Suicides

"After lengthy struggles I now find myself here [Dr Kohnstamm's sanatorium in Königstein, in Taunus] for a time to put my mind into some kind of order. It is a terribly difficult thing, of course, to be among strangers so much of the day. But perhaps I'll be able to see and create something new. For the time being, I would like more peace and absolute seclusion. Of course, I long more and more for my work and my studio. Theories may be all very well for keeping a spiritual balance, but they are grey and shadowy compared with work and life."

"to study the nude, the foundation of all pictorial art, in total freedom and naturalness. From.. ..this basis there emerged the feeling, shared by all, of taking creative stimulus from life itself and submitting to the decisive experience."

"Life is unfixed when one lives in Berlin, where one has to fight for a living. It is painfully base here. I see that a fine, free culture cannot be created under these circumstances and wish to leave as soon as I have overcome this big slump."

"The struggle for existence is very difficult here [Berlin! - in 1911 Kirchner and his Brücke-friends moved from Dresden to Berlin], but the possibilities are also greater. I hope that we can create a fruitful new school and convince many new friends of the value of our efforts."

"[carving a sculpture in wood] is such a sensual pleasure when blow by blow the figure grows more and more from the trunk."

"Completely strange faces pop up as interesting points through the crowd. I am carried along with the current, lacking will. To move becomes an unacceptable effort [describing the crowds in Dresden]."

"..momentarily, we (Erich Heckel, Max Pechstein, and I) are once again at Moritzburg. There is nothing more delightful than nudes in open air."

"..art is made by man. His own figure is the center of all art.. .Therefore one must begin with the man himself."

"Believing in development, in a new generation of those who create and those who enjoy, we call together the youth of today. And as a youth which bears the future, we aim to create space to live and work, as opposition to the well-established, older powers. Everyone who reproduces, directly and without illusion, whatever he senses the urge to create, belongs to us."

"Marcella has now become quite at home and is developing fine features. We have become quite familiar with one another.. .There exists quite a charm in such a pure female, indications that could make one crazy. More fantastic than those of the older girls. More free, without having lost the developed female. Maybe some things are more developed in her than in the more mature ones and will diminish again."

"More than any of the other artists, Kirchner translated the staccato rhythm of the music into visual means; the legs of dancers become solid entities and almost dashes in his 1910 Hamburger Tänzerinnen (Hamburg Dancers) (Fig. 34). All weight of this image is on the legs, as they are the largest parts of the scene and are rendered fully in black. Moreover, the repeating subject of the three dancers each doing identical leg lifts creates a vibrating back-and-forth. In this quick sketch, Kirchner manages to relay the unified spirit of this performance."

"Kirchner superimposes [in his series Street Scene painting from Berlin], () a jaded artificiality over its excitement and glamour, situating the garish yet exotic streetwalker in an atmosphere suggesting loneliness and alienation, as well as agitation and danger. Paint is applied in spontaneous, splintered brushstrokes that create jagged forms and express an immediacy and energy that approximate the stimulating yet hectic urban environment."

"In spring 1915, the recruit, Ernst Ludwig Kirchner, was furloughed from his field artillery unit because he did not prove adequate to the demand of service. The diagnosis said: "because of affected lungs and feebleness." But the true cause was a profound physical and spiritual crisis, which brought him to a sanatorium in Königstein, Taunus. Artistic efforts at overcoming the trauma are revealed in works such as the 1915 'Self-Portrait as a Soldier'. The artist presents himself in the masquerade of a uniform: his face is a mask of isolation: a bleeding arm stump looms out of the right sleeve; the painter's active hand seems chopped off."

"Among flower vases, the ware that is given the highest rank is old Iga, from the sixteenth and seventeenth centuries, and it commands the highest price. When old Iga has been dampened, its colors and its glow take on a beauty such as to awaken on afresh. Iga was fired at very high temperatures. The straw ash and the smoke from the fuel fell and flowed against the surface, and as the temperature dropped, became a sort of glaze. Because the colors were not fabricated but were rather the result of nature at work in the kiln, color patterns emerged in such varieties as to be called quirks and freaks of the kiln. The rough, austere, strong surfaces of old Iga take on a voluptuous glow when dampened. It breathes to the rhythm of the dew of the flowers."

