Early Greek Philosophy & Other Essays Collected Works, Volume Two

By Friedrich Nietzsche

Page 16

species Nature speaks out of these instincts very distinctly.
How far this divining power reaches is determined, it seems, by the
greater or lesser consolidation of the State: in disorderly and more
arbitrary conditions, where the whim or the passion of the individual
man carries along with itself whole tribes, then woman suddenly comes
forward as the warning prophetess. But in Greece too there was a never
slumbering care that the terribly overcharged political instinct might
splinter into dust and atoms the little political organisms before
they attained their goals in any way. Here the Hellenic Will created
for itself ever new implements by means of which it spoke, adjusting,
moderating, warning: above all it is in the _Pythia,_ that the power
of woman to compensate the State manifested itself so clearly, as it
has never done since. That a people split up thus into small tribes
and municipalities, was yet at bottom _whole_ and was performing the
task of its nature within its faction, was assured by that wonderful
phenomenon the Pythia and the Delphian oracle: for always, as long as
Hellenism created its great works of art, it spoke out of _one_ mouth
and as _one_ Pythia. We cannot hold back the portentous discernment
that to the Will individuation means much suffering, and that in order
to reach those _individuals_ It _needs_ an enormous step-ladder of
individuals. It is true our brains reel with the consideration whether
the Will in order to arrive at _Art,_ has perhaps effused Itself out
into these worlds, stars, bodies, and atoms: at least it ought to
become clear to us then, that Art is not necessary for the individuals,
but for the Will itself: a sublime outlook at which we shall be
permitted to glance once more from another position.




ON MUSIC AND WORDS


(Fragment, 1871)


What we here have asserted of the relationship between language and
music must be valid too, for equal reasons concerning the relationship
of _Mime_ to _Music._ The Mime too, as the intensified symbolism of
man's gestures, is, measured by the eternal significance of music,
only a simile, which brings into expression the innermost secret
of music but very superficially, namely on the substratum of the
passionately moved human body. But if we include language also in the
category of bodily symbolism, and compare the _drama,_ according to
the canon advanced, with music, then I venture to think, a proposition
of Schopenhauer will come into the clearest light, to which reference
must be made again later on. "It might be admissible, although a purely
musical mind does not demand it, to join and adapt words or

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Text Comparison with Thoughts out of Season, Part I David Strauss, the Confessor and the Writer - Richard Wagner in Bayreuth.

Page 11
The wind--for there is a terrible wind blowing just now--is playing havoc with his long white Jew-beard, but this white Jew-beard of his is growing black again at the end, and even the sad eyes are still capable of quite youthful flashes, as may be noticed at this very moment.
Page 17
Nietzsche's infatuation we have explained; the consequent idealisation of the object of his infatuation he himself has confessed; we have also pointed certain passages which we believe show beyond a doubt that almost everything to be found in _The Case of Wagner_ and _Nietzsche contra Wagner_ was already subconscious in our author, long before he had begun to feel even a coolness towards his hero: let those who think our interpretation of the said passages is either strained or unjustified turn to the literature to which we have referred and judge for themselves.
Page 22
Besides, one of the few who had he right to speak to Germans in terms of reproach Publicly drew attention to the fact.
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own.
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with everywhere, and you are perfectly justified in promising to those who happen to be kicked a sight of those sublime beings as far as the knee.
Page 54
If, however, as scientific men, ye proceed with science as the labourers with the tasks which the exigencies of life impose upon them, what will become of a culture which must await the hour of its birth and its salvation in.
Page 61
Even Strauss himself leaves this double-distilled emergency-belief to take care of itself as often as he can do so, in order to protect himself and us from danger, and to present his recently acquired biological knowledge to his "We" with a clear conscience.
Page 65
Our Master does not always know which he prefers to be--Voltaire or Lessing; but on no account will he be a Philistine.
Page 66
Even this vulgar superstition turns to the advantage of the author's ambition.
Page 76
History is able to record little or nothing of such abortive efforts.
Page 77
" It is certain that in Bayreuth even the spectator is a spectacle worth seeing.
Page 90
It is now necessary that a generation of _anti-Alexanders_ should arise, endowed with the supreme strength necessary for gathering up, binding together, and joining the individual threads of the fabric, so as to prevent their being scattered to the four winds.
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No one who suffers from life can do without this reflection, just as no one can exist without sleep.
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VIII.
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is a luxury; he saw this, and understood that it must stand or fall with the luxurious society of which it forms but a part.
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Not that everybody remained silent: on the contrary, answers were given to thousands of questions which he had never put; people gossipped about the new masterpieces as though they had only been composed for the express purpose of supplying subjects for conversation.
Page 120
And every one whose innermost soul has a presentiment of this, every one unto whom the yoke of tragic deception concerning the aim of life, the distortion and shattering of intentions, renunciation and purification through love, are not unknown things, must be conscious of a vague reminiscence of Wagner's own heroic life, in the masterpieces with which the great man now presents us.
Page 136
to seek those established powers that have the goodwill to protect the noblest passions of man during the period of earthquakes and upheavals.
Page 137
However harsh and strange these propositions may sound, they are nevertheless reverberations from that future world, which _is verily in need of art_, and which expects genuine pleasure.
Page 139
At this juncture something happens which had long been the subject of his most ardent desire: the free and fearless man appears, he rises in opposition to everything accepted and established, his parents atone for having been united by a tie which was antagonistic to the order of nature and usage; they perish, but Siegfried survives.