men_ were? But such men I can only conceive as
slaves, the slaves of the future.
_The metamorphoses of slavery_; its disguise in the cloak of religion;
its transfiguration through morality.
_The ideal slave_ (the "good man").--He who cannot regard himself
as a "purpose," and who cannot give himself any aim whatsoever,
instinctively honours the morality of _unselfishness._ Everything urges
him to this morality: his prudence, his experience, and his vanity. And
even faith is a form of self-denial.
_Atavism_: delightful feeling, to be able to obey unconditionally for
Industry, modesty, benevolence, temperance, are just so many
_obstacles_ in the way of _sovereign sentiments,_ of great _ingenuity,_
of an heroic purpose, of noble existence for one's self.
It is not a question of _going ahead_ (to that end all that is required
is to be at best a herdsman, that is to say, the prime need of the
herd), it is rather a matter of _getting along alone,_ of _being able
to be another._
We must realise _all_ that has been accumulated as the result of
the highest moral _idealism_: how almost _all other values_ have
crystallised round it. This shows that it has been desired for _a very
long time_ and with the _strongest passions_--and that it has not yet
been attained: otherwise it would have _disappointed_ everybody (that
is to say, it would have been followed by a more moderate valuation).
The _saint_ as the _most powerful type_ of man: _this_ ideal it is
which has elevated the value of moral perfection so high. One would
think that the whole of science had been engaged in proving that the
_moral_ man is the most _powerful_ and most godly.--The conquest of the
senses and the passions--everything inspired _terror_;--the unnatural
seemed to the spectators to be _supernatural_ and _transcendental...._
Francis of Assisi: amorous and popular, a poet who combats the order
of rank among souls, in favour of the lowest. The denial of spiritual
hierarchy--"all alike before God."
Popular ideals: the good man, the unselfish man, the saint, the sage,
the just man. O Marcus Aurelius!
I have declared war against the anÃ¦mic Christian ideal (together with
what is closely _I_ related to it), not because I want to annihilate
it, but only to put an end to its _tyranny_ and clear the way for
other _ideals,_ for _more robust_ ideals.... The _continuance_ of the
Christian ideal belongs to the most desirable of desiderata: if only
for the sake of the ideals which wish to take their stand beside it and
perhaps above it--they must have opponents, and strong ones too, in
order to grow _strong_ themselves. That is why we
In reading these two essays we.Page 1
On pages 41, 44, 84, 122, 129, &c, we cannot doubt that Nietzsche is speaking from his heart,--and what does he say?--In impassioned tones he admits his profound indebtedness to the great musician, his love for him, his gratitude to him,--how Wagner was the only German who had ever been anything to him--how his friendship with Wagner constituted the happiest and most valuable experience of his life,--how his breach with Wagner almost killed him.Page 2
Had he followed his own human inclinations, he would probably have remained Wagner's friend until the end.Page 9
In reality, therefore, Wagner the man and Wagner the artist were undoubtedly one, and constituted a splendid romanticist.Page 11
of himself? To overcome his age in himself, to become "timeless.Page 12
Is it in any way possible to listen better?--I even burrow behind this music with my ears.Page 18
To recognise what is harmful as harmful, to be able to deny oneself what is harmful, is a sign of youth, of vitality.Page 21
Let us wander in the clouds, let us harangue eternity, let us be careful to group great symbols all around us! _Sursum! Bumbum!_--there is no better advice.Page 22
If there is anything at all of interest in Wagner, it is the consistency with which a critical physiological condition may convert itself, step by step, conclusion after conclusion, into a method, a form of procedure, a reform of all principles, a crisis in taste.Page 24
Wagner's art presses with the weight of a hundred atmospheres: do but submit, there is nothing else to do.Page 26
The first thing that occurs to him is a scene which is certain to produce a strong effect, a real _actio_,(10) with a basso-relievo of attitudes; an _overwhelming_ scene, this he now proceeds to elaborate more deeply, and out of it he draws his characters.Page 35
But they have already made their choice.Page 40
Read consecutively, they can leave no one in any doubt, either concerning myself, or concerning Wagner: we are antipodes.Page 46
Even at the present day, France is still the refuge of the most intellectual and refined culture in Europe, it remains the high school of taste: but one must know where to find this France of taste.Page 47
All dominated by literature, up to their very eyes and ears--the first European artists with a _universal literary_ culture,--most of them writers, poets, mediators and minglers of the senses and the arts, all fanatics in _expression_, great discoverers in the realm of the sublime as also of the ugly and the gruesome, and still greater discoverers in passion, in working for effect, in the art of dressing their windows,--all possessing talent far above their genius,--virtuosos to their backbone, knowing of secret.Page 49
Did he ultimately _change his mind_ on this point? It would seem that he had at least had the desire of _changing_ his doctrine towards the end.Page 51
The moral contrast of these self-indulgent burningly loyal creatures of Wagner, acts like a _spur_, like an irritant and even this sensation is turned to account in obtaining an _effect_.Page 60
The creator of a new _genre_ should consider this! The arts should not always be dished up together,--but we should imitate the moderation of.Page 64
This book, which is a touchstone by which I can discover who are my peers, rejoices in being accessible only to the most elevated and most severe minds: the others have not the ears to hear me.