Mein Leben als Familienvater: Aus dem täglichen Wahnsinn einer Patchwork-Familie (German Edition)

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In the writings of the next few years, the social world is almost entirely absent. They revolve around the tortured fantasies of an isolated protagonist, alternately contemptuous of or yearning for human companionship and love. He too longs for unity but finds nothing but division: He repeatedly laments that he has become a stranger to himself, that he is unlike the others, that he has touched the stars but is ultimately bound to the lowly earth.

He is without moorings and has recourse to no firm truth. Forever casting about within oppositions and contradictions, he admits: In his second short novel, Der schwarze Vorhang: There is now a clear separation between the narrator and the protagonist, Johannes, who, to be sure, is once again a dreamy, intellectual, and potentially creative young man in a state of almost complete social isolation and only dimly and guiltily aware of his body.

Detached from reality and society, he had resolved to leave all human entanglements — desires, yearnings, amazement — behind him and to reach instead for the free, proud, and cool heights inhabited by a few exceptional individuals like Zarathustra JR, His awakening sexuality, however, hurls him from his lofty heights into the lowly sphere of ordinary human beings. And as before, it is not experienced as an enrichment and brings no happiness. In this novel, it is accompanied not only by feelings of guilt and resentment, but also by violent hatred toward the other sex.

The solitary Johannes despairs over his realization that human beings may not rest within themselves, that they are split into man and woman, forever pushed beyond their boundaries toward a strange living thing JR, The strangers are of course the women. Because they are not readily available to him, he comes to see them as his female enemies. They are defined by their sex. Unquestioningly and passively they are at one with life, displaying an instinctive and masochistic readiness to suffer and to sacrifice themselves. Thus, they are at the same time superior and inferior to men.

As beings devoid of any intellectual curiosity or talent, they rank far below men. As beings who submit so easily to the laws of nature and life, however, they appear to transcend male limitations. Since women are so alien, men are afraid of them and their own male desires, and these fears gradually turn into hatred, sadism, and violence. The women, in turn, respond with masochism and admissions of shame over being born female. Irene is the final victim. He torments her until she loses her peace, her laughter, and smile and eventually, in a reversal of the Penthesilea myth, murders her by sinking his teeth into her neck and drinking her blood.

But even now, he feels pursued by the dead girl who has joined with the powers of nature: He feels compelled to complete his sacrifice, building a pyre and joining her in the flames in order to be with the powers of nature. For Irene, the perfect complement to Johannes, pleasure is coupled with fear and horror JR, , and her death is accompanied by feelings of ecstasy — On the intellectual and philosophical level, this pathetic story of sexual awakening represents a prevalent theme in turn-of-the-century literature.

In its various manifestations it appears as the dichotomy between art and life, between spirit and nature, between free will and 7 biological determinism. Johannes cannot overcome his suffering and feelings of guilt. Instead of strength and pleasure, he finds despair, and instead of fertility, he finds death and destruction.

Further chipping away at human autonomy and self-worth was the idea that the world was governed by chance. Earlier, Johannes had thought that the meaning of life was to be found in emulating the free and proud Zarathustra; now, however, he sees man at the mercy of chance and the meaning of life as insanity.

Johannes met Irene purely by chance, and now she, also by chance, has to do penance for her sex, as well as for the fact that love between men and women is not possible. But chance does not rule the world without help. Many things ally themselves with it and give it power, especially words.

Language as communication was nothing other than the mutuality of worldviews. But language can neither alter nor grasp the world of reality I, Mauthner also writes of love, specifically the Liebestrieb, which can, in civilized persons, be triggered by the mere word Liebe I, From the beginning, then, the question of language was present. The solitary Johannes distrusts language.

At the same time, he is horrified at the certainty with which the others speak about people and things. But inside him nothing has changed JR, — Literature now had the task of dealing overtly with those matters that had been touched on but only generally and subliminally by German Classicism. The idealized hero striving for perfection, who is enriched and ennobled by the love of a woman, herself more akin to a priestess, muse, or angel than a human being, had lost his validity. Instead, men and women alike were now portrayed according to their allegedly true nature, determined by their instincts, which, however, did not allow for a coming together in mutual understanding or passion.

