“What an absurd torture for the artist to know that an audience identifies him with a work that, within himself, he has moved beyond and that was merely a game played with something in which he does not believe.”

“One certainly does work badly in spring: and why? Because one’s feelings are being stimulated. And only amateurs think that a creative artist can afford to have feelings. It’s a naïve amateur illusion; any genuine honest artist will smile at it. Sadly, perhaps, but he will smile. Because, of course, what one says must never be one’s main concern. It must merely be the raw material, quite indifferent in itself, out of which the work of art is made; and the act of making must be a game, aloof and detached, performed in tranquillity. If you attach too much importance to what you have to say, if it means too much to you emotionally, then you may be certain that your work will be a complete fiasco. You will become solemn, you will become sentimental, you will produce something clumsy, ponderous, pompous, ungainly, unironical, insipid, dreary and commonplace; it will be of no interest to anyone, and you yourself will end up disillusioned and miserable… For that is how it is, Lisaveta: emotion, warm, heartfelt emotion, is invariably commonplace and unserviceable—only the stimulation of our corrupted nervous system, its cold ecstasies and acrobatics, can bring forth art. One simply has to be something inhuman, something standing outside humanity, strangely remote and detached from its concerns, if one is to have the ability or indeed even the desire to play this game with it, to play with men’s lives, to portray them effectively and tastefully. Our stylistic and formal talent, our gift of expression, itself presupposes this cold-blooded, fastidious attitude to mankind, indeed it presupposes a certain human impoverishment and stagnation. For the fact is: all healthy emotion, all strong emotion lacks taste. As soon as an artist becomes human and begins to feel, he is finished as an artist.”

“No man remains quite what he was when he recognizes himself.”

“A solitary, unused to speaking of what he sees and feels, has mental experiences which are at once more intense and less articulate than those of a gregarious man. They are sluggish, yet more wayward, and never without a melancholy tinge. Sights and impressions which others brush aside with a glance, a light comment, a smile, occupy him more than their due; they sink silently in, they take on meaning, they become experience, emotion, adventure. Solitude gives birth to the original in us, to beauty unfamiliar and perilous - to poetry. But also, it gives birth to the opposite: to the perverse, the illicit, the absurd.”

“Protestantism harbors within it certain elements – just as the Great Reformer himself harbored such elements within his personality. I am thinking here of a sentimentality, a trancelike self-hypnosis that is not European, that is foreign and hostile to our active hemisphere’s law of life. Just look at him, this Luther. Look at the portraits, both as a young man and later. What a skull, what cheekbones, what a strange set to the eyes. My friend, that is Asia. I would be surprised, would be astonished, if Wendish-Slavic-Sarmatian blood was not at work there, and if it was not this massive phenomenon of a man – and who would deny him that – who proved to be a fatal weight placed on one of the two precariously balanced scales of your nation, on the Eastern scale, which caused – and still causes – the Western scale to fly heavenward.”

“It is as well that the world knows only a fine piece of work and not also its origins, the conditions under which it came into being; for knowledge of the sources of an artist's inspiration would often confuse readers and shock them, and the excellence of the writing would be of no avail.”

“Forbearance in the face of fate, beauty constant under torture, are not merely passive. They are a positive achievement, an explicit triumph.”