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

By Friedrich Nietzsche

Page 83

of God--he reached that same goal,
that feeling of complete sinlessness, complete irresponsibility, which
every one can now acquire by means of science. Neither have I mentioned
the Indian saints, who stand midway between the Christian saint and the
Greek philosopher, and in so far represent no pure type. Knowledge,
science--such as existed then--the uplifting above other men through
logical discipline and training of thought, were as much fostered by
the Buddhists as distinguishing signs of holiness as the same qualities
in the Christian world are repressed and branded as signs of unholiness.


[Footnote 1: Why harass with eternal designs a mind too weak to compass
them? Why do we not, as we lie beneath a lofty plane-tree or this pine
[drink while we may]? HOR., _Odes_ III. ii. 11-14.--J.M.K.]

[Footnote 2:

"All greatest sages of all latest ages
Will chuckle and slily agree,
'Tis folly to wait till a fool's empty pate
Has learnt to be knowing and free:
So children of wisdom, make use of the fools
And use them whenever you can as your tools."--J.M.K.
]

[Footnote 3: It may be remembered that the cross was the gallows of the
ancient world.--J.M.K.]

[Footnote 4: This may give us one of the reasons for the religiosity
still happily prevailing in England and the United States.--J.M.K.]




FOURTH DIVISION.


CONCERNING THE SOUL OF ARTISTS AND AUTHORS.



145.

THE PERFECT SHOULD NOT HAVE GROWN.--With regard to everything that is
perfect we are accustomed to omit the question as to how perfection has
been acquired, and we only rejoice in the present as if it had sprung
out of the ground by magic. Probably with regard to this matter we are
still under the effects of an ancient mythological feeling. It still
_almost_ seems to us (in such a Greek temple, for instance, as that of
Pæstum) as if one morning a god in sport had built his dwelling of such
enormous masses, at other times it seems as if his spirit had suddenly
entered into a stone and now desired to speak through it. The artist
knows that his work is only fully effective if it arouses the belief
in an improvisation, in a marvellous instantaneousness of origin; and
thus he assists this illusion and introduces into art those elements
of inspired unrest, of blindly groping disorder, of listening dreaming
at the beginning of creation, as a means of deception, in order so to
influence the soul of the spectator or hearer

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