Götzen-Dämmerung

By Friedrich Nietzsche

Page 57

ist. Die Tragödie ist so fern davon, Etwas für
den Pessimismus der Hellenen im Sinne Schopenhauer's zu beweisen, dass
sie vielmehr als dessen entscheidende Ablehnung und Gegen-Instanz zu
gelten hat. Das ja sagen zum Leben selbst noch in seinen fremdesten
und härtesten Problemen; der Wille zum Leben, im Opfer seiner höchsten
Typen der eignen Unerschöpflichkeit frohwerdend - das nannte ich
dionysisch, das errieth ich als die Brücke zur Psychologie des
tragischen Dichters. Nicht um von Schrecken und Mitleiden loszukommen,
nicht um sich von einem gefährlichen Affekt durch dessen vehemente
Entladung zu reinigen - so verstand es Aristoteles -: sondern um, über
Schrecken und Mitleid hinaus, die ewige Lust des Werdens selbst zu
sein, - jene Lust, die auch noch die Lust am Vernichten in sich
schliesst... Und damit berühre ich wieder die Stelle, von der ich
einstmals ausgieng - die "Geburt der Tragödie" war meine erste
Umwerthung aller Werthe: damit stelle ich mich wieder auf den Boden
zurück, aus dem mein Wollen, mein Können wächst - ich, der letzte
Jünger des Philosophen Dionysos, - ich, der Lehrer der ewigen
Wiederkunft...



Der Hammer redet.

Also sprach Zarathustra - 3, 90.

"Warum so hart! - sprach zum Diamanten einst die Küchen-Kohle: sind
wir denn nicht Nah-Verwandte?"

Warum so weich? Oh meine Brüder, also frage ich euch: seid ihr denn
nicht - meine Brüder?

Warum so weich, so weichend und nachgebend? Warum ist so viel
Leugnung, Verleugnung in eurem Herzen? so wenig Schicksal in eurem
Blicke?

Und wollt ihr nicht Schicksale sein und Unerbittliche: wie könntet ihr
einst mit mir - siegen?

Und wenn eure Härte nicht blitzen und schneiden und zerschneiden will:
wie könntet ihr einst mit mir - schaffen?

Alle Schaffenden nämlich sind hart. Und Seligkeit muss es euch dünken,
eure Hand auf Jahrtausende zu drücken wie auf Wachs, -

- Seligkeit, auf dem Willen von Jahrtausenden zu schreiben wie auf
Erz, - härter als Erz, edler als Erz. Ganz hart allein ist das
Edelste.

Diese neue Tafel, oh meine Brüder, stelle ich über euch: werdet
hart! - -

Last Page

Text Comparison with Thoughts out of Season, Part I

Page 9
There, and nowhere else, will you find the true heroes of coming times, men of moral courage, men whose failures and successes are alike admirable, men whose noble passions have altogether superseded the ordinary vulgarities and moralities of lower beings, men endowed with an extraordinary imagination, which, however, is balanced by an equal power of reason, men already anointed with a drop of that sacred and noble oil, without which the High Priest-Philosopher of Modern Germany would not have crowned his Royal Race of the Future.
Page 12
of nations has been occasioned by "the powerful assault on the Divinity of the Semitic Literature by the Germans," he overlooked likewise the connection of this German movement with the same Protestantism, from the narrow and vulgar middle-class of which have sprung all those rationalising, unimaginative, and merely clever professors, who have so successfully undermined the ancient and venerable lore.
Page 21
If however, it be permitted to grow and to spread, if it be spoilt by the flattering and nonsensical assurance that it has been victorious,--then, as I have said, it will have the power to extirpate German mind, and, when that is done, who knows whether there will still be anything to be made out of the surviving German body! Provided it were possible to direct that calm and tenacious bravery which the German opposed to the pathetic and.
Page 33
kind of faith which happens to be compatible with natures of the Straussian order, and what it is they have "half dreamily conjured up" (p.
Page 34
The religious founder is unmasked, the convenient and agreeable highway leading to the Straussian Paradise is built.
Page 40
And as to the catholicity; this is no distinction, more especially when, as in Lessing's case, it was a dire necessity.
Page 47
It is almost incredible that Strauss availed himself of nothing in Kant's Critique of Pure Reason while compiling his Testament of modern ideas, and that he knew only how to appeal to the coarsest realistic taste must also be numbered among the more striking characteristics of this new gospel, the which professes to be but the result of the laborious and continuous study of history and science, and therefore tacitly repudiates all connection with philosophy.
Page 51
His business ought rather to have been, to take the phenomena of human goodness, such--for instance--as pity, love, and self-abnegation, which are already to hand, and seriously to explain them and show their relation to his Darwinian first principle.
Page 57
If, however, as scientific men, ye proceed with science as the labourers with the tasks which the exigencies of life impose upon them, what will become of a culture which must await the hour of its birth and its salvation in the very midst of all this agitated and breathless running to and fro--this sprawling scientifically? For it no one has time--and yet for what shall science have time if not for culture? Answer us here, then, at least: whence, whither, wherefore all science, if it do not lead to culture? Belike to barbarity? And in this direction we already see the scholar caste ominously advanced, if we are to believe that such superficial books as this one of Strauss's meet the demand of their present degree of culture.
Page 66
Nor do his public eulogisers refrain from using the same expression in reference to the work, as the following passage, quoted from one of the least remarkable among them, and in which the same expression is merely paraphrased, will go to prove:-- "The discourse flows on with delightful harmony: wherever it directs its criticism against old ideas it wields the art of demonstration, almost playfully; and it is with some spirit that it prepares the new ideas it brings so enticingly, and presents them to the simple as well as to the fastidious taste.
Page 68
If we have understood Strauss the Confessor correctly, he must be a genuine Philistine, with a narrow, parched soul and scholarly and common-place needs; albeit no one would be more indignant at the title than David Strauss the Writer.
Page 85
And it was this spirit which manifested itself to Wagner.
Page 90
Nothing distinguishes a man more from the general pattern of the age than the use he makes of history and philosophy.
Page 98
And if all mankind must perish some day--and who could question this! --it has been given its highest aim for the future, namely, to increase and to live in such unity that it may confront its final extermination as a whole, with one spirit-with a common sense of the tragic: in this one aim all the ennobling influences of man lie locked; its complete repudiation by humanity would be the saddest blow which the soul of the philanthropist could receive.
Page 101
thinking and reasoning being out of man, before one has succeeded in making him a creature that feels correctly.
Page 103
to elevate us out of barbarity: in reality, it lacks the stirring and creative soul of music; its requirements and arrangements are moreover the product of a period in which the music, to which We seem to attach so much importance, had not yet been born.
Page 105
For them all, art exists only that they may be still more wretched, torpid, insensible, or even more flurried and covetous.
Page 125
It were perhaps possible for a philosopher to present us with its exact equivalent in pure thought, and to purge it of all pictures drawn from life, and of all living actions, in which case we should be in possession of the same thing portrayed in two completely different forms--the one for the people, and the other for the very reverse of the people; that is to say, men of theory.
Page 140
His thoughts, like those of every good and great German, are more than German, and the language of his art does not appeal to particular races but to mankind in general.
Page 142
The sweet-heart, renouncing all personal happiness, owing to a divine transformation of Love into Charity, becomes a saint, and saves the soul of her loved one: the theme of Tannhauser.