Love was nothing more than the drive for possession and domination, hatred, and envy. The various strands and themes do not necessarily come together and no attempt is made to reconcile them. At this point, they indicate his searching for new ways to grasp reality as he saw and experienced it. Der schwarze Vorhang, like so many youthful works, is a patchwork of influences from various realms literature, psychology, philosophy, aesthetics and is replete with the desperation and hopelessness derived from personal experiences. It was first serialized in Der Sturm and finally appeared in book form with some revisions in 9 There is one more dimension that is common to all these early writings — madness.

Verleumdet hat man den Wahnsinn. Adonis, in the story bearing the same title, actually descends into madness and drowns himself, joined by his beloved JR, Finally, Johannes, in Der schwarze Vorhang, is a clear case of sexual pathology as set forth in the numerous studies of the time as well as in Freudian 11 psychoanalytic theory. It made its way into literature generally in the form of characters displaying symptoms ranging from weak ego structures identities to severe mental illness and perversions.

The pathological is presented as the intensification of the normal and therefore acceptable in artistic production. If the reality of madness had been slandered JR, 72 up to now, then it was time to acknowledge it in all its manifestations, without apology. The study of medicine and, in particular, his specialization in psychiatry had a decisive influence on his intellectual development, including his understanding of human nature and human relations. It also had a marked bearing on his aesthetic intentions. He completed his medical degree in psychiatry in In the following years he pursued a career as a re12 searcher, first in psychiatry and subsequently in internal medicine.

His training and subsequent research coincided with important developments in psychiatry, particularly the restructuring of the psychiatric classification system and the questioning of established methodology. Paranoia, for example, was no longer defined as a condition completely at odds with reason and sanity. Der schwarze Vorhang, although written during his years as a medical student, was still indebted to turn-of-the-century psychopathological ideas.

He neither abandoned nor rejected the insights gained from psychoanalytic theory, for they continued to inform his fictional writings, as many psychoanalytically 13 oriented interpretations reveal. But for some time, he felt that an understanding of the physiological rather than the psychic processes would be more rewarding: Chief among these was the relationship between art and reality. The dialogues between the goddess Calypso and the musician she 15 held captive on her island are ostensibly about music, but many parts apply explicitly to literature and writing.

Both the musician and Calypso agree that it is impossible to imitate a thing completely, and therefore reject mimesis as the guiding principle of art. Music, because it is the least imitative of the arts and therefore the freest, effectively illustrates their argument. The musician sets up a hierarchy of arts, ranking the least mimetic at the pinnacle. Well down the hierarchy in descending mimetic order are painting, sculpture, and, without differentiation, drama, dance, and pantomime. Calypso goes one step further, placing the word just above music at the apex of the hierarchy, since the word bears no resemblance whatever to what it represents.

In the dialogue between the musician and Calypso, we recognize the semantic problem raised in Der schwarze Vorhang. However, if art was so independent of reality, as the musician and Calypso imply, from where did it derive its meaning? Again taking the example of music, the musician argues that the things themselves sound — by moving and reacting with each other they produce sound. Therefore, the world itself is the greatest musician. From this follows a new position: The artist should furthermore not attempt to interpret feelings but restrict himself to describing the emotions as they appear to the observer.

Music, the musician explains, has no knowledge of feelings, of hatred, pain, sorrow, defiance, anger, or love. Instead of a conceptual framework with which to explain and judge the world, he prefers to present it in its variety, richness, and contradictoriness: The era of authorial omnipotence was over; it was sufficient to consider and uncover relationships without seeking cause and effect.

The new approach permitted the artist to present the world in its multiplicity without having to hazard a conclusion nor worry about cause and effect. If, initially, the vitalistic Nietzschean worldview served to reduce the importance of the individual, his scientific training bolstered this position further. Scientific monism of course validated his deterministic perspective: Tief, aber anscheinend schwer lehrt der einfache Satz und seine Bescheidenheit, die kein Verzicht ist: It is man who recognizes relationships and draws comparisons, and the artist who represents them.

Music is composed of material sound , order rules , and reality.

The musician combines sounds according to rules and imparts bits of reality, modeled after life, which the listener recognizes. Die Geschichte vom Franz Biberkopf , the novel in which he reintroduced the explicit and knowing narrator Tewarson, Sachlichkeit 47— But they helped liberate him from the classical traditions, based on mimesis and Enlightenment thinking, that had lost their validity and meaning. Er ist keine Richtung, sondern eine Bewegung.

