or uplifts us into heaven.

The whole day, the whole night –nothing but the thought of her.

But if, like a bold painter, you had first sketched in a few audacious strokes the outline of the picture you had in your own soul, you would then easily have been able to deepen and intensify the colors one after the other, until the varied throng of living figures carried your friends away and they, like you, saw themselves in the midst of the scene that had proceeded out of your own soul.

The attraction of New Year is this: the year changes and in that change we believe that we can change with it. It is far more difficult however to change yourself than turn the calendar to a new page. We are creatures of faith, like it or not.

Christmas is frighteningly magical and mysterious. No wonder people feel lonely in the midst of their families, and unloved in the act of receiving gifts. Christmas is that place where the expectation of happiness confronts the reality of human sadness, where joy to the world means the judgment of mankind.

The nineteenth century was the Age of Romanticism; for the first time in history, man stopped thinking of himself as an animal or a slave, and saw himself as a potential god. All of the cries of revolt against 'God' - De Sade, Byron's "Manfred", Schiller's "Robbers", Goethe's "Faust", Hoffmann's mad geniuses - are expressions of this new spirit. Is this why the 'spirits' decided to make a planned and consistent effort at 'communication'? It was the right moment. Man was beginning to understand himself.

In their 2001 study 'The Girl Who Cried Pain: A Bias Against Women in the Treatment of Pain,' Diane E Hoffmann and Anita J. Tarzian pointed out that women are 'more likely to have their pain reports discounted as 'emotional' or 'psychogenic' and, therefore, 'not real.' This invalidation parallels the invalidation of women's anger, which is similarly often reduced to proof of women's mental weakness. One study of postoperative pain relief for patients who had undergone coronary artery bypass surgery revealed that men in pain were given pain relief medication, but women were given sedatives. Sedatives aren't pain relievers, or analgesics. They're calming and dulling agents that 'take the edge off.' But for whom, exactly?

So Marie couldn't talk to anyone about her adventures, but the idea of that wonderful fairyland lingered on. She thought she heard murmurs of sweet sound, she saw it all again the moment she let her mind dwell on it, and so it was that instead of playing as usual she could sit still, never moving but deep in her own thoughts, with the result that she was scolded for being a little dreamer.

In all probability, the man who found the horoscope would also catch Nut and Nutcracker. They had to believe all the more strongly in the astrologer’s new forecast since none of his predictions had ever come true. Sooner or later, his prognoses had to be right, given that the king, who could never be wrong, had made him his Grand Augur.

If there is a dark and hostile power, laying its treacherous toils within us, by which it holds us fast and draws us along the path of peril and destruction, which we should not otherwise have trod; if, I say there is such a power, it must form itself inside us and out of ourselves, indeed; it must become identical with ourselves. For it is only in this condition that we can believe in it, and grant it the room which it requires to accomplish its secret work. Now, if we have a mind which is sufficiently firm, sufficiently strengthened by the joy of life, always to recognize this strange enemy as such, and calmly to follow the path of our own inclination and calling, then the dark power will fail in its attempt to gain a form that shall be a reflection of ourselves.

With the confidence and peace of mind native to true genius, I lay my life story before the world, so that the reader may learn how to educate himself to be a great tomcat, may recognize the full extent of my excellence, may love, value, honour and admire me- and worship me a little. Should anyone be audacious enough to think of casting doubt on the sterling worth of this remarkable book, let him reflect that he is dealing with a tomcat possessed of intellect, understanding, and sharp claws.

In such a dreamy mood one may find one may well wound one's feet against sharp stones, forget to doff one's hat to distinguished persons, bid one's friends good morning in the middle of the night, and dash one's head against the first front door one comes to, because one had forgot to open it; in short, the spirit wears one's body like an ill-fitting garment that is everywhere too wide, too long, too uncomfortable.

