Beyond Good and Evil

By Friedrich Nietzsche

Page 100

WILL--have
always kept pace with one another, and that the most powerful and
influential women in the world (and lastly, the mother of Napoleon)
had just to thank their force of will--and not their schoolmasters--for
their power and ascendancy over men. That which inspires respect
in woman, and often enough fear also, is her NATURE, which is more
"natural" than that of man, her genuine, carnivora-like, cunning
flexibility, her tiger-claws beneath the glove, her NAIVETE in egoism,
her untrainableness and innate wildness, the incomprehensibleness,
extent, and deviation of her desires and virtues. That which, in spite
of fear, excites one's sympathy for the dangerous and beautiful cat,
"woman," is that she seems more afflicted, more vulnerable, more
necessitous of love, and more condemned to disillusionment than any
other creature. Fear and sympathy it is with these feelings that man has
hitherto stood in the presence of woman, always with one foot already in
tragedy, which rends while it delights--What? And all that is now to
be at an end? And the DISENCHANTMENT of woman is in progress? The
tediousness of woman is slowly evolving? Oh Europe! Europe! We know
the horned animal which was always most attractive to thee, from which
danger is ever again threatening thee! Thy old fable might once more
become "history"--an immense stupidity might once again overmaster
thee and carry thee away! And no God concealed beneath it--no! only an
"idea," a "modern idea"!



CHAPTER VIII. PEOPLES AND COUNTRIES


240. I HEARD, once again for the first time, Richard Wagner's overture
to the Mastersinger: it is a piece of magnificent, gorgeous, heavy,
latter-day art, which has the pride to presuppose two centuries of music
as still living, in order that it may be understood:--it is an honour
to Germans that such a pride did not miscalculate! What flavours
and forces, what seasons and climes do we not find mingled in it! It
impresses us at one time as ancient, at another time as foreign, bitter,
and too modern, it is as arbitrary as it is pompously traditional, it
is not infrequently roguish, still oftener rough and coarse--it has fire
and courage, and at the same time the loose, dun-coloured skin of fruits
which ripen too late. It flows broad and full: and suddenly there is a
moment of inexplicable hesitation, like a gap that opens between cause
and effect, an oppression that makes us dream, almost a nightmare; but
already it broadens and widens anew, the old stream of delight--the most
manifold delight,--of old and new happiness; including ESPECIALLY
the joy of the artist in himself, which he refuses to conceal, his
astonished, happy cognizance of

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Text Comparison with The Case of Wagner Complete Works, Volume 8

Page 3
But if in England and America Nietzsche's attack on Wagner's art may still seem a little incomprehensible, let it be remembered that the Continent has long known that Nietzsche was actually in the right Every year thousands are now added to the large party abroad who have ceased from believing in the great musical revolutionary of the seventies; that he was one with the French Romanticists and rebels has long since been acknowledged a fact in select circles, both in France and Germany, and if we still have Wagner with us in England, if we still consider Nietzsche as a heretic, when he declares that "Wagner was a musician for unmusical people," it is only because we are more removed than we imagine, from all the great movements, intellectual and otherwise, which take place on the Continent.
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I tremble before the dangers which this daring music runs, I am enraptured over those happy accidents for which even Bizet himself may not be responsible.
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" "Lohengrin" contains a solemn ban upon all investigation and questioning.
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.
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Wagner's _success_--his success with nerves, and therefore with women--converted the whole world of ambitious musicians into disciples of his secret art.
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_ And now a last word of advice.
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Guided by this sort of understanding of the stage, there is not much danger of one's creating a drama unawares.
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" I shall now give my notion of what is _modern.
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In the theatre no one brings the finest senses of his art with him, and least of all the artist who works for the theatre,--for here loneliness is lacking; everything perfect does not suffer a witness.
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.
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_ .
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_ He was the prince, not the statesman.
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J.
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Among learned men themselves there might be a few, certainly not a caste, but even these would indeed be rare.
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THE PREFERENCE FOR ANTIQUITY 27 If a man approves of the investigation of the past he will also approve and even praise the fact--and will above all easily understand it--that there are scholars who are exclusively occupied with the investigation of Greek and Roman antiquity: but that these scholars are at the same time the teachers of the children of the nobility and gentry is not equally easy of comprehension--here lies a problem.
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sciences--for scientificality in other words; and for that classical studies are necessary! What a wonderful jump! a most despairing justification! Whatever is, is right,[4] even when it is clearly seen that the "right" on which it has been based has turned to wrong.
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149.
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If a man of distinguished talent appeared, the flock of envious people must have become.
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g.