Authors From Germany

"Christian life is not realized in developing the personality or in shaping human community and somehow changing the world but in turning away from the world and becoming free of it."

"But what is meant by “flesh” (σάρξ)? It is not what is corporal or sensual but rather the whole sphere of what is visible, available, disposable, and measurable, and as such the sphere of what is transient. This sphere becomes a power over us insofar as we make it the foundation of our lives by living “according to it,” that is, by succumbing to the temptation to live out of what is visible and disposable instead of out of what is invisible and nondisposable—regardless of whether we give ourselves to the alluring possibilities of such a life imprudently and with desire or whether we lead our lives reflectively and with calculation on the basis of our own accomplishments, “the works of the law.” “Flesh” embraces not only material things but also all of our creating and accomplishing insofar as it is concerned with achieving something demonstrable such as fulfilling the demands of the law (Gal. 3:3); to “flesh” belongs every achieved quality and every advantage that we can have within the sphere of what can be seen and disposed of (Phil. 3:4ff.)."

"Freedom from the world is, in principle, not asceticism, but rather a distance from the world for which all participation in things worldly takes place in the attitude of “as if not.” (1 Cor. 7:29-31)"

"The mythology of the New Testament, also, is not to be questioned with respect to the content of its objectifying representations but with respect to the understanding of existence that expresses itself in them."

"Myth does not want to be interpreted in cosmological terms but in anthropological terms—or, better, in existentialist terms."

"It is impossible to repristinate a past world picture by sheer resolve, especially a mythical world picture, now that all of our thinking is irrevocably formed by science. A blind acceptance of New Testament mythology would be simply arbitrariness; to make such acceptance a demand of faith would be to reduce faith to a work."

"Can the Christian proclamation today expect men and women to acknowledge the mythical world picture as true? To do so would be both pointless and impossible. It would be pointless because there is nothing specifically Christian about the mythical world picture, which is simply the world picture of a time now past which was not yet formed by scientific thinking. It would be impossible because no one can appropriate a world picture by sheer resolve, since it is already given with one’s historical situation."

"The works of 'abstract' art are subtle creations of order out of simple contrasting elements."

"Und wie sie hineintrat, erkannte sie Schneewittchen, und vor Angst und Schrecken stand sie da und konnte sich nicht regen. Aber es waren schon eiserne Pantoffel über Kohlenfeuer gestellt und wurden mit Zangen hereingetragen und vor sie hingestellt. Da mußte sie in die rotglühenden Schuhe treten und so lange tanzen, bis sie tot zur Erde fiel."

"Die Königin...trat vor ihren Spiegel und sprach: "Spieglein, Spieglein, an der Wand, Wer ist die Schönste im ganzen Land?" Da antwortete der Spiegel: "Frau Königin, Ihr seid die Schönste hier, Aber Schneewittchen über den Bergen Bei den sieben Zwergen Ist noch tausendmal schöner als Ihr.""

"Der erste sprach: "Wer hat auf meinem Stühlchen gesessen?" Der zweite: "Wer hat von meinem Tellerchen gegessen?" Der dritte: "Wer hat von meinem Brötchen genommen?" Der vierte: "Wer hat von meinem Gemüschen gegessen?" Der fünfte: "Wer hat mit meinem Gäbelchen gestochen?" Der sechste: "Wer hat mit meinem Messerchen geschnitten?" Der siebente: "Wer hat aus meinem Becherlein getrunken?" Dann sah sich der erste um und sah, dass auf seinem Bett eine kleine Delle war, da sprach er: "Wer hat in meinem Bettchen gelegen?" Die anderen kamen gelaufen und riefen: "In meinem hat auch jemand gelegen!" Der siebente aber, als er in sein Bett sah, erblickte Schneewittchen, das lag darin und schlief. Nun rief er die anderen, die kamen herbeigelaufen und schrien vor Verwunderung, holten ihre sieben Lichtlein und beleuchteten Schneewittchen."

"Ei, Großmutter, was hast du für große Ohren!" "Daß ich dich besser hören kann." "Ei, Großmutter, was hast du für große Augen!" "Daß ich dich besser sehen kann." "Ei, Großmutter, was hast du für große Hände" "Daß ich dich besser packen kann." "Aber, Großmutter, was hast du für ein entsetzlich großes Maul!" "Daß ich dich besser fressen kann."

