On the Future of our Educational Institutions

By Friedrich Nietzsche

Page 66

And when the leader gives the word it will be re-echoed
from rank to rank. For here your first duty is this: to fight in rank
and file; and your second: to annihilate all those who refuse to form
part of the rank and file. On the other path you will have but few
fellow-travellers: it is more arduous, winding and precipitous; and
those who take the first path will mock you, for your progress is more
wearisome, and they will try to lure you over into their own ranks.
When the two paths happen to cross, however, you will be roughly
handled and thrust aside, or else shunned and isolated.

"Now, take these two parties, so different from each other in every
respect, and tell me what meaning an educational establishment would
have for them. That enormous horde, crowding onwards on the first path
towards its goal, would take the term to mean an institution by which
each of its members would become duly qualified to take his place in
the rank and file, and would be purged of everything which might tend
to make him strive after higher and more remote aims. I don't deny, of
course, that they can find pompous words with which to describe their
aims: for example, they speak of the 'universal development of free
personality upon a firm social, national, and human basis,' or they
announce as their goal: 'The founding of the peaceful sovereignty of
the people upon reason, education, and justice.'

"An educational establishment for the other and smaller company,
however, would be something vastly different. They would employ it to
prevent themselves from being separated from one another and
overwhelmed by the first huge crowd, to prevent their few select
spirits from losing sight of their splendid and noble task through
premature weariness, or from being turned aside from the true path,
corrupted, or subverted. These select spirits must complete their
work: that is the _raison d'etre_ of their common institution--a work,
indeed, which, as it were, must be free from subjective traces, and
must further rise above the transient events of future times as the
pure reflection of the eternal and immutable essence of things. And
all those who occupy places in that institution must co-operate in the
endeavour to engender men of genius by this purification from
subjectiveness and the creation of the works of genius. Not a few,
even of those whose talents may be of the second or third order, are
suited to such co-operation, and only when serving in such an
educational establishment as this do they feel that they are truly
carrying

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

Page 2
When, however, Stanislas Leszcysski the Pole became king, our supposed ancestor became involved in a conspiracy in favour of the Saxons and Protestants.
Page 9
I must, however, emphasise this fact here, that neither "Homer and Classical Philology," nor _The Birth of Tragedy,_ represents a beginning in my brother's career.
Page 21
_ THE BIRTH OF TRAGEDY FROM THE SPIRIT OF MUSIC FOREWORD TO RICHARD WAGNER.
Page 27
From all quarters of the Ancient World--to say nothing of the modern--from Rome as far as Babylon, we can prove the existence of Dionysian festivals, the type of which bears, at best, the same relation to the Greek festivals as the bearded satyr, who borrowed his name and attributes from the goat, does to Dionysus himself.
Page 28
If music, as it would seem, was previously known as an Apollonian art, it was, strictly speaking, only as the wave-beat of rhythm, the formative power of which was developed to the representation of Apollonian conditions.
Page 34
We now approach the real purpose of our investigation, which aims at acquiring a.
Page 47
The sphere of poetry does not lie outside the world, like some fantastic impossibility of a poet's imagination: it seeks to be the very opposite, the unvarnished expression of truth, and must for this very reason cast aside the false finery of that supposed reality of the cultured man.
Page 54
especially Dionysian wisdom, is an unnatural abomination, and that whoever, through his knowledge, plunges nature into an abyss of annihilation, must also experience the dissolution of nature in himself.
Page 60
though thou couldst covetously plunder all the gardens of music--thou didst only realise a counterfeit, masked music.
Page 69
So also the divine Plato speaks for the most part only ironically of the creative faculty of the poet, in so far as it is not conscious insight, and places it on a par with the gift of the soothsayer and dream-interpreter; insinuating that the poet is incapable of composing until he has become unconscious and reason has deserted him.
Page 73
But Plato, the thinker, thereby arrived by a roundabout road just at the point where he had always been at home as poet, and from which Sophocles and all the old artists had solemnly protested against that objection.
Page 85
p.
Page 89
I will not say that the tragic view of things was everywhere completely destroyed by the intruding spirit of the un-Dionysian: we only know that it was compelled to flee from art into the under-world as it were, in the degenerate form of a secret cult.
Page 95
It is enough to have perceived that the intrinsic charm, and therefore the genesis, of this new form of art lies in the gratification of an altogether unæsthetic need, in the optimistic glorification of man as such, in the conception of the primitive man as the man naturally good and artistic: a principle of the opera which has gradually changed into a threatening and terrible _demand,_ which, in face of the socialistic movements of the present time, we can no longer ignore.
Page 96
In the sense of this belief, opera is the expression of the taste of the laity in art, who dictate their laws with the cheerful optimism of the theorist.
Page 103
For it holds true in all things that those whom the gods love die young, but, on the other hand, it holds equally true that they then live eternally with the gods.
Page 105
_ Here, however, the _Apollonian_ power, with a view to the restoration of the well-nigh shattered individual, bursts forth with the healing balm of a blissful illusion: all of a sudden we imagine we see only Tristan, motionless, with hushed voice saying to himself: "the old tune, why does it wake me?" And what formerly interested us like a hollow sigh from the heart of being, seems now only to tell us how "waste and void is the sea.
Page 106
With the immense potency of the image, the concept, the ethical teaching and the sympathetic emotion--the Apollonian influence uplifts man from his orgiastic self-annihilation, and beguiles him concerning the universality of the Dionysian process into the belief that he is seeing a detached picture of the world, for instance, Tristan and Isolde, and that, _through music,_ he will be enabled to _see_ it still more clearly and intrinsically.
Page 114
Greek art and especially Greek tragedy delayed above all the annihilation of myth: it was necessary to annihilate these also to be able to live detached from the native soil, unbridled in the wilderness of thought, custom, and action.
Page 119
At the same time, just as much of this basis of all existence--the Dionysian substratum of the world--is allowed to enter into the consciousness of human beings, as can be surmounted again by the Apollonian transfiguring power, so that these two art-impulses are constrained to develop their powers in strictly mutual proportion, according to the law of eternal justice.