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

By Friedrich Nietzsche

Page 49

moral purpose!"--thus does pure passion speak. A psychologist,
on the other hand, puts the question: what does all art do? does it
not praise? does it not glorify? does it not select? does it not
bring things into prominence? In all this it strengthens or weakens
certain valuations. Is this only a secondary matter? an accident?
something in which the artist's instinct has no share? Or is it not
rather the very prerequisite which enables the artist to accomplish
something?... Is his most fundamental instinct concerned with art?
Is it not rather concerned with the purpose of art, with life? with
a certain desirable kind of life? Art is the great stimulus to life;
how can it be regarded as purpose less, as pointless, as _l'art pour
l'art?_--There still remains one question to be answered: Art also
reveals much that is ugly, hard and questionable in life,--does it
not thus seem to make life intolerable?--And, as a matter of fact,
there have been philosophers who have ascribed this function to art.
According to Schopenhauer's doctrine, the general object of art was to
"free one from the Will"; and what he honoured as the great utility
of tragedy, was that it "made people more resigned."--But this, as
I have already shown, is a pessimistic standpoint; it is the "evil
eye": the artist himself must be appealed to. What is it that the soul
of the tragic artist communicates to others? Is it not precisely his
fearless attitude towards that which is terrible and questionable?
This attitude is in itself a highly desirable one; he who has once,
experienced it honours it above everything else. He communicates it. He
must communicate, provided he is an artist and a genius in the art of
communication A courageous and free spirit, in the presence of a mighty
foe, in the presence of a sublime misfortune, and face to face with a
problem that inspires horror--this is the triumphant attitude which
the tragic artist selects and which he glorifies. The martial elements
in our soul celebrate their Saturnalia in tragedy; he who is used to
suffering, he who looks out for suffering, the heroic man, extols his
existence by means of tragedy,--to him alone does the tragic artist
offer this cup of sweetest cruelty.--


25

To associate in an amiable fashion with anybody; to keep the house of
one's heart open to all, is certainly liberal: but it is nothing else.
One can recognise the hearts that are capable of noble hospitality, by
their wealth of screened windows and closed shutters: they keep their
best rooms empty. Whatever for?--Because they are expecting guests

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

Page 0
Oehler and his wife, in Pobles, were typically healthy people.
Page 6
From the first he was never blind to the faults in his master's system, and in proof of this we have only to refer to an essay he wrote in the autumn of 1867, which actually contains a criticism of Schopenhauer's philosophy.
Page 19
Of course, apart from all precipitate hopes and faulty applications to matters specially modern, with which I then spoiled my first book, the great Dionysian note of interrogation, as set down therein, continues standing on and on, even with reference to music: how must we conceive of a music, which is no longer of Romantic origin, like the German; but of _Dionysian_?.
Page 21
But those persons would err, to whom this collection suggests no more perhaps than the antithesis of patriotic excitement and æsthetic revelry, of gallant earnestness and sportive delight.
Page 34
5.
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e.
Page 45
Perhaps we shall get a starting-point for our inquiry, if I put forward the proposition that the satyr, the fictitious natural being, is to the man of culture what Dionysian music is to civilisation.
Page 48
The character is not for him an aggregate composed of a studied collection of particular traits, but an irrepressibly live person appearing before his eyes, and differing only from the corresponding vision of the painter by its ever.
Page 57
The presence of a god behind all these masks is the one essential cause of the typical "ideality," so oft exciting wonder, of these celebrated figures.
Page 67
The effect of tragedy never depended on epic suspense, on the fascinating uncertainty as to what is to happen now and afterwards: but rather on the great rhetoro-lyric scenes in which the passion and dialectics of the chief hero swelled to a broad and mighty stream.
Page 74
Let us but realise the consequences of the Socratic maxims: "Virtue is knowledge; man only sins from ignorance; he who is virtuous is happy": these three fundamental forms of optimism involve the death of tragedy.
Page 79
When he here sees to his dismay how logic coils round itself at these limits and finally bites its own tail--then the new form of perception discloses itself, namely _tragic perception,_ which, in order even to be endured, requires art as a safeguard and remedy.
Page 84
"We believe in eternal life," tragedy exclaims; while music is the proximate idea of this life.
Page 91
While this optimism, resting on apparently unobjectionable _æterna veritates,_ believed.
Page 92
It is certainly the symptom of the "breach" which all are wont to speak of as the primordial suffering of modern culture that the theoretical man, alarmed and dissatisfied at his own conclusions, no longer dares to entrust himself to the terrible ice-stream of existence: he runs timidly up and down the bank.
Page 97
What delightfully naïve hopefulness of these daring endeavours, in the very heart of theoretical culture!--solely to be explained by the comforting belief, that "man-in-himself" is the eternally virtuous hero of the opera, the eternally fluting or singing shepherd, who must always in the end rediscover himself as such, if he has at any time really lost himself; solely the fruit of the optimism, which here rises like a sweetishly seductive column of vapour out of the depth of the Socratic conception of the world.
Page 101
Let no one attempt to weaken our faith in an impending re-birth of Hellenic antiquity; for in it alone we find our hope of a renovation and purification of the German spirit through the fire-magic of music.
Page 109
_.
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_ I know that I must now lead the sympathising and attentive friend to an elevated position of lonesome contemplation, where he will have but few companions, and I call out encouragingly to him that we must hold fast to our shining guides, the Greeks.
Page 117
For the explanation of tragic myth the very first requirement is that the pleasure which characterises it must be sought in the purely æsthetic sphere, without encroaching on the domain of pity, fear, or the morally-sublime.