"Entertainment written for children was no less grisly. In 1815 Jacob and Wilhelm Grimm published a compendium of old folktales that had gradually been adapted for children. Commonly known as Grimm’s Fairy Tales, the collection ranks with the Bible and Shakespeare as one of the bestselling and most respected works in the Western canon. Though it isn’t obvious from the bowdlerized versions in Walt Disney films, the tales are filled with murder, infanticide, cannibalism, mutilation, and sexual abuse—grim fairy tales indeed. Take just the three famous stepmother stories: During a famine, the father and stepmother of Hansel and Gretel abandon them in a forest so that they will starve to death. The children stumble upon an edible house inhabited by a witch, who imprisons Hansel and fattens him up in preparation for eating him. Fortunately Gretel shoves the witch into a fiery oven, and “the godless witch burned to death in a horrible way.” Cinderella’s stepsisters, when trying to squeeze into her slippers, take their mother’s advice and cut off a toe or heel to make them fit. Doves notice the blood, and after Cinderella marries the prince, they peck out the stepsisters’ eyes, punishing them “for their wickedness and malice with blindness for the rest of their lives.” Snow White arouses the jealousy of her stepmother, the queen, so the queen orders a hunter to take her into the forest, kill her, and bring back her lungs and liver for the queen to eat. When the queen realizes that Snow White has escaped, she makes three more attempts on her life, two by poison, one by asphyxiation. After the prince has revived her, the queen crashes their wedding, but “iron slippers had already been heated up for her over a fire of coals.... She had to put on the red-hot iron shoes and dance in them until she dropped to the ground dead.” As we shall see, purveyors of entertainment for young children today have become so intolerant of violence that even episodes of the early Muppets have been deemed too dangerous for them."

"Zur Zeit, wo das Wünschen noch geholfen hat, ward ein Königssohn von einer alten Hexe verwünscht, dass er im Walde in einem großen Eisenofen sitzen sollte."

"Wenn die Zauberin hinein wollte, so stellte sie sich unten hin und rief: "Rapunzel, Rapunzel, Laß mir dein Haar herunter!" Rapunzel hatte lange, prächtige Haare, fein wie gesponnen Gold. Wenn sie nun die Stimme der Zauberin vernahm, so band sie ihre Zöpfe los, wickelte sie oben um einen Fensterhaken, und dann fielen die Haare zwanzig Ellen tief herunter, und die Zauberin stieg daran hinauf."

"Und als sie ganz nahe herankamen, so sahen sie, daß das Häuslein aus Brot gebaut war und mit Kuchen gedeckt; aber die Fenster waren von hellem Zucker."

""Nun, Frau Königin, wie heiß' ich?" Fragte sie erst: "Heißest du Kunz?" "Nein." "Heißest du Heinz?" "Nein." "Heißt du etwa Rumpelstilzchen?" "Das hat dir der Teufel gesagt, das hat dir der Teufel gesagt," schrie das Männlein."

""Was hast du gelernt? Wieviel Künste verstehst du?" "Ich verstehe nur eine einzige," antwortete bescheidentlich die Katze. "Was ist das für eine Kunst?" fragte der Fuchs. "Wenn die Hunde hinter mir her sind, so kann ich auf einen Baum springen und mich retten." "Ist das alles?" sagte der Fuchs, "Ich bin Herr über Hundert Künste und habe überdies noch einen Sack voll Liste"."

"I am beginning to understand why renunciation has become sovereign in Germany, why an agony paralyses the spirits; why the few heads still living fall prey, partly to a fruitless aestheticism, partly to a fatal belief in evolution. Whether we will or not, we succumb to an overpowering system of profanation that is difficult to escape because there is barely any possibility of spiritual and material existence outside of it."

"All these poets are ascetics, monks and priests. They despise the flesh and all ballast. This world holds no enchantment for them.. .Poetry for them is the ultimate expression of the essence of things and thus is hymn and worship. Their poetry is one of divine names, of mysterious seals, and of spiritual extracts."

"That is the meaning of the coming of Christ.. ..that the word becomes flesh and man is saved from abstraction."

"It is true that for us art is not an end in itself, we have lost too many of our illusions for that. Art is for us an occasion for social criticism, and for real understanding of the age we live in.. .Dada was not a school of artists, but an alarm signal against declining values, routine and speculations, a desperate appeal, on behalf of all forms of art, for a creative basis on which to build a new and universal consciousness of art."

"For Ball, Dada represented the culmination of his revolt against external authority, and at the same time a means of breaking through the surface appearance to the realms of the spirit beyond. But Dada turned against him and threatened to destroy him."

"Our cabaret 'Cabaret Voltaire' is a gesture.. .Every word that is spoken and sung here says at least this one thing: that this humiliating age has not succeeded in winning our respect."

"It is a mistake to believe in my presence.. .If I take a seat at a party, I can see, even from afar, that only a ghost is sitting there."

