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

By Friedrich Nietzsche

Page 85

and of necessity _epigoni._ There are, however, certain
drawbacks to their means of lightening life,--they appease and heal
only temporarily, only for the moment; they even prevent men from
labouring towards a genuine improvement in their conditions, inasmuch
as they remove and apply palliatives to precisely that passion of
discontent that induces to action.


THE SLOW ARROW OF BEAUTY.--The noblest kind of beauty is that which
does not transport us suddenly, which does not make stormy and
intoxicating impressions (such a kind easily arouses disgust), but
that which slowly filter into our minds, which we take away with us
almost unnoticed, and which we encounter again in our dreams; but
which, however, after having long lain modestly on our hearts, takes
entire possession of us, fills our eyes with tears and our hearts with
longing. What is it that we long for at the sight of beauty? We long to
be beautiful, we fancy it must bring much happiness with it. But that
is a mistake.


THE ANIMATION OF ART.--Art raises its head where creeds relax. It takes
over many feelings and moods engendered by religion, lays them to its
heart, and itself becomes deeper, more full of soul, so that it is
capable of transmitting exultation and enthusiasm, which it previously
was not able to do. The abundance of religious feelings which have
grown into a stream are always breaking forth again and desire to
conquer new kingdoms, but the growing enlightenment has shaken the
dogmas of religion and inspired a deep mistrust,--thus the feeling,
thrust by enlightenment out of the religious sphere, throws itself upon
art, in a few cases into political life, even straight into science.
Everywhere where human endeavour wears a loftier, gloomier aspect, it
may be assumed that the fear of spirits, incense, and church-shadows
have remained attached to it.


HOW RHYTHM BEAUTIFIES.--Rhythm casts a veil over reality; it causes
various artificialities of speech and obscurities of thought; by the
shadow it throws upon thought it sometimes conceals it, and sometimes
brings it into prominence. As shadow is necessary to beauty, so the
"dull" is necessary to lucidity. Art makes the aspect of life endurable
by throwing lover it the veil of obscure thought.


THE ART OF THE UGLY SOUL.--Art is confined within too narrow limits if
it be required that only the orderly, respectable, well-behaved soul
should be allowed to express itself therein. As in the plastic arts, so
also in music and poetry: there is an art of the ugly soul side by side
with the art of the beautiful soul; and the mightiest effects of art,
the crushing of souls, moving of

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Text Comparison with The Dawn of Day

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There is, for example, the question of race.
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Alas! He did not succeed in his aim, quite the contrary--as we must acknowledge to-day.
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--The whole world raises a shout of horror at the present day if one man presumes to torture the body of another: the indignation against such a being bursts forth almost spontaneously.
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The saints were no better than the rest of us.
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Not only "God who looks into the heart," not only the man who acts and reflects upon his action, but everybody does not doubt that he understands the phenomena of action in every one else.
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To put this more clearly: let us suppose that an instinct or craving has reached that point when it demands gratification,--either the exercise of its power or the discharge of it, or the filling up of a vacuum (all this is metaphorical language),--then it will examine every event that occurs in the course of the day to ascertain how it can be utilised with the object of fulfilling its aim: whether the man runs or rests, or is angry, or reads or speaks or fights or rejoices, the unsatiated instinct watches, as it were, every condition into which the man enters, and, as a rule, if it finds nothing for itself it must wait, still unsatisfied.
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Those iron hands of necessity that shake the dice-box of chance continue their.
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"Agreed; but it shows a want of pride not even to inquire into the matter; our culture does not tend to make people proud.
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--Those men and conditions whose every movement may mean danger to our possessions, honour, and life or death, and to those most dear to us, we shall naturally learn to know thoroughly.
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indeed by no means easy to be merely a spectator in these cases--but learn! and then, amid all difficult or painful situations, you will have a little gate leading to joy and refuge, even when your passions attack you.
Page 199
Jealousy often prevents this in an artist, or that pride which, when it experiences any strange feeling, at once assumes an attitude of defence instead of an attitude of scholarly receptiveness.