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The stories 18 written during this time —11 illustrate his new attitudes. However, this designation and the fact that he referred to them as his children B I, 29 , indicate the importance they held for him. Most appeared individually in Der Sturm in and Subsequently, in , they were published as a collection under the title Die Ermordung einer Butterblume after the novella of the same title , and became famous as a pathbreaking example of Expressionist prose. The stylistic changes are immediately apparent: Thematically, the texts now frequently undermine favorite nineteenthcentury literary motifs and scenarios as well as traditional male and female representations.

Indeed, this struggle gives the otherwise diverse collection of twelve stories its unity. In some of the stories, it is presented as the tension between free will and biological determinism. In others, it is imbued with a metaphysical dimension Stegemann 38— A comparison with his notations from the year at the insane asylum in Regensburg shows the great difference. In other words, the medical notations are not potential literary texts in nuce. They are the result of very specific poetic and philosophical intentions. There is not the slightest attempt to find a redeeming aspect to the pathetic characters, their meaningless lives, or the bizarre events or situations in which they are trapped.

This is especially true of those tales where pathological characters dominate. To these we shall turn our attention now. Bathed in white light reflected off the snow, she comes to the realization that she will die soon. She reacts to this certainty, the reader is led to infer, by falling into deep apathy, barely eating or talking, and retreating to her room, where she sits stiffly in a corner. When the light fades, a white moon appears at her window, turning away only toward morning. The next night, however, as the white moon appears, he finds her window shrouded. At night, she moves to the edge of her bed, leaving a space, toward which she periodically reaches out expectantly.

With the advancing springtime, she changes once again. She exchanges her black dress for a light blue blouse and white gloves and walks taller and with more bounce. Humming and warbling to herself, she brings masses of spring flowers to her room, arranging them around the picture of the Madonna, but in such a way that her face is completely hidden.

One night the long-awaited visitor, death, appears, but not as the imagined bridegroom. Instead, he is a brutal attacker, even a sex murderer Stegemann 97, Mit einem Satz schwang sich der Tod neben sie ins Bett. Da war ein Platz frei. Having devoted himself to beauty and the collection of previously functional art objects musical instruments, religious and ceremonial objects , he is not only unaware of the passing of his life but also of the sufferings he has caused others.

Moreover, death does not appear with terrifying cruelty. Nothing is revealed about her former life, possible psychological motivations, or social constraints. The reader, unassisted by the narrator, can only infer her emotional state from her behavior.

But this allegedly neutral narrator is not quite absent and not quite uninvolved. Dignity was not what he had in mind for his character. One need only consider the almost entirely negative adjectives used to characterize her, as well as sentences such as the following: Death furthermore coincides with the return of spring. She replaces the artificially propagated hyacinths in her room with fresh spring flowers.

Her actions indicate her continued insistence on an individual fate. Black stands for life and its entanglements, white for nature and death, while gray, twilight and other pale colors indicate the transition from life to death. Only here, the protagonist, a heavy-set, forty-eight-year-old Brazilian named Copetta, welcomes death and actually seeks it out. After succumbing to a severe illness, he travels to Ostende. The reader first meets him there, dressed in white, happily walking along the gray-green sea but also among the crowd of festively attired people. He is dressed in gray when he invites a woman, only identified as E.

As they set out to sea in the graying morning, he is again dressed entirely in white. As they speed along, the light becomes ever brighter. With the boat now rudderless and wave upon wave rolling in, Copetta lets himself fall back and disappears into the blue-green sea: EB, 13 In this scenario, nature is experienced as benevolent because Copetta is in agreement with it.

Human attachments no longer have any hold on him, and he is ready to give himself up to nature. On the street, she denies herself to no one, putting herself and others at risk for disease. Later, she moves to the glamorous ballrooms, where, dressed in black silk and her eyes shining from the effects of Atropine, she performs strange and sensuous dances with her 23 partners. After a year, she returns to Ostende, no longer dressed in black but in yellow silk.

She spends the day joyfully anticipating Copetta. It is again morning and light, when she jumps into a rowboat, hoping to catch up with him. Not finding him, she is overcome with fear. But she is joined by a dark figure rising from the waves. He is still in his white clothes, but strangely transformed into a mythical figure: The scene from the previous years is repeated: As before, he lies back in the waves with an ecstatic look.

