Germans began debating the significance of the Goethe phenomenon while he was still in his twenties, and they have never stopped. His lifetime, spanning some of the most monumental disruptions in modern history, is referred to as a single whole, the Goethezeit, or Age of Goethe. Worshipped as the greatest genius in German history and as an exemplary poet and human being, he has also been criticized for his political conservatism and quietism, which in the twentieth century came to seem sinister legacies. Indeed, Goethe was hostile to both the French Revolution and the German nationalist movement that sprang up in reaction to it. More radical and Romantic spirits especially disdained the way this titan seemed content to be a servant to princes—and Grand Duke Karl August of Weimar, despite his title, was a fairly minor prince—in an age of revolution.
The contemporaneous production of exterior and interior enemies (terrorists and criminals respectively), movement toward and legislation for ostensible (and, importantly, homonormative) queer “equality,” the criminalization of radical activism through increased surveillance, torture, disappearance, and imprisonment, and the exponential growth in the transnationally funded prison system is symptomatic of what, in the article “Intimate Investments,” Ann...
But Marius is little more than a spectator: an ideal spectator indeed, and one to whom it is given 'to contemplate the spectacle of life with appropriate emotions,' which Wordsworth defines as the poet's true aim; yet a spectator merely, and perhaps a little too much occupied with the comeliness of the benches of the sanctuary to notice that it is the sanctuary of sorrow that he is gazing at.I see a far more intimate and immediate connection between the true life of Christ and the true life of the artist; and I take a keen pleasure in the reflection that long before sorrow had made my days her own and bound me to her wheel I had written in THE SOUL OF MAN that he who would lead a Christ-like life must be entirely and absolutely himself, and had taken as my types not merely the shepherd on the hillside and the prisoner in his cell, but also the painter to whom the world is a pageant and the poet for whom the world is a song.
It is so difficult to keep 'heights that the soul is competent to gain.' We think in eternity, but we move slowly through time; and how slowly time goes with us who lie in prison I need not tell again, nor of the weariness and despair that creep back into one's cell, and into the cell of one's heart, with such strange insistence that one has, as it were, to garnish and sweep one's house for their coming, as for an unwelcome guest, or a bitter master, or a slave whose slave it is one's chance or choice to be.And, though at present my friends may find it a hard thing to believe, it is true none the less, that for them living in freedom and idleness and comfort it is more easy to learn the lessons of humility than it is for me, who begin the day by going down on my knees and washing the floor of my cell.
When we begin to live, what is sweet is so sweet to us, and what is bitter so bitter, that we inevitably direct all our desires towards pleasures, and seek not merely for a 'month or twain to feed on honeycomb,' but for all our years to taste no other food, ignorant all the while that we may really be starving the soul.I remember talking once on this subject to one of the most beautiful personalities I have ever known: a woman, whose sympathy and noble kindness to me, both before and since the tragedy of my imprisonment, have been beyond power and description; one who has really assisted me, though she does not know it, to bear the burden of my troubles more than any one else in the whole world has, and all through the mere fact of her existence, through her being what she is - partly an ideal and partly an influence: a suggestion of what one might become as well as a real help towards becoming it; a soul that renders the common air sweet, and makes what is spiritual seem as simple and natural as sunlight or the sea: one for whom beauty and sorrow walk hand in hand, and have the same message.
In his view of life he is one with the artist who knows that by the inevitable law of self-perfection, the poet must sing, and the sculptor think in bronze, and the painter make the world a mirror for his moods, as surely and as certainly as the hawthorn must blossom in spring, and the corn turn to gold at harvest-time, and the moon in her ordered wanderings change from shield to sickle, and from sickle to shield.But while Christ did not say to men, 'Live for others,' he pointed out that there was no difference at all between the lives of others and one's own life.
There is still something to me almost incredible in the idea of a young Galilean peasant imagining that he could bear on his own shoulders the burden of the entire world; all that had already been done and suffered, and all that was yet to be done and suffered: the sins of Nero, of Caesar Borgia, of Alexander VI., and of him who was Emperor of Rome and Priest of the Sun: the sufferings of those whose names are legion and whose dwelling is among the tombs: oppressed nationalities, factory children, thieves, people in prison, outcasts, those who are dumb under oppression and whose silence is heard only of God; and not merely imagining this but actually achieving it, so that at the present moment all who come in contact with his personality, even though they may neither bow to his altar nor kneel before his priest, in some way find that the ugliness of their sin is taken away and the beauty of their sorrow revealed to them.I had said of Christ that he ranks with the poets.
I remember saying once to Andre Gide, as we sat together in some Paris CAFE, that while meta-physics had but little real interest for me, and morality absolutely none, there was nothing that either Plato or Christ had said that could not be transferred immediately into the sphere of Art and there find its complete fulfilment.Nor is it merely that we can discern in Christ that close union of personality with perfection which forms the real distinction between the classical and romantic movement in life, but the very basis of his nature was the same as that of the nature of the artist - an intense and flamelike imagination.
Bruno Bettelheim illustrated the result when he stated 'a prisoner had reached the final stage of adjustment to the camp situation when he had changed his personality so as to accept as his own the values of the Gestapo....Can one imagine a greater triumph for any system than this adoption of its values and behaviour by its powerless victims?' Until choice can be freely exercised and caring behaviour encouraged, there can be no meaningful change and the 'rehabilitation' of 'criminals' will only be a system's triumph over the values and behaviour of the powerless in our society." (Knopp, Boward, Morris, Schnapper, 1976...
When one contemplates all this from the point of view of art alone one cannot but be grateful that the supreme office of the Church should be the playing of the tragedy without the shedding of blood: the mystical presentation, by means of dialogue and costume and gesture even, of the Passion of her Lord; and it is always a source of pleasure and awe to me to remember that the ultimate survival of the Greek chorus, lost elsewhere to art, is to be found in the servitor answering the priest at Mass.Yet the whole life of Christ - so entirely may sorrow and beauty be made one in their meaning and manifestation - is really an idyll, though it ends with the veil of the temple being rent, and the darkness coming over the face of the earth, and the stone rolled to the door of the sepulchre.
David Taylor-Smith, head of the world’s biggest security firm, G4S says he expects private companies will be running large parts of the UK’s police service within five years (Taylor and Travis, 2012)....