| Entering the World Stage: Miklos Szentkuthy's Ars Poetica: Introduction |
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1 My aim is wild, absolute imitation, prodigal precision. A Catalogus Rerum |
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2 | (1) |
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2 The eternal game: to get to know the world? --- to preserve the world? |
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2 | (1) |
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3 `Vision' of the black throats of stridently chirping, invisible birds |
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3 | (1) |
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4 Two kinds of heat: the summer heat of Nature and a sick person's fever --- Fight it out! |
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3 | (1) |
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5 A hymnal life --- an analytical life. Fever. Summer. Pindar. Proust |
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4 | (1) |
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6 The perverse marriage of banality & rhyme |
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5 | (1) |
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7 The feverish fiction of possibilities and imitation: the most brotherly brothers |
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5 | (1) |
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5 | (1) |
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5 | (1) |
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10 Eros. Its animal and floral parts |
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6 | (1) |
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11 A little moral-philosophical typology from plant portraits |
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7 | (1) |
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12 Form: a concept conferred by plants |
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8 | (1) |
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13 An auburn-haired woman is stretched out on the hillside. Alien? acquaintance? mother? lover? |
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9 | (1) |
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14 Women known by sight: the most important liaisons of my life |
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10 | (1) |
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15 The above-described forms of seduction |
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11 | (1) |
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16 More on the auburn-haired woman: the platonic flirt of eyes |
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12 | (1) |
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17 West-ostlicher Divan: sobriety and colorful story setting |
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12 | (1) |
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18 Bedroom in summertime at daybreak: laboratory and fate |
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13 | (2) |
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15 | (7) |
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20 Three things distance me from life! The state of love: my desire for a synthesis; to unify the lyric and objective worlds. Mathematizing scientific realism: my astronomer friend is a non-lyrical, objective person. After women and science is an exit out of life supplied: by dreams? |
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22 | (5) |
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21 The three-fold metaphor or biological phases of love: flower, worldliness, illness |
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27 | (2) |
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22 My essence: an absolute and unbroken need for intensity. But let there also be orgasm: form! |
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29 | (6) |
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23 Comedy. Amatory phobia |
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35 | (1) |
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24 The most fictive, most null part of our life: self. A woman who adores one alone calls one's attention to this. Ecstasy and idyll: are there two more such lies in the world? |
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36 | (2) |
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25 Psyche, hetæra, beauty: can we ever be freed from these three eternal forms of woman? |
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38 | (10) |
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26 A journal-like work: a mixture of the ultimate formula and a set of impressions in which time is the main protagonist |
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48 | (1) |
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27 Absolute suffering: a dream about a sick old woman's young-girl anguished nude act. I read all the poems of Goethe: the opalescent contradictions of Goethe myth and Goethe reality. I saw the beast most horrible: the monster's feast. A deserted park as evening closes in: immersion in quiet |
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48 | (12) |
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60 | (13) |
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29 Morn awakening: to be born chaste in the tormenting totality of freedom. Should I be life or work? |
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73 | (7) |
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30 A metaphor: an embryo; a clarified thought: a fully-grown human body |
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80 | (1) |
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31 Action and thought. Elemental eroticism, abstract metaphor |
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80 | (2) |
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32 Two Jewesses with fairly wide-ranging anthropological and psychological consequences |
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82 | (5) |
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33 Out of a love triangle an ethical Holy Trinity |
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87 | (4) |
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34 Leaving an incipient love as a beginning |
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91 | (3) |
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35 An apartment: the height of metaphysics and practicality |
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94 | (4) |
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36 Novel of Charles II Stuart. The official emblem of royal immorality: "Fantastic as a heraldic device, tedious as a document" |
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98 | (20) |
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37 The furor of self-criticism |
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118 | (1) |
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38 A flagellant stylistic analysis: leaden weight of eternity bound up in the hairs of ephemerality |
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118 | (2) |
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39 The splendor of a lonely room in a summer storm |
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120 | (1) |
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40 The young Goethe: insipid myth etiquette, naively crude sensuality |
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120 | (1) |
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41 Questionnarium doricum |
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121 | (1) |
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42 Holbein: Portrait of a Young Girl |
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122 | (9) |
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43 Haydn-sonata and a cactus. My experiments at a novel: they are that in a concrete biological sense |
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131 | (1) |
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44 Apropos, Haydn: form-breaking classics, form-palsied Romantics |
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132 | (1) |
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45 The fugue as mathematized music and as deliberate sensuality |
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133 | (3) |
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136 | (1) |
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47 The compilational character of beauty |
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136 | (1) |
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137 | (2) |
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49 Is there a separate life and art? |
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139 | (1) |
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140 | (7) |
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51 Love is a suffocating greenhouse flower disease |
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147 | (2) |
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52 "My political adversary" |
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149 | (1) |
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53 Two kinds of knowledge of human character |
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150 | (1) |
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54 The absolute diversity in substance of historical protagonists |
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151 | (1) |
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55 The humbug of the press, the abject poverty of newsvendors, the ignominy of snobbery |
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152 | (3) |
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56 Of what does a crisis of something consist? |
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155 | (2) |
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57 To become immersed in the fateful human reality: in the service of today |
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157 | (1) |