"Myōe exchanged poems with Saigyo and the two discussed poetry together. The following is from the biography of Myoe by his disciple Kikai: "Saigyo frequently came and talked of poetry. His own attitude towards poetry, he said, was far from the ordinary. Cherry blossoms, the cuckoo, the moon, snow: confronted with all the manifold forms of nature, his eyes and his ears were filled with emptiness. And were not all the words that came forth true words? When he sang of the blossoms the blossoms were not on his mind, when he sang of the moon he did not think of the moon. As the occasion presented itself, as the urge arose, he wrote poetry. The red rainbow across the sky was as the sky taking on color. The white sunlight was as the sky growing bright. Yet the empty sky, by its nature, was not something to become bright. It was not something to take on color. With a spirit like the empty sky he gives color to all the manifold scenes but not a trace remained. In such poetry was the Buddha, the manifestation of the ultimate truth." Here we have the emptiness, the nothingness, of the Orient. My own works have been described as works of emptiness, but it is not to be taken for the nihilism of the West. The spiritual foundation would seem to be quite different. Dogen entitled his poem about the seasons, "Innate Reality", and even as he sang of the beauty of the seasons he was deeply immersed in Zen."

"The Tale of Genji in particular is the highest pinnacle of Japanese literature. Even down to our day there has not been a piece of fiction to compare with it. That such a modern work should have been written in the eleventh century is a miracle, and as a miracle the work is widely known abroad."

"Wistaria sprays, as they trail in the breeze, suggest softness, gentleness, reticence. Disappearing and then appearing again in the early summer greenery, they have in them that feeling for the poignant beauty of things long characterized by the Japanese as mono no aware."

"Ikenobo Sen'o remarked on another occasion (this too is in his Sayings) that "the mountains and strands should appear in their own forms". Bringing a new spirit into his school of flower arranging, therefore, he found "flowers" in broken vessels and withered branches, and in them too the enlightenment that comes from flowers. "The ancients arranged flowers and pursued enlightenment." Here we see awakening to the heart of the Japanese spirit, under the influence of Zen. And in it too, perhaps, is the heart of a man living in the devastation of long civil wars."

"The single flower contains more brightness than a hundred flowers. The great sixteenth-century master of the tea ceremony and flower arranging, Rikyu, taught that it was wrong to use fully opened flowers. Even in the tea ceremony today the general practice is to have in the alcove of the tea room but a single flower, and that a flower in bud. In winter a special flower of winter, let us say a camellia, bearing some such name as White Jewel or Wabisuke, which might be translated literally as "Helpmate in Solitude", is chosen, a camellia remarkable among camellias for its whiteness and the smallness of its blossoms; and but a single bud is set out in the alcove. White is the cleanest of colors, it contains in itself all the other colors. And there must always be dew on the bud. The bud is moistened with a few drops of water."

"Ikenobo Sen'o, a master of flower arranging, once said (the remark is to be found in his Sayings): "With a spray of flowers, a bit of water, one evokes the vastness of rivers and mountains." The Japanese garden too, of course symbolizes the vastness of nature. The Western garden tends to be symmetrical, the Japanese garden asymmetrical, and this is because the asymmetrical has the greater power to symbolize multiplicity and vastness. The asymmetry, of course, rests upon a balance imposed by delicate sensibilities. Nothing is more complicated, varied, attentive to detail, than the Japanese art of landscape gardening. Thus there is the form called the dry landscape, composed entirely of rocks, in which the arrangement of stones gives expression to mountains and rivers that are not present, and even suggests the waves of the great ocean breaking in upon cliffs."

"The Zen disciple sits for long hours silent and motionless, with his eyes closed. Presently he enters a state of impassivity, free from all ideas and all thoughts. He departs from the self and enters the realm of nothingness. This is not the nothingness or the emptiness of the West. It is rather the reverse, a universe of the spirit in which everything communicates freely with everything, transcending bounds, limitless. There are of course masters of Zen, and the disciple is brought toward enlightenment by exchanging questions and answers with his master, and he studies the scriptures. The disciple must, however, always be lord of his own thoughts, and must attain enlightenment through his own efforts. And the emphasis is less upon reason and argument than upon intuition, immediate feeling. Enlightenment comes not from teaching but through the eye awakened inwardly. Truth is in "the discarding of words", it lies "outside words". And so we have the extreme of "silence like thunder", in the Vimalakirti Nirdesa Sutra."

