Beyond Good and Evil

By Friedrich Nietzsche

Page 130

potent of all the forces which
have hitherto operated upon mankind. The more similar, the more ordinary
people, have always had and are still having the advantage; the more
select, more refined, more unique, and difficultly comprehensible, are
liable to stand alone; they succumb to accidents in their isolation, and
seldom propagate themselves. One must appeal to immense opposing forces,
in order to thwart this natural, all-too-natural PROGRESSUS IN SIMILE,
the evolution of man to the similar, the ordinary, the average, the
gregarious--to the IGNOBLE--!

269. The more a psychologist--a born, an unavoidable psychologist
and soul-diviner--turns his attention to the more select cases and
individuals, the greater is his danger of being suffocated by sympathy:
he NEEDS sternness and cheerfulness more than any other man. For
the corruption, the ruination of higher men, of the more unusually
constituted souls, is in fact, the rule: it is dreadful to have such a
rule always before one's eyes. The manifold torment of the psychologist
who has discovered this ruination, who discovers once, and then
discovers ALMOST repeatedly throughout all history, this universal
inner "desperateness" of higher men, this eternal "too late!" in every
sense--may perhaps one day be the cause of his turning with
bitterness against his own lot, and of his making an attempt at
self-destruction--of his "going to ruin" himself. One may perceive
in almost every psychologist a tell-tale inclination for delightful
intercourse with commonplace and well-ordered men; the fact is thereby
disclosed that he always requires healing, that he needs a sort
of flight and forgetfulness, away from what his insight and
incisiveness--from what his "business"--has laid upon his conscience.
The fear of his memory is peculiar to him. He is easily silenced by the
judgment of others; he hears with unmoved countenance how people honour,
admire, love, and glorify, where he has PERCEIVED--or he even conceals
his silence by expressly assenting to some plausible opinion. Perhaps
the paradox of his situation becomes so dreadful that, precisely
where he has learnt GREAT SYMPATHY, together with great CONTEMPT, the
multitude, the educated, and the visionaries, have on their part learnt
great reverence--reverence for "great men" and marvelous animals, for
the sake of whom one blesses and honours the fatherland, the earth, the
dignity of mankind, and one's own self, to whom one points the young,
and in view of whom one educates them. And who knows but in all great
instances hitherto just the same happened: that the multitude worshipped
a God, and that the "God" was only a poor sacrificial animal! SUCCESS
has always been the greatest liar--and the "work" itself is a success;
the great statesman, the conqueror, the

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

Page 24
" Indeed, we might say of Apollo, that in him the unshaken faith in this _principium_ and the quiet sitting of the man wrapt therein have received their sublimest expression; and we might even designate Apollo as the glorious divine image of the _principium individuationis,_ from out of the gestures and looks of which all the joy and wisdom of "appearance," together with its beauty, speak to us.
Page 27
But if we observe how, under the pressure of this conclusion of peace, the Dionysian.
Page 29
And so the spectator will perhaps stand quite bewildered before this fantastic exuberance of life, and ask himself what magic potion these madly merry men could have used for enjoying life, so that, wherever they turned their eyes, Helena, the ideal image of their own existence "floating in sweet sensuality," smiled upon them.
Page 32
Out of.
Page 35
Here we shall ask first of all where that new germ which subsequently developed into tragedy and dramatic dithyramb first makes itself perceptible in the Hellenic world.
Page 44
--It is, methinks, for disparaging this mode of contemplation that our would-be superior age has coined the disdainful catchword "pseudo-idealism.
Page 55
be sure, he had to atone by eternal suffering.
Page 56
Besides, the witches' chorus says: "Wir nehmen das nicht so genau: Mit tausend Schritten macht's die Frau; Doch wie sie auch sich eilen kann Mit einem Sprunge macht's der Mann.
Page 59
_ For this is the manner in which religions are wont to die out: when of course under the stern, intelligent eyes of an orthodox dogmatism, the mythical presuppositions of a religion are systematised as a completed sum of historical events, and when one begins apprehensively to defend the credibility of the myth, while at the same time opposing all continuation of their natural vitality and luxuriance; when, accordingly, the feeling for myth dies out, and its place is taken by the claim of religion to historical foundations.
Page 63
Why should the artist be under obligations to accommodate himself to a power whose strength is merely in numbers? And if by virtue of his endowments and aspirations he feels himself superior to every one of these spectators, how could he feel greater respect for the collective expression of all these subordinate capacities than for the relatively highest-endowed individual spectator? In truth, if ever a Greek artist treated his public throughout a long life with presumptuousness and self-sufficiency, it was Euripides, who, even when the masses threw themselves at his feet, with sublime defiance made an open assault on his own tendency, the very tendency with which he had triumphed over the masses.
Page 71
This voice, whenever it comes, always _dissuades.
Page 77
This sublime metaphysical illusion is added as an instinct to science and again and again leads the latter to its limits, where.
Page 84
If now we reflect that music in its highest potency must seek to attain also to its highest symbolisation, we must deem it possible that it also knows how to find the symbolic expression of its inherent Dionysian wisdom; and where shall we have to seek for this expression if not in tragedy and, in general, in the conception of the _tragic_? From the nature of art, as it is ordinarily conceived according to the single category of appearance and beauty, the tragic cannot be honestly deduced at all; it is only through the spirit of music that we understand the joy in the annihilation of the individual.
Page 87
Conversely, such a conspicious event is at once divested of every mythical character by the tone-painting of the New Dithyramb; music has here become a wretched copy of the phenomenon, and therefore infinitely poorer.
Page 95
of this idyllically or heroically good creature, who in every action follows at the same time a natural artistic impulse, who sings a little along with all he has to say, in order to sing immediately with full voice on the slightest emotional excitement.
Page 100
[23] See _Faust,_ Part 1.
Page 110
The nobler natures among the artists counted upon exciting the moral-religious forces in such a public, and the appeal to a moral order of the world operated vicariously, when in reality some powerful artistic spell should have enraptured the true hearer.
Page 113
For the rectification of our æsthetic knowledge we previously borrowed from them the two divine figures, each of which sways a separate realm of art, and concerning whose mutual contact and exaltation we have acquired a notion through Greek tragedy.
Page 115
But let him never think he can fight such battles without his household gods, without his mythical home, without a "restoration" of all German things I And if the German should look timidly around for a guide to lead him back to his long-lost home, the ways and paths of which he knows no longer--let him but listen to the delightfully luring call of the Dionysian bird, which hovers above him, and would fain point out to him the way thither.
Page 122
" [Illustration: _Facsimile of Nietzsches.