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

By Friedrich Nietzsche

Page 52

which this worm of
remorse pullulates for choice--this is the unanimous opinion of all
conscientious observers, who in many cases arrive at such a judgment
with enough reluctance and against their own personal wishes. Speaking
generally, punishment hardens and numbs, it produces concentration, it
sharpens the consciousness of alienation, it strengthens the power of
resistance. When it happens that it breaks the man's energy and brings
about a piteous prostration and abjectness, such a result is certainly
even less salutary than the average effect of punishment, which is
characterised by a harsh and sinister doggedness. The thought of those
_prehistoric_ millennia brings us to the unhesitating conclusion,
that it was simply through punishment that the evolution of the
consciousness of guilt was most forcibly retarded--at any rate in the
victims of the punishing power. In particular, let us not underestimate
the extent to which, by the very sight of the judicial and executive
procedure, the wrong-doer is himself prevented from feeling that his
deed, the character of his act, is _intrinsically_ reprehensible: for
he sees clearly the same kind of acts practised in the service of
justice, and then called good, and practised with a good conscience;
acts such as espionage, trickery, bribery, trapping, the whole
intriguing and insidious art of the policeman and the informer--the
whole system, in fact, manifested in the different kinds of punishment
(a system not excused by passion, but based on principle), of robbing,
oppressing, insulting, imprisoning, racking, murdering.--All this
he sees treated by his judges, not as acts meriting censure and
condemnation _in themselves_, but only in a particular context and
application. It was not on this soil that grew the "bad conscience,"
that most sinister and interesting plant of our earthly vegetation--
in point of fact, throughout a most lengthy period, no suggestion of
having to do with a "guilty man" manifested itself in the consciousness
of the man who judged and punished. One had merely to deal with an
author of an injury, an irresponsible piece of fate. And the man
himself, on whom the punishment subsequently fell like a piece of fate,
was occasioned no more of an "inner pain" than would be occasioned by
the sudden approach of some uncalculated event, some terrible natural
catastrophe, a rushing, crushing avalanche against which there is no


This truth came insidiously enough to the consciousness of Spinoza (to
the disgust of his commentators, who (like Kuno Fischer, for instance)
give themselves no end of _trouble_ to misunderstand him on this
point), when one afternoon (as he sat raking up who knows what memory)
he indulged in the question of what was really left

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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 14
In that Wagner paper (1875-1876) we are faced by a somewhat different problem.
Page 15
revealed in this paper.
Page 22
Not before we have succeeded in forcing an original German culture upon them can there be any question of the triumph of German culture.
Page 28
On such occasions it often happens that a great deal comes to light which would otherwise have been most stead-fastly concealed, and one of them may even be heard to blurt out the most precious secrets of the whole brotherhood.
Page 35
Thus cries the Philistine; and if we are not quite so satisfied as he, it is merely owing to the fact that we wanted to know more.
Page 40
Who, indeed, will enlighten us concerning this Sweetmeat-Beethoven, if not Strauss himself--the only person who seems to know anything about him? But, immediately below, a strong judgment is uttered with becoming non-modesty, and precisely in regard to the Ninth Symphony.
Page 45
upon Hegel and Schleiermacher, and that his teaching of the Cosmos, his way of regarding things _sub specie biennii_, his salaams to the state of affairs now existing in Germany, and, above all, his shameless Philistine optimism, can only be explained by an appeal to certain impressions of youth, early habits, and disorders; for he who has once sickened on Hegel and Schleiermacher never completely recovers.
Page 48
Page 53
And, for this very reason, scarcely anybody seems to ask himself what the result of such a cultivation of the sciences will mean to culture in general, even supposing that everywhere the highest abilities and the most earnest will be available for the promotion of culture.
Page 70
He would meet with laws which are probably nothing more than reminiscences of bygone schooldays, vestiges of impositions for Latin prose, and results perhaps of choice readings from French novelists, over whose incredible crudeness every decently educated Frenchman would have the right to laugh.
Page 75
Throughout all the confusion and the changes of races and of customs, the German language alone, as though possessed of some supernatural charm, has saved herself; and with her own salvation she has wrought that of the spirit of Germany.
Page 76
[6] [6] Translator's note.
Page 97
Let us regard this as _one_ of Wagner's answers to the question, What does music mean in our time? for he has a second.
Page 102
Unfortunately, it much more closely resembles the omnipresence of disgusting and insatiable cupidity, and spying inquisitiveness become universal.
Page 103
And at this point we plainly discern the task assigned to modern art--that of stupefying or intoxicating, of lulling to sleep or bewildering.
Page 108
We are conscious of a new feeling of security, as if we had found a road leading out of the greatest dangers, excesses, and ecstasies, back to the limited and the familiar: there where our relations with our fellows seem to partake of a superior benevolence, and are at all events more noble than they were.
Page 109
It is more than a mere figure of speech to say that he surprised Nature with that glance, that he caught her naked; that is why she would conceal her shame by seeming precisely the reverse.
Page 120
If art mean only the faculty of communicating to others what one has oneself experienced, and if every work of art confutes itself which does not succeed in making itself understood, then Wagner's greatness as an artist would certainly lie in the almost demoniacal power of his nature to communicate with others, to express itself in all languages at once, and to make known its most intimate and personal experience with the greatest amount of distinctness possible.
Page 122
In the first.
Page 135
If presentiment venture thus into the remote future, the discerning eye of all will recognise the dreadful social insanity of our present age, and will no longer blind itself to the dangers besetting an art which seems to have roots only in the remote and distant future, and which allows its burgeoning branches to spread before our gaze when it has not yet revealed the ground from which it draws its sap.