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

By Friedrich Nietzsche

Page 152

Leonardo, Goethe).
The principal fact--their "free will"--is always suppressed.


A great _lie_ in history; as if the _corruption of the Church were the
cause_ of the Reformation! This was only the pretext and self-deception
of the agitators--very strong needs were making themselves felt, the
brutality of which sorely required a spiritual dressing.


Schopenhauer declared high intellectuality to be the _emancipation_
from the will: he did not wish to recognise the freedom from moral
prejudices which is coincident with the emancipation of a great mind;
he refused to see what is the typical immorality of genius; he artfully
contrived to set up the only moral value he honoured--self-effacement,
as the one _condition_ of highest intellectual activity: "objective"
contemplation. "Truth," even in art, only manifests itself after the
withdrawal of the _will_....

Through all moral idiosyncrasies I see a _fundamentally different
valuation._ Such absurd distinctions as "genius" and the world of will,
of morality and immorality, _I know nothing about at all._ The moral is
a lower kind of animal than the immoral, he is also weaker; indeed--he
is a type in regard to morality, but he is not a type of his own. He
is a copy; at the best, a good copy--the standard of his worth lies
_without_ him. I value a man according to the _quantum of power and
fullness of his will_: not according to the enfeeblement and moribund
state thereof. I consider that a philosophy which _teaches_ the denial
of will is both defamatory and slanderous.... I test the _power_ of
a _will_ according to the amount of resistance it can offer and the
amount of pain and torture it can endure and know how to turn to its
own advantage; I do not point to the evil and pain of existