![]() ![]() ![]() No, this dark tone-poem permits up to the very end no consolation, appeasement, transfiguration. ![]() Here, towards the end, I find that the uttermost accents of mourning are reached, the final despair achieves a voice, and–I will not say it, it would be to disparage the uncompromising character of the work, its irremediable anguish to say that it affords, down to its very last note, any other consolation than what lies in voicing it, in simply giving sorrow words in the fact, that is, that a voice is given the creature for its woe. 375, on Adrian’s “Apocalypse”: “he whole work is dominated by the paradox (if it is a paradox), that in it dissonance stands for the expression of everything lofty, solemn, pious, everything of the spirit while the consonance and firm tonality are reserved for the world of hell, in this context a world of banality and commonplace.” ![]() Below are two entries I first wrote in my philosophical journal on the dates indicated. This is the second of two posts devoted to Thomas Mann’s Doktor Faustus. ![]()
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