Father Brendan Flynn: "A woman was gossiping with her friend about a man whom they hardly knew - I know none of you have ever done this. That night, she had a dream: a great hand appeared over her and pointed down on her. She was immediately seized with an overwhelming sense of guilt. The next day she went to confession. She got the old parish priest, Father O' Rourke, and she told him the whole thing. 'Is gossiping a sin?' she asked the old man. 'Was that God All Mighty's hand pointing down at me? Should I ask for your absolution? Father, have I done something wrong?' 'Yes,' Father O' Rourke answered her. 'Yes, you ignorant, badly-brought-up female. You have blamed false witness on your neighbor. You played fast and loose with his reputation, and you should be heartily ashamed.' So, the woman said she was sorry, and asked for forgiveness. 'Not so fast,' says O' Rourke. 'I want you to go home, take a pillow upon your roof, cut it open with a knife, and return here to me.' So, the woman went home: took a pillow off her bed, a knife from the drawer, went up the fire escape to her roof, and stabbed the pillow. Then she went back to the old parish priest as instructed. 'Did you gut the pillow with a knife?' he says. 'Yes, Father.' 'And what were the results?' 'Feathers,' she said. 'Feathers?' he repeated. 'Feathers; everywhere, Father.' 'Now I want you to go back and gather up every last feather that flew out onto the wind,' 'Well,' she said, 'it can't be done. I don't know where they went. The wind took them all over.' 'And that,' said Father O' Rourke, 'is gossip!

There were charming ones as well as terrible ones, that I must admit. The painter was particularly entranced by Japanese masks: warriors', actors' and courtesans' masks. Some of them were frightfully contorted, the bronze cheeks creased by a thousand wrinkles, with vermilion weeping from the corners of the eyes and long trails of green at the corners of the mouths like splenetic beards. 'These are the masks of demons,' said the Englishman, caressing the long black swept-back tresses of one of them. 'The Samurai wore them in battle, to terrify the enemy. The one which is covered in green scales, with two opal pendants between the nostrils, is the mask of a sea-demon. This one, with the tufts of white fur for eyebrows and the two horsehair brushes beside the lips, is the mask of an old man. These others, of white porcelain - a material as smooth and fine as the cheeks of a Japanese maiden, and so gentle to the touch - are the masks of courtesans. See how alike they all are, with their delicate nostrils, their round faces and their heavy slanted eyelids; they are all effigies of the same goddess. The black of their wigs is rather beautiful, isn't it? Those which bubble over with laughter even in their immobility are the masks of comic actors.' That devil of a man pronounced the names of demons, gods and goddesses; his erudition cast a spell. Then: 'Bah! I have been down there too long!' Now he took up the light edifices of gauze and painted silk which were Venetian masks. 'Here is a Cockadrill, a Captain Fracasse, a Pantaloon and a Braggadocio. Only the noses are different - and the cut of their moustaches, if you look at them closely. Doesn't the white silk mask with enormous spectacles evoke a rather comical dread? It is Doctor Curucucu, an actual marionette featured in the Tales of Hoffmann. And what about that one, with all the black horsehair and the long spatulate nose like a stork's beak tipped with a spoon? Can you imagine anything more appalling? It's a duenna's mask; amorous young women were well-guarded when they had to go about flanked by old dragons dressed up in something like that. The whole carnival of Venice is put on parade before us beneath the cape and the domino, lying in ambush behind these masks... Would you like a gondola? Where shall we go, San Marco or the Lido?

