Early Greek Philosophy & Other Essays Collected Works, Volume Two

By Friedrich Nietzsche

Page 33

town's gods that he dedicated the wreaths which
the umpires as a mark of honour set upon his head. Every Greek from
childhood felt within himself the burning wish to be in the contest
of the towns an instrument for the welfare of his own town; in this
his selfishness was kindled into flame, by this his selfishness was
bridled and restricted. Therefore the individuals in antiquity were
freer, because their aims were nearer and more tangible. Modern man, on
the contrary, is everywhere hampered by infinity, like the fleet-footed
Achilles in the allegory of the Eleate Zeno: infinity impedes him, he
does not even overtake the tortoise.

But as the youths to be educated were brought up struggling against
one another, so their educators were in turn in emulation amongst
themselves. Distrustfully jealous, the great musical masters, Pindar
and Simonides, stepped side by side; in rivalry the sophist, the higher
teacher of antiquity meets his fellow-sophist; even the most universal
kind of instruction, through the drama, was imparted to the people
only under the form of an enormous wrestling of the great musical and
dramatic artists. How wonderful! "And even the artist has a grudge
against the artist!" And the modern man dislikes in an artist nothing
so much as the personal battle-feeling, whereas the Greek recognises
the artist _only in such a personal struggle._ There where the modern
suspects weakness of the work of art, the Hellene seeks the source of
his highest strength! That, which by way of example in Plato is of
special artistic importance in his dialogues, is usually the result
of an emulation with the art of the orators, of the sophists, of the
dramatists of his time, invented deliberately in order that at the end
he could say: "Behold, I can also do what my great rivals can; yea
I can do it even better than they. No Protagoras has composed such
beautiful myths as I, no dramatist such a spirited and fascinating
whole as the Symposion, no orator penned such an oration as I put
up in the Georgias--and now I reject all that together and condemn
all imitative art! Only the contest made me a poet, a sophist, an
orator!" What a problem unfolds itself there before us, if we ask
about the relationship between the contest and the conception of the
work of art!--If on the other hand we remove the contest from Greek
life, then we look at once into the pre-Homeric abyss of horrible
savagery, hatred, and pleasure in destruction. This phenomenon alas!
shows itself frequently when a great personality was, owing to an
enormously brilliant

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Text Comparison with The Antichrist

Page 1
The Antichrist: an Attempt at a Criticism of Christianity.
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If he was anything in a word, Nietzsche was a Greek born two thousand years too late.
Page 5
In other solemn pronunciamentoes he was credited with being philosophically responsible for various imaginary crimes of the enemy--the wholesale slaughter or mutilation of prisoners of war, the deliberate burning down of Red Cross hospitals, the utilization of the corpses of the slain for soap-making.
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It seems to me very likely that, in this proletariat, Christianity will continue to survive.
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Rather live amid the ice than among modern virtues and other such south-winds!.
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a soil already prepared for it, which is to say, a soil thoroughly unhealthy.
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_Is the cross, then, an argument?_--But about all these things there is one, and one only, who has said what has been needed for thousands of years--_Zarathustra_.
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[27] The aphorism, which is headed "The Enemies of Truth," makes the direct statement: "Convictions are more dangerous enemies of truth than lies.
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_To that end the thing must be made unconscious_: that is the aim of every holy lie.
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The superior caste--I call it the _fewest_--has, as the most perfect, the privileges of the few: it stands for happiness, for beauty, for everything good upon earth.
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