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

By Friedrich Nietzsche

Page 144

dangerous physicians are those
who, like born actors, imitate the born physician with the perfect art
of imposture.


307.

WHEN PARADOXES ARE PERMISSIBLE.--In order to interest clever persons in
a theory, it is sometimes only necessary to put it before them in the
form of a prodigious paradox.


308.

HOW COURAGEOUS PEOPLE ARE WON OVER.--Courageous people are persuaded to
a course of action by representing it as more dangerous than it really
is.


309.

COURTESIES.--We regard the courtesies show us by unpopular persons as
offences.


310.

KEEPING PEOPLE WAITING.--A sure way of exasperating people and of
putting bad thoughts into their heads is to keep them waiting long.
That makes them immoral.


311.

AGAINST THE CONFIDENTIAL.--Persons who give us their full confidence
think they hay thereby a right to ours. That is a mistake people
acquire no rights through gifts.


312.

A MODE OF SETTLEMENT.--It often suffices to give a person whom we have
injured an opportunity to make a joke about us to give him personal
satisfaction, and even to make him favourably disposed to us.


313.

THE VANITY OF THE TONGUE.--Whether man conceals his bad qualities
and vices, or frankly acknowledges them, his vanity in either case
seeks its advantage thereby,--only let it be observed how nicely he
distinguishes those from whom he conceals such qualities from those
with whom he is frank and honest.


314.

CONSIDERATE.--To have no wish to offend or injure any one may as well
be the sign of a just as of a timid nature.


315.

REQUISITE FOR DISPUTATION.--He who cannot put his thoughts on ice
should not enter into the heat of dispute.


316.

INTERCOURSE AND PRETENSION.--We forget our pretensions when we are
always conscious of being amongst meritorious people; being alone
implants presumption in us. The young are pretentious, for they
associate with their equals, who are all ciphers but would fain have a
great significance.


317.

MOTIVES OF AN ATTACK.--One does not attack a person merely to hurt
and conquer him, but perhaps merely to become conscious of one's own
strength.


318.

FLATTERY.--Persons who try by means of flattery to put us off our
guard in intercourse with them, employ a dangerous expedient, like a
sleeping-draught, which, when it does not send the patient to sleep,
keeps him all the wider awake.


319.

A GOOD LETTER-WRITER.--A person who does not write books, thinks much,
and lives in unsatisfying society, will usually be a good letter-writer.


320.

THE UGLIEST OF ALL.--It may be doubted whether a person who has
travelled much has found anywhere in the world uglier places than those
to be met with in the human face.


321.

THE SYMPATHETIC ONES.--Sympathetic natures, ever ready to help in
misfortune, are seldom those that participate in joy; in the happiness
of others they have

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Text Comparison with The Case Of Wagner, Nietzsche Contra Wagner, and Selected Aphorisms.

Page 2
Nietzsche's ambition, throughout his life, was to regenerate European culture.
Page 6
From first to last this problem is not to be settled by "facts.
Page 7
He writes party-pamphlets for his followers.
Page 9
Nietzsche was probably quite right when he said the only real and true music that Wagner ever composed did not consist of his elaborate arias and overtures, but of ten or fifteen bars which, dispersed here and there, gave expression to the composer's profound and genuine melancholy.
Page 10
As long as people will admire heroic attitudes more than heroism, such disillusionment is bound to be the price of their error.
Page 11
If in this essay I support the proposition that Wagner is _harmful_, I none the less wish to point out unto whom, in spite of all, he is indispensable--to the philosopher.
Page 12
It is rich.
Page 14
_ and I have my reasons for this principle ("Beyond Good and Evil," pp.
Page 20
{~HORIZONTAL ELLIPSIS~} Chaos makes people wonder.
Page 22
Enough! Enough! I fear that, beneath all my merry jests, you are beginning to recognise the sinister truth only too clearly--the picture of the decline of art, of the decline of the artist.
Page 32
Many also, however (it was singular enough), made this slight alteration in it: "Salvation _from_ the Saviour"--People began to breathe again-- One pays dearly for having been a follower of Wagner.
Page 33
Secondly: an ever increasing indifference towards severe, noble and conscientious schooling in the service of art, and in its place the belief in genius, or in plain English, cheeky dilettantism (--the formula for this is to be found in the _Mastersingers_).
Page 34
What is happening? It is the disciples of Wagner in the act of worshipping him.
Page 35
If Wagner's name represents the ruin of music, just as Bernini's stands for the ruin of sculpture, he is not on that account its cause.
Page 36
What is common to both Wagner and "the others" consists in this: the decline of all organising power, the abuse of traditional means, without the capacity or the aim that would justify this.
Page 37
This is _my_ taste.
Page 38
--That, alone, which has to be guarded against is the falsity, the instinctive duplicity which _would fain_ regard this antithesis as no antithesis at all: just as Wagner did,--and his mastery in this kind of falseness was of no mean order.
Page 48
passages to all that seduces, lures, constrains or overthrows; born enemies of logic and of straight lines, thirsting after the exotic, the strange and the monstrous, and all opiates for the senses and the understanding.
Page 49
The preaching of chastity remains an incitement to unnaturalness: I despise anybody who does not regard "Parsifal" as an outrage upon morality.
Page 60
But how _exacting_! It is quite impossible to do this save for a few short moments,--such tenfold attention on the part of one's eyes, ears, understanding, and feeling, such acute activity in apprehending without any productive reaction, is far too exhausting!--Only the very fewest behave in this way: how is it then that so many are affected? Because most people are only intermittingly attentive, and are inattentive for sometimes whole passages at a stretch; because they bestow their undivided attention now upon the music, later upon the drama, and anon upon the scenery--that is to say they _take the work to pieces_.