On the Future of our Educational Institutions

By Friedrich Nietzsche

Page 54

overladen and gaily-decked
caravan of culture is pulled up short, horror-stricken. We must not
only astonish, but terrify--such was the philosopher's opinion: not to
fly shamefully away, but to take the offensive, was his advice; but he
especially counselled his companion not to ponder too anxiously over
the individual from whom, through a higher instinct, this aversion for
the present barbarism proceeded, "Let it perish: the Pythian god had
no difficulty in finding a new tripod, a second Pythia, so long, at
least, as the mystic cold vapours rose from the earth."

The philosopher once more began to speak: "Be careful to remember, my
friend," said he, "there are two things you must not confuse. A man
must learn a great deal that he may live and take part in the struggle
for existence; but everything that he as an individual learns and does
with this end in view has nothing whatever to do with culture. This
latter only takes its beginning in a sphere that lies far above the
world of necessity, indigence, and struggle for existence. The
question now is to what extent a man values his ego in comparison with
other egos, how much of his strength he uses up in the endeavour to
earn his living. Many a one, by stoically confining his needs within a
narrow compass, will shortly and easily reach the sphere in which he
may forget, and, as it were, shake off his ego, so that he can enjoy
perpetual youth in a solar system of timeless and impersonal things.
Another widens the scope and needs of his ego as much as possible, and
builds the mausoleum of this ego in vast proportions, as if he were
prepared to fight and conquer that terrible adversary, Time. In this
instinct also we may see a longing for immortality: wealth and power,
wisdom, presence of mind, eloquence, a flourishing outward aspect, a
renowned name--all these are merely turned into the means by which an
insatiable, personal will to live craves for new life, with which,
again, it hankers after an eternity that is at last seen to be
illusory.

"But even in this highest form of the ego, in the enhanced needs of
such a distended and, as it were, collective individual, true culture
is never touched upon; and if, for example, art is sought after, only
its disseminating and stimulating actions come into prominence, _i.e._
those which least give rise to pure and noble art, and most of all to
low and degraded forms of it. For in all his efforts, however great
and exceptional they seem to the onlooker,

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

Page 10
It is once again the artist, philosopher, and man of science, who as one man in later years, after many wanderings, recantations, and revulsions of feeling, produces that other and rarer Centaur of highest rank--_Zarathustra_.
Page 11
The first-named would have the vision it conjures up _eternal_: in its light man must be quiescent, apathetic, peaceful, healed, and on friendly terms with himself and all existence; the second strives after creation, after the voluptuousness of wilful creation, _i.
Page 12
"The happiness of existence is only possible as the happiness derived from appearance.
Page 13
M.
Page 28
power manifested itself, we shall now recognise in the Dionysian orgies of the Greeks, as compared with the Babylonian Sacæa and their retrogression of man to the tiger and the ape, the significance of festivals of world-redemption and days of transfiguration.
Page 32
When we realise to ourselves the dreamer, as, in the midst of the illusion of the dream-world and without disturbing it, he calls out to himself: "it is a dream, I will dream on"; when we must thence infer a deep inner joy in dream-contemplation; when, on the other hand, to be at all able to dream with this inner joy in contemplation, we must have completely forgotten the day and its terrible obtrusiveness, we may, under the direction of the dream-reading Apollo, interpret all these phenomena to ourselves somewhat as follows.
Page 37
_Schopenhauer,_ who did not shut his eyes to the difficulty presented by the lyrist in the philosophical contemplation of art, thought he had found a way out of it, on which, however, I cannot accompany him; while he alone, in his profound metaphysics of music, held in his hands the means whereby this difficulty could be definitely removed: as I believe I have removed it here in his spirit and to his honour.
Page 40
Any one who in accordance with this theory examines a collection of popular songs, such as "Des Knaben Wunderhorn," will find innumerable instances of the perpetually productive melody scattering picture sparks all around: which in their variegation, their abrupt change, their mad precipitance, manifest a power quite unknown to the epic appearance and its steady flow.
Page 41
Indeed, even if the tone-poet has spoken in pictures concerning a composition, when for instance he designates a certain symphony as the "pastoral" symphony, or a passage therein as "the scene by the brook," or another as the "merry gathering of rustics," these are likewise only symbolical representations born out of music--and not perhaps the imitated objects of music--representations which can give us no information whatever concerning the _Dionysian_ content of music, and which in fact have no distinctive value of their own alongside of other pictorical expressions.
Page 44
He contends that while indeed the day on the stage is merely artificial, the architecture only symbolical, and the metrical dialogue purely ideal in character, nevertheless an erroneous view still prevails in the main: that it is not enough to tolerate merely as a poetical license _that_ which is in reality the essence of all poetry.
Page 46
these states.
Page 49
This function of the tragic chorus is the _dramatic_ proto-phenomenon: to see one's self transformed before one's self, and then to act as if one had really entered into another body, into another character.
Page 55
be sure, he had to atone by eternal suffering.
Page 64
12.
Page 79
When he here sees to his dismay how logic coils round itself at these limits and finally bites its own tail--then the new form of perception discloses itself, namely _tragic perception,_ which, in order even to be endured, requires art as a safeguard and remedy.
Page 84
Dionysian art therefore is wont to exercise--two kinds of influences, on the Apollonian art-faculty: music firstly incites to the _symbolic intuition_ of Dionysian universality, and, secondly, it causes the symbolic image to stand forth _in its fullest significance.
Page 96
The first case furnishes the elegy in its narrower signification, the second the idyll in its widest sense.
Page 108
it is,--the assiduous veiling during the performance of tragedy of the intrinsically Dionysian effect: which, however, is so powerful, that it finally forces the Apollonian drama itself into a sphere where it begins to talk with Dionysian wisdom, and even denies itself and its Apollonian conspicuousness.
Page 113
The ruin of tragedy was at the same time the ruin.
Page 121
"This beginning is singular beyond measure.