“The diabolical thing about melancholy is not that it makes you ill but that it makes you conceited and shortsighted; yes almost arrogant. You lapse into bad taste, thinking of yourself as Heine's Atlas, whose shoulders support all the world's puzzles and agonies, as if thousands, lost in the same maze, did not endure the same agonies.”

“You knew all along that your sanctioned world was only half the world, and you tried to suppress the other half the same way the priests and teachers do. You won't succeed. No one succeeds in this once he has begun to think.”

“What is meditation?... It is fleeing from the self, it is a short escape of the agony of being a self, it is a short numbing of the senses against the pain and the pointlessness of life. The same escape, the same short numbing is what the driver of an ox-cart finds in the inn, drinking a few bowls of rice wine or fermented coconut-milk.”

“You don't force him, don't beat him, don't give him orders, because you know that 'soft' is stronger than 'hard', Water stronger than rocks, love stronger than force. Very good, I praise you. But aren't you mistaken in thinking that you wouldn't force him, wouldn't punish him? Don't you shackle him with your love? Don't you make him feel inferior every day, and don't you make it even harder on him with your kindness and patience? Don't you force him, the arrogant and pampered boy, to live in a hut with two old banana-eaters, to whom even rice is a delicacy, whose thoughts can't be his, whose hearts are old and quiet and beats in a different pace than his? Isn't forced, isn't he punished by all this?”

“There is no escape. You can't be a vagabond and an artist and still be a solid citizen, a wholesome, upstanding man. You want to get drunk, so you have to accept the hangover. You say yes to the sunlight and pure fantasies, so you have to say yes to the filth and the nausea. Everything is within you, gold and mud, happiness and pain, the laughter of childhood and the apprehension of death. Say yes to everything, shirk nothing. Don't try to lie to yourself. You are not a solid citizen. You are not a Greek. You are not harmonious, or the master of yourself. You are a bird in the storm. Let it storm! Let it drive you! How much have you lied! A thousand times, even in your poems and books, you have played the harmonious man, the wise man, the happy, the enlightened man. In the same way, men attacking in war have played heroes, while their bowels twitched. My God, what a poor ape, what a fencer in the mirror man is- particularly the artist- particularly myself!”

“You were too lazy to learn to dance until it was almost too late, and in the same way you were too lazy to learn to love. As for ideal and tragic love, that I don't doubt you can do marvellously- and all honour to you. Now you will learn to love a little in an ordinary human way.”

“Well," he said with equanimity, "you see, in my opinion there is no point at all in talking about music. I never talk about music. What reply, then, was I to make to your very able and just remarks? You were perfectly right in all you said. But, you see, I am a musician, not a professor, and I don't believe that, as regards music, there is the least point in being right. Music does not depend on being right, on having good taste and education and all that.""Indeed. Then what does it depend on?""On making music, Herr Haller, on making music as well and as much as possible and with all the intensity of which one is capable. That is the point, Monsieur. Though I carried the complete works of Bach and Haydn in my head and could say the cleverest things about them, not a soul would be the better for it. But when I take hold of my mouthpiece and play a lively shimmy, whether the shimmy be good or bad, it will give people pleasure. It gets into their legs and into their blood. That's the point and that alone. Look at the faces in a dance hall at the moment when the music strikes up after a longish pause, how eyes sparkle, legs twitch and faces begin to laugh. That is why one makes music.”