Early Greek Philosophy & Other Essays Collected Works, Volume Two

By Friedrich Nietzsche

Page 21

emotions, is to be said, that they will ever remain
in the entrance-hall, and will never have access to the sanctuary of
music: which, as I said, emotion cannot show but only symbolise.

With regard however to the origin of music, I have already explained
that that can never lie in the Will, but must rather rest in the lap of
that force, which under the form of the "Will" creates out of itself a
visionary world: _the origin of music lies beyond all individuation,_ a
proposition, which after our discussion on the Dionysean self-evident.
At this point I take the liberty of setting forth again comprehensively
side by side those decisive propositions which the antithesis of the
Dionysean and Apollonian dealt with has compelled us to enunciate:

The "Will," as the most original manifestation, is the object of music:
in this sense music can be called imitation of Nature, but of Nature in
its most general form.--

The "Will" itself and the feelings--manifestations of the Will already
permeated with conceptions--are wholly incapable of creating music out
of themselves, just as on the other hand it is utterly denied to music
to represent feelings, or to have feelings as its object, while Will is
its only object.--

He who carries away feelings as effects of music has within them as
it were a symbolic intermediate realm, which can give him a foretaste
of music, but excludes him at the same time from her innermost
sanctuaries.--

The lyric poet interprets music to himself through the symbolic
world of emotions, whereas he himself, in the calm of the Apollonian
contemplation, is exempted from those emotions.--

When, therefore, the musician writes a setting to a lyric poem he is
moved as musician neither through the images nor through the emotional
language in the text; but a musical inspiration coming from quite a
different sphere _chooses_ for itself that song-text as allegorical
expression. There cannot therefore be any question as to a necessary
relation between poem and music; for the two worlds brought here into
connection are too strange to one another to enter into more than a
superficial alliance; the song-text is just a symbol and stands to
music in the same relation as the Egyptian hieroglyph of bravery did to
the brave warrior himself. During the highest revelations of music we
even feel involuntarily the _crudeness_ of every figurative effort and
of every emotion dragged in for purposes of analogy; for example, the
last quartets of Beethoven quite put to shame all illustration and the
entire realm of empiric reality. The symbol, in face of the god really
revealing himself, has no

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Text Comparison with On the Future of our Educational Institutions

Page 1
| | +-----------------------------------------------------------+ * * * * * THE COMPLETE WORKS OF FRIEDRICH NIETZSCHE _The First Complete and Authorised English Translation_ EDITED BY Dr.
Page 2
No one among them has yet forgotten to think while reading a book; he still understands the secret of reading between the lines, and is indeed so generous in what he himself brings to his study, that he continues to reflect upon what he has read, perhaps long after he has laid the book aside.
Page 6
He who feels in complete harmony with the present state of affairs and who acquiesces in it _as something_ "_selbstverstaendliches_,"[1] excites our envy neither in regard to his faith nor in regard to that egregious word "_selbstverstaendlich_," so frequently heard in fashionable circles.
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Towards the end of this piece, which grew ever wilder and which was sung to ever quicker time, I made a sign to my friend, and just as the last chord rang like a yell through the building, he and I vanished, leaving behind us a raging pandemonium.
Page 11
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" "That is a good deal and at the same time very little," growled the philosopher; "just you think the matter over.
Page 19
One must be blessed with overflowing wealth in order to live for the good of all on one's own resources! Extraordinary youngsters! They felt it incumbent upon them to imitate what is precisely most difficult and most high,--what is possible only to the master, when they, above all, should know how difficult and dangerous this is, and how many excellent gifts may be ruined by attempting it!" "I will conceal.
Page 25
time is over; its days are counted.
Page 29
_German composition_ makes an appeal to the individual, and the more strongly a pupil is conscious of his various qualities, the more personally will he do his _German composition_.
Page 35
If with the solitary help of those pinions we sought to reach those far-distant and diamond-studded walls encircling the stronghold of Hellenism, we should certainly not get very far; once more, therefore, we need the same leaders and tutors, our German classical writers, that we may be borne up, too, by the wing-strokes of their past endeavours--to the land of yearning, to Greece.
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[4] German: _Formelle Bildung.
Page 46
Where lies the blame! Where the poetic justice! Suddenly it occurs to him: OEdipus was a passionate fellow, lacking all Christian gentleness--he even fell into an unbecoming rage when Tiresias called him a monster and the curse of the whole country.
Page 51
With the real German spirit and the education derived therefrom, such as I have slowly outlined for you, this purpose of the State is at war, hiddenly or openly: _the_ spirit of education, which is welcomed and encouraged with such interest by the State, and owing to which the schools of this country are so much admired abroad, must accordingly originate in a sphere that.
Page 58
He was just about to move off, and had already turned sideways when we rushed up to him.
Page 59
"Oh, it's you!" ejaculated the philosopher, "our duellists! How you startled us! What on earth drives you to jump out upon us like this at such a time of the night?" "Joy, thankfulness, and reverence," said we, shaking the old man by the hand, whilst the dog barked as if he understood, "we can't let you go without telling you this.
Page 68
How steadfastly and faithfully must the few followers of that culture--which might almost be called sectarian--be ever on the alert! How they must strengthen and uphold one another! How adversely would any errors be criticised here, and how sympathetically excused! And thus, teacher, I ask you to pardon me, after you have laboured so earnestly to set me in the right path!" "You use a language which I do not care for, my friend," said the philosopher, "and one which reminds me of a diocesan conference.
Page 72
' Besides, you are still near enough to this sphere to judge my opinions by the standard of your own impressions and experiences.
Page 77
"We find our academical 'independents' growing up without philosophy and without art; and how can they then have any need to 'go in for' the Greeks and Romans?--for we need now no longer pretend, like our forefathers, to have any great regard for Greece and Rome, which, besides, sit enthroned in almost inaccessible loneliness and majestic alienation.
Page 80
From our degenerate literary art, as also from that itch for scribbling of our learned men which has now reached such alarming proportions, wells forth the same sigh: Oh that we could forget ourselves! The attempt fails: memory, not yet suffocated by the mountains of printed paper under which it is buried, keeps on repeating from time to time: 'A degenerate man of culture! Born for culture and brought up to non-culture! Helpless barbarian, slave of the day, chained to the present moment, and thirsting for something--ever thirsting!' "Oh, the miserable guilty innocents! For they lack something, a need that every one of them must have felt: a real educational institution, which could give them goals, masters, methods, companions; and from the midst of which the invigorating and uplifting breath of the true German spirit would inspire them.
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| | Page 124: neigbourhood replaced with neighbourhood | | Page 130: universites replaced by universities | | | +-----------------------------------------------------------+ * * * * *.