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

By Friedrich Nietzsche

Page 148

natural attitude of our own which appears more
intentional, more distinct, and perhaps somewhat exaggerated.


350.

AN ARTIFICE.--He who wants to get another to do something difficult
must on no account treat the matter as a problem, but must set forth
his plan plainly as the only one possible; and when the adversary's eye
betrays objection and opposition he must understand how to break off
quickly, and allow him no time to put in a word.


351.

PRICKS OF CONSCIENCE AFTER SOCIAL GATHERINGS.--Why does our conscience
prick us after ordinary social gatherings? Because we have treated
serious things lightly, because in talking of persons we have not
spoken quite justly or have been silent when we should have spoken,
because, sometimes, we have not jumped up and run away,--in short,
because we have behaved in society as if we belonged to it.


352.

WE ARE MISJUDGED.--He who always listens to hear how he is judged is
always vexed. For we are misjudged even by those who are nearest to us
("who know us best"). Even good friends sometimes vent their ill-humour
in a spiteful word; and would they be our friends if they knew us
rightly? The judgments of the indifferent wound us deeply, because
they sound so impartial, so objective almost. But when we see that some
one hostile to us knows us in a concealed point as well as we know
ourselves, how great is then our vexation!


353.

THE TYRANNY OF THE PORTRAIT.--Artists and statesmen, who out of
particular features quickly construct the whole picture of a man or an
event, are mostly unjust in demanding that the event or person should
afterwards be actually as they have painted it; they demand straightway
that a man should be just as gifted, cunning, and unjust as he is in
their representation of him.


354.

RELATIVES AS THE BEST FRIENDS.--The Greeks, who knew so well what a
friend was, they alone of all peoples have a profound and largely
philosophical discussion of friendship; so that it is by them firstly
(and as yet lastly) that the problem of the friend has been recognised
as worthy of solution,--these same Greeks have designated _relatives_
by an expression which is the superlative of the word "friend." This is
inexplicable to me.


355.

MISUNDERSTOOD HONESTY.--When any one quotes himself in conversation
("I then said," "I am accustomed to say"), it gives the impression of
presumption; whereas it often proceeds from quite an opposite source;
or at least from honesty, which does not wish to deck and adorn the
present moment with wit which belongs to an earlier moment.


356.

THE PARASITE.--It denotes entire absence of a noble disposition when

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

Page 4
78 _et seq.
Page 6
A little more suspicion, for instance, ought to be applied to Wagner's _My Life_, especially in England, where critics are not half suspicious enough about a continental artist's self-revelations, and are too prone, if they have suspicions at all, to apply them in the wrong place.
Page 7
Wagner is therefore a common need, a common benefactor.
Page 9
His egomaniacal behaviour and his almost Rousseauesque fear and suspicion of others were only the external manifestations of his inner discrepancies.
Page 12
I seem to assist at its birth.
Page 14
{~HORIZONTAL ELLIPSIS~} --But you will not listen to me? You _prefer_ even the _problem_ of Wagner to that of Bizet? But neither do I underrate it; it has its charm.
Page 18
She must first study Schopenhauer.
Page 20
{~HORIZONTAL ELLIPSIS~} In the words of the master: infinity but without melody.
Page 24
{~HORIZONTAL ELLIPSIS~} As a musician he was no more than what he was as a man, he _became_ a musician, he _became_ a poet, because the tyrant in him, his actor's genius, drove him to be both.
Page 33
There is nothing exhausted, nothing effete, nothing dangerous to life, nothing that slanders the world in the realm of spirit, which has not secretly found shelter in his art, he conceals the blackest obscurantism in the luminous orbs of the ideal.
Page 40
The ultimate goodness of their own garden and vineyard is superciliously under-estimated by them, and their love and their insight are not of the same quality.
Page 44
Wagner's appropriation of old sagas and songs, in which scholarly prejudice taught us to see something German _par excellence_--now we laugh at it all, the resurrection of these Scandinavian monsters with a thirst for ecstatic sensuality and spiritualisation--the whole of this taking and giving on Wagner's part, in the matter of subjects, characters, passions, and nerves, would also give unmistakable expression to the _spirit of his music_ provided that this music, like any other, did not know how to speak about itself save ambiguously: for _musica is a woman_.
Page 46
Where Wagner Is At Home.
Page 48
2.
Page 53
{~HORIZONTAL ELLIPSIS~} _Amor fati_: this is the very core of my being--And as to my prolonged illness, do I not owe much more to it than I owe to my health? To it I owe a _higher_ kind of health, a sort of health which grows stronger under everything that does not actually kill it!--_To it, I owe even my philosophy_.
Page 54
{~HORIZONTAL ELLIPSIS~} To-day it seems to us good form not to strip everything naked, not to be present at all things, not to desire to "know" all.
Page 55
I utterly disagree with those who were dissatisfied with the decorations, the scenery and the mechanical contrivances at Bayreuth.
Page 57
_Plato's Envy.
Page 58
He is not the good official that Bach was.
Page 62
(18) FOOTNOTES 1 It should be noted that the first and second editions of these essays on Wagner appeared in pamphlet form, for which the above first preface was written.