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

By Friedrich Nietzsche

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to whom that book, with all its passion and inherent
contradiction (for that book also was a polemic), turned for present
help as though he were still alive. The issue was, strangely enough,
the value of the "un-egoistic" instincts, the instincts of pity,
self-denial, and self-sacrifice which Schopenhauer had so persistently
painted in golden colours, deified and etherealised, that eventually
they appeared to him, as it were, high and dry, as "intrinsic values
in themselves," on the strength of which he uttered both to Life
and to himself his own negation. But against _these very_ instincts
there voiced itself in my soul a more and more fundamental mistrust, a
scepticism that dug ever deeper and deeper: and in this very instinct
I saw the _great_ danger of mankind, its most sublime temptation and
seduction--seduction to what? to nothingness?--in these very instincts
I saw the beginning of the end, stability, the exhaustion that gazes
backwards, the will turning _against_ Life, the last illness announcing
itself with its own mincing melancholy: I realised that the morality
of pity which spread wider and wider, and whose grip infected even
philosophers with its disease, was the most sinister symptom of our
modern European civilisation; I realised that it was the route along
which that civilisation slid on its way to--a new Buddhism?--a European
Buddhism?--_Nihilism_? This exaggerated estimation in which modern
philosophers have held pity, is quite a new phenomenon: up to that time
philosophers were absolutely unanimous as to the worthlessness of pity.
I need only mention Plato, Spinoza, La Rochefoucauld, and Kant--four
minds as mutually different as is possible, but united on one point;
their contempt of pity.


This problem of the value of pity and of the pity-morality (I am an
opponent of the modern infamous emasculation of our emotions) seems at
the first blush a mere isolated problem, a note of interrogation for
itself; he, however, who once halts at this problem, and learns how to
put questions, will experience what I experienced:--a new and immense
vista unfolds itself before him, a sense of potentiality seizes him
like a vertigo, every species of doubt, mistrust, and fear springs
up, the belief in morality, nay, in all morality, totters,--finally a
new demand voices itself. Let us speak out this _new demand_: we need
a _critique_ of moral values, _the value of these values_ is for the
first time to be called into question--and for this purpose a knowledge
is necessary of the conditions and circumstances out of which these
values grew, and under which they experienced their evolution and
their distortion (morality as a result, as a symptom, as a mask,

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

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KENNEDY [Illustration] The Complete Works of Friedrich Nietzsche The First Complete and Authorised English Translation Edited by Dr Oscar Levy Volume Six T.
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88), in the section dealing with the early works just mentioned, we find the following passage: "In the second of the two essays [Wagner in Bayreuth] with a profound certainty of instinct, I already characterised the elementary factor in Wagner's nature as a theatrical talent which, in all his means and aspirations, draws its final conclusions.
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These extracts will be found at the end of "Nietzsche _contra_ Wagner.
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As an actor his ruling passion was vanity; but in his case it was correlated with a semi-conscious knowledge of the fact that all was not right with him and his art.
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" .
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[7] He who is famous now, does not write better music than Wagner, but only less characteristic, less definite music:--less definite, because half measures, even in decadence, cannot stand by the side of completeness.
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--Upon the counterplay of the cooler currents of air which came from this sobriety, and from the warmer breath of enthusiasm, the charm of all good music rested--Richard Wagner wanted another kind of movement,--he overthrew the physiological first principle of all music before his time.
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These scattered aphorisms, indeed, are significant as showing how far Nietzsche had travelled along the road over which humanity had been travelling from remote ages, and how greatly he was imbued with the pagan spirit which he recognised in Goethe and valued in Burckhardt.
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In the so-called life's calling, which everyone must choose, we may perceive a touching modesty on the part of mankind.
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In all those places where European culture has found its way, people have accepted secondary schools based upon a foundation of Latin and Greek as the first and highest means of instruction.
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It is on this account that Friedrich August Wolf is noteworthy: he freed his profession from the bonds of theology.
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73 They have forgotten how to address other men; and, as they cannot speak to the older people, they cannot do so to the young.
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--All pure and simple caricature! So this is the result! And sorrow and irony and seclusion are all that remain for him who has seen more of antiquity than this.
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141 The "martyr" is Hellenic: Prometheus, Hercules.