The Twilight of the Idols - The Antichrist Complete Works, Volume Sixteen

By Friedrich Nietzsche

Page 101

or in his heart He draws no distinction
between foreigners and natives, between Jews and Gentiles ("the
neighbour" really means the co-religionist, the Jew). He is angry with
no one, he despises no one. He neither shows himself at the tribunals
nor does he acknowledge any of their claims ("Swear not at all").
He never under any circumstances divorces his wife, even when her
infidelity has been proved.--All this is at bottom one principle, it is
all the outcome of one instinct--

The life of the Saviour was naught else than this practice,--neither
was his death. He no longer required any formulæ, any rites for his
relations with God--not even prayer. He has done with all the Jewish
teaching of repentance and of atonement; he alone knows the _mode_
of life which makes one feel "divine," "saved," "evangelical," and
at all times a "child of God." _Not_ "repentance," _not_ "prayer and
forgiveness" are the roads to God: the _evangelical mode of life
alone_ leads to God, it _is_ "God."--That which the gospels abolished
was the Judaism of the concepts "sin," "forgiveness of sin," "faith,"
"salvation through faith,"--the whole doctrine of the Jewish church was
denied by the "glad tidings."

The profound instinct of how one must live in order to feel "in
Heaven," in order to feel "eternal," while in every other respect
one feels by _no_ means "in Heaven": this alone is the psychological
reality of "Salvation."--A new life and _not_ a new faith....


If I understand anything at all about this great symbolist, it is
this that he regarded only _inner_ facts as facts, as "truths,"--that
he understood the rest, everything natural, temporal, material
and historical, only as signs, as opportunities for parables. The
concept "the Son of Man," is not a concrete personality belonging to
history, anything individual and isolated, but an "eternal" fact,
a psychological symbol divorced from the concept of time. The same
is true, and in the highest degree, of the _God_ of this typical
symbolist, of the "Kingdom of God," of the "Kingdom of Heaven," and
of the "Sonship of God." Nothing is more un-Christlike than the
_ecclesiastical crudity_ of a personal God, of a Kingdom of God that
is coming, of a "Kingdom of Heaven" beyond, of a "Son of God" as the
second person of the Trinity. All this, if I may be forgiven the
expression, is as fitting as a square peg in a round hole--and oh!
what a hole!--the gospels: a _world-historic_ cynicism in the scorn
of symbols.... But what is meant by the signs "Father" and "Son," is
of course obvious--not to everybody, I admit: with the

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Text Comparison with The Birth of Tragedy; or, Hellenism and Pessimism

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Page 9
Philosophy, art, and science--in the form of philology, then--each certainly possessed a part of him.
Page 11
At the same time the confession of a romanticist _the sufferer feels the deepest longing for beauty--he begets it_; finally, a product of youth, full of youthful courage and melancholy.
Page 18
How I now regret, that I had not then the courage (or immodesty?) to allow myself, in all respects, the use of an _individual language_ for such _individual_ contemplations and ventures in the field of thought--that I laboured to express, in Kantian and Schopenhauerian formulæ, strange and new valuations, which ran fundamentally counter to the spirit of Kant and Schopenhauer, as well as to their taste! What, forsooth, were Schopenhauer's views on tragedy? "What gives"--he says in _Welt als Wille und Vorstellung,_ II.
Page 26
_ Considering the incredibly precise and.
Page 36
When Archilochus, the first lyrist of the Greeks, makes known both his mad love and his contempt to the daughters of Lycambes, it is not his passion which dances before us in orgiastic frenzy: we see Dionysus and the Mænads, we see the drunken reveller Archilochus sunk down to sleep--as Euripides depicts it in the Bacchæ, the sleep on the high Alpine pasture, in the noonday sun:--and now Apollo approaches and touches him with the laurel.
Page 41
For in order to express the phenomenon of music in pictures, the lyrist requires all the stirrings of passion, from the whispering of infant desire to the roaring of madness.
Page 43
Much more celebrated than this political explanation of the chorus is the notion of A.
Page 52
_Faust,_ trans.
Page 66
What avails the lamentation of the destroyer, and his confession that it was the most beautiful of all temples? And even that Euripides has been changed into a dragon as a punishment by the art-critics of all ages--who could be content with this wretched compensation? Let us now approach this _Socratic_ tendency with which Euripides combated and vanquished Æschylean tragedy.
Page 71
Here is the extraordinary hesitancy which always seizes upon us with regard to Socrates, and again and again invites us to ascertain the sense and purpose of this most questionable phenomenon of antiquity.
Page 88
The movement along the line of the representation of character proceeds rapidly: while Sophocles still delineates complete characters and employs myth for their refined development, Euripides already delineates only prominent individual traits of character, which can express themselves in violent bursts of passion; in the New Attic Comedy, however, there are only masks with _one_ expression: frivolous old men, duped panders, and cunning slaves in untiring repetition.
Page 95
It is now a matter of indifference to us that the humanists of those days combated the old ecclesiastical representation of man as naturally corrupt and lost, with this new-created picture of the paradisiac artist: so that opera may be understood as the oppositional dogma of the good man, whereby however a solace was at the same time found for the pessimism to which precisely the seriously-disposed men of that time were most strongly incited, owing to the frightful uncertainty of all conditions of life.
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of the Dionysian and Apollonian in such an amalgamation of styles as I have exhibited in the character of the _stilo rappresentativo_? where music is regarded as the servant, the text as the master, where music is compared with the body, the text with the soul? where at best the highest aim will be the realisation of a paraphrastic tone-painting, just as formerly in the New Attic Dithyramb? where music is completely alienated from its true dignity of being, the Dionysian mirror of the world, so that the only thing left to it is, as a slave of phenomena, to imitate the formal character thereof, and to excite an external pleasure in the play of lines and proportions.
Page 112
The stupendous historical exigency of the unsatisfied modern culture, the gathering around one of countless other cultures, the consuming desire for knowledge--what does all this point to, if not to the loss of myth, the loss of the mythical home, the mythical source? Let us ask ourselves whether the feverish and so uncanny stirring of this culture is aught but the eager seizing and snatching at food of the hungerer--and who would care to contribute anything more to a.
Page 113
culture which cannot be appeased by all it devours, and in contact with which the most vigorous and wholesome nourishment is wont to change into "history and criticism"? We should also have to regard our German character with despair and sorrow, if it had already become inextricably entangled in, or even identical with this culture, in a similar manner as we can observe it to our horror to be the case in civilised France; and that which for a long time was the great advantage of France and the cause of her vast preponderance, to wit, this very identity of people and culture, might compel us at the sight thereof to congratulate ourselves that this culture of ours, which is so questionable, has hitherto had nothing in common with the noble kernel of the character of our people.
Page 117
The Dionysian, with its primitive joy experienced in pain itself, is the common source of music and tragic myth.
Page 118
What is most afflicting to all of us, however, is--the prolonged degradation in which the German genius has lived estranged from house and home in the.
Page 120
Even to-day people remind me, sometimes right in the midst of a talk on _Parsifal,_ that _I_ and none other have it on my conscience that such a high opinion of the _cultural value_ of this movement came to the top.
Page 121
'Rationality' _against_ instinct! 'Rationality' at any price as a dangerous, as a life-undermining force! Throughout the whole book a deep hostile silence on Christianity: it is neither Apollonian nor Dionysian; it _negatives_ all _æsthetic_ values (the only values recognised by the _Birth of Tragedy),_ it is in the widest sense nihilistic, whereas in the Dionysian symbol the utmost limit of _affirmation_ is reached.