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

By Friedrich Nietzsche

Page 26

employed to relieve the mind overburdened
with emotions; for those notions receive much less support from it than
from a metaphysical philosophy. It is easier, then, to pass over from
art to a really liberating philosophical science.


28.

ILL-FAMED WORDS.--Away with those wearisomely hackneyed terms
Optimism and Pessimism! For the occasion for using them becomes less
and less from day to day; only the chatterboxes still find them so
absolutely necessary. For why in all the world should any one wish to
be an optimist unless he had a God to defend who _must_ have created
the best of worlds if he himself be goodness and perfection,--what
thinker, however, still needs the hypothesis of a God? But every
occasion for a pessimistic confession of faith is also lacking when
one has no interest in being annoyed at the advocates of God (the
theologians, or the theologising philosophers), and in energetically
defending the opposite view, that evil reigns, that pain is greater
than pleasure, that the world is a bungled piece of work, the
manifestation of an ill-will to life. But who still bothers about the
theologians now--except the theologians? Apart from all theology and
its contentions, it is quite clear that the world is not good and not
bad (to say nothing of its being the best or the worst), and that the
terms "good" and "bad" have only significance with respect to man, and
indeed, perhaps, they are not justified even here in the way they are
usually employed; in any case we must get rid of both the calumniating
and the glorifying conception of the world.


29.

INTOXICATED BY THE SCENT OF THE BLOSSOMS.--It is supposed that the ship
of humanity has always a deeper draught, the heavier it is laden; it is
believed that the deeper a man thinks, the more delicately he feels,
the higher he values himself, the greater his distance from the other
animals,--the more he appears as a genius amongst the animals,--all
the nearer will he approach the real essence of the world and its
knowledge; this he actually does too, through science, but he _means_
to do so still more through his religions and arts. These certainly
are blossoms of the world, but by no means any _nearer to the root of
the world_ than the stalk; it is not possible to understand the nature
of things better through them, although almost every one believes he
can. _Error_ has made man so deep, sensitive, and inventive that he has
put forth such blossoms as religions and arts. Pure knowledge could
not have been capable of it. Whoever were to unveil for

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Text Comparison with The Birth of Tragedy; or, Hellenism and Pessimism

Page 15
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Page 18
How I now regret, that I had not then the courage (or immodesty?) to allow myself, in all respects, the use of an _individual language_ for such _individual_ contemplations and ventures in the field of thought--that I laboured to express, in Kantian and Schopenhauerian formulæ, strange and new valuations, which ran fundamentally counter to the spirit of Kant and Schopenhauer, as well as to their taste! What, forsooth, were Schopenhauer's views on tragedy? "What gives"--he says in _Welt als Wille und Vorstellung,_ II.
Page 19
Of course, apart from all precipitate hopes and faulty applications to matters specially modern, with which I then spoiled my first book, the great Dionysian note of interrogation, as set down therein, continues standing on and on, even with reference to music: how must we conceive of a music, which is no longer of Romantic origin, like the German; but of _Dionysian_?.
Page 31
Wherever we meet with the "naïve" in art, it behoves us to recognise the highest effect of the Apollonian culture, which in the first place has always to overthrow some Titanic empire and slay monsters, and which, through powerful dazzling representations and pleasurable illusions, must have triumphed over a terrible depth of world-contemplation and a most keen susceptibility to suffering.
Page 33
And now let us imagine to ourselves how the ecstatic tone of the Dionysian festival sounded in ever more luring and bewitching strains into this artificially confined world built on appearance and moderation, how in these strains all the _undueness_ of nature,.
Page 34
The individual, with all his boundaries and due proportions, went under in the self-oblivion of the Dionysian states and forgot the Apollonian precepts.
Page 43
The chorus of the Oceanides really believes that it sees before it the Titan Prometheus, and considers itself as real as the god of the scene.
Page 50
In several successive outbursts does this primordial basis of tragedy beam forth the vision of the drama, which is a dream-phenomenon throughout, and, as such, epic in character: on the other hand, however, as objectivation of a Dionysian state, it does not represent the Apollonian redemption in appearance, but, conversely, the dissolution of the individual and his unification with primordial existence.
Page 60
And because thou hast forsaken Dionysus.
Page 70
"Only by instinct": with this phrase we touch upon the heart and core of the Socratic tendency.
Page 72
_The dying Socrates_ became the new ideal of the noble Greek youths,--an ideal they had never yet beheld,--and above all, the typical Hellenic youth, Plato, prostrated himself before this scene with all the fervent devotion of his visionary soul.
Page 74
The _Apollonian_ tendency has chrysalised in the logical schematism; just as something analogous in the case of Euripides (and moreover a translation of the _Dionysian_ into the naturalistic emotion) was forced upon our attention.
Page 94
The recitative must be defined, according to this description, as the combination of epic and lyric delivery, not indeed as an intrinsically stable combination which could not be attained in the case of such totally disparate elements, but an entirely superficial mosaic conglutination, such as is totally unprecedented in the domain of nature and experience.
Page 103
Tragedy sets a.
Page 106
With the immense potency of the image, the concept, the ethical teaching and the sympathetic emotion--the Apollonian influence uplifts man from his orgiastic self-annihilation, and beguiles him concerning the universality of the Dionysian process into the belief that he is seeing a detached picture of the world, for instance, Tristan and Isolde, and that, _through music,_ he will be enabled to _see_ it still more clearly and intrinsically.
Page 109
Of course, our æsthetes have nothing to say about this return in fraternal union of the two art-deities to the original home, nor of either the Apollonian or Dionysian excitement of the hearer, while they are indefatigable in characterising the struggle of the hero with fate, the triumph of the moral order of the world, or the disburdenment of the emotions through tragedy, as the properly Tragic: an indefatigableness which makes me think that they are perhaps not æsthetically excitable men at all, but only to be regarded as moral beings when hearing tragedy.
Page 115
We contemplated the drama and penetrated with piercing glance into its inner agitated world of motives--and yet it seemed as if only a.
Page 117
For the explanation of tragic myth the very first requirement is that the pleasure which characterises it must be sought in the purely æsthetic sphere, without encroaching on the domain of pity, fear, or the morally-sublime.
Page 118
There we have tragic myth, born anew from music,--and in this latest birth ye can hope for everything and forget what is most afflicting.
Page 120
_ And just on that account was the book an event in Wagner's life: from thence and only from thence were great hopes linked to the name of Wagner.