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

By Friedrich Nietzsche

Page 95

of art exaggerate; if they are artists they
do so _in majorem artis gloriam,_ if they are laymen, from ignorance.
The form of a work of art, which gives speech to their thoughts and is,
therefore, their mode of talking, is always somewhat uncertain, like
all kinds of speech. The sculptor can add or omit many little traits,
as can also the exponent, be he an actor or, in music, a performer or
conductor. These many little traits and finishing touches afford him
pleasure one day and none the next, they exist more for the sake of the
artist than the art; for he also has occasionally need of sweetmeats
and playthings to prevent him from becoming morose with the severity
and self-restraint which the representation of the dominant idea
demands from him.


172.

TO CAUSE THE MASTER TO BE FORGOTTEN.--The pianoforte player who
executes the work of a master will have played best if he has made his
audience forget the master, and if it seemed as if he were relating
a story from his own life or just passing through some experience.
Assuredly, if he is of no importance, every one will abhor the
garrulity with which he talks about his own life. Therefore he must
know how to influence his hearer's imagination favourably towards
himself. Hereby are explained all the weaknesses and follies of "the
virtuoso."


173.

_CORRIGER LA FORTUNE._--There are unfortunate accidents in the lives
of great artists, which compel the painter, for instance, to sketch
out his most important picture only as a passing thought, or such as
obliged Beethoven to leave behind him only the insufficient pianoforte
score of many great sonatas (as in the great B flat). In these cases
the artist of a later day must endeavour to fill out the life of the
great man,--of all orchestral effects, would call into life that
symphony which has fallen into the piano-trance.


174.

REDUCING.--Many things, events, or persons, cannot bear treatment on
a small scale. The Laocoon group cannot be reduced to a knick-knack;
great size is necessary to it. But more seldom still does anything
that is naturally small bear enlargement; for which reason biographers
succeed far oftener in representing a great man as small than a small
one as great.


175.

SENSUOUSNESS IN PRESENT-DAY ART.--Artists nowadays frequently
miscalculate when they count on the sensuous effect of their works, for
their spectators or hearers have no longer a fully sensuous nature,
and, quite contrary to the artist's intention, his work produces in
them a "holiness" of feeling which is closely related to boredom. Their
sensuousness begins, perhaps, just where that of the artist ceases;
they meet, therefore,

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Text Comparison with On the Future of our Educational Institutions; Homer and Classical Philology Complete Works, Volume Three

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True culture is only for a few select minds, which it is necessary to bring together under the protecting roof of an institution that shall prepare them for culture, and for culture only.
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J.
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The third and most important stipulation is, that he should in no case be constantly bringing himself and his own "culture" forward, after the style of most modern men, as the correct standard and measure of all things.
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For the moment, let us consider, together, what to my mind constitutes the very hopeful struggle of the two possibilities: _either_ that the motley and evasive spirit of public schools which has hitherto been fostered, will completely vanish, or that it will have to be completely purified and rejuvenated.
Page 28
He will discover, for instance, that the public school, according to its fundamental principles, does not educate for the purposes of culture, but for the purposes of scholarship; and, further, that of late it seems to have adopted a course which indicates rather that it has even discarded scholarship in favour of journalism as the object of its exertions.
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Here the pupils learn to speak of our unique _Schiller_ with the superciliousness of prigs; here they are taught to smile at the noblest and most German of his works--at the Marquis of Posa, at Max and Thekla--at.
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All the daring of nature is hauled out of its depths; all vanities--no longer constrained by mighty barriers--are allowed for the first time to assume a literary form: the young man, from that time forward, feels as if he had reached his consummation as a being not only able, but actually invited, to speak and to converse.
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thousands, perhaps only _one_ is justified in describing himself as literary, and that all others who at their own risk try to be so deserve to be met with Homeric laughter by all competent men as a reward for every sentence they have ever had printed;--for it is truly a spectacle meet for the gods to see a literary Hephaistos limping forward who would pretend to help us to something.
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In what age? In an age which is led about blindly by the most sensational desires of the day, and which is not aware of the fact that, once that feeling for Hellenism is roused, it immediately becomes aggressive and must express itself by indulging in an incessant war with the so-called culture of the present.
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philosopher, "but I suspect that, owing to the way in which Latin and Greek are now taught in schools, the accurate grasp of these languages, the ability to speak and write them with ease, is lost, and that is something in which my own generation distinguished itself--a generation, indeed, whose few survivers have by this time grown old; whilst, on the other hand, the present teachers seem to impress their pupils with the genetic and historical importance of the subject to such an extent that, at best, their scholars ultimately turn into little Sanskritists, etymological spitfires, or reckless conjecturers; but not one of them can read his Plato or Tacitus with pleasure, as we old folk can.
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.
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The gentleman you expect may yet turn up.
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that it is he who is coming towards you with all those lights.
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And what are your impressions when you think of Winckelmann, who, that he might rid his eyes of your grotesque fatuousness, went to beg help from the Jesuits, and whose disgraceful religious conversion recoils upon you and will always remain an ineffaceable blemish upon you? You can even name Schiller without blushing! Just look at his picture! The fiery, sparkling eyes, looking at you with disdain, those flushed, death-like cheeks: can you learn nothing from all that? In him you had a beautiful and divine plaything, and through it was destroyed.
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When the two paths happen to cross, however, you will be roughly handled and thrust aside, or else shunned and isolated.
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And we were thus rather unwillingly preparing to depart when something else suddenly brought him to a standstill, and the foot he had just raised sank hesitatingly to the ground again.
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I refer to the old, primitive _Burschenschaft_.
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What was meant by "Homer" at that time? It is evident that that generation found itself unable to grasp a personality and the limits of its manifestations.
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When, however, we have merely the works and the name of the writer, it is almost impossible to detect the individuality, at all events, for those who put their faith in the mechanism in question; and particularly when the works are perfect, when they are pieces of popular poetry.
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All those dull passages and discrepancies--deemed of such importance, but really only subjective, which we usually look upon as the petrified remains of the period of tradition--are not these perhaps merely the almost necessary evils which must fall to the lot of the poet of genius who undertakes a composition virtually without a parallel, and, further, one which proves to be of incalculable difficulty? Let it be noted that the insight into the most diverse operations of the instinctive and the conscious changes the position of the Homeric problem; and in my opinion throws light upon it.