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58 Demos, lust, solitude: Don Giovanni's three punishments |
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158 | (1) |
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59 My two Alphas and Omegas of inspiration: nature and worldliness |
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159 | (4) |
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163 | (4) |
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61 The two big extremes of my life: the `hymn' and a `scheme of sensations' |
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167 | (4) |
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62 The difference of death originating from disease and from accident |
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171 | (1) |
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171 | (1) |
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64 Artist and petty bourgeois |
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172 | (1) |
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65 Architecture, disease, eros: all three seek plasticity |
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173 | (1) |
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66 Plan for a novel (Charles II Stuart) |
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174 | (5) |
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67 Conversion. Augustine's. My own. Its worth & worthlessness |
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179 | (3) |
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68 Why don't I write plays? |
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182 | (4) |
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69 It is of secondary importance whether I am a painter. Sketch! Sketch! |
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186 | (1) |
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70 My style is a rag like St. Francis' clothes; my style is tuberculosis like St. Theresa's; my style is blood like that of the martyrs |
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187 | (1) |
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71 The Saint (plan for a novel) |
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188 | (2) |
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72 The Christian Socialist (report) |
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190 | (1) |
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73 The love of James I and Jane Hobson, or the parable of disproportionate anger |
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191 | (2) |
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74 Vitriolic plan for a novel (Dedicated to the Compagnie de Quinze theatrical company of Paris) |
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193 | (4) |
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75 Raving charity. Gratitude or murder? |
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197 | (1) |
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76 Harmonious dream visions |
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198 | (2) |
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77 The (ancient) ethics of the humbuggery of wealthy businessmen |
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200 | (3) |
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78 The parents' secret. The secret of faraway lands |
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203 | (1) |
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79 A false equation between canned food and humanity |
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203 | (2) |
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80 The opposition between worldly and unworldly |
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205 | (1) |
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81 The two extremes of sexual biology and sexual aesthetics. J. C. Powys: Jobber Skald |
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205 | (1) |
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82 Caracalla's dream. Plan for a novel, fantasy, analysis |
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206 | (4) |
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83 I always have one subject |
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210 | (1) |
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84 Which is the `right'-er flower? |
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211 | (1) |
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85 The four models for Raphael's Madonna |
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211 | (1) |
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86 A departed person. Lack, absence: absurd mathematical points of departure and everyday realities |
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212 | (10) |
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222 | (1) |
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88 One cannot serve two gods at the same time: art and morality |
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222 | (1) |
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89 An unbridgeable and disheartening difference between: my writings and my thoughts |
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223 | (3) |
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90 After & in the footsteps of the departed one |
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226 | (1) |
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91 Summer: the greatest chaos and greatest order |
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227 | (1) |
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92 What alters the portrait of a novel's hero as written down |
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228 | (1) |
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93 When the physical center of gravity falls beyond objects (words) |
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229 | (1) |
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94 From the hours of young Bonington. Fantasies while looking at his watercolors |
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229 | (1) |
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95 The relationship of dream and prose. Is our instinct for reality or for unreality `truer'? |
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230 | (7) |
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96 A genealogy of the sufferings of `Charles VII' |
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237 | (1) |
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97 Someone in the neighborhood is practicing the piano; I am reading a mystical novel; I am meditating on my fate: three dazzling and excruciating worlds |
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238 | (1) |
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98 What if a person is not truly born for anything? |
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239 | (3) |
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99 The individual's ailment and society's ailment. Plan for a novel |
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242 | (2) |
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100 Should I write a hymn or a novelistic catalogue of data about the impossibilities of all love? |
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244 | (4) |
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101 It is eerie to see art's poison in the center of art |
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248 | (2) |
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102 Three different figures, three pointlessnesses, three sufferings |
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250 | (8) |
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103 A summer afternoon in my study. Conversation with my mathematician friend. Topics: war and number theory. That is to say? The paths of death & reason to incomprehensibility --- ghostly stone guests |
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258 | (4) |
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104 Two possible programs of mine: ascetic-Catholic morality or sacrificing my whole life to mathematics |
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262 | (6) |
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105 The June 20, 1935 issue of the Boston Weekly. Commentaries, synopses of planned novels |
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268 | (5) |
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106 Three determining pillars of my life and oeuvre: dreams, worldliness, plants |
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273 | (7) |
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107 Parable about unrealizable dreams and impossible realities. Plan for a novel |
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280 | (5) |
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108 Henry `the Merchant,' King of England, Philip `the Pallid,' King of Spain, Queen Ydoleza of Spain, Princess Ucia d'Avar of Spain --- the four main characters of a planned novel |
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285 | (4) |
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109 Two worlds. One of them: God, man, suffering. The other: nature, beauty, happiness. Do they exclude each other? |
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289 | (6) |
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110 A symbol of unproblematicalness: a bunch of daisies that have begun to wilt slightly |
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295 | (3) |
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111 The magic-making-medicine-man effect of languages. Readings of Sir Thomas Browne and Francois Mauriac |
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298 | (9) |
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112 Towards the one and only metaphor: or out of a million metaphors towards the one & only person? |
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307 | (3) |
| Endnotes |
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310 | |
