The Will to Power, Book I and II An Attempted Transvaluation of all Values

By Friedrich Nietzsche

Page 146

immoralists require
the _power_ of _morality,_ our instinct of self-preservation insists
upon our opponents maintaining their strength--all it requires is to
_become master of them_.

C. _Concerning the Slander of the so-called Evil Qualities_.


Egoism and its problem! The Christian gloominess of La Rochefoucauld,
who saw egoism in everything, and imagined that he had therefore
_reduced_ the worth of things and virtues! In opposition to him,
I first of all tried to show that nothing else _could_ exist save
egoism,--that in those men whose _ego_ is weak and thin, the power to
love also grows weak,--that the greatest lovers are such owing to the
strength of their _ego,_--that love is an expression of egoism, etc.
As a matter of fact, the false valuation aims at the interest of those
who find it useful, whom it helps--in fact, the herd; it fosters a
pessimistic mistrust towards the basis of Life; it would fain undermine
the most glorious and most well-constituted men (out of fear); it would
assist the lowly to have the upper hand of their conquerors; it is the
cause of universal dishonesty, especially in the most useful type of


Man is an indifferent egoist: even the cleverest regards his habits as
more important than his advantage.


Egoism! But no one has yet asked: _what_ is the _ego_ like? Everybody
is rather inclined to see all _egos_ alike. This is the result of the
slave theory, of _universal suffrage,_ and of "equality."


The behaviour of a higher man is the result of a very complex set of
motives: any word such as "pity" _betrays_ nothing of this complexity.
The most important factor is the feeling, "who am I? who is the other
relative to me?"--Thus the valuing spirit is continually active.


To think that the history of all moral phenomena may be simplified, as
Schopenhauer thought,--that is to say, that _pity_ is to be found at
the root of every moral impulse that has ever existed hitherto,--is
to be guilty of a degree of nonsense and ingenuousness worthy only
of a thinker who is devoid of all historical instincts and who has
miraculously succeeded in evading the strong schooling in history which
the Germans, from Herder to Hegel, have undergone.


_My "pity."_--This is a feeling for which I can find no adequate
term: I feel it when I am in the presence of any waste of precious
capabilities, as, for instance, when I contemplate Luther: what power
and what tasteless problems fit for back-woodsmen! (At a time when the
brave and light-hearted scepticism of a Montaigne was already possible
in France!) Or when I see some one standing below

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Text Comparison with Thoughts out of Season, Part I

Page 1
Page 7
"[6]* [Footnote * : It is a comfort to the afflicted to have companions in their distress.
Page 23
To speak of German scholarship and culture as having conquered, therefore, can only be the outcome of a misapprehension, probably resulting from the circumstance that every precise notion of culture has now vanished from Germany.
Page 25
This incomprehensible error clearly shows that he does not even know the difference between a Philistine and his opposite.
Page 26
Now, it is by means of this stamp that he is able to identify the character of the "German culture," which is his own patent; and all things that do not bear it are so many enemies and obstacles drawn up against him.
Page 36
Lichtenberg even said: "There are enthusiasts quite devoid of ability, and these are really dangerous people.
Page 40
to know how a Hallelujah sung by Strauss would sound: I believe one would have to listen very carefully, lest it should seem no more than a courteous apology or a lisped compliment.
Page 42
432); then, to our minds, one thing, and one thing alone, became certain--namely, that his Sweetmeat-Beethoven is not our Beethoven, and his Soup-Haydn is not our Haydn.
Page 50
Page 58
How perfectly in keeping all this is with the fulsome spirit animating the holders of the highest places in German science in large cities! How thoroughly this spirit must appeal to that other! for it is precisely in those quarters that culture is in the saddest plight; it is precisely there that its fresh growth is made impossible--so boisterous are the preparations made by science, so sheepishly are favourite subjects of knowledge allowed to oust questions of much greater import.
Page 60
crowd have learned to ask six consecutive times for the Master's Philistine sleeping-mixture? If, without further ado, we here assumed that the Straussian confession-book had triumphed over public opinion and had been acclaimed and welcomed as conqueror, its author might call our attention to the fact that the multitudinous criticisms of his work in the various public organs are not of an altogether unanimous or even favourable character, and that he therefore felt it incumbent upon him to defend himself against some of the more malicious, impudent, and provoking of these newspaper pugilists by means of a postscript.
Page 62
They rely upon it that these fragments are related among themselves, and thus confound the logical and the artistic relation between them.
Page 72
But the manufacturers of these newspapers are, by virtue of.
Page 101
Let us regard this as one of Wagner's answers to the question, What does music mean in our time? for he has a second.
Page 102
Bear in mind that the soul of music now wishes to acquire a body, that, by means of you all, it would find its way to visibleness in movements, deeds, institutions, and customs!" There are some men who understand this summons, and their number will increase; they have also understood, for the first time, what it means to found the State upon music.
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When it is repulsed it is but more prodigal in its gifts; ill used by those it favours, it does but reward them with the richest treasures it possesses,--and, according to the oldest and most recent experience, its favoured ones have never been quite worthy of its gifts.
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in Wagner the whole visible world desires to be spiritualised, absorbed, and lost in the world of sounds.
Page 134
Albeit it is obviously all one to Wagner whether musicians compose in his style, or whether they compose at all, he even does his utmost to dissipate the belief that a school of composers should now necessarily follow in his wake; though, in so far as he exercises a direct influence upon musicians, he does indeed try to instruct them concerning the art of grand execution.
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But even admitting that while he wrote such passages he was addressing friends, and that the shadow of his enemies had been removed for a while, all the friends and enemies that Wagner, as a man of letters, has, possess one factor in common, which differentiates them fundamentally from the "people" for whom he worked as an artist.
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And now ask yourselves, ye generation of to-day, Was all this composed for you? Have ye the courage to point up to the stars of the whole of this 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.