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

By Friedrich Nietzsche

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the amount of stupidity which opposite
values involve, and all the intellectual loss with which every pro
and every contra has to be paid for. Thou shouldst learn how much
_necessary_ injustice there is in every for and against, injustice
as inseparable from life, and life itself as _conditioned_ by the
perspective and its injustice. Above all thou shouldst see clearly
where the injustice is always greatest:--namely, where life has
developed most punily, restrictedly, necessitously, and incipiently,
and yet cannot help regarding _itself_ as the purpose and standard of
things, and for the sake of self-preservation, secretly, basely, and
continuously wasting away and calling in question the higher, greater,
and richer,--thou shouldst see clearly the problem of gradation of
rank, and how power and right and amplitude of perspective grow up
together. Thou shouldst----" But enough; the free spirit _knows_
henceforth which "thou shalt" he has obeyed, and also what he _can_ now
_do,_ what he only now--_may do_....


7.

Thus doth the free spirit answer himself with regard to the riddle of
emancipation, and ends therewith, while he generalises his case, in
order thus to decide with regard to his experience. "As it has happened
to _me_," he says to himself, "so must it happen to every one in whom
a _mission_ seeks to embody itself and to 'come into the world.'" The
secret power and necessity of this mission will operate in and upon
the destined individuals like an unconscious pregnancy,--long before
they have had the mission itself in view and have known its name. Our
destiny rules over us, even when we are not yet aware of it; it is
the future that makes laws for our to-day. Granted that it is _the
problem of the gradations of rank,_ of which we may say that it is
_our_ problem, we free spirits; now only in the midday of our life do
we first understand what preparations, detours, tests, experiments,
and disguises the problem needed, before it _was permitted_ to rise
before us, and how we had first to experience the most manifold and
opposing conditions of distress and happiness in soul and body, as
adventurers and circumnavigators of the inner world called "man," as
surveyors of all the "higher" and the "one-above-another," also called
"man"--penetrating everywhere, almost without fear, rejecting nothing,
losing nothing, tasting everything, cleansing everything from all that
is accidental, and, as it were, sifting it out--until at last we could
say, we free spirits, "Here--a _new_ problem! Here a long ladder,
the rungs of which we ourselves have sat upon and mounted,--which we
ourselves at some time have _been_! Here a higher place, a

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

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and Superintendent) married twice, and had in all twelve children, of whom three died young.
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When a certain portion of the projected work on Hellenism was ready and had received the title _Greek Cheerfulness,_ my brother happened to call upon Wagner at Tribschen in April 1871, and found him very low-spirited in regard to the mission of his life.
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A few weeks later: and he found himself under the walls of Metz, still wrestling with the notes of interrogation he had set down concerning the alleged "cheerfulness" of the Greeks and of Greek art; till at last, in that month of deep suspense, when peace was debated at Versailles, he too attained to peace with himself, and, slowly recovering from a disease brought home from the field, made up his mind definitely regarding the "Birth of Tragedy from the Spirit of _Music.
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[1] And shall not I, by mightiest desire, In living shape that sole fair form acquire? SWANWICK, trans.
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of all nature here reveals itself in the tremors of drunkenness to the highest gratification of the Primordial Unity.
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Out of.
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in joy, sorrow, and knowledge, even to the transpiercing shriek, became audible: let us ask ourselves what meaning could be attached to the psalmodising artist of Apollo, with the phantom harp-sound, as compared with this demonic folk-song! The muses of the arts of "appearance" paled before an art which, in its intoxication, spoke the truth, the wisdom of Silenus cried "woe! woe!" against the cheerful Olympians.
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e.
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In so far as the subject is the artist, however, he has already been released from his individual will, and has become as it were the medium, through which the one verily existent Subject celebrates his redemption in appearance.
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_ This was the new position of poetry into which Plato forced it under the pressure of the demon-inspired Socrates.
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309): "According to all this, we may regard the phenomenal world, or nature, and music as two different expressions of the same thing,[20] which is therefore itself the only medium of the analogy between these two expressions, so that a knowledge of this medium is required in order to understand that analogy.
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that the previously mentioned lesson of Hamlet is to be gathered not from his words, but from a more profound contemplation and survey of the whole.
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Conversely, such a conspicious event is at once divested of every mythical character by the tone-painting of the New Dithyramb; music has here become a wretched copy of the phenomenon, and therefore infinitely poorer.
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[22] "Nature and the ideal," he says, "are either objects of grief, when the former is represented as lost, the latter unattained; or both are objects of joy, in that they are represented as real.
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What even under the most favourable circumstances can the knowledge-craving Socratism of our days do with this demon rising from unfathomable depths? Neither by means of the zig-zag and arabesque work of operatic melody, nor with the aid of the arithmetical counting board of fugue and contrapuntal dialectics is the formula to be found, in the trebly powerful light[23] of which one could subdue this demon and compel it to speak.
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Let no one attempt to weaken our faith in an impending re-birth of Hellenic antiquity; for in it alone we find our hope of a renovation and purification of the German spirit through the fire-magic of music.
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Placed between India and Rome, and constrained to a seductive choice, the Greeks succeeded in devising in classical purity still a third form of life, not indeed for long private use, but just on that account for immortality.
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By way of return for this service, music imparts to tragic myth such an impressive and convincing metaphysical significance as could never be attained by word and image, without this unique aid; and the tragic spectator in particular experiences thereby the sure presentiment of supreme joy to which the path through destruction and negation leads; so that he thinks he hears, as it were, the innermost abyss of things speaking audibly to him.
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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.
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This final, cheerfullest, exuberantly mad-and-merriest Yea to life is not only the highest insight, it is also the _deepest,_ it is that which is most rigorously confirmed and upheld by truth and science.