"We were all there when Janco arrived with his masks, and everyone immediately put one on. Then something strange happened. Not only did the mask immediately call for a costume; it also demanded a quite definite, passionate gesture, bordering on madness. Although we could not have imagined it five minutes earlier we were walking around with most bizarre movements, festooned and draped with impossible objects, each one of us trying to outdo the other in inventiveness.. .What fascinated us all about the masks is that they represent not human characters and passions, but.. ..passions that are larger than life. The horror of our time [World War 1., a. o.], the paralyzing background of events, is made visible."

"I have invented [c. 1915-1916] a new series of verses, verses without words, or sound poems, in which the balancing of the vowels is gauged and distributed according to the value of the initial line.. .With these sound poems we should renounce language, devastated and made impossible by journalism. We should withdraw into the innermost alchemy of the word, and even surrender the word, thus conserving for poetry its most sacred domain. We should refuse to make poems second-hand; we should stop taking over words (not to mention sentences) which we did not invent entirely anew for our own use. We should no longer be content to achieve poetic effects which, in the final analysis, are but echoes of inspiration.."

"In these phonetic poems we the Dadaist artists totally renounce the language that journalism has abused and corrupted. We must return to the innermost alchemy of the word, we must even give up the word too, to keep for poetry its last and holiest refuge."

"I have examined myself carefully. I could never bid chaos welcome, blow up bridges, and do away with ideas. I am not an anarchist."

"We have now driven the plasticity of the word to the point where it can barely be surpassed.. .We have loaded the word with strengths and energies that have allowed us rediscover the evangelical concept of the 'word' (logos) as a magical complex image."

"Dada is a new tendency in art. One can tell this from the fact that until now nobody knew anything about it, and tomorrow everyone in Zurich will be talking about it. Dada comes from the dictionary. It is terribly simple. In French it means 'hobby horse'. In German it means 'good-bye', 'Get off my back', 'Be seeing you sometime'. In Romanian: 'Yes, indeed, you are right, that's it. But of course, yes, definitely, right'. And so forth."

"An International word. Just a word, and the word a movement. Very easy to understand. Quite terribly simple. To make of it an artistic tendency must mean that one is anticipating complications. Dada psychology, dada Germany cum indigestion and fog paroxysm, dada literature, dada bourgeoisie, and yourselves, honoured poets.. .Dada world war without end, dada revolution without beginning, dada, you friends and also—poets, esteemed sirs, manufacturers, and evangelists. Dada Tzara, dada Huelsenbeck, dada m'dada, dada m'dada dada mhm, dada dera dada, dada Hue, dada Tza."

"How does one achieve eternal bliss? By saying dada. How does one become famous? By saying dada. With a noble gesture and delicate propriety. Till one goes crazy. Till one loses consciousness. How can one get rid of everything that smacks of journalism, worms, everything nice and right, blinkered, moralistic, europeanised, enervated? By saying dada.."

"I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it. Dada Johann Fuchsgang Goethe. Dada Stendhal. Dada Dalai Lama, Buddha, Bible, and Nietzsche. Dada m'dada. Dada mhm dada da. It's a question of connections, and of loosening them up a bit to start with. I don't want words that other people have invented.."

"It will serve to show how articulated language comes into being. I let the vowels fool around. I let the vowels quite simply occur, as a cat meows . . . Words emerge, shoulders of words, legs, arms, hands of words. Au, oi, uh. One shouldn't let too many words out. A line of poetry is a chance to get rid of all the filth that clings to this accursed language.. .Dada is the heart of words."

"Each thing has its word, but the word has become a thing by itself. Why shouldn't I find it? Why can't a tree be called Pluplusch, and Pluplubasch when it has been raining? The word, the word, the word outside your domain, your stuffiness, this laughable impotence, your stupendous smugness.. .The word, gentlemen, is a public concern of the first importance."

"gadji beri bimba glandridi laula lonni cadori gadjama gramma berida bimbala glandri galassassa laulitalomini gadji beri bin blassa glassala laula lonni cadorsu sassala bim gadjama tuffm i zimzalla binban gligla wowolimai bin beri ban o katalominai rhinozerossola hopsamen laulitalomini hoooo gadjama rhinozerossola hopsamen bluku terullala blaulala loooo"

"zimzim urullala zimzim urullala zimzim zanzibar zimzalla zam elifantolim brussala bulomen brussala bulomen tromtata velo da bang band affalo purzamai affalo purzamai lengado tor gadjama bimbalo glandridi glassala zingtata pimpalo ögrögöööö viola laxato viola zimbrabim viola uli paluji malooo"

"The war [World War 1.] is founded on a glaring mistake, men have been confused with machines."

"tuffm im zimbrabim negramai bumbalo negramai bumbalo tuffm i zim gadjama bimbala oo beri gadjama gaga di gadjama affalo pinx gaga di bumbalo bumbalo gadjamen gaga di bling blong gaga blung"