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She now leaps after him and is finally embraced by his thick swollen arms. As both are united, they regain their youthful looks and are absorbed by the infinite gray-green sea. In both stories, death is but one aspect of nature and life. Copetta and, with his help, the woman come to accept this. Death as a way out of individuation, already present in his first novel, Jagende Rosse, appears as a dominant theme in these stories. Mike Bondi is actually Bessie Bennet, a girl who died very young some eighty years earlier.

Because she wanted so much to live, she was given permission to return — not to dance, as the narrator explains, but to help bring a kindly death to men. Sie sei als Helferin unter die Menschen geschickt und bringe den liebreichen Tod. EB, 45 Submitting to or embracing death is the most positive decision any of the characters in these stories make. Death, however, is inevitable. Instead, in yet another inversion of the traditional tale, he is imbued with positive human qualities — pride, kindness, generosity, and congeniality. However, the violent encounter with a mysterious and mythical force, exposed at the end of the story as a dreadful sea monster, a Medusa, reveals once again that human autonomy and pride must be abandoned.

The baron is found unconscious, without memory of what happened, wounded, frightened, and transformed. Gone are his laughter, his love of life and people; introverted and asocial, he now lives a solitary existence in the town. After a year has passed, however, he resolves to build a castle in the heath and to marry. This is a clear act of defiance, and in due time, the mythical force begins to take revenge: In time, the castle is destroyed and the heath on which it was built is reclaimed by the sea. In other words, the proud and selfassured Paolo di Silva has to be utterly defeated, before he too submits to a higher power.

Perhaps as an act of penance, he becomes the leader of a guerilla group in the fight against the heathen Indians in Central America. It is they who kill him treacherously.

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However, the dancer Ella, at nineteen, is not a mature woman and never will be unlike E. However, Ella refuses to play the role of the beautifully dying woman, whose art is further inspired and refined or whose soul is ennobled by her suffering. She seemed suited for the profession of a dancer owing to her peculiar temperament and her inclination to contort her limbs and make faces.

Her dancing seemed to be all about controlling her body, a kind of virtuoso display. Hers was an art that, although performed through the body, emanated from the will and was completely lacking in sensuousness. Her overwhelming emotions are anger at her body, the doctors, and the world of the hospital , horror and revulsion at the doctors and patients ; fear and dread leading to a childish helplessness. In time, the medical picture is transformed into a psychiatric one, when the dancer demands thread and cloth and embroiders in red the situation as she experiences it.

Her embroidery shows in coarse outline the following picture of three figures: EB, 21 Far from attempting to reunite mind and body, she completes the dissociation metaphorically. But it is a last attempt to reestablish the old power relationship: Sie wollte einen Walzer. Eventually, she calls for the doctor and, in his presence, kills herself by plunging the sewing scissors into her chest.

An implicit narrator presents the protagonist, Mr. Michael Fischer, whose proper bourgeois attire black suit, bowler hat, golden watch chain, walking stick contrasts sharply with his odd behavior. The reader first meets him on his Sunday stroll. As he is ascending the path through the forest, he counts his steps: All the while he is vigorously swaying his hips from side to side, at times almost losing his balance.

He seems self-consciously concerned about his behavior and twice turns to see if anybody is watching him, possibly his business colleagues or a lady EB, 57 , but resumes it whenever he is not preoccupied with something else. The impression conveyed is that of a rigid and somewhat sadistic person with an extreme need for order and control. Fischer furiously and groundlessly whips off the heads of common buttercups in which his walking stick gets caught.

In the course of the story, Fischer displays a multiplicity of psychiatric symptoms, typical of the compulsive, the anal or repressive, the sadistic, the paranoid, and the hysterical personality. Thus, the initial violent action is clearly linked to his bourgeois existence and connected with a certain pleasurable feeling coupled with sadism: But while the apprentices could be mistreated without consequences, this is not the case with the buttercups. Fischer soon has a vision of himself and his deed of a moment ago, whereby the beheaded buttercup takes on mythical proportions.

The severed head rolls into the grass and penetrates ever deeper into the ground, while from the neck of the body, the stem, white blood begins to ooze, first a little but then swelling to a stream so that Fischer has to jump to the right and the left in order to escape the slimy river. Covered in sweat, he tries to regain control, still aware that this is a matter of his imagination: Regaining his self-confidence, he now imagines himself rather proudly as a murderer: At other times, he is consumed by guilt, which leads him to anthropomorphize her: The preoccupation with the flower extends not only to his thoughts conveyed by way of the interior monologues but also to his actions.

