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

By Friedrich Nietzsche

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unselfishness with hard words of truth, and to
say, "Thyself deceived, deceive not others!" Only the difference of
views divides them from him, certainly no difference of goodness or
badness; but men generally treat unjustly that which they do not like.
Thus we speak of the cunning and the infamous art of the Jesuits, but
overlook the self-control which every individual Jesuit practises, and
the fact that the lightened manner of life preached by Jesuit books
is by no means for their benefit, but for that of the laity. We may
even ask whether, with precisely similar tactics and organisation,
we enlightened ones would make equally good tools, equally admirable
through self-conquest, indefatigableness, and renunciation.


VICTORY OF KNOWLEDGE OVER RADICAL EVIL.--It is of great advantage to
him who desires to be wise to have witnessed for a time the spectacle
of a thoroughly evil and degenerate man; it is false, like the contrary
spectacle, but for whole long periods it held the mastery, and its
roots have even extended and ramified themselves to us and our world.
In order to understand _ourselves_ we must understand _it_ but then, in
order to mount higher we must rise above it. We recognise, then, that
there exist no sins in the metaphysical sense; but, in the same sense,
also no virtues; we recognise that the entire domain of ethical ideas
is perpetually tottering, that there are higher and deeper conceptions
of good and evil, of moral and immoral. He who does not desire much
more from things than a knowledge of them easily makes peace with his
soul, and will make a mistake (or commit a sin, as the world calls
it) at the most from ignorance, but hardly from covetousness. He will
no longer wish to excommunicate and exterminate desires; but his
only, his wholly dominating ambition, to _know_ as well as possible
at all times, will make him cool and will soften all the savageness
in his disposition. Moreover, he has been freed from a number of
tormenting conceptions, he has no more feeling at the mention of the
words "punishments of hell," "sinfulness," "incapacity for good," he
recognises in them only the vanishing shadow-pictures of false views of
the world and of life.


really has his heart in his work, wishes that some one could come
and annihilate him by representing the same thing in a clearer way
and answering without more ado the problems therein proposed. The
loving girl wishes she could prove the self-sacrificing faithfulness
of her love by the unfaithfulness of her beloved. The soldier hopes

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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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The arrow that is to fly far must be discharged from a well distended bow: if, therefore, anything is necessary for greatness, it is a fierce and tenacious opposition, an opposition either of open contempt, or of malicious irony, or of sly silence, or of gross stupidity, an opposition regardless of the wounds it inflicts and of the precious lives it sacrifices, an opposition that nobody would dare to attack who was not prepared, like the Spartan of old, to return either with his shield or on it.
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There, and nowhere else, will you find the true heroes of coming times, men of moral courage, men whose failures and successes are alike admirable, men whose noble passions have altogether superseded the ordinary vulgarities and moralities of lower beings, men endowed with an extraordinary imagination, which, however, is balanced by an equal power of reason, men already anointed with a drop of that sacred and noble oil, without which the High Priest-Philosopher of Modern Germany would not have crowned his Royal Race of the Future.
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Wagner the reformer of mankind! Wagner the dithyrambic dramatist!--The reader who knows Nietzsche will not be misled by these expressions.
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Wagner would often declare that the beautiful music in the third act of Siegfried was to be ascribed to Nietzsche's influence over him; he also adopted the young man's terminology in art matters, and the concepts implied by the words "Dionysian" and "Apollonian" were borrowed by him from his friend's discourses.
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"True, for the last hundred years we have diligently cultivated ourselves, but a few centuries may yet have to run their course before our fellow-countrymen become permeated with sufficient intellectuality and higher culture to have it said of them, _it is a long time since they were barbarians_.
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all through one is much jolted" (p.
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Then, at least, things will be livelier and noisier than they are at the present moment, in which the carpet-slippered rapture of our heavenly leader and the lukewarm eloquence of his lips only succeed in the end in making us sick and tired.
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As a matter of fact, though, the æsthetic infallibility of any utterance emanating from the temple is the more doubtful, seeing that the lack of taste, thought, and artistic feeling in any scholar can be taken for granted, unless it has previously been proved that, in his particular case, the reverse is true.
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A few have already spoken out on the subject.
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What Montaigne was as an individual amid the turmoil of the Reformation--that is to say, a creature inwardly coming to peace with himself, serenely secluded in himself and taking breath, as his best reader, Shakespeare, understood him,--this is what history is to the modern spirit to-day.
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"Ye must go through my mysteries," he cries to them; "ye need to be purified and shaken by them.
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We are conscious of a new feeling of security, as if we had found a road leading out of the greatest dangers, excesses, and ecstasies, back to the limited and the familiar: there where our relations with our fellows seem to partake of a superior benevolence, and are at all events more noble than they were.
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When the ruling idea of his life gained ascendancy over his mind--the idea that drama is, of all arts, the one that can exercise the greatest amount of influence over the world--it aroused the most active emotions in his whole being.
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In this respect his nature is perhaps more presumptuous even than Goethe's, despite the fact that the latter said of himself: "I always thought I had mastered everything; and even had I been crowned king, I should have regarded the honour as thoroughly deserved.
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" These were his questions in Tannhauser and Lohengrin, in these operas he looked about him for his equals--the anchorite yearned for the number.
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was nothing to induce him to continue this indulgence: all he desired now was to come to terms with himself, to think of the nature of the world in dramatic actions, and to philosophise in music; _what desires_ he still possessed turned in the direction of the _latest philosophical views_.
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By means of sublime phrases and conceits he likewise tries to invest passion with some nobility, and thereby runs yet another risk, that of appearing false and artificial.
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He cannot be loved otherwise than with the love of this eternity, and thus he is conscious only of one kind of hatred directed at him, the hatred which would demolish the bridges bearing his art into the future.
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The fear of the end and the twilight of all gods overcomes him, as also the despair at being able only to await the end without opposing it.