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

By Friedrich Nietzsche

Page 106

kind of mother's milk of culture
since our first moment of life. Everything in a Greek or Christian
building originally had a meaning, and referred to a higher order of
things; this feeling of inexhaustible meaning enveloped the edifice
like a mystic veil. Beauty was only a secondary consideration in
the system, without in any way materially injuring the fundamental
sentiment of the mysteriously-exalted, the divinely and magically
consecrated; at the most, beauty _tempered horror_--but this horror was
everywhere presupposed. What is the beauty of a building now? The same
thing as the beautiful face of a stupid woman, a kind of mask.


THE RELIGIOUS SOURCE OF THE NEWER MUSIC.--Soulful music arose out of
the Catholicism re-established after the Council of Trent, through
Palestrina, who endowed the newly-awakened, earnest, and deeply
moved spirit with sound; later on, in Bach, it appeared also in
Protestantism, as far as this had been deepened by the Pietists and
released from its originally dogmatic character. The supposition
and necessary preparation for both origins is the familiarity with
music, which existed during and before the Renaissance, namely that
learned occupation with music, which was really scientific pleasure
in the masterpieces of harmony and voice-training. On the other hand,
the opera must have preceded it, wherein the layman made his protest
against a music that had grown too learned and cold, and endeavoured
to re-endow Polyhymnia with a soul. Without the change to that deeply
religious sentiment, without the dying away of the inwardly moved
temperament, music would have remained learned or operatic; the
spirit of the counter-reformation is the spirit of modern music (for
that pietism in Bach's music is also a kind of counter-reformation).
So deeply are we indebted to the religious life. Music was the
counter-reformation in the field of art; to this belongs also the
later painting of the Caracci and Caravaggi, perhaps also the baroque
style, in _any_ case more than the architecture of the Renaissance
or of antiquity. And we might still ask: if our newer music could
move stones, would it build them up into antique architecture? I very
much doubt it. For that which predominates in this music, affections,
pleasure in exalted, highly-strained sentiments, the desire to be alive
at any cost, the quick change of feeling, the strong relief-effects of
light and shade, the combination of the ecstatic and the naïve,--all
this has already reigned in the plastic arts and created new laws
of style:--but it was neither in the time of antiquity nor of the


THE BEYOND IN ART.--It is not without deep pain that we acknowledge
the fact that in their loftiest soarings, artists of

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Text Comparison with Götzen-Dämmerung

Page 0
Page 1
Um allein zu leben, muss man ein Thier oder ein Gott sein - sagt Aristoteles.
Page 2
Page 4
Man weiss, man sieht es selbst noch, wie hässlich er war.
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Wir glaubten uns selbst im Akt des Willens ursächlich; wir meinten da wenigstens die Ursächlichkeit auf der That zu ertappen.
Page 16
Die "innere Welt" ist voller Trugbilder und Irrlichter: der Wille ist eins von ihnen.
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Beweis der Lust ("der Kraft") als Criterium der Wahrheit.
Page 18
Dieselben sind bedingt durch Wesen, die uns feind sind (böse Geister: berühmtester Fall - Missverständniss der Hysterischen als Hexen).
Page 26
Alle Ungeistigkeit, alle Gemeinheit beruht auf dem Unvermögen, einem Reize Widerstand zu leisten - man muss reagiren, man folgt jedem Impulse.
Page 28
Wenn man den christlichen Glauben aufgiebt, zieht man sich damit das Recht zur christlichen Moral unter den Füssen weg.
Page 29
- Wie kalt muss sie bei alledem gewesen sein, diese unausstehliche Künstlerin! Sie zog sich auf wie eine Uhr - und schrieb.
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schönen Luxus der Skepsis gestatten: man ist sicher genug, fest genug, gebunden genug dazu.
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Ihr unterster Instinkt, der der Selbsterhaltung und Selbsterweiterung, strahlt noch in solchen Sublimitäten aus.
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- 40.
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Es hilft nichts: man muss vorwärts, will sagen Schritt für Schritt weiter in der décadence (- dies meine Definition des modernen "Fortschritts".
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Die Schönheit kein Zufall.
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Man hatte es nöthig, stark zu sein: die Gefahr war in der Nähe -, sie lauerte überall.