The Genealogy of Morals The Complete Works, Volume Thirteen, edited by Dr. Oscar Levy.

By Friedrich Nietzsche

Page 27

it seems to me, made a crass mistake when with awe-inspiring
ingenuity he placed that inscription over the gate of his hell, "Me too
made eternal love": at any rate the following inscription would have
a much better right to stand over the gate of the Christian Paradise
and its "eternal blessedness"--"Me too made eternal hate"--granted
of course that a truth may rightly stand over the gate to a lie! For
what is the blessedness of that Paradise? Possibly we could quickly
surmise it; but it is better that it should be explicitly attested by
an authority who in such matters is not to be disparaged, Thomas of
Aquinas, the great teacher and saint. "_Beati in regno celesti_" says
he, as gently as a lamb, "_videbunt pœnas damnatorum, ut beatitudo
illis magis complaceat_." Or if we wish to hear a stronger tone, a word
from the mouth of a triumphant father of the Church, who warned his
disciples against the cruel ecstasies of the public spectacles--But
why? Faith offers us much more,--says he, _de Spectac._, c. 29
ss.,--something much stronger; thanks to the redemption, joys of quite
another kind stand at our disposal; instead of athletes we have our
martyrs; we wish for blood, well, we have the blood of Christ--but
what then awaits us on the day of his return, of his triumph. And
then does he proceed, does this enraptured visionary: "_at enim
supersunt alia spectacula, ille ultimas et perpetuus judicii dies, ille
nationibus insperatus, ille derisus, cum tanta sæculi vetustas et tot
ejus nativitates uno igne haurientur. Quæ tunc spectaculi latitudo!
Quid admirer! quid rideam! Ubigaudeam! Ubi exultem, spectans tot et
tantos reges, qui in cœlum recepti nuntiabantur, cum ipso Jove et ipsis
suis testibus in imis tenebris congemescentes! Item præsides_" (the
provincial governors) "_persecutores dominici nominis sævioribus quam
ipsi flammis sævierunt insultantibus contra Christianos liquescentes!
Quos præterea sapientes illos philosophos coram discipulis suis una
conflagrantibus erubescentes, quibus nihil ad deum pertinere suadebant,
quibus animas aut nullas aut non in pristina corpora redituras
affirmabant! Etiam poetas non ad Rhadamanti nec ad Minois, sed ad
inopinati Christi tribunal palpitantes! Tunc magis tragœdi audiendi,
magis scilicet vocales_" (with louder tones and more violent shrieks)
"_in sua propria calamitate; tunc histriones cognoscendi, solutiores
multo per ignem; tunc spectandus auriga in flammea rota totus rubens,
tunc xystici contemplandi non in gymnasiis, sed in igne jaculati, nisi
quod ne tunc quidem illos velim vivos, ut qui malim ad eos potius
conspectum insatiabilem conferre, qui in dominum scevierunt. Hic est
ille, dicam fabri aut quæstuariæ filius_" (as is shown by the whole of
the following, and in particular by this well-known description of

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Text Comparison with The Case of Wagner Complete Works, Volume 8

Page 0
In spite of all that has been said to the contrary, many people still hold this view of the two little works before us; and, as the actual facts are not accessible to every one, and rumours are more easily believed than verified, the error of supposing that these pamphlets were dictated by personal animosity, and even by Nietzsche's envy of Wagner in his glory, seems to be a pretty common one.
Page 3
PREFACE TO THE THIRD EDITION[1] In spite of the adverse criticism with which the above preface has met at the hands of many reviewers since the summer of last year, I cannot say that I should feel justified, even after mature consideration, in altering a single word or sentence it contains.
Page 8
" says Spinoza, "but to understand"; and these words ought to be our guide, not only in the case of Wagner, but in all things.
Page 14
Page 22
His manner in this respect reminds one of two people who even in other ways are not unlike him in style--the brothers Goncourt; one almost feels compassion for so much impotence.
Page 26
His first concern is to guarantee the effect of his work; he begins with the third act, he _approves_ his work according to the quality of its final effect.
Page 29
" Tremulously they listen while the _great symbols_ in his art seem to make themselves heard from out the misty distance, with a gentle roll of thunder, and they are not at all displeased if at times it gets a little grey, gruesome and cold.
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If there were any signs that in spite of the universal character of European decadence there was still a modicum of health, still an instinctive premonition of what is harmful and dangerous, residing in the German soul, then it would be precisely this blunt resistance to Wagner which I should least like to see underrated.
Page 38
As for myself, I could _not_ endure to hear the sound of certain words on Wagner's lips.
Page 40
Read consecutively, they can leave no one in any doubt, either concerning myself, or concerning Wagner: we are antipodes.
Page 43
In the solemn, or fiery, swinging movement, first slow and then quick, of old music--one had to do something quite different; one had to dance.
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Page 67
The stages of this under-valuation are: the sophists of the second century, the philologist-poets of the Renaissance, and the philologist as the teacher of the higher classes of society (Goethe, Schiller).
Page 80
Behind them plod the philologist-savants.
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Page 94
" The omission is in the original.
Page 95
Nothing, however, is more responsible for the fatal influence of German culture.
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There is no such thing.
Page 102
It is accessible only to a few, and there should be a _police des mœurs_ in charge of it--as there should be also in charge of bad pianists who play Beethoven.
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