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

By Friedrich Nietzsche

Page 65

so much to
man, lies expressed the fundamental feature of man's will, his
_horror vacui: he needs a goal_--and he will sooner will nothingness
than not will at all.--Am I not understood?--Have I not been
understood?--"Certainly not, sir?"--Well, let us begin at the beginning.


What is the meaning of ascetic ideals? Or, to take an individual
case in regard to which I have often been consulted, what is the
meaning, for example, of an artist like Richard Wagner paying homage
to chastity in his old age? He had always done so, of course, in a
certain sense, but it was not till quite the end, that he did so in
an ascetic sense. What is the meaning of this "change of attitude,"
this radical revolution in his attitude--for that was what it was?
Wagner veered thereby straight round into his own opposite. What is
the meaning of an artist veering round into his own opposite? At
this point (granted that we do not mind stopping a little over this
question), we immediately call to mind the best, strongest, gayest,
and boldest period, that there perhaps ever was in Wagner's life: that
was the period, when he was genuinely and deeply occupied with the
idea of "Luther's Wedding." Who knows what chance is responsible for
our now having the _Meistersingers_ instead of this wedding music?
And how much in the latter is perhaps just an echo of the former? But
there is no doubt but that the theme would have dealt with the praise
of chastity. And certainly it would also have dealt with the praise
of sensuality, and even so, it would seem quite in order, and even
so, it would have been equally Wagnerian. For there is no necessary
antithesis between chastity and sensuality: every good marriage, every
authentic heart-felt love transcends this antithesis. Wagner would, it
seems to me, have done well to have brought this _pleasing_ reality
home once again to his Germans, by means of a bold and graceful "Luther
Comedy," for there were and are among the Germans many revilers of
sensuality; and perhaps Luther's greatest merit lies just in the fact
of his having had the courage of his _sensuality_ (it used to be
called, prettily enough, "evangelistic freedom "). But even in those
cases where that antithesis between chastity and sensuality does exist,
there has fortunately been for some time no necessity for it to be in
any way a tragic antithesis. This should, at any rate, be the case with
all beings who are sound in mind and body, who are far from reckoning
their delicate balance between "animal"

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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 11
But, secondly, I must not forget that in every Anarchist, and therefore in every Christian, there is also, or may be, an aristocrat--a man who, just like the anarchist, but with a perfectly holy right, wishes to obey no laws but those of his own conscience; a man who thinks too highly of his own faith and persuasion, to convert other people to it; a man who, therefore, would never carry it to Caffres and Coolis; a man, in short, with whom even the noblest and exclusive Hebrew could shake hands.
Page 15
In any case, however, the reciprocal effects of their conversations will never be exactly known; and although it would be ridiculous to assume that Nietzsche was essentially.
Page 17
Nietzsche endowed both Schopenhauer and Wagner with qualities and aspirations so utterly foreign to them both, that neither of them would have recognised himself in the images he painted of them.
Page 23
As every one knows, the word "Philistine" is borrowed from the vernacular of student-life, and, in its widest and most popular sense, it signifies the reverse of a son of the Muses, of an artist, and of the genuine man of culture.
Page 42
Now, however, our second question must be answered: How far does the courage lent to its adherents by this new faith extend? Even this question would already have been answered, if courage and pretentiousness had been one; for then Strauss would not be lacking even in the just and veritable courage of a Mameluke.
Page 47
Perhaps Strauss only accustomed himself by degrees to the rôle of an importunate meddler, until he gradually acquired the courage of his calling.
Page 52
To such a man, the ground seems strewn with ashes, and all stars are obscured; while every withered tree and field laid waste seems to cry to him: Barren! Forsaken! Springtime is no longer possible here! He must feel as young Goethe felt when he first peered into the melancholy atheistic twilight of the _Système de la Nature_; to him this book seemed so grey, so Cimmerian and deadly, that he could only endure its presence with difficulty, and shuddered at it as one shudders at a spectre.
Page 59
This last-mentioned talent alone, it is true, would not suffice to class him with the classical authors, but at most with the classical improvisers and virtuosos of style, who, however, in regard to power of expression and the whole planning and framing of the work, reveal the awkward hand and the embarrassed eye of the bungler.
Page 65
At a pinch he would not object to being both Lessing and Voltaire--that the word might be fulfilled that is written, "He had no character, but when he wished to appear as if he had, he assumed one.
Page 66
The genial writer, however, not only reveals his true nature in the plain and unmistakable form of his utterance, but his super-abundant strength actually dallies with the material he treats, even when it is dangerous and difficult.
Page 81
He may possibly seek the cause of his failure in other people; he may even, in a fit of passion, hold the whole world guilty; or he may turn defiantly down secret byways and secluded lanes, or resort to violence.
Page 82
In the Nibelungen Ring, for instance, where Brunhilda is awakened by Siegfried, I perceive the most moral music I have ever heard.
Page 85
And what the artist's feelings must have been, conscious as he was, during whole periods of his life, of this undignified element in it,--he who more than any one else, perhaps, breathed freely only in sublime and more than sublime spheres,--the thinker alone can form any idea.
Page 108
like Faust, would either be obliged to turn blind, or be permitted to become so.
Page 113
In both of these elements he steeped and healed.
Page 114
Wagner tried to help the comprehension of his.
Page 121
Precisely owing to the fact that he.
Page 133
Such tracts as "Beethoven,".
Page 138
In the Ring of the Nibelung the tragic hero is a god whose heart yearns for power, and who, since he travels along all roads in search of it, finally binds himself to too many undertakings, loses his freedom, and is ultimately cursed by the curse inseparable from power.
Page 139
He is in need of the free and fearless man who, without his advice or assistance--even in a struggle against gods--can accomplish single-handed what is denied to the powers of a god.