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

By Friedrich Nietzsche

Page 103

wherever there is laughter in the world this is the case: it may even
be said that almost everywhere where there is happiness, there is
found pleasure in nonsense. The transformation of experience into its
opposite, of the suitable into the unsuitable, the obligatory into the
optional (but in such a manner that this process produces no injury
and is only imagined in jest), is a pleasure; for it temporarily
liberates us from the yoke of the obligatory, suitable and experienced,
in which we usually find our pitiless masters; we play and laugh when
the expected (which generally causes fear and expectancy) happens
without bringing any injury. It is the pleasure felt by slaves in the
Saturnalian feasts.


THE ENNOBLING OF REALITY.--Through the fact that in the aphrodisiac
impulse men discerned a godhead and with adoring gratitude felt it
working within themselves, this emotion has in the course of time
become imbued with higher conceptions, and has thereby been materially
ennobled. Thus certain nations, by virtue of this art of idealisation,
have created great aids to culture out of diseases,--the Greeks,
for instance, who in earlier centuries suffered from great nervous
epidemics (like epilepsy and St. Vitus' Dance), and developed out of
them the splendid type of the Bacchante. The Greeks, however, enjoyed
an astonishingly high degree of health--their secret was, to revere
even disease as a god, if it only possessed _power_.


Music.--Music by and for itself is not so portentous for our inward
nature, so deeply moving, that it ought to be looked upon as the
_direct_ language of the feelings; but its ancient union with poetry
has infused so much symbolism into rhythmical movement, into loudness
and softness of tone, that we now _imagine_ it speaks directly _to_ and
comes _from_ the inward nature. Dramatic music is only possible when
the art of harmony has acquired an immense range of symbolical means,
through song, opera, and a hundred attempts at description by sound.
"Absolute music" is either form _per se,_ in 'the rude condition of
music, when playing in time and with various degrees of strength gives
pleasure, or the symbolism of form which speaks to the understanding
even without poetry, after the two arts were joined finally together
after long development and the musical form had been woven about with
threads of meaning and feeling. People who are backward in musical
development can appreciate a piece of harmony merely as execution,
whilst those who are advanced will comprehend it symbolically. No music
is deep and full of meaning in itself, it does not speak of "will," of
the "thing-in-itself"; that could be imagined by the

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Text Comparison with Thoughts out of Season, Part I

Page 2
It may indeed be safely predicted that once the English people have recovered from the first shock of Nietzsche's thoughts, their biblical training will enable them, more than any other nation, to appreciate the deep piety underlying Nietzsche's Cause.
Page 7
Page 8
It is a striking parallel, which will specially appeal to those religious souls amongst you who consider themselves the lost tribes of our race (and who are perhaps even more lost than they think),--and it is this: Just as the Jews have brought Christianity into the world, but never accepted it themselves, just as they, in spite of their democratic offspring, have always remained the most conservative, exclusive, aristocratic, and religious people, so have the English never allowed themselves to be intoxicated by the strong drink of the natural equality of men, which they once kindly offered to all Europe to quaff; but have, on the contrary, remained the most sober, the most exclusive, the most feudal, the most conservative people of our continent.
Page 23
Hence, if it be intended to regard German erudition as a thing apart, in what sense can German culture be said to have conquered? In none whatsoever; for the moral qualities of severe discipline, of more placid obedience, have nothing in common with culture: these were characteristic of the Macedonian army, for instance, despite the fact that the Greek soldiers were infinitely more cultivated.
Page 26
In the presence of these arrayed forces the Culture-Philistine either does no more than ward off the blows, or else he denies, holds his tongue, stops his ears, and refuses to face facts.
Page 31
But what the aesthete obviously wishes to prove to us is, that we may be Philistines and at the same time men of culture.
Page 37
the writings of our great poets, in the performances of our great musicians, we find a stimulus for the intellect and heart, for wit and imagination, which leaves nothing to be desired.
Page 46
" (p.
Page 48
Life had not been so profuse of its snubs to him that he could treat it so gaily, or deal so lightly with the foibles of men" (p.
Page 54
" He dare not do this.
Page 62
We therefore put the question, whether Strauss really possesses the artistic strength necessary for the purpose of presenting us with a thing that is a whole, totum ponere? As a rule, it ought to be possible to tell from the first rough sketch of a work whether the author conceived the thing as a whole, and whether, in view of this original conception, he has discovered the correct way of proceeding with his task and of fixing its proportions.
Page 69
Even Strauss knows that the problems he prances over are dreadfully serious, and have ever been regarded as such by the philosophers who have grappled with them; yet he calls his book lightly equipped! But of this dreadfulness and of the usual dark nature of our meditations when considering such questions as the worth of existence and the duties of man, we entirely cease to be conscious when the genial Master plays his antics before us, "lightly equipped, and intentionally so.
Page 86
The whole torrent plunged, now into this valley, now into that, and flooded the most secluded chinks and crannies.
Page 91
Now, in the history of modern thought, our scholars are an example of this condition of weakness as opposed to all reformative and revolutionary activity.
Page 96
Thus educational institutions are said to be decaying, and everywhere individuals are to be found who have secretly deserted them.
Page 103
If their innermost consciousness can perceive no new forms, but only the old ones belonging to the past, they may certainly achieve something for history, but not for life; for they are already dead before having expired.
Page 120
come to terms with himself, to think of the nature of the world in dramatic actions, and to philosophise in music; what desires he still possessed turned in the direction of the latest philosophical views.
Page 127
But in real life passion is seldom eloquent: in spoken drama it perforce must be, in order to be able to express itself at all.
Page 138
He is one of the very great, who appeared amongst us a witness, and who is continually improving his testimony and making it ever clearer and freer; even when he stumbles as a scientist, sparks rise from the ground.
Page 142
Let him who has understood this recall, in the stillness of his soul, the simple themes of Wagner's art, in order to be able to ask himself whether it were nature or nature's opposite which sought by means of them to achieve the aims just described.