the total (which indeed only
manifests itself as the fear of the new Colossus in other nations, and
as the compulsory favouring by them of national trade and commerce)
when all the nobler, finer, and more intellectual plants and products,
in which its soil was hitherto so rich, must be sacrificed to this
coarse and opalescent flower of the nation?"
REPEATED ONCE MORE.--Public opinion--private laziness.
[Footnote 1: This aphorism may have been suggested by Nietzsche's
observing the behaviour of his great contemporary, Bismarck, towards
[Footnote 2: This is once more an allusion to modern Germany.--J.M.K.]
MAN ALONE BY HIMSELF.
THE ENEMIES OF TRUTH.--Convictions are more dangerous enemies of truth
A TOPSY-TURVY WORLD.--We criticise a thinker more severely when he puts
an unpleasant statement before us; and yet it would be more reasonable
to do so when we find his statement pleasant.
DECIDED CHARACTER.--A man far oftener appears to have a decided
character from persistently following his temperament than from
persistently following his principles.
THE ONE THING NEEDFUL.--One thing a man must have: either a naturally
light disposition or a disposition _lightened_ by art and knowledge.
THE PASSION FOR THINGS.--Whoever sets his passion on things (sciences,
arts, the common weal, the interests of culture) withdraws much fervour
from his passion for persons (even when they are the representatives
of those things; as statesmen, philosophers, and artists are the
representatives of their creations).
CALMNESS IN ACTION.--As a cascade in its descent becomes more
deliberate and suspended, so the great man of action usually acts with
_more_ calmness than his strong passions previous to action would lead
one to expect.
NOT TOO DEEP.--Persons who grasp a matter in all its depth seldom
remain permanently true to it. They have just brought the depth up into
the light, and there is always much evil to be seen there.
THE ILLUSION OF IDEALISTS.--All idealists imagine that the cause which
they serve is essentially better than all other causes, and will not
believe that if their cause is really to flourish it requires precisely
the same evil-smelling manure which all other human undertakings have
SELF-OBSERVATION.--Man is exceedingly well protected from himself and
guarded against his self-exploring and self-besieging; as a rule he can
perceive nothing of himself but his outworks. The actual fortress is
inaccessible, and even invisible, to him, unless friends and enemies
become traitors and lead him inside by secret paths.
THE RIGHT CALLING.--Men can seldom hold on to a calling unless they
believe or persuade themselves that it is really more important than
any other. Women are the same with their lovers.
NOBILITY OF DISPOSITION.--Nobility of disposition consists largely in
good-nature and absence of
Both Nietzsche and Disraeli have clearly recognised that this patient of theirs is suffering from weakness and not from sinfulness, for which latter some kind of strength may still be required; both are therefore entirely opposed to a further dieting him down to complete moral emaciation, but are, on the contrary, prescribing a tonic, a roborating, a natural regime for him --advice for which both doctors have been reproached with Immorality by their contemporaries as well as by posterity.Page 64
-), and is actually bolstered up by the following subterfuge: "He who cannot help himself in this matter is beyond help, is not yet ripe for our standpoint" (p.Page 66
No one would contend, I suppose, that Strauss is original, or that he is over-severe in his method; but the question is whether we can regard him as "master of his subject," and grant him "incomparable skill"? The confession to the effect that the treatise was intentionally "lightly equipped" leads us to think that it at least aimed at incomparable skill.Page 67
Now, the notion which the Culture-Philistine has of a classic and standard author speaks eloquently for his pseudo-culture--he who only shows his strength by opposing a really artistic and severe style, and who, thanks to the persistence of his opposition, finally arrives at a certain uniformity of expression, which again almost appears to possess unity of genuine style.Page 75
'" It is true that Strauss's style generally maintains a happy medium between this sort of merry quick-march and the other funereal and indolent pace; but between two vices one does not invariably find a virtue; more often rather only weakness, helpless paralysis, and impotence.Page 80
To us who are more confident, it is clear that he believes as strongly in the greatness of his feat as in the greatness of feeling in those who are to witness it.Page 83
In his case there were no hereditary or family influences at work to constrain him to the sedulous study of one particular art.Page 84
His feelings were easily roused and but indifferently satisfied; wherever the boy turned he found himself surrounded by a wonderful and would-be learned activity, to which the garish theatres presented a ridiculous contrast, and the entrancing strains of music a perplexing one.Page 90
What Montaigne was as an individual amid the turmoil of the Reformation--that is.Page 95
In point of fact, there is but one speedy way of convincing oneself of the vulgarity, weirdness, and confusion of our theatrical institutions, and that is to compare them with those which once flourished in ancient Greece.Page 98
What we, for the time being, regard as so worthy of effort, and what makes us sympathise with the tragic hero when he prefers death to renouncing the object of his desire, this can seldom retain the same value and energy when transferred to everyday life: that is why art is the business of the man who is recreating himself.Page 103
Our education is the most antiquated factor of our present conditions, and it is so more precisely in regard to the one new educational force by which it makes men of to-day in advance of those of bygone centuries, or by which it would make them in advance of their remote ancestors, provided only they did not persist so rashly in hurrying forward in meek response to the scourge of the moment.Page 109
As the observer is apparently subject to Wagner's exuberant and prodigally generous nature, he partakes of its strength, and thereby becomes formidable through him and to him.Page 119
musician who writes and thinks was, at that time, a thing unknown.Page 121
A great German war caused him to open his eyes, and he observed that those very Germans whom he considered so thoroughly degenerate and so inferior to the high standard of real Teutonism, of which he had formed an ideal both from self-knowledge and the conscientious study of other great Germans in history; he observed that those very Germans were, in the midst of terrible circumstances, exhibiting two virtues of the highest order--simple bravery and prudence; and with his heart bounding with delight he conceived the hope that he might not be the last German, and that some day a greater power would perhaps stand by his works than that devoted yet meagre one consisting of his little band of friends--a power able to guard it during that long period preceding its future glory, as the masterpiece of this future.Page 124
Let it suffice if we can appreciate how, in some respects, his music, with a certain cruelty towards itself, determines to subserve the course of the drama, which is as unrelenting as fate, whereas in reality his art was ever thirsting for a free ramble in the open and over the wilderness.Page 142
Let him who has understood this recall, in the stillness of his soul, the simple themes of Wagner's art, in order to be able to ask himself whether it were nature or nature's opposite which sought by means of them to achieve the aims just described.Page 144
sovereign spear was broken in the contest with the freest man, and who lost his power through him, rejoicing greatly over his own defeat: full of sympathy for the triumph and pain of his victor, his eye burning with aching joy looks back upon the last events; he has become free through love, free from himself.