Human, All-Too-Human: A Book for Free Spirits, Part 1 Complete Works, Volume Six

By Friedrich Nietzsche

Page 102

a great
deal. There is a human species higher even than wie "productive" man.


ACHILLES AND HOMER.--It is always like the case of Achilles and
Homer,--the one _has_ the experiences and sensations, the other
_describes_ them. A genuine author only puts into words the feelings
and adventures of others, he is an artist, and divines much from the
little he has experienced. Artists are by no means creatures of great
passion; but they frequently _represent_ themselves as such with the
unconscious feeling that their depicted passion will be better believed
in if their own life gives credence to their experience in these
affairs. They need only let themselves go, not control themselves, and
give free play to their anger and their desires, and every one will
immediately cry out, "How passionate he is!" But the deeply stirring
passion that consumes and often destroys the individual is another
matter: those who have really experienced it do not describe it in
dramas, harmonies or romances. Artists are frequently _unbridled_
individuals, in so far as they are not artists, but that is a different


OLD DOUBTS ABOUT THE EFFECT OF ART.--Should pity and fear really be
unburdened through tragedy, as Aristotle would have it, so that the
hearers return home colder and quieter? Should ghost-stories really
make us less fearful and superstitious? In the case of certain physical
processes, in the satisfaction of love, for instance, it is true
that with the fulfilment of a need there follows an alleviation and
temporary decrease in the impulse. But fear and pity are not in this
sense the needs of particular organs which require to be relieved.
And in time every instinct is even _strengthened_ by practice in
its satisfaction, in spite of that periodical mitigation. It might
be possible that in each single case pity and fear would be soothed
and relieved by tragedy; nevertheless, they might, on the whole, be
increased by tragic influences, and Plato would be right in saying that
tragedy makes us altogether more timid and susceptible. The tragic poet
himself would then of necessity acquire a gloomy and fearful view of
the world, and a yielding, irritable, tearful soul; it would also agree
with Plato's view if the tragic poets, and likewise the entire part of
the community that derived particular pleasure from them, degenerated
into ever greater licentiousness and intemperance. But what right,
indeed, has our age to give an answer to that great question of Plato's
as to the moral influence of art? If we even had art,--where have we an
influence, _any kind_ of an art-influence?


PLEASURE IN NONSENSE.--How can we take pleasure in nonsense?

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Text Comparison with The Joyful Wisdom Complete Works, Volume Ten

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_ The Complete Works of Friedrich Nietzsche The First Complete and Authorised English Translation Edited by Dr Oscar Levy Volume Ten T.
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We now know something too well, we men of knowledge: oh, how well we are now learning to forget and _not_ know, as artists! And as to our future, we are not likely to be found again in the tracks of those Egyptian youths who at night make the temples unsafe, embrace statues, and would fain unveil, uncover, and put in clear light, everything which for good reasons is kept concealed[2].
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_ _A.
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Indulge thy best or thy worst desires, and above all, go to wreck!--in either case thou art still probably the furtherer and benefactor of mankind in some way or other, and in that respect thou mayest have thy panegyrists--and similarly thy mockers! But thou wilt never find him who would be quite qualified to mock at thee, the individual, at thy best, who could bring home to thy conscience its limitless, buzzing and croaking wretchedness so as to be in accord with truth! To laugh at oneself as one would have to laugh in order to laugh _out of the veriest truth,_--to do this, the best have not hitherto had enough of the sense of truth, and the most endowed have had far too little genius! There is perhaps still a future even for laughter! When the maxim, "The race is all, the individual is nothing,"--has incorporated itself in humanity, and when access stands open to every one at all times to this ultimate emancipation and irresponsibility.
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--_Meditation has lost all its dignity of form; the ceremonial and solemn bearing of the meditative person have been made a mockery, and one would no longer endure a wise man of the old style.
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(When one uses the expression: "The virtuous man is the happiest," it is as much the sign-board of the school for the masses, as a casuistic subtlety for the subtle.
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Our pleasure in ourselves seeks to maintain itself by always transforming something new _into ourselves,_--that.
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For the thinker and for all inventive spirits ennui is the unpleasant "calm" of the soul which precedes the happy voyage and the dancing breezes; he must endure it, he must _await_ the effect it has on him:--it is precisely _this_ which lesser natures cannot at all experience! It is common to scare away ennui in every way, just as it is common to labour without pleasure.
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Here, however, let us consider that everything ordinary, immediate, and indispensable, in short, what has been most preservative of the species, and generally the _rule_ in mankind hitherto, has been judged unreasonable and calumniated in its entirety by this standard, in favour of the exceptions.
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_--The Greeks (or at least the Athenians) liked to hear good talking: indeed they had an eager.
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emotion always drowns the spirit; perhaps because it is stronger than in the former.
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Here only was the rare, sudden flashing of a single sunbeam through the dreadful, universal and continuous nocturnal-day regarded as a miracle of "love," as a beam of the most unmerited "grace.
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_--One can also be undignified and flattering towards a virtue.
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But should not the disguise of "moral men," the screening under moral formulæ and notions of decency, the whole kindly concealment of our conduct under conceptions of duty, virtue, public sentiment, honourableness, and disinterestedness, have just as good reasons in support of it? Not that I mean hereby that human wickedness and baseness, in short, the evil wild beast in us, should be disguised; on the contrary, my idea is that it is precisely as _tame animals_ that we are an ignominious spectacle and require moral disguising,--that the "inner man" in Europe is far from having enough of intrinsic evil "to let himself be seen" with it (to be _beautiful_ with it).
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-- 359.
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of our "love of mankind"; for that, a person of our stamp is not enough of an actor! Or not sufficiently Saint-Simonist, not sufficiently French.
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Not fat, but the greatest suppleness and power is what a good dancer wishes from his nourishment,--and I know not what the spirit of a philosopher would like better than to be a good dancer.