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

By Friedrich Nietzsche

Page 147

where he might have
stood, thanks to the development of a set of perfectly senseless
accidents. Or even when, with the thought of man's destiny in my mind,
I contemplate with horror and contempt the whole system of modern
European politics, which is creating the circumstances and weaving
the fabric of the _whole_ future of mankind. Yes, to what could not
"mankind" attain, if----! This is my "pity"; despite the fact that no
sufferer yet exists with whom I sympathise in this way.


368.

Pity is a waste of feeling, a moral parasite which is injurious to
the health, "it cannot possibly be our duty to increase the evil in
the world." If one does good merely out of pity, it is one's self and
not one's neighbour that one is succouring. Pity does not depend upon
maxims, but upon emotions. The suffering we see infects us; pity is an
infection.


369.

There is no such thing as egoism which keeps within its bounds and
does not exceed them--consequently, the "allowable," the "morally
indifferent" egoism of which some people speak, does not exist at all.

"One is continually promoting the interests of one's '_ego_' at the
cost of other people "; "Living consists in living at the cost of
others"--he who has not grasped this fact, has not taken the first step
towards truth to himself.


370.

The "subject" is a piece of fiction: the _ego_ of which every one
speaks when he blames egoism, does not exist at all.


371.

Our "ego"--which is _not_ one with the unitary controlling force of our
beings!--is really only an imagined synthesis; therefore there can _be_
no "_egoistic_" _actions_.


372.

Since all instincts are unintelligent, utility cannot represent a
standpoint as far as they are concerned. Every instinct, when it is
active, sacrifices strength and other instincts into the bargain: in
the end it is stemmed, otherwise it would be the end of everything
owing to the waste it would bring about. Thus: that which is
"unegoistic," self-sacrificing, and imprudent is nothing in particular
--it is common to all the instincts; they do not consider the welfare
of the whole _ego_ (_because they simply do not think!_), they act
counter to our interests, against the _ego_: and often _for_ the
_ego--_innocent in both cases!


373.

_The origin of moral values._--Selfishness has as much value as the
physiological value of him who possesses it. Each individual represents
the whole course of Evolution, and he is not, as morals teach,
something that begins at his birth. If he represent the _ascent_ of the
line of mankind, his value is, in fact, very great; and the concern
about his maintenance and the promoting

Last Page Next Page

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

Page 0
m.
Page 18
"better" life.
Page 21
17, 18, and 20.
Page 23
This cheerful acquiescence in the dream-experience has likewise been embodied by the Greeks in their Apollo: for Apollo, as the.
Page 26
, trans, by Haldane and Kemp.
Page 28
To comprehend this collective discharge of all the symbolic powers, a man must have already attained that height of self-abnegation, which wills to express itself symbolically through these powers: the Dithyrambic votary of Dionysus is therefore understood only by those like himself! With what astonishment must the Apollonian Greek have beheld him! With an astonishment, which was.
Page 30
" How is the Olympian world of deities related to this folk-wisdom? Even as the rapturous vision of the tortured martyr to his sufferings.
Page 36
While the latter lives in these pictures, and only in them, with joyful satisfaction, and never grows tired of contemplating them with love, even in their minutest characters, while even the picture of the angry.
Page 43
blasphemy to speak here of the anticipation of a "constitutional representation of the people," from which blasphemy others have not shrunk, however.
Page 52
In this sense the dialogue is a copy of the Hellene, whose nature reveals itself in the dance, because in the dance the greatest energy is merely potential, but betrays itself nevertheless in flexible and vivacious movements.
Page 53
The truly Hellenic delight at this dialectical loosening is so great, that a touch of surpassing cheerfulness is thereby communicated to the entire play, which everywhere blunts the edge of the horrible presuppositions of the procedure.
Page 66
How, then, is the Euripidean play related to this ideal of the Apollonian drama? Just as the younger rhapsodist is related to the solemn rhapsodist of the old time.
Page 68
not for action: and whatever was not arranged for pathos was regarded as objectionable.
Page 78
e.
Page 83
But these two universalities are in a certain respect opposed to each other; for the concepts contain only the forms, which are first of all abstracted from perception,--the separated outward shell of things, as it were,--and hence they are, in the strictest sense of the term, _abstracta_; music, on the other hand, gives the inmost kernel which precedes all forms, or the heart of things.
Page 86
If ancient tragedy was driven from its course by the dialectical desire for knowledge and the optimism of science, it might be inferred that there is an eternal conflict between _the theoretic_ and _the tragic view of things,_ and only after the spirit of science has been led to its boundaries, and its claim to universal validity has been destroyed by the evidence of these boundaries, can we hope for a.
Page 89
however, manifests itself most clearly in the _dénouements_ of the new dramas.
Page 109
Never since Aristotle has an explanation of the tragic effect been proposed, by which an æsthetic activity of the hearer could be inferred from artistic circumstances.
Page 114
Greek art and especially Greek tragedy delayed above all the annihilation of myth: it was necessary to annihilate these also to be able to live detached from the native soil, unbridled in the wilderness of thought, custom, and action.
Page 117
But he who would derive the effect of the tragic exclusively from these moral sources, as was usually the case far too long in æsthetics, let him not think that he has done anything for Art thereby; for Art must above all insist on purity in her domain.