Berlin. November 18, 1917. Sunday. I think Grosz has something demonic in him. This new Berlin art in general, Grosz, Becher, Benn, Wieland Herzfelde, is most curious. Big city art, with a tense density of impressions that appears simultaneous, brutally realistic, and at the same time fairy-tale-like, just like the big city itself, illuminating things harshly and distortedly as with searchlights and then disappearing in the glow. A highly nervous, cerebral, illusionist art, and in this respect reminiscent of the music hall and also of film, or at least of a possible, still unrealized film. An art of flashing lights with a perfume of sin and perversity like every nocturnal street in the big city. The precursors are E.T.A. Hoffmann, Breughel, Mallarmé, Seurat, Lautrec, the futurists: but in the density and organization of the overwhelming abundance of sensation, the brutal reality, the Berliners seem new to me. Perhaps one could also include Stravinsky here (Petrushka). Piled-up ornamentation each of which expresses a trivial reality but which, in their sum and through their relations to each other, has a thoroughly un-trivial impact. All round the world war rages and in the center is this nervous city in which so much presses and shoves, so many people and streets and lights and colors and interests: politics and music hall, business and yet also art, field gray, privy counselors, chansonettes, and right and left, and up and down, somewhere, very far away, the trenches, regiments storming over to attack, the dying, submarines, zeppelins, airplane squadrons, columns marching on muddy streets, Hindenburg and Ludendorff, victories; Riga, Constantinople, the Isonzo, Flanders, the Russian Revolution, America, the Anzacs and the poilus, the pacifists and the wild newspaper people. And all ending up in the half-darkened Friedrichstrasse, filled with people at night, unconquerable, never to be reached by Cossacks, Gurkhas, Chasseurs d'Afrique, Bersaglieris, and cowboys, still not yet dishonored, despite the prostitutes who pass by. If a revolution were to break out here, a powerful upheaval in this chaos, barricades on the Friedrichstrasse, or the collapse of the distant parapets, what a spark, how the mighty, inextricably complicated organism would crack, how like the Last Judgment! And yet we have experienced, have caused precisely this to happen in Liège, Brussels, Warsaw, Bucharest, even almost in Paris. That's the world war, all right.

Tony Williams: You’ve often mentioned that Tales of Hoffmann (1951) has been a major influence on you. George Romero: It was the first film I got completely involved with. An aunt and uncle took me to see it in downtown Manhattan when it first played. And that was an event for me since I was about eleven at the time. The imagery just blew me away completely. I wanted to go and see a Tarzan movie but my aunt and uncle said, “No! Come and see a bit of culture here.” So I thought I was missing out. But I really fell in love with the film. There used to be a television show in New York called Million Dollar Movie. They would show the same film twice a day on weekdays, three times on Saturday, and three-to-four times on Sunday. Tales of Hoffmann appeared on it one week. I missed the first couple of days because I wasn’t aware that it was on. But the moment I found it was on, I watched virtually every telecast. This was before the days of video so, naturally, I couldn’t tape it. Those were the days you had to rent 16mm prints of any film. Most cities of any size had rental services and you could rent a surprising number of films. So once I started to look at Tales of Hoffmann I realized how much stuff Michael Powell did in the camera. Powell was so innovative in his technique. But it was also transparent so I could see how he achieved certain effects such as his use of an overprint in the scene of the ballet dancer on the lily ponds. I was beginning to understand how adept a director can be. But, aside from that, the imagery was superb. Robert Helpmann is the greatest Dracula that ever was. Those eyes were compelling. I was impressed by the way Powell shot Helpmann sweeping around in his cape and craning down over the balcony in the tavern. I felt the film was so unique compared to most of the things we were seeing in American cinema such as the westerns and other dreadful stuff I used to watch. Tales of Hoffmann just took me into another world in terms of its innovative cinematic technique. So it really got me going. Tony Williams: A really beautiful print exists on laserdisc with commentary by Martin Scorsese and others. George Romero: I was invited to collaborate on the commentary by Marty. Pat Buba (Tony’s brother) knew Thelma Schoonmaker and I got to meet Powell in later years. We had a wonderful dinner with him one evening. What an amazing guy! Eventually I got to see more of his movies that I’d never seen before such as I Know Where I’m Going and A Canterbury Tale. Anyway, I couldn’t do the commentary on Tales of Hoffmann with Marty. But, back in the old days in New York, Marty and I were the only two people who would rent a 16mm copy of the film. Every time I found it was out I knew that he had it and each time he wanted it he knew who had it! So that made us buddies.