Beyond Good and Evil

By Friedrich Nietzsche

Page 31

his eyes will some day be
opened to the fact that there is nevertheless a mask of him there--and
that it is well to be so. Every profound spirit needs a mask; nay, more,
around every profound spirit there continually grows a mask, owing to
the constantly false, that is to say, SUPERFICIAL interpretation
of every word he utters, every step he takes, every sign of life he

41. One must subject oneself to one's own tests that one is destined
for independence and command, and do so at the right time. One must not
avoid one's tests, although they constitute perhaps the most dangerous
game one can play, and are in the end tests made only before ourselves
and before no other judge. Not to cleave to any person, be it even the
dearest--every person is a prison and also a recess. Not to cleave to
a fatherland, be it even the most suffering and necessitous--it is even
less difficult to detach one's heart from a victorious fatherland. Not
to cleave to a sympathy, be it even for higher men, into whose peculiar
torture and helplessness chance has given us an insight. Not to cleave
to a science, though it tempt one with the most valuable discoveries,
apparently specially reserved for us. Not to cleave to one's own
liberation, to the voluptuous distance and remoteness of the bird, which
always flies further aloft in order always to see more under it--the
danger of the flier. Not to cleave to our own virtues, nor become as
a whole a victim to any of our specialties, to our "hospitality" for
instance, which is the danger of dangers for highly developed
and wealthy souls, who deal prodigally, almost indifferently with
themselves, and push the virtue of liberality so far that it becomes
a vice. One must know how TO CONSERVE ONESELF--the best test of

42. A new order of philosophers is appearing; I shall venture to baptize
them by a name not without danger. As far as I understand them, as far
as they allow themselves to be understood--for it is their nature to
WISH to remain something of a puzzle--these philosophers of the
future might rightly, perhaps also wrongly, claim to be designated as
"tempters." This name itself is after all only an attempt, or, if it be
preferred, a temptation.

43. Will they be new friends of "truth," these coming philosophers? Very
probably, for all philosophers hitherto have loved their truths. But
assuredly they will not be dogmatists. It must be contrary to their
pride, and also contrary to their taste, that their truth should still