He sets up a bank account in her name and insists on a dish for her when he takes his meals, all in the hope of atoning for the murder. In the end, he thinks he has found a way out of his quandary, and even invents a legal paragraph on guilt compensation. To this end, he brings home from the forest another buttercup and carefully nurtures it. This is supposed to free him. When the pot breaks and the landlady tells him that she discarded it along with the weed, Fischer is ecstatic.

He now imagines himself released from the hold of the flower and the entire buttercup clan. Es war keine Frage. While his initial cruelty of a year earlier was still comprehensible, his present behavior is a clear indication of a thoroughly confused subjectivity. It is not Fischer who has duped the forest, of course, but the other way around.

The story ends with the protagonist disappearing into the forest, loudly laughing, never to return. Although the portrayal of Mr. The power that the butchered buttercup and, eventually, the forest assume over him may at first appear as a figment of his disturbed consciousness.

However, there are enough signs to indicate that there are times when this repressed little man is not merely mad but for brief moments receptive to the notion of a realm beyond his confined bourgeois existence. Thus, the destruction of the flower confronts him with the thought of the finality of death EB, Yet he stubbornly tries to convince himself that all was but a dream. At other times, he is overcome with dread at the thought of the weeping trees assembling in judgment over him EB, 62 and acknowledges the existence of incredible things At one point he breaks down weeping for the first time since his childhood: He chooses to struggle to regain his autonomy, only to be reabsorbed into the realm of nature, here represented by the forest, entirely uncomprehending.

We thus gain no insight into these phenomena and struggle even more to locate within ourselves any empathy for the irritable characters he portrays. Indeed, the narrative power of these tales no doubt arises from this intensification, as well as from the startling images used to convey varied mental and emotional states. However, the world of mental and emotional pathology accounts only partly for the deeply disturbing effect these stories have on the reader.

Equally or more significant is the philosophical perspective. Although rooted in reality, the social world and human struggles of the narratives are for the most part not the object of these tales. Social existence is presented as meaningless and worthless: Their efforts to individuate a personal destiny in the face of deterministic forces appear misguided. All that matters is the willingness to give up the illusion of self-creation and yield to reabsorption by nature.

Even their implied role in the killing of their child does not taint them. Since all human strivings are viewed as futile and wrong, the distinction between good and evil becomes irrelevant. Characters lack mutual understanding, even when they have no quarrel with each other. They are separate and contained within themselves, windowless monads, as Johannes exclaims in Der schwarze Vorhang JR, , He continued to see life as an eternal struggle and regarded man as a mere plaything of natural forces.

To some extent this is understandable, confronted as he was during these years with suffering and death that no science could alleviate or pre28 vent. Thus, the incorporation of ugliness, cruelty, and madness, as well as the negation of the human subject, may have been part of his poetic intentions, aimed at overcoming an outdated mimetic orientation. For Kafka, too, life was a continuous and hopeless struggle against all-powerful, primarily social, forces. In the early novellas, the aberrant behavior was confined to individual characters, as we have seen.

Chinesischer Roman , violence became a defining feature of mass behav30 ior. Both solutions are indicative of his failure 31 to face the urgent political and social problems of the times. Es ist der Leidensweg ins Bodenlose [. Additionally, he has masochistic fantasies that represent the obverse of his desire to inflict harm. It reveals the institutionalized anti-Semitic prejudice in Regensburg: There he remained until his forced exile in He spent the First World War as a military doctor and, beginning in the twenties, gained recognition as an avant-garde author.

Elsewhere he is full of admiration for those who attempt to explain the variety of the world on the basis of uniform atoms Most extensive is the lengthy passage: Even his experiences with mental patients are reflected in this theoretical text Tiefe Verbeugung in einem Akt , published , which was performed the same year under the auspices of Herwarth Walden. He also insisted that, besides plants, animals, and stones, he always could suffer only two kinds of people: And if someone should ask him to which nation he belonged, he would answer neither to the Germans nor the Jews but rather to the children and the insane SLW, Here, he elaborates on his difficult role as physician, psychiatrist, and social worker among the workingclass patients whose problems were as much the result of living and working conditions as of actual diseases SLW, 98— A Stift was a protestant or catholic convent for unmarried, often impoverished noblewomen.

Medicine containing Atropine enlarges the pupils.

