On the Future of our Educational Institutions

By Friedrich Nietzsche

Page 71

from Bonn--students--can my friend have come here with
_students_?"

This question, uttered almost wrathfully, provoked us. "What's your
objection to students?" we demanded; but there was no answer. It was
only after a pause that the philosopher slowly began to speak, not
addressing us directly, as it were, but rather some one in the
distance: "So, my friend, even at midnight, even on the top of a
lonely mountain, we shall not be alone; and you yourself are bringing
a pack of mischief-making students along with you, although you well
know that I am only too glad to get out of the way of _hoc genus
omne_. I don't quite understand you, my friend: it must mean something
when we arrange to meet after a long separation at such an
out-of-the-way place and at such an unusual hour. Why should we want a
crowd of witnesses--and such witnesses! What calls us together to-day
is least of all a sentimental, soft-hearted necessity; for both of us
learnt early in life to live alone in dignified isolation. It was not
for our own sakes, not to show our tender feelings towards each other,
or to perform an unrehearsed act of friendship, that we decided to
meet here; but that here, where I once came suddenly upon you as you
sat in majestic solitude, we might earnestly deliberate with each
other like knights of a new order. Let them listen to us who can
understand us; but why should you bring with you a throng of people
who don't understand us! I don't know what you mean by such a thing,
my friend!"

We did not think it proper to interrupt the dissatisfied old grumbler;
and as he came to a melancholy close we did not dare to tell him how
greatly this distrustful repudiation of students vexed us.

At last the philosopher's companion turned to him and said: "I am
reminded of the fact that even you at one time, before I made your
acquaintance, occupied posts in several universities, and that reports
concerning your intercourse with the students and your methods of
instruction at the time are still in circulation. From the tone of
resignation in which you have just referred to students many would be
inclined to think that you had some peculiar experiences which were
not at all to your liking; but personally I rather believe that you
saw and experienced in such places just what every one else saw and
experienced in them, but that you judged what you saw and felt more
justly and severely than any one else. For, during the time I

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Text Comparison with Thoughts out of Season, Part I David Strauss, the Confessor and the Writer - Richard Wagner in Bayreuth.

Page 1
He is therefore in a position to give every attention to a work which he considers as of no less importance for the country of his residence than for the country of his birth, as well as for the rest of Europe.
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fool.
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His old and haggard face is lighting up, his stooped figure suddenly becomes more erect, and a tear of joy is seen running over his pale cheek into that.
Page 21
But it is precisely amid this riotous jumble that the German of to-day subsists; and the serious problem to be solved is: how, with all his learning, he can possibly avoid noticing it; how, into the bargain, he can rejoice with all his heart in his present "culture"? For everything conduces to open his eyes for him--every glance he casts at his clothes, his room, his house; every walk he takes through the streets of his town; every visit he pays to his art-dealers and to his trader in the articles of fashion.
Page 31
He no longer craved the honours of the thinker, however; all he wanted to be was a new believer, and he is proud of his new belief.
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all through one is much jolted" (p.
Page 40
"This is a defect," he cries, "but can you believe that it may also appear as an advantage?" "He who is painfully and breathlessly rolling the musical idea along will seem to be moving the weightier one, and thus appear to be the stronger" (pp.
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and not necessarily one concerning Beethoven alone, but concerning "the classical prose-writer" himself.
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For the question whether the new belief answers the same purpose as the old, or is better or worse, is disposed of incidentally, so to speak, and with uncomfortable haste, in two or three pages (p.
Page 65
In striving after this state of bliss, he often seems to waver between two alternatives--either to mimic the brave and dialectical petulance of Lessing, or to affect the manner of the faun-like and free-spirited man of antiquity that Voltaire was.
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.
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They have conspired to twist nature and the names of things completely round, and for the future to speak of health only there where we see weakness, and to speak of illness and excitability where for our part we see genuine vigour.
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The day happened to be the first of his sixtieth year, and his whole past now appeared as but a long preparation for this great moment.
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In what other artist do we meet with the like of this, in the same proportion? Schiller's characters, from the Robbers to Wallenstein and Tell, do indeed pursue an ennobling course, and likewise reveal something of their author's development; but in Wagner the standard is higher and the distance covered is much greater.
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Neither the creative nor the militant artist in him was ever diverted from his purpose by learning and culture.
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For my part, the most important question philosophy has to decide seems to be, how far things have acquired an unalterable stamp and form, and, once this question has been answered, I think it the duty of philosophy unhesitatingly and courageously to proceed with the task of _improving that part of the world which has been recognised as still susceptible to change_.
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If now the strains of our German masters' music burst upon a mass of mankind sick to this extent, what is really the meaning of these strains? Only _correct feeling_, the enemy of all convention, of all artificial estrangement and misunderstandings between man and man: this music signifies a return to nature, and at the same time a purification and remodelling of it; for the need of such a return took shape in the souls of the most loving of men, and, _through their art, nature transformed into love makes its voice heard_.
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Let it then suffice him that he has experienced this feeling; let the fact _that he has felt strange and embarrassed in the presence of his own soul_ be the answer to his question For it is precisely by virtue of this feeling that he shows the most powerful manifestation of life in Wagner--the very kernel of his strength--that demoniacal _magnetism_ and gift of imparting oneself to others, which is peculiar to his nature, and by which it not only conveys itself to other beings, but also absorbs other beings into itself; thus attaining to its greatness by giving and by taking.
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place, however, no one who studies Wagner the poet and word-painter should forget that none of his dramas were meant to be read, and that it would therefore be unjust to judge them from the same standpoint as the spoken drama.
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But the very injunction that something definite.