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

By Friedrich Nietzsche

Page 204

results furnish no ground
for condemnation of the course of the development of human reason.
The scientific spirit in man, however, has gradually to bring to
maturity the virtue of _cautious forbearance,_ the wise moderation,
which is better known in practical than in theoretical life, and
which, for instance, Goethe has represented in "Antonio," as an object
of provocation for all Tassos,--that is to say, for unscientific and
at the same time inactive natures. The man of convictions has in
himself the right not to comprehend the man of cautious thought, the
theoretical Antonio; the scientific man, on the other hand, has no
right to blame the former on that account, he takes no notice thereof,
and knows, moreover, that in certain cases the former will yet cling
to him, as Tasso finally clung to Antonio.


He who has not passed through different phases of conviction, but
sticks to the faith in whose net he was first caught, is, under
all circumstances, just on account of this unchangeableness, a
representative of _atavistic_ culture; in accordance with this lack
of culture (which always presupposes plasticity for culture), he
is severe, unintelligent, unteachable, without liberality, an ever
suspicious person, an unscrupulous person who has recourse to all
expedients for enforcing his opinions because he cannot conceive that
there must be other opinions; he is, in such respects, perhaps a
source of strength, and even wholesome in cultures that have become
too emancipated and languid, but only because he strongly incites to
opposition: for thereby the delicate organisation of the new culture,
which is forced to struggle with him, becomes strong itself.


In essential respects we are still the same men as those of the time
of the Reformation; how could it be otherwise? But the fact that we
_no longer_ allow ourselves certain means for promoting the triumph
of our opinions distinguishes us from that age, and proves that we
belong to a higher culture. He who still combats and overthrows
opinions with calumnies and outbursts of rage, after the manner of
the Reformation men, obviously betrays the fact that he would have
burnt his adversaries had he lived in other times, and that he would
have resorted to all the methods of the Inquisition if he had been
an opponent of the Reformation. The Inquisition was rational at that
time; for it represented nothing else than the universal application of
martial law, which had to be proclaimed throughout the entire domain
of the Church, and which, like all martial law, gave a right to the
extremest methods, under the presupposition, of course, (which we now
no longer share with those people),

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Text Comparison with Thoughts out of Season, Part I David Strauss, the Confessor and the Writer - Richard Wagner in Bayreuth.

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Every great ideal coined in his own brain he imagined to be the ideal of his hero; all his sublimest hopes for society were presented gratis, in his writings, to Wagner, as though products of the latter's own mind; and just as the prophet of old never possessed the requisite assurance to suppose that his noblest ideas were his own, but attributed them to some higher and supernatural power, whom he thereby learnt to worship for its fancied nobility of sentiment, so Nietzsche, still doubting his own powers, created a fetich out of his most distinguished friend, and was ultimately wounded and well-nigh wrecked with disappointment when he found that the Wagner of the Götterdämmerung and Parsifal was not the Wagner of his own mind.
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"[3] And how perfectly he understands the euphemism! When, for example, he refers to the historical studies by means of which we help ourselves in forming just conclusions regarding the political situation, what can he be thinking of, if it be not our newspaper-reading? When he speaks of the active part we take in the reconstruction of the German State, he surely has only our daily visits to the beer-garden in his mind; and is not a walk in the Zoological Gardens implied by 'the sources of information through which we endeavour to enlarge our knowledge of the natural sciences'? Finally, the theatres and concert-halls are referred to as places from which we take home 'a stimulus for wit and imagination which leaves nothing to be desired.
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From the play of airy jests--that is to say, Straussian jests--to the heights of solemn earnestness--that is to say, Straussian earnestness--they remain stolidly at his elbow.
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Wherever neutrality is abandoned in this respect, it is owing to an anthropomorphic attitude of mind which allows reason to exceed its proper bounds.
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said and done, can only be of interest to that person who believes in eternal life as an absolute certainty.
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all the demands of an ideal example of its kind.
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Now, whether this remaining, necessary, and very irksome work has been satisfactorily accomplished by Strauss does not concern us at present; our question is, whether the building itself has been conceived as a whole, and whether its proportions are good? The reverse of this, of course, would be a compilation of fragments--a method generally adopted by scholars.
Page 63
The arrangement of such diverse and conflicting material is well thought out for every portion of it required to be touched upon, without being made too prominent; at times the transitions leading from one subject to another are artistically managed, and one hardly knows what to admire most--the skill with which unpleasant questions are shelved, or the discretion with which they are hushed up.
Page 81
Lofty aspirations, which continually meet with failure, ultimately turn to evil.
Page 84
But his method of doing this, his lack of moderation in the doing, betrayed what a feeble hold his hopes had upon him; how they were only stimulants to which he had recourse in an extremity.
Page 93
He who is struggling to spread justice and love among mankind must regard this organisation as the least significant of the obstacles in his way; for he will only encounter his real opponents once he has successfully stormed and conquered modern culture, which is nothing more than their outworks.
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consecration! The greatest of all torments harassing him, the conflicting beliefs and opinions among men, the unreliability of these beliefs and opinions, and the unequal character of men's abilities--all these things make him hanker after art.
Page 96
He was the first to recognise an evil which is as widespread as civilisation itself among men; language is everywhere diseased, and the burden of this terrible disease weighs heavily upon the whole of man's development.
Page 97
Under this yoke no one is able to show himself as he is, or to express himself artlessly, while only few are able to preserve their individuality in their fight against a culture which thinks to manifest its success, not by the fact that it approaches definite sensations and desires with the view of educating them, but by the fact that it involves the individual in the snare of "definite notions," and teaches him to think correctly: as if there were any value in making a correctly thinking and reasoning being out of man, before one has succeeded in making him a creature that feels correctly.
Page 124
The extraordinary tasks which Wagner set his actors and singers will provoke rivalry between them for ages to come, in the personification of each of his heroes with the greatest possible amount of clearness, perfection, and fidelity, according to that perfect incorporation already typified by the music of drama.
Page 126
An inner dramatic factor--and every passion pursues a dramatic course--struggled to obtain a new form, but the traditional scheme of "mood music" stood in its way, and protested--almost after the manner in which morality opposes innovations and immorality.
Page 129
At almost every stage in Wagner's progress his friends would have liked to preach to him, and his enemies would fain have done so too--but for other reasons.
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reached this now, but in a much higher sense, seeing that every performance to be witnessed in any department of art makes its obeisance, so to speak, before the judgment-stool of his genius and of his artistic temperament.
Page 139
And at the sight of his magnificent development and bloom, the loathing leaves Wotan's soul, and he follows the hero's history with the eye of fatherly love and anxiety.