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See EB, , note to page However, in the twenties, Thomas Mann began to see the emphasis on the irrational as a danger and in direct opposition to humanism, which he felt was essential to the survival of a civilized world. Works Cited Anz, Thomas. Ein kritischer Bericht zur Forschung. U of California P, Von Reinhardt bis Brecht, II. Der klassisch-moderne Roman in Deutschland: Giorgio Colli and Mazzino Montinari. Zur Genealogie der Moral. Die Ordnung des Wahns: Der Dichter und die Ratio: Erinnerungen an Bertolt Brecht.

Sachse und Pohl, Grundlagen seiner Aesthetik und ihre Entwicklung — In the catalogue of his novels, sprawling epics of mass movements in distant times and exotic places Wang-lun, Wallenstein, Berge Meere und Giganten, Amazonas alternate with works set in the urban, industrial present Wadzek, Berlin Alexanderplatz, Pardon wird nicht gegeben, November , Hamlet oder die lange Nacht nimmt ein Ende.

Although these two works might at first appear to be poles apart, the following essay will argue that they display similarities of origin, theme, and imagery. Two years later, Wadzek evoked reactions from reviewers that with few exceptions ranged from puzzled to nauseous.

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This flirtation with 2 violence and the linked disdain for women and pacifism is much on display in Mafarka le Futuriste Mut zur kinetischen Phantasie [. Berlin Program , written between Wang-lun and Wadzek, are realized in the narrative practice of both, and connect them to each other. But in this same manifesto Marinetti promulgates specific stylistic dicta for futurist language: Offener Brief an F. Gut, aber das sieht mir nicht sehr modern aus, ist doch rechte, biderbe, alte Literatur; ich schenke Ihnen alle Bilder, — aber heran an die Schlacht! Und Sie wollen Futurist sein?

Sich die Bilder verkneifen, ist das Problem des Prosaikers. Ich tadle das verwirrende Vibrieren nicht. Nur finde ich mich nicht zurecht. Dieser himmlische Taubenflug der Aeroplane. The passers-by outside his window may possess new Telefunken radios, but they are still gripped by age-old vices: Wir bleiben und wissen nicht wo. Wir essen und wissen nicht warum. Das alles ist die starke Lebenskraft von 4 Himmel und Erde: The movement toward his narrative is thus from the beginning a spiritual quest, an inward withdrawal more than a historicizing recreation of an era distant in time and space.

Nor is there anything like ratiocination on the part of the characters within the novel. The plot is driven by emotion, dialogue, and action, not by reflection. The meaning of words such as Tou-ssee, Jamen, and Tao-tai, for example, can only be gathered from context. Never once is there any acknowledgement of a need to explain to a European reader Chinese habits or customs, hardly 6 ever any acknowledgement of the existence of Europe at all.

When he witnesses the murder of an innocent Muslim by the authorities, he kills an officer in revenge and then flees to the Nan-ku mountains of Chih-li Province. Troops dispatched against him slaughter his followers and besiege Ma and a few hundred remaining sectarians. Wang-lun, returned from his journey, tries to negotiate a peaceful end to the siege.

In his sheltered and aestheticized existence in Peking, the Emperor Khien-lung is troubled by reports of the Wu-wei movement and its brutal suppression. The Lama criticizes Khienlung for allowing the persecution of the sect and urges him to abandon the use of force. The Emperor, torn between his need to maintain Confucian civic order and his desire not to dishonor his ancestors by poorly administering his empire, seems to agree.

He orders the persecution stopped, but cannot give up his prerogative to use force: Upon hearing the gruesome details of the mass poisoning he has caused, he is devastated, withdraws to the south under an assumed name, marries, and becomes a cormorant fisherman. Khien-lung agrees to military suppression of the sect.

The rebel army is surrounded. In a sudden revelation, he realizes that the man is exactly his age and that this could easily have been his fate. He imagines returning to a criminal life himself, yet knows he cannot, because it would mean being ready to commit murder again: He perishes along with all his followers, yet the novel ends with the suggestion that the principle of wu-wei may persist.

The Buddhist goddess Kuan-yin appears to her, telling her to stop tearing her breast in grief: Stille sein, nicht widerstreben, oh, nicht widerstreben. Get fast, free shipping with Amazon Prime. Your recently viewed items and featured recommendations. View or edit your browsing history. Get to Know Us. English Choose a language for shopping. Amazon Music Stream millions of songs. Amazon Drive Cloud storage from Amazon. Alexa Actionable Analytics for the Web. AmazonGlobal Ship Orders Internationally.

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