""If you meet a Buddha, kill him. If you meet a patriarch of the law, kill him." This is a well-known Zen motto. If Buddhism is divided generally into the sects that believe in salvation by faith and those that believe in salvation by one's own efforts, then of course there must be such violent utterances in Zen, which insists upon salvation by one's own efforts. On the other side, the side of salvation by faith, Shinran, the founder of the Shin sect, once said: "The good shall be reborn in paradise, and how much more shall it be so with the bad." This view of things has something in common with Ikkyu's world of the Buddha and world of the devil, and yet at heart the two have their different inclinations. Shinran also said: "I shall not take a single disciple." "If you meet a Buddha, kill him. If you meet a patriarch of the law, kill him." "I shall not take a single disciple." In these two statements, perhaps, is the rigorous fate of art."

"I myself have two specimens of Ikkyu's calligraphy. One of them is a single line: "It is easy to enter the world of the Buddha, it is hard to enter the world of the devil." Much drawn to these words, I frequently make use of them when asked for a specimen of my own calligraphy. They can be read in any number of ways, as difficult as one chooses, but in that world of the devil added to the world of the Buddha, Ikkyu of Zen comes home to me with great immediacy. The fact that for an artist, seeking truth, good, and beauty, the fear and petition even as a prayer in those words about the world of the devil — the fact that it should be there apparent on the surface, hidden behind, perhaps speaks with the inevitability of fate. There can be no world of the Buddha without the world of the devil. And the world of the devil is the world difficult of entry. It is not for the weak of heart."

""Among those who give thoughts to things, is there one who does not think of suicide?" With me was the knowledge that that fellow Ikkyu twice contemplated suicide. I have "that fellow", because the priest Ikkyu is known even to children as a most amusing person, and because anecdotes about his limitlessly eccentric behavior have come down to us in ample numbers. It is said of him that children climbed his knee to stroke his beard, that wild birds took feed from his hand. It would seem from all this that he was the ultimate in mindlessness, that he was an approachable and gentle sort of priest. As a matter of fact he was the most severe and profound of Zen priests. Said to have been the son of an emperor, he entered a temple at the age of six, and early showed his genius as a poetic prodigy. At the same time he was troubled with the deepest of doubts about religion and life. "If there is a god, let him help me. If there is none, let me throw myself to the bottom of the lake and become food for fishes." Leaving behind these words he sought to throw himself into a lake, but was held back. … He gave his collected poetry the title "Collection of the Roiling Clouds", and himself used the expression "Roiling Clouds" as a pen name. In his collection and its successor are poems quite without parallel in the Chinese and especially the Zen poetry of the Japanese middle ages, erotic poems and poems about the secrets of the bedchamber that leave one in utter astonishment. He sought, by eating fish and drinking spirits and having commerce with women, to go beyond the rules and proscriptions of the Zen of his day, and to seek liberation from them, and thus, turning against established religious forms, he sought in the pursuit of Zen the revival and affirmation of the essence of life, of human existence, in a day civil war and moral collapse."

"I have an essay with the title "Eyes in their Last Extremity". The title comes from the suicide note of the short-story writer Akutagawa Ryunosuke... It is the phrase that pulls at me with the greatest strength. Akutagawa said that he seemed to be gradually losing the animal something known as the strength to live, and continued: "I am living in a world of morbid nerves, clear and cold as ice... I do not know when I will summon up the resolve to kill myself. But nature is for me more beautiful than it has ever been before. I have no doubt that you will laugh at the contradiction, for here I love nature even when I am contemplating suicide. But nature is beautiful because it comes to my eyes in their last extremity." Akutagawa committed suicide in 1927, at the age of thirty-five. In my essay, "Eyes in their Last Extremity", I had to say: "How ever alienated one may be from the world, suicide is not a form of enlightenment. However admirable he may be, the man who commits suicide is far from the realm of the saint." I neither admire nor am in sympathy with suicide."

