Beyond Good and Evil

By Friedrich Nietzsche

Page 108

musicians themselves
write badly. The German does not read aloud, he does not read for the
ear, but only with his eyes; he has put his ears away in the drawer for
the time. In antiquity when a man read--which was seldom enough--he read
something to himself, and in a loud voice; they were surprised when
any one read silently, and sought secretly the reason of it. In a
loud voice: that is to say, with all the swellings, inflections, and
variations of key and changes of TEMPO, in which the ancient PUBLIC
world took delight. The laws of the written style were then the same
as those of the spoken style; and these laws depended partly on the
surprising development and refined requirements of the ear and larynx;
partly on the strength, endurance, and power of the ancient lungs. In
the ancient sense, a period is above all a physiological whole, inasmuch
as it is comprised in one breath. Such periods as occur in Demosthenes
and Cicero, swelling twice and sinking twice, and all in one breath,
were pleasures to the men of ANTIQUITY, who knew by their own schooling
how to appreciate the virtue therein, the rareness and the difficulty
in the deliverance of such a period;--WE have really no right to the
BIG period, we modern men, who are short of breath in every sense! Those
ancients, indeed, were all of them dilettanti in speaking, consequently
connoisseurs, consequently critics--they thus brought their orators to
the highest pitch; in the same manner as in the last century, when all
Italian ladies and gentlemen knew how to sing, the virtuosoship of song
(and with it also the art of melody) reached its elevation. In Germany,
however (until quite recently when a kind of platform eloquence began
shyly and awkwardly enough to flutter its young wings), there was
properly speaking only one kind of public and APPROXIMATELY artistical
discourse--that delivered from the pulpit. The preacher was the only one
in Germany who knew the weight of a syllable or a word, in what manner a
sentence strikes, springs, rushes, flows, and comes to a close; he alone
had a conscience in his ears, often enough a bad conscience: for reasons
are not lacking why proficiency in oratory should be especially seldom
attained by a German, or almost always too late. The masterpiece of
German prose is therefore with good reason the masterpiece of its
greatest preacher: the BIBLE has hitherto been the best German
book. Compared with Luther's Bible, almost everything else is merely
"literature"--something which has not grown in Germany, and therefore
has not taken and

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Text Comparison with The Birth of Tragedy; or, Hellenism and Pessimism

Page 0
The meeting seems to have impressed both parties very favourably; for, very shortly after it had taken place, our father received his living at Röcken "by supreme command.
Page 1
She bore our grandfather eleven children; gave each of them the breast for nearly the whole of its first year, and reared them all It is said that the sight of these eleven children, at ages varying from nineteen years to one month, with their powerful build, rosy cheeks, beaming eyes, and wealth of curly locks, provoked the admiration of all visitors.
Page 4
the limitation imposed upon him by his years.
Page 5
The influences that exercised power over him in those days may be described in the three following terms: Hellenism, Schopenhauer, Wagner.
Page 7
My brother then made a second attempt to mount, and succeeded this time, notwithstanding the fact that he had severely sprained and torn two muscles in his chest, and had seriously bruised the adjacent ribs.
Page 17
.
Page 20
.
Page 32
In his _Transfiguration,_ the lower half, with the possessed boy, the despairing bearers, the helpless, terrified disciples, shows to us the reflection of eternal primordial pain, the sole basis of the world: the "appearance" here is the counter-appearance of eternal Contradiction, the father of things.
Page 35
").
Page 39
of Haldane and Kemp's translation.
Page 46
Knowledge kills action, action requires the veil of illusion--it is this lesson which Hamlet teaches, and not the cheap wisdom of John-a-Dreams who from too much reflection, as it were from a surplus of possibilities, does not arrive at action at all.
Page 62
The passing moment, wit, levity, and caprice, are its highest deities; the fifth class, that of the slaves, now attains to power, at least in sentiment: and if we can still speak at all of "Greek cheerfulness," it is the cheerfulness of the slave who has nothing of consequence to answer for, nothing great to strive for, and cannot value anything of the past or future higher than the present.
Page 63
constant quantity.
Page 67
Everything that is about to happen is known beforehand; who then cares to wait for it actually to happen?--considering, moreover, that here there is not by any means the exciting relation of a predicting dream to a reality taking place later on.
Page 71
Who is it that ventures single-handed to disown the Greek character, which, as Homer, Pindar, and Æschylus, as Phidias, as Pericles, as Pythia and Dionysus, as the deepest abyss and the highest height, is sure of our wondering admiration? What demoniac power is it which would presume to spill this magic draught in the dust? What demigod is it to whom the chorus of spirits of the noblest of mankind must call out: "Weh! Weh! Du hast sie zerstört, die schöne Welt, mit mächtiger Faust; sie stürzt, sie zerfällt!"[17] A key to the character of Socrates is presented to us by the surprising phenomenon designated as the "daimonion" of Socrates.
Page 72
[17] Woe! Woe! Thou hast it destroyed, The beautiful world; With powerful fist; In ruin 'tis hurled! _Faust,_ trans.
Page 82
Music, therefore, if regarded as an expression of the world, is in the highest degree a universal language, which is related indeed to the universality of concepts, much as these are related to the particular things.
Page 88
It was an immense triumph of the non-Dionysian spirit, when, in the development of the New Dithyramb, it had estranged music from itself and reduced it to be the slave of phenomena.
Page 114
Into this current of the timeless, however, the state as well as art plunged in order to find repose from the burden and eagerness of the moment.
Page 122
At any rate the portico[2] which inherited well-nigh all its fundamental conceptions from Heraclitus, shows traces thereof.