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

Page 9
Even in Leipzig, it was reported that Jacob Burckhardt had said: "Nietzsche is as much an artist as a scholar.
Page 10
Everything that could find room took up its abode in him, and these juxtaposed factors, far from interfering with one another's existence, were rather mutually fertilising and stimulating.
Page 15
Here, at any rate--thus much was acknowledged with curiosity as well as with aversion--a _strange_ voice spoke, the disciple of a still "unknown God," who for the time being had hidden himself under the hood of the scholar, under the German's gravity and disinclination for dialectics, even under the bad manners of the Wagnerian; here was a spirit with strange and still nameless needs, a memory bristling with questions, experiences and obscurities, beside which stood the name Dionysos like one more note of interrogation; here spoke--people said to themselves with misgivings--something like a mystic and almost mænadic soul, which, undecided whether it should disclose or conceal itself, stammers with an effort and capriciously as in a strange tongue.
Page 16
A fundamental question is the relation of the Greek to pain, his degree of sensibility,--did this relation remain constant? or did it veer about?--the question, whether his ever-increasing _longing for beauty,_ for festivals, gaieties, new cults, did really grow out of want, privation, melancholy, pain? For suppose even this to be true--and Pericles (or Thucydides) intimates as much in the great Funeral Speech:--whence then the opposite longing, which appeared first in the order of time, the _longing for the ugly_, the good, resolute desire of the Old Hellene for pessimism, for tragic myth, for the picture of all that is terrible, evil, enigmatical, destructive, fatal at the basis of existence,--whence then must tragedy have sprung? Perhaps from _joy,_ from strength, from exuberant health, from over-fullness.
Page 17
Already in the foreword to Richard Wagner, art---and _not_ morality--is set down as the properly _metaphysical_ activity of man; in the book itself the piquant proposition recurs time and again, that the existence of the world is _justified_ only as an æsthetic phenomenon.
Page 28
That horrible "witches' draught" of sensuality and cruelty was here powerless: only the curious blending and duality in the emotions of the Dionysian revellers reminds one of it--just as medicines remind one of deadly poisons,--that phenomenon, to wit, that pains beget joy, that jubilation wrings painful sounds out of the breast.
Page 36
Add to this the most important phenomenon of all ancient lyric poetry, _the union,_ regarded everywhere as natural, _of the lyrist with the musician,_ their very identity, indeed,--compared with which our modern lyric poetry is like the statue of a god without a head,--and we may now, on the basis of our metaphysics of æsthetics set forth above, interpret the lyrist to ourselves as follows.
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 50
Accordingly, the drama is the Apollonian embodiment of Dionysian perceptions and influences, and is thereby separated from the epic as by an immense gap.
Page 55
The best and highest that men can acquire they obtain by a crime, and must now in their turn take upon themselves its consequences, namely the whole flood of sufferings and sorrows with which the offended celestials _must_ visit the nobly aspiring race of man: a bitter reflection, which, by the _dignity_ it confers on crime, contrasts strangely with the Semitic myth of the fall of man, in which curiosity, beguilement, seducibility, wantonness,--in short, a whole series of pre-eminently feminine passions,--were regarded as the origin of evil.
Page 57
_Faust,_ trans.
Page 61
And so the Aristophanean Euripides prides himself on having portrayed the common, familiar, everyday life and dealings of the people, concerning which all are qualified to pass judgment.
Page 65
The judgment of the two old sages, Cadmus and Tiresias, seems to be also the judgment of the aged poet: that the reflection of the wisest individuals does not overthrow old popular traditions, nor the perpetually propagating worship of Dionysus, that in fact it behoves us to display at least a diplomatically cautious concern in the presence of such strange forces: where however it is always possible that the god may take offence at such lukewarm participation, and finally change the diplomat--in this case Cadmus--into a dragon.
Page 68
So long as the spectator has to divine the meaning of this or that person, or the presuppositions of this or that conflict of inclinations and intentions, his complete absorption in the doings and sufferings of the chief persons is impossible, as is likewise breathless fellow-feeling and fellow-fearing.
Page 69
What Sophocles said of Æschylus, that he did what was right, though unconsciously, was surely not in the mind of Euripides: who would have admitted only thus much, that Æschylus, _because_ he wrought unconsciously, did what was wrong.
Page 73
But Plato, the thinker, thereby arrived by a roundabout road just at the point where he had always been at home as poet, and from which Sophocles and all the old artists had solemnly protested against that objection.
Page 80
In so doing I shall leave out of consideration all other antagonistic tendencies which at all times oppose art, especially tragedy, and which at present again extend their sway triumphantly, to such an extent that of the theatrical arts only the farce and the ballet, for example, put forth their blossoms, which perhaps not every one cares to smell, in tolerably rich luxuriance.
Page 90
When Goethe on one occasion said to Eckermann with reference to Napoleon: "Yes, my good friend, there is also a productiveness of deeds," he reminded us in a charmingly naïve manner that the non-theorist is something incredible and astounding to modern man; so that the wisdom of Goethe is needed once more in order to discover that such a surprising form of existence is.
Page 96
" Here we must at once call attention to the common characteristic of these two conceptions in operatic genesis, namely, that in them the ideal is not regarded as unattained or nature as lost Agreeably to this sentiment, there was a primitive age of man when he lay close to the heart of nature, and, owing to this naturalness, had attained the ideal of mankind in a paradisiac goodness and artist-organisation: from which perfect primitive man all of us were supposed to be descended; whose faithful copy we were in fact still said to be: only we had to cast off some few things in order to recognise ourselves once more as this primitive man, on the strength of a voluntary renunciation of superfluous learnedness, of super-abundant culture.
Page 112
It is only by myth that all the powers of the imagination and of the Apollonian dream are freed from their random rovings.