"Ryokan, who shook off the modern vulgarity of his day, who was immersed in the elegance of earlier centuries, and whose poetry and calligraphy are much admired in Japan today — he lived in the spirit of these poems, a wanderer down country paths, a grass hut for shelter, rags for clothes, farmers to talk to. The profundity of religion and literature was not, for him, in the abstruse. He rather pursued literature and belief in the benign spirit summarized in the Buddhist phrase "a smiling face and gentle words". In his last poem he offered nothing as a legacy. He but hoped that after his death nature would remain beautiful. That could be his bequest."

"That spirit, that feeling for one's comrades in the snow, the moonlight, under the blossoms, is also basic to the tea ceremony. A tea ceremony is a coming together in feeling, a meeting of good comrades in a good season. I may say in passing, that to see my novel Thousand Cranes as an evocation of the formal and spiritual beauty of the tea ceremony is a misreading. It is a negative work, and expression of doubt about and warning against the vulgarity into which the tea ceremony has fallen."

"Dr. Yashiro Yukio, internationally known as a scholar of Botticelli, a man of great learning in the art of the past and the present, of the East and the West, has summed up one of the special characteristics of Japanese art in a single poetic sentence: "The time of the snows, of the moon, of the blossoms — then more than ever we think of our comrades." When we see the beauty of the snow, when we see the beauty of the full moon, when we see the beauty of the cherries in bloom, when in short we brush against and are awakened by the beauty of the four seasons, it is then that we think most of those close to us, and want them to share the pleasure. The excitement of beauty calls forth strong fellow feelings, yearnings for companionship, and the word "comrade" can be taken to mean "human being". The snow, the moon, the blossoms, words expressive of the seasons as they move one into another, include in the Japanese tradition the beauty of mountains and rivers and grasses and trees, of all the myriad manifestations of nature, of human feelings as well."

"The winter moon becomes a companion, the heart of the priest, sunk in meditation upon religion and philosophy, there in the mountain hall, is engaged in a delicate interplay and exchange with the moon; and it is this of which the poet sings."

"Seeing the moon, he becomes the moon, the moon seen by him becomes him. He sinks into nature, becomes one with nature. The light of the "clear heart" of the priest, seated in the meditation hall in the darkness before the dawn, becomes for the dawn moon its own light."

"That play of black upon white, white upon black, has the intent and takes the form of creative art. It has in it a flow of the spirit and a harmony of music. Everything is lost when suddenly a false note is struck, or one party in a duet suddenly launches forth on an eccentric flight of his own. A masterpiece of a game can be ruined by insensitivity to the feelings of an adversary."

"Maybe vagueness has been good for me. The word means two different things in Tokyo and Osaka, you know. In Tokyo it means stupidity, but in Osaka they talk about vagueness in a painting and in a game of Go."

"From the way of Go, the beauty of Japan and the Orient had fled. Everything had become science and regulation. The road to advancement in rank, which controlled the life of a player, had become a meticulous point system. One conducted the battle only to win, and there was no margin for remembering the dignity and the fragrance of Go as an art."

"In the depths of the mirror the evening landscape moved by, the mirror and the reflected figures like motion pictures superimposed one on the other. The figures and the background were unrelated, and yet the figures, transparent and intangible, and the background, dim in the gathering darkness, melted into a sort of symbolic world not of this world. Particularly when a light out in the mountains shone in the center of the girl's face, Shimamura felt his chest rise at the inexpressible beauty of it."

"国境の長いトンネルを抜けると雪国であった。夜の底が白くなった。"

"Because you cannot see him, God is everywhere."

"The "secret" of their being up in the tree had continued for almost two years now. Where the thick trunk branched out near the top, the two could sit comfortably. Michiko, straddling one branch, leaned back against another. There were days when little birds came and days when the wind sang through the pine needles. Although they weren't that high off the ground, these two little lovers felt as if they were in a completely different world, far away from the earth."

"In keeping with the WXLT practice of presenting the most immediate and complete reports of local blood and guts news, TV 40 presents what is believed to be a television first. In living color, an exclusive coverage of an attempted suicide."

