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

By Friedrich Nietzsche

Page 91

is conscious
of them likes to speak. They all had that thorough earnestness for work
which learns first how to form the different parts perfectly before it
ventures to make a great whole; they gave themselves time for this,
because they took more pleasure in doing small, accessory things well
than in the effect of a dazzling whole. For instance, the recipe for
becoming a good novelist is easily given, but the carrying out of the
recipe presupposes qualities which we are in the habit of overlooking
when we say, "I have not sufficient talent." Make a hundred or more
sketches of novel-plots, none more than two pages long, but of such
clearness that every word in them is necessary; write down anecdotes
every day until you learn to find the most pregnant, most effective
form; never weary of collecting and delineating human types and
characters; above all, narrate things as often as possible and listen
to narrations with a sharp eye and ear for the effect upon other people
present; travel like a landscape painter and a designer of costumes;
take from different sciences everything that is artistically effective,
if it be well represented; finally, meditate on the motives for human
actions, scorn not even the smallest point of instruction on this
subject, and collect similar matters by day and night. Spend some ten
years in these various exercises: then the creations of your study may
be allowed to see the light of day. But what do most people do, on the
contrary? They do not begin with the part, but with the whole. Perhaps
they make one good stroke, excite attention, and ever afterwards their
work grows worse and worse, for good, natural reasons. But sometimes,
when intellect and character are lacking for the formation of such an
artistic career, fate and necessity take the place of these qualities
and lead the future master step by step through all the phases of his


superior, fertile minds is not necessarily, but still very frequently,
connected with that wholly or partly religious superstition that
those spirits are of superhuman origin and possess certain marvellous
faculties, by means of which they obtained their knowledge in ways
quite different from the rest of mankind. They are credited with
having an immediate insight into the nature of the world, through
a peep-hole in the mantle of the phenomenon as it were, and it is
believed that, without the trouble and severity of science, by virtue
of this marvellous prophetic sight, they could impart something final
and decisive about

Last Page Next Page

Text Comparison with The Case Of Wagner, Nietzsche Contra Wagner, and Selected Aphorisms.

Page 0
Page 1
Another very general error is to suppose that the point at issue here is not one concerning music at all, but concerning religion.
Page 2
In the first period of his relationship with Wagner, he thought that he had found the man who was prepared to lead in this direction.
Page 8
_, I am a _decadent_," says Nietzsche.
Page 9
But, to repeat what I have already said, these abnormal symptoms are not in the least incompatible with Wagner's music, they are rather its very cause, the root from which it springs.
Page 10
A long history!--Shall I give it a name?--If I were a moralist, who knows what I might not call it! Perhaps a piece of _self-mastery_.
Page 11
" There is no help for.
Page 19
{~HORIZONTAL ELLIPSIS~} Only with morbid music can money be made to-day; our big theatres live on Wagner.
Page 20
Wherefore beauty then? Why not rather aim at size, at the sublime, the gigantic, that which moves the _masses_?--And to repeat, it is easier to be titanic than to be beautiful; we know that.
Page 30
with bad weather, with German weather! Wotan is their God, but Wotan is the God of bad weather.
Page 34
" Much more dangerous than all this, however, is the corruption of ideas.
Page 39
{~HORIZONTAL ELLIPSIS~} If Wagner were a Christian, then Liszt was perhaps a Father of the Church!--The need of _salvation_, the quintessence of all Christian needs, has nothing in common with such clowns; it is the most straightforward expression of decadence, it is the most convincing and most painful affirmation of decadence, in sublime symbols and practices.
Page 40
He knows that weary shuffling along of the soul which is no longer able either to spring or to fly, nay, which is no longer able to walk, he has the modest glance of concealed suffering, of understanding without comfort, of leave-taking without word.
Page 44
, and of the art of Racine and Claude Lorrain, in _ringing_ gold; only in Beethoven's and Rossini's music did the Eighteenth Century sing itself out--the century of enthusiasm, broken ideals, and _fleeting joy_.
Page 47
French are "barbarians,"--as for me, if I had to find the _blackest_ spot on earth, where slaves still required to be liberated, I should turn in the direction of Northern Germany.
Page 50
Page 51
Page 54
Oh, how much more repulsive pleasure now is to him, that coarse, heavy, buff-coloured pleasure, which is understood by our pleasure-seekers, our "cultured people," our wealthy folk and our rulers! With how much more irony we now listen to the hubbub as of a country fair, with which the "cultured" man and the man about town allow themselves to be forced through art, literature, music, and with the help of intoxicating liquor, to "intellectual enjoyments.
Page 56
Page 63