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

By Friedrich Nietzsche

Page 84

I say, by means of which "abstract" seeing first became
seeing something; in these theories consequently the absurd and the
non-sensical is always demanded of the eye. There is only a seeing
from a perspective, only a "knowing" from a perspective, and the more
emotions we express over a thing, the more eyes, different eyes, we
train on the same thing, the more complete will be our "idea" of that
thing, our "objectivity." But the elimination of the will altogether,
the switching off of the emotions all and sundry, granted that we could
do so, what! would not that be called intellectual castration?


13.

But let us turn back. Such a self-contradiction, as apparently
manifests itself among the ascetics, "Life turned against Life,"
is--this much is absolutely obvious--from the physiological and not now
from the psychological standpoint, simply nonsense. It can only be an
apparent contradiction; it must be a kind of provisional expression, an
explanation, a formula, an adjustment, a psychological misunderstanding
of something, whose real nature could not be understood for a long
time, and whose _real essence_ could not be described; a mere word
jammed into an old _gap_ of human knowledge. To put briefly the
facts against its being real: _the ascetic ideal springs from the
prophylactic and self-preservative instincts which mark a decadent
life_, which seeks by every means in its power to maintain its position
and fight for its existence; it points to a partial physiological
depression and exhaustion, against which the most profound and intact
life-instincts fight ceaselessly with new weapons and discoveries. The
ascetic ideal is such a weapon: its position is consequently exactly
the reverse of that which the worshippers of the ideal imagine--life
struggles in it and through it with death and against death; the
ascetic ideal is a dodge for the _preservation_ of life. An important
fact is brought out in the extent to which, as history teaches, this
ideal could rule and exercise power over man, especially in all those
places where the civilisation and taming of man was completed: that
fact is, the diseased state of man up to the present, at any rate, of
the man who has been tamed, the physiological struggle of man with
death (more precisely, with the disgust with life, with exhaustion,
with the wish for the "end"). The ascetic priest is the incarnate wish
for an existence of another kind, an existence on another plane,--he
is, in fact, the highest point of this wish, its official ecstasy and
passion: but it is the very _power_ of this wish which is the fetter
that binds him here; it is just that

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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 23
How is this possible? What power is sufficiently influential to deny this existence? What species of men must have attained to supremacy in Germany that feelings which are so strong and simple should be denied or prevented from obtaining expression? This power, this species of men, I will name--they are the _Philistines of Culture_.
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unity in him of the writer and the man, of the head and the heart.
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Now, to whom does this captain of Philistines.
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Soberly and limpidly it welcomes us: its mural decorations consist of astronomical charts and mathematical figures; it is filled with scientific apparatus, and its cupboards contain skeletons, stuffed apes, and anatomical specimens.
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" But, alas! in spite of all declarations of decline and dismissal, the Philistine still returns, and all too frequently.
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107); "And place the sum-total of the foregoing in round numbers under the account" (p.
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In any case, try it at your own risk; but you will repent it, not only in your style but in your head, that it may be fulfilled which was spoken by the Indian prophet, saying, "He who gnaweth a cow's horn gnaweth in vain and shorteneth his life; for he grindeth away his teeth, yet his belly is empty.
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Hands off!" [5] [5] Translator's note.
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Lofty aspirations, which continually meet with failure, ultimately turn to evil.
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notion of; but it requires to be written in a much more earnest and severe spirit, by much more vigorous students, and with much less optimism than has been the case hitherto.
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In order even to realise how far the attitude of the arts towards life is a sign of their decline, and how far our theatres are a disgrace to those who build and visit them, everything must be learnt over again, and that which is usual and commonplace should be regarded as something unusual and complicated.
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On the contrary, when all the great forces of existence are duly considered,.
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O that ye yourselves could learn to become natural again, and then suffer yourselves to be transformed through nature, and into her, by the charm of my ardour and love!" It is the voice _of Wagner's art_ which thus appeals to men.
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In the wake of that current of better feeling already referred to, he expected to notice an enhanced sense of duty even among those with whom he wished to entrust his most precious possession.
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No particular thought lies at the bottom of a myth, as the children of an artificial culture would have us believe; but it is in itself a thought: it conveys an idea of the.
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It is impossible to appreciate either one of these completely different forms from the standpoint of the other: as long as the poet's spell is upon one, one thinks with him just as though one were merely a feeling, seeing, and hearing creature; the conclusions thus reached are merely the result of the association of the phenomena one sees, and are therefore not logical but actual causalities.
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A further stage was reached when the interpretations of contrasted moods were made to follow one upon the other, and the charm of light and shade was discovered; and yet another step was made when the same piece of music was allowed to contain a contrast of the ethos--for instance, the contest between a male and a female theme.
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Just as the sage, in reality, mixes with living men only for the purpose of increasing his store of knowledge, so the artist would almost seem to be unable to associate with his contemporaries at all,.
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The sublimest and highest thing descends a suppliant among men, and will not be questioned whence it came; when, however, the fatal question is put, it sorrowfully returns to its higher life: the theme of Lohengrin.
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heavenly dome of beauty and goodness and to say, This is our life, that Wagner has transferred to a place beneath the stars? Where are the men among you who are able to interpret the divine image of Wotan in the light of their own lives, and who can become ever greater while, like him, ye retreat? Who among you would renounce power, knowing and having learned that power is evil? Where are they who like Brunhilda abandon their knowledge to love, and finally rob their lives of the highest wisdom, "afflicted love, deepest sorrow, opened my eyes"? and where are the free and fearless, developing and blossoming in innocent egoism? and where are the Siegfrieds, among you? He who questions thus and does so in vain, will find himself compelled to look around him for signs of the future; and should his eye, on reaching an unknown distance, espy just that "people" which his own generation can read out of the signs contained in Wagnerian art, he will then also understand _what Wagner will mean to this people_--something that he cannot be to all of us, namely, not the prophet of the future, as perhaps he would fain appear to us, but the interpreter and clarifier of the past.