"She had written something like 'TV 40 news personality Christine Chubbuck shot herself in a live broadcast this morning on a Channel 40 talk program. She was rushed to Sarasota Memorial Hospital, where she remains in critical condition."

"Among the Carthaginians he [Hannibal] was notorious for his love of money and among the Romans for his cruelty."

"With the examples of the Greek defeats of the Persians or the Battle of Cannae in the Punic Wars in mind, much but not all of Western strategy over the centuries has revolved around the search for the decisive military victory which will oblige the enemy to surrender. Cannae when Hannibal defeated the Romans is a favourite example – but it is easy to misread its significance. Yes, Hannibal won the battle in a dazzling encircling manoeuvre, but Carthage lost the war because in the end Rome outlasted it. And the price Carthage paid was heavy indeed: the Romans levelled its cities and sowed its fields with salt."

"Of a truth the gods do not give the same man everything: you know how to gain a victory, Hannibal, but you do not know how to make use of it."

"As to the transcendent military genius of Hannibal there cannot be two opinions. The man who for fifteen years could hold his ground in a hostile country against several powerful armies and a succession of able generals must have been a commander and a tactician of supreme capacity. In the use of strategies and ambuscades he certainly surpassed all other generals of antiquity. Wonderful as his achievements were, we must marvel the more when we take into account the grudging support he received from Carthage. As his veterans melted away, he had to organize fresh levies on the spot. We never hear of a mutiny in his army, composed though it was of North Africans, Iberians and Gauls. Again, all we know of him comes for the most part from hostile sources. The Romans feared and hated him so much that they could not do him justice. Livy speaks of his great qualities, but he adds that his vices were equally great, among which he singles out his more than Punic perfidy and an inhuman cruelty. For the first there would seem to be no further justification than that he was consummately skillful in the use of ambuscades. For the latter there is, we believe, no more ground than that at certain crises he acted in the general spirit of ancient warfare. Sometimes he contrasts most favorably with his enemy. No such brutality stains his name as that perpetrated by Claudius Nero on the vanquished Hasdrubal. Polybius merely says that he was accused of cruelty by the Romans and of avarice by the Carthaginians. He had indeed bitter enemies, and his life was one continuous struggle against destiny. For steadfastness of purpose, for organizing capacity and a mastery of military science he has perhaps never had an equal."

"Hannibal excelled as a tactician. No battle in history is a finer sample of tactics than Cannae. But he was yet greater in logistics and strategy. No captain ever marched to and fro among so many armies of troops superior to his own numbers and material as fearlessly and skillfully as he. No man ever held his own so long or so ably against such odds. Constantly overmatched by better soldiers, led by generals always respectable, often of great ability, he yet defied all their efforts to drive him from Italy, for half a generation. … As a soldier, in the countenance he presented to the stoutest of foes and in the constancy he exhibited under the bitterest adversity, Hannibal stands alone and unequaled. As a man, no character in history exhibits a purer life or nobler patriotism."

"When, among other things, he asked Hannibal who he thought had been the greatest general, Hannibal replied Alexander, king of the Macedonians, because with a small number of men he had routed innumerable armies and because he had traveled to the farthest shores, visiting which lay beyond human expectations. When Scipio next asked him whom he placed second he said Pyrrhus: he was the man who had first shown how to lay out a camp, and in addition no one had shown such skill in choosing locations and stationing troops. To the further question of whom he declared third Hannibal replied himself. With a smile, Scipio said: "And what would you say if you had defeated me?" "Well, then, in that case," he replied, "I would have placed myself ahead of Alexander, Pyrrhus, and all the others.""

"I am not carrying on a war of extermination against the Romans. I am contending for honour and empire. My ancestors yielded to Roman valour. I am endeavouring that others, in their turn, will be obliged to yield to my good fortune, and my valour."

"Liberemus diuturna cura populum Romanum, quando mortem senis exspectare longum censent. (Latin, not original language)"

"nullum contemptu m[ortis incitamentum] ad uincendum homini ab dis immortalibus acrius datum est."

"I have come not to make war on the Italians, but to aid the Italians against Rome."

"Ah there is one thing about them more wonderful than their numbers … in all that vast number there is not one man called Gisgo."