Ecce Homo Complete Works, Volume Seventeen

By Friedrich Nietzsche

Page 112

I alone do love: thou art inviolate
To strokes of change and time, of fates the fate!
'Tis only thou, O dire Necessity,
Canst kindle everlasting love in me!
* * * *
O loftiest crown of Life! O shield of Fate!
That no desire can reach to invocate,
That ne'er defiled or sullied is by Nay,
Eternal Yea of life, for e'er am I thy Yea:
For I love thee, Eternity!

[Footnote 1: Translated by Dr. G. T. Wrench.]

[Footnote 2: Translated by Dr. G. T. Wrench.]





My home's in the highlands,
For the highlands I yearn not,
I raise not mine eyes aloft:
I am one that looks downward,
One that must bless,--All
blessers look downward.


Thus I began,
I unlearned all self-pity!


Not in shattering idols,
But in shattering the idol-worshipper in thee,
Consisted thy valour.


See, there stand
Those heavy cats of granite,
Those old, old Values.
Woe is me! How overthrow them?
* * * *
Scratching cats,
With paws that are fettered,
There they sit
And their glance is poison.


A lightning-flash became my wisdom:
With sword of adamant it clove me every


A thought that still
Flows hot, like lava:
But all streams of lava
Build a fortress around them,
And every thought finally
Oppresses itself with laws.


Such is my will:

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

Page 9
Nietzsche's was a polyphonic nature, in which the most different and apparently most antagonistic talents had come together.
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 21
Upon a real perusal of this essay, such readers will, rather to their surprise, discover how earnest is the German problem we have to deal with, which we properly place, as a vortex and turning-point, in the very midst of German hopes.
Page 23
We take delight in the immediate apprehension of form; all forms speak to us; there is nothing indifferent, nothing superfluous.
Page 27
It is in Doric art that this majestically-rejecting attitude of Apollo perpetuated itself.
Page 29
" There is an ancient story that king Midas hunted in the forest a long time for the wise _Silenus,_ the companion of Dionysus, without capturing him.
Page 32
Page 33
this appearance then arises, like an ambrosial vapour, a visionlike new world of appearances, of which those wrapt in the first appearance see nothing--a radiant floating in purest bliss and painless Contemplation beaming from wide-open eyes.
Page 34
The individual, with all his boundaries and due proportions, went under in the self-oblivion of the Dionysian states and forgot the Apollonian precepts.
Page 36
As Dionysian artist he is in the first place become altogether one with the Primordial Unity, its pain and contradiction, and he produces the copy of this Primordial Unity as music, granting that music has been correctly termed a repetition and a recast of the world; but now, under the Apollonian dream-inspiration, this music again becomes visible to him as in a _symbolic dream-picture.
Page 41
,_ as the antithesis of the æsthetic, purely contemplative, and passive frame of mind.
Page 48
The chorus is the "ideal spectator"[5] in so far as it is the only _beholder,_[6] the beholder of the visionary world of the scene.
Page 74
Here _philosophic thought_ overgrows art and compels it to cling close to the trunk of dialectics.
Page 80
I will speak only of the _Most Illustrious Opposition_ to the tragic conception of things--and by this I mean essentially optimistic science, with its ancestor Socrates at the head of it.
Page 83
But these two universalities are in a certain respect opposed to each other; for the concepts contain only the forms, which are first of all abstracted from perception,--the separated outward shell of things, as it were,--and hence they are, in the strictest sense of the term, _abstracta_; music, on the other hand, gives the inmost kernel which precedes all forms, or the heart of things.
Page 90
How unintelligible must _Faust,_ the modern cultured man, who is in himself intelligible, have appeared to a true Greek,--Faust, storming discontentedly through all the faculties, devoted to magic and the devil from a desire for knowledge, whom we have only to place alongside of Socrates for the purpose of comparison, in order to see that modern man begins to divine the boundaries of this Socratic love of perception and longs for a coast in the wide waste of the ocean of knowledge.
Page 106
Thus does the Apollonian wrest us from Dionysian universality and fill us with rapture for individuals; to these it rivets our sympathetic emotion, through these it satisfies the sense of beauty which longs for great and sublime forms; it brings before us biographical portraits, and incites us to a thoughtful apprehension of the essence of life contained therein.
Page 110
" In his sphere hitherto everything has been artificial and merely glossed over with a semblance of life.
Page 111
While the critic got the upper hand in the theatre and concert-hall, the journalist in the school, and the press in society, art degenerated into a topic of conversation of the most trivial kind, and æsthetic criticism was used as the cement of a vain, distracted, selfish and moreover piteously unoriginal sociality, the significance of which is suggested by the Schopenhauerian parable of the porcupines, so that there has never been so much gossip about art and so little esteem for it.
Page 121
This final, cheerfullest, exuberantly mad-and-merriest Yea to life is not only the highest insight, it is also the _deepest,_ it is that which is most rigorously confirmed and upheld by truth and science.