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Albert Schweitzer

Albert Schweitzer Quotes

Theologian

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“True resignation consists of this: that man, feeling his subordination to the course of world events, makes his way toward inward freedom from the fate that shapes his external existence. Inward freedom gives him the strength to triumph over the difficulties of everyday life and to become a deeper and more inward person, calm, and peaceful. Resignation, therefore, is the spiritual and ethical affirmation of one’s own existence. Only he that has gone through the trial of resignation is capable of accepting the world.”

“The fact that the work today has become common property may console us for the other fact that an analysis of it is almost as impossible as it is to depict a wood by enumerating the trees and describing their appearance. We can only repeat again and again—take them and play them and penetrate into this world for yourself. Aesthetic elucidation of any kind must necessarily be superficial here, What so fascinates us in the work is not the form or the build of the piece, but the world-view that is mirrored in it. It is not so much that we enjoy the Well-tempered Clavichord as that we are edified by it. Joy, sorrow, tears, lamentation, laughter—to all these it gives voice, but in such a way that we are transported from the world of unrest to a world of peace, and see reality in a new way, as if we were sitting by a mountain lake and contemplating hills and woods and clouds in the tranquil and fathomless water.”

“As a contrast to the Bach of pure music I present the Bach who is a poet and painter in sound. In his music and in his texts he expresses the emotional as well as the descriptive with great vitality and clarity. Before all else he aims at rendering the pictorial in lines of sound. He is even more tone painter than tone poet. His art is nearer to that of Berlioz than to that of Wagner. If the text speaks of drifting mists, of boisterous winds, of roaring rivers, of waves that ebb and flow, of leaves falling from the tree, of bells that toll for the dying, of the confident faith that walks with firm steps or the weak faith that falters, of the proud who will be debased and the humble who will be exalted, of Satan rising in rebellion, of angels on the clouds of heaven, then one sees and hears all this in his music. Bach has, in fact, his own language of sound. There are in his music constantly recurring rhythmical motives expressing peaceful bliss, lively joy, intense pain, or sorrow sublimely borne. The impulse to express poetic and pictorial concepts is the essence of music. It addresses itself to the listener's creative imagination and seeks to kindle in him the feelings and visions with which the music was composed. But this it can do only if the person who uses the language of sound possesses the mysterious faculty of rendering thoughts with a superior clarity and precision. In this respect Bach is the greatest of the great.”

“Nowhere so well as in the Well-tempered Clavichord are we made to realise that art was Bach’s religion. He does not depict natural soul-states, like Beethoven in his sonatas, no striving and struggling towards a goal, but the reality of life felt by a spirit always conscious of being superior to life, a spirit in which the most contradictory emotions, wildest grief and exuberant cheerfulness, are simply phases of a fundamental superiority of soul. It is this that gives the same transfigured air to the sorrow laden E flat minor prelude of the First Part and the care-free, volatile prelude in G major in the Second Part. Whoever has once felt this wonderful tranquility has comprehended the mysterious spirit that has here expressed all it knew and felt of life in the secret language of tone, and will render Bach the thanks we render only to the great souls to whom it is given to reconcile men with life and bring them peace.”

“Bauer's 'Criticism of the Gospel History' is worth a good dozen Lives of Jesus, because his work, as we are only now coming to recognise, after half a century, is the ablest and most complete collection of the difficulties of the Life of Jesus which is anywhere to be found.”

“The audience was transported, not only by the work but also by the fine dynamics of the choir, which were something unusual in those days. Not less powerful was the religious impression made by Bach’s music. “The crowded hall looked like a church,” writes Fanny Mendelssohn. “Every one was filled with the most solemn devotion; one heard only an occasional involuntary ejaculation that sprang from deep emotion.”

“I believe that I possess this value: to serve Jesus. I am less at peace than if my goal would be to attain a professorship and a good life, but I live. And that gives me the tremendous feeling of happiness, as if one would hear music. One feels uprooted, because one asks, what lies ahead, what decisions should I make-but more alive, happier than those anchored in life. To drift with released anchor.”

“It is not enough merely to exist. It's not enough to say, "I'm earning enough to support my family. I do my work well. I'm a good father, husband, churchgoer." That's all very well. But you must do something more. Seek always to do some good, somewhere. Every man has to seek in his own way to realize his true worth. You must give some time to your fellow man. Even if it's a little thing, do something for those who need help, something for which you get no pay but the privilege of doing it. For remember, you don't live in a world all your own. Your brothers are here too.”

“Never for a moment do we lay aside our mistrust of the ideals established by society, and of the convictions which are kept by it in circulation. We always know that society is full of folly and will deceive us in the matter of humanity. ... humanity meaning consideration for the existence and the happiness of individual human beings.”

“There is nothing more negative than the result of the critical study of the life of Jesus. The Jesus of Nazareth who came forward publicly as the Messiah, who preached the Kingdom of God, who founded the Kingdom of Heaven upon earth, and died to give his work its final consecration, never had any existence. He is a figure designed by rationalism, endowed with life by liberalism, and clothed by modern theology in an historical garb.”

“But the others, those who tried to bring Jesus to life at the call of love, found it a cruel task to be honest. The critical study of the life of Jesus has been for theology a school of honesty. The world had never seen before, and will never see again, a struggle for truth so full of pain and renunciation as that of which the Lives of Jesus of the last hundred years contain the cryptic record.”

“The study of the Life of Jesus has had a curious history. It set out in quest of the historical Jesus, believing that when it had found Him it could bring Him straight into our time as a Teacher and Saviour. ... But He does not stay; He passes by our time and returns to His own... He returned to His own time, not owing to the application of any historical ingenuity, but by the same inevitable necessity by which the liberated pendulum returns to its original position.”

“We wander through this life together in a semi-darkness in which none of us can distinguish exactly the features of his neighbour. Only from time to time, through some experience that we have of our companion, or through some remark that he passes, he stands for a moment close to us, as though illuminated by a flash of lightning. Then we see him as he really is.”