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

By Friedrich Nietzsche

Page 108

German example and made a spring into a sort of
Rousseau-like state of nature and experiments. It is only necessary
to read Voltaire's "Mahomet" from time to time in order to perceive
clearly what European culture has lost through that breaking down of
tradition. Once for all, Voltaire was the last of the great dramatists
who with Greek proportion controlled his manifold soul, equal even to
the greatest storms of tragedy,--he was able to do what no German
could, because the French nature is much nearer akin to the Greek than
is the German; he was also the last great writer who in the wielding
of prose possessed the Greek ear, Greek artistic conscientiousness,
and Greek simplicity and grace; he was, also, one of the last men able
to combine in himself the greatest freedom of mind and an absolutely
unrevolutionary way of thinking without being inconsistent and
cowardly. Since that time the modern spirit, with its restlessness and
its hatred of moderation and restrictions, has obtained the mastery on
all sides, let loose at first by the fever of revolution, and then once
more putting a bridle on itself when it became filled with fear and
horror at itself,--but it was the bridle of rigid logic, no longer that
of artistic moderation. It is true that through that unfettering for a
time we are able to enjoy the poetry of all nations, everything that
has sprung up in hidden places, original, wild, wonderfully beautiful
and gigantically irregular, from folk-songs up to the "great barbarian"
Shakespeare; we taste the joys of local colour and costume, hitherto
unknown to all artistic nations; we make liberal use of the "barbaric
advantages" of our time, which Goethe accentuated against Schiller in
order to place the formlessness of his _Faust_ in the most favourable
light. But for how much longer? The encroaching flood of poetry of all
styles and all nations _must_ gradually sweep away that magic garden
upon which a quiet and hidden growth would still have been possible;
all poets _must_ become experimenting imitators, daring copyists,
however great their primary strength may be. Eventually, the public,
which has lost the habit of seeing the actual artistic fact in the
_controlling_ of depicting power, in the organising mastery over all
art-means, _must_ come ever more and more to value power for power's
sake, colour for colour's sake, idea for idea's sake, inspiration for
inspiration's sake; accordingly it will not enjoy the elements and
conditions of the work of art, unless _isolated,_ and finally will
make the very natural demand that the artist _must_ deliver it to them
isolated. True, the "senseless"

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Text Comparison with The Joyful Wisdom

Page 6
And as the traveller knows that something _does not_ sleep, that something counts the hours and will awake him, we also know that the critical moment will find us awake—that then something will spring forward and surprise the spirit _in the very act_, I mean in weakness, or reversion, or submission, or obduracy, or obscurity, or whatever the morbid conditions are called, which in times of good health have the _pride_ of the spirit opposed to them (for it is as in the old rhyme: "The spirit proud, peacock and horse are the three proudest things of earthly source").
Page 43
He who feels himself dishonoured at the thought of being the _instrument_ of a prince, or of a party and sect, or even of wealthy power (for example, as the descendant of a proud, ancient family), but wishes just to be this instrument, or must be so before himself and before the public—such a person has need of pathetic principles which can at all times be appealed to:—principles of an unconditional _ought_, to which a person can subject himself without shame, and can show himself subjected.
Page 44
And there is again a new labour which points out the erroneousness of all these reasons, and determines the entire essence of the moral judgments hitherto made.
Page 54
It is accordingly, on the one part, the instrumental character in the virtues which is praised when the virtues are praised, and on the other part, the blind, ruling impulse in every virtue, which refuses to let itself be kept within bounds by the general advantage to the individual; in short, what is praised is the unreason in the virtues, in consequence of which the individual allows himself to be transformed into a function of the whole.
Page 56
It seems to me that, on this occasion, the God of dreams wanted to make merry over my habits,—it is my habit to commence the day by arranging it properly, to make it endurable _for myself_, and it is possible that I may often have done this too formally, and too much like a prince.
Page 87
stage, as we endure that other unnaturalness, the _singing_ passion, and willingly endure it, thanks to the Italians.
Page 90
Above all, however, people wanted to have the advantage of the elementary conquest which man experiences in himself when he hears music: rhythm is a constraint; it produces an unconquerable desire to yield, to join in; not only the step of the foot, but also the soul itself follows the measure,—probably the soul of the Gods also, as people thought! They attempted, therefore, to _constrain_ the Gods by rhythm and to exercise a power over them; they threw poetry around the Gods like a magic noose.
Page 105
If we want to imagine the man of _this_ music,—well, let us just imagine Beethoven as he appeared beside Goethe, say, at their meeting at Teplitz: as semi-barbarism beside culture, as the masses beside the nobility, as the good-natured man beside the good and more than "good" man, as the visionary beside the artist, as the man needing comfort beside the comforted, as the man given to exaggeration and distrust beside the man of reason, as the crank and self-tormenter, as the foolish, enraptured, blessedly unfortunate, sincerely immoderate man, as the pretentious and awkward man,—and altogether as the "untamed man": it was thus that.
Page 107
For habituation to definite tones extends deeply into the character:—people soon have the words and modes of expression, and finally also the thoughts which just suit these tones! Perhaps they already write in the officers' style; perhaps I only read too little of what is at present written in Germany to know this.
Page 109
"This kind of discipleship," said he then, "is the best, but it is dangerous, and not every kind of doctrine can stand it.
Page 110
The astral arrangement in which we live is an exception; this arrangement, and the relatively long durability which is determined by it, has again made possible the exception of exceptions, the formation of organic life.
Page 119
123.
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279.
Page 160
Here the ugly, which.
Page 175
Shall I have my storm in which I shall perish, just as Oliver Cromwell perished in his storm? Or shall I go.
Page 186
Or like a woman who loves him who commands.
Page 238
Mankind! Was there ever a more hideous old woman among all old women (unless.
Page 240
.
Page 243
For the dance is his ideal, and also his art, in the end likewise his sole piety, his "divine service.
Page 245
[15] "The Undecaying" Is but thy label, .