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

By Friedrich Nietzsche

Page 105

were
our ancestors. As a matter of fact, all our senses have been somewhat
blunted, because they immediately look for the sense; that is, they
ask what "it means" and not what "it is,"--such a blunting betrays
itself, for instance, in the absolute dominion of the temperature of
sounds; for ears which still make the finer distinctions, between
_eis_ and _des,_ for instance, are now amongst the exceptions. In
this respect our ear has grown coarser. And then the ugly side of the
world, the one originally hostile to the senses, has been conquered
for music; its power has been immensely widened, especially in the
expression of the noble, the terrible, and the mysterious: our music
now gives utterance to things which had formerly no tongue. In the
same way certain painters have rendered the eye more intellectual, and
have gone far beyond that which was formerly called pleasure in colour
and form. Here, too, that side of the world originally considered as
ugly has been conquered by the artistic intellect. What results from
all this? The more capable of thought that eye and ear become, the
more they approach the limit where they become senseless, the seat of
pleasure is moved into the brain, the organs of the senses themselves
become dulled and weak, the symbolical takes more and more the place
of the actual,--and thus we arrive at barbarism in this way as surely
as in any other. In the meantime we may say: the world is uglier than
ever, but it _represents_ a more beautiful world than has ever existed.
But the more the amber-scent of meaning is dispersed and evaporated,
the rarer become those who perceive it, and the remainder halt at
what is ugly and endeavour to enjoy it direct, an aim, however, which
they never succeed in attaining. Thus, in Germany there is a twofold
direction of musical development, here a throng of ten thousand with
ever higher, finer demands, ever listening more and more for the "it
means," and there the immense countless mass which yearly grows more
incapable of understanding what is important even in the form of
sensual ugliness, and which therefore turns ever more willingly to what
in music is ugly and foul in itself, that is, to the basely sensual.


218.

A STONE IS MORE OF A STONE THAN FORMERLY.--As a general rule we no
longer understand architecture, at least by no means in the same way
as we understand music. We have outgrown the symbolism of lines and
figures, just as we are no longer accustomed to the sound-effects of
rhetoric, and have not absorbed this

Last Page Next Page

Text Comparison with Dionysos: Valikoima runoja

Page 0
Nopeammin kuin muulloin jyrkänteeltä puro kuiluihin syöksyy kuin tervehtäin ja hetkeksi, valkean pilarin lailla, jää kaipuusta värjyen seisomaan.
Page 1
SYKSY Tää syksy on: se vielä särkee sydämesi Sa pois pakene! -- Päivä hiipii vuorten taa, se nousemistansa nousee ja lepää askeleen astuttuaan.
Page 2
Valot, soitto ja gondolit -- hämyn helmahan kaikki ui juopuen pois.
Page 3
.
Page 4
"Sinä? -- totuuden vapaa mieskö?" -- ne ilkkui ei! runoniekka vain! .
Page 5
.
Page 6
"Te ette usko, kuinka somina he istuivat siinä, kun eivät tanssineet, syvinä, mutta vailla ajatuksia, niinkuin pienet salaisuudet, niinkuin suljetut arvoitukset, niinkuin jälkiruoka-pähkinät -- kirjavina ja vieraina tietysti! mutta pilvettöminä: arvoituksina, jotka antavat ratkaista itsensä: näiden tyttöjen huviksi minä mietin silloin jälkiruoka-virren.
Page 7
2.
Page 8
.
Page 9
.
Page 10
Jo virta kultana kimmeltää.
Page 11
.
Page 12
Oi saavu taas, mun tuntematon jumalani! mun _tuskani!_ mun onneni viimeinen!.
Page 13
.
Page 14
Se ollut ei rohkeutes, ett' epäjumalia kaadoit: vaan että sä itsessäs epäjumalanpalvelijan _löit_ maahan, se oli sun rohkeutes.
Page 15
"On ihminen paha", niin puhuivat viisaimmat vielä kaikki mun lohdukseni.