Early Greek Philosophy & Other Essays Collected Works, Volume Two

By Friedrich Nietzsche

Page 73

exist; for from such an assumption the contradictory
idea of a perfect Infinitude would result. Since now our actuality,
our existing world everywhere shows the character of that perfect
Infinitude, our world signifies in its nature a contradiction against
logic and therewith also against reality and is deception, lie,
fantasma. Zeno especially applied the method of indirect proof; he
said for example, "There can be no motion from one place to another;
for if there were such a motion, then an Infinitude would be given as
perfect, this however is an impossibility." Achilles cannot catch up
the tortoise which has a small start in a race, for in order to reach
only the point from which the tortoise began, he would have had to run
through innumerable, infinitely many spaces, viz., first half of that
space, then the fourth, then the sixteenth, and so on _ad infinitum._
If he does in fact overtake the tortoise then this is an illogical
phenomenon, and therefore at any rate not a truth, not a reality, not
real "Being," but only a delusion. For it is never possible to finish
the infinite. Another popular expression of this doctrine is the
flying and yet resting arrow. At any instant of its flight it has a
position; in this position it rests. Now would the sum of the infinite
positions of rest be identical with motion? Would now the Resting,
infinitely often repeated, be Motion, therefore its own opposite?
The Infinite is here used as the _aqua fortis_ of reality, through
it the latter is dissolved. If however the Ideas are fixed, eternal
and entitative--and for Parmenides "Being" and Thinking coincide--if
therefore the Infinite can never be perfect, if Rest can never become
Motion, then in fact the arrow has not flown at all; it never left its
place and resting position; no moment of time has passed. Or expressed
in another way: in this so-called yet only alleged Actuality there
exists neither time, nor space, nor motion. Finally the arrow itself is
only an illusion; for it originates out of the Plurality, out of the
phantasmagoria of the "Non-One" produced by the senses. Suppose the
arrow had a "Being," then it would be immovable, timeless, increate,
rigid and eternal--an impossible conception! Supposing that Motion was
truly real, then there would be no rest, therefore no position for the
arrow, therefore no space--an impossible conception! Supposing that
time were real, then it could not be of an infinite divisibility; the
time which the arrow needed, would have to consist of a limited number
of time-moments, each of these moments would have to be

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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 1
Thirdly, the Editor wishes to remind students of Nietzsche's own advice to them, namely: to read him slowly, to think over what they have read, and not to accept too readily a teaching which they have only half understood.
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.
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.
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Who, indeed, will enlighten us concerning this Sweetmeat-Beethoven, if not Strauss himself--the only person who seems to know anything about him? But, immediately below, a strong judgment is uttered with becoming non-modesty, and precisely in regard to the Ninth Symphony.
Page 48
But even in his flight he was irresponsible enough to soar beyond the very first principles of which we speak.
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And it is here that we reach the limit of his courage, even in the presence of his "We.
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gaze of the struggling man of culture--if they ever possessed it--that gaze which condemns even the scurry we speak of as a barbarous state of affairs? That is why these few are forced to live in an almost perpetual contradiction.
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If Strauss, however, persists in his claims to be religious, the grounds for these claims must be beyond the pale of recent science.
Page 69
" And, in truth, if one turn to the latest periodicals, one will find German philologists and grammarians already giving expression to the view that our classics can no longer serve us as examples of style, owing to the fact that they constantly use words, modes of speech, and syntactic arrangements which are fast dropping out of currency.
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Meanwhile, however, another duty seemed to press itself strongly on my mind--that of enumerating the solecisms, the strained metaphors, the obscure abbreviations, the instances of bad taste, and the distortions which I encountered; and these were of such a nature that I dare do no more than select a few examples of them from among a collection which is too bulky to be given in full.
Page 78
Being dawdlers themselves, and insisting upon slowness as a principle, they are very naturally vexed by one who strides rapidly ahead, and they wonder how on earth he does it.
Page 87
What Montaigne was as an individual amid the turmoil of the Reformation--that is to say, a creature inwardly coming to peace with himself, serenely secluded in himself and taking breath, as his best reader, Shakespeare, understood him,--this is what history is to the modern spirit to-day.
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notion of; but it requires to be written in a much more earnest and severe spirit, by much more vigorous students, and with much less optimism than has been the case hitherto.
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He will realise how every danger gives it more heart, and every triumph more prudence; how it partakes of poison and sorrow and thrives upon them.
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That is why the nature foreordained, through which music expresses itself to this world of appearance, is one of the most mysterious things under the sun--an abyss in which strength and goodness lie united, a bridge between self and non-self.
Page 121
If, therefore, the heroes and gods of mythical dramas, as understood by Wagner, were to express themselves plainly in words, there would be a danger (inasmuch as the language of words might tend to awaken the theoretical side in us) of our finding ourselves transported from the world of myth to the world of ideas, and the result would be not only that we should fail to understand with greater ease, but that we should probably not understand at all.
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seems to be torn asunder as if it were travelling towards different points, gradually we perceive the central and general movement growing stronger and more rapid, the convulsive fury of the contending waters is converted into one broad, steady, and terrible flow in the direction of an unknown goal; and suddenly, at the end, the whole flood in all its breadth plunges into the depths, rejoicing demoniacally over the abyss and all its uproar.
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True, he has.
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In his imagination he pulls the edifice of modern civilisation to pieces, and allows nothing rotten, no unsound timber-work to escape: if in the process he should happen to encounter weather-tight walls or anything like solid foundations, he immediately casts about for means wherewith he can convert them into bulwarks and shelters for his art.
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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.