Ecce Homo Complete Works, Volume Seventeen

By Friedrich Nietzsche

Page 41

his riddle?

"Unto you, daring explorers and experimenters, and unto all who have
ever embarked beneath cunning sails upon terrible seas;

"Unto you who revel in riddles and in twilight, whose souls are lured
by flutes unto every treacherous abyss:

"For ye care not to grope your way along a thread with craven fingers;
and where ye are able to _guess,_ ye hate to _argue_?"


I will now pass just one or two general remarks about my _art of
style._ To communicate a state an inner tension of pathos by means
of signs, including the tempo of these signs,--that is the meaning of
every style; and in view of the fact that the multiplicity of inner
states in me is enormous, I am capable of many kinds of style--in
short, the most multifarious art of style that any man has ever had at
his disposal. Any style is _good_ which genuinely communicates an inner
condition, which does not blunder over the signs, over the tempo of the
signs, or over _moods_--all the laws of phrasing are the outcome of
representing moods artistically. Good style, in itself, is a piece of
sheer foolery, mere idealism, like "beauty in itself," for instance,
or "goodness in itself," or "the thing-in-itself." All this takes for
granted, of course, that there exist ears that can hear, and such men
as are capable and worthy of a like pathos, that those are not wanting
unto whom one may communicate one's self. Meanwhile my Zarathustra,
for instance, is still in quest of such people--alas! he will have to
seek a long while yet! A man must be worthy of listening to him....
And, until that time, there will be no one who will understand the art
that has been squandered in this book. No one has ever existed who has
had more novel, more strange, and purposely created art forms to fling
to the winds. The fact that such things were possible in the German
language still awaited proof; formerly, I myself would have denied
most emphatically that it was possible. Before my time people did not
know what could be done with the German language--what could be done
with language in general. The art of grand rhythm, of grand style in
periods, for expressing the tremendous fluctuations of sublime and
superhuman passion, was first discovered by me: with the dithyramb
entitled "The Seven Seals," which constitutes the last discourse of
the third part of _Zarathustra,_ I soared miles above all that which
heretofore has been called poetry.


The fact that the voice which speaks in my works is that of a
psychologist who has

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

Page 1
Our grandfather Dr.
Page 2
Of the four pairs of great-grandparents, one great-grandfather reached the age of ninety, five great-grandmothers and-fathers died between eighty-two and eighty-six years of age, and two only failed to reach their seventieth year.
Page 10
The kernel of its thought he always recognised as perfectly correct; and all he deplored in later days was that he had spoiled the grand problem of Hellenism, as he understood it, by adulterating it with ingredients taken from the world of most modern ideas.
Page 14
Page 17
In fact, to the purely æsthetic world-interpretation and justification taught in this book, there is no greater antithesis than the Christian dogma, which is _only_ and will be only moral, and which, with its absolute standards, for instance, its truthfulness of God, relegates--that is, disowns, convicts, condemns--art, _all_ art, to the realm of _falsehood.
Page 23
But, together with the highest life of this dream-reality we also have, glimmering through it, the sensation of its appearance: such at least is my experience, as to the frequency, ay, normality of which I could adduce many proofs, as also the sayings of the poets.
Page 35
He acknowledges that as the preparatory state to the act of poetising he had not perhaps before him or within him a series of pictures with co-ordinate causality of thoughts, but rather a _musical mood_ ("The perception with me is at first without a clear and definite object; this forms itself later.
Page 41
This process of a discharge of music in pictures we have now to transfer to some youthful, linguistically productive people, to get a notion as to how the strophic popular song originates, and how the entire faculty of speech is stimulated by this new principle of imitation of music.
Page 56
,_ he trespasses and suffers.
Page 69
That Socrates stood in close relationship to Euripides in the tendency of his teaching, did not escape the notice of contemporaneous antiquity; the most eloquent expression of this felicitous insight being the tale current in Athens, that Socrates was accustomed to help Euripides in poetising.
Page 85
339, trans.
Page 91
comprehensible, nay even pardonable.
Page 92
Let us imagine a rising generation with this undauntedness of vision, with this heroic desire for the prodigious, let us imagine the bold step of these dragon-slayers, the proud and daring spirit with which they turn their backs on all the effeminate doctrines of optimism in order "to live resolutely" in the Whole and in the Full: would it not be necessary for the tragic man of this culture, with his self-discipline to earnestness and terror, to desire a new art, the art of metaphysical comfort,--namely, tragedy, as the Hellena belonging to him, and that he should exclaim with Faust: Und sollt' ich nicht, sehnsüchtigster Gewalt, In's Leben ziehn die einzigste Gestalt?[21] But now that the Socratic culture has been shaken from two directions, and is only able to hold the sceptre of its infallibility with trembling hands,--once by the fear of its own conclusions which it at length begins to surmise, and again, because it is no longer convinced with its former naïve trust of the eternal validity of its foundation, --it is a sad spectacle to behold how the dance of its thought always rushes longingly on new forms, to embrace them, and then, shuddering, lets them go of a sudden, as Mephistopheles does the seductive Lamiæ.
Page 98
If, however, in the exemplification herewith indicated we have rightly associated the evanescence of the Dionysian spirit with a most striking, but hitherto unexplained transformation and degeneration of the Hellene--what hopes must revive in us when the most trustworthy auspices guarantee _the reverse process, the gradual awakening of the Dionysian spirit_ in our modern world! It is impossible for the divine strength of Herakles to languish for ever in voluptuous bondage to Omphale.
Page 101
Let no one attempt to weaken our faith in an impending re-birth of Hellenic antiquity; for in it alone we find our hope of a renovation and purification of the German spirit through the fire-magic of music.
Page 112
It is only by myth that all the powers of the imagination and of the Apollonian dream are freed from their random rovings.
Page 113
Through a remarkable disruption of both these primitive artistic impulses, the ruin of Greek tragedy seemed to be necessarily brought about: with which process a degeneration and a transmutation of the Greek national character was strictly in keeping, summoning us to earnest reflection as to how closely and necessarily art and the people, myth and custom, tragedy and the state, have coalesced in their bases.
Page 115
But let him never think he can fight such battles without his household gods, without his mythical home, without a "restoration" of all German things I And if the German should look timidly around for a guide to lead him back to his long-lost home, the ways and paths of which he knows no longer--let him but listen to the delightfully luring call of the Dionysian bird, which hovers above him, and would fain point out to him the way thither.
Page 118
What is most afflicting to all of us, however, is--the prolonged degradation in which the German genius has lived estranged from house and home in the.
Page 123
I promise a _tragic_ age: the highest art in the yea-saying to life, tragedy, will be born anew, when mankind have behind them the consciousness of the hardest but most necessary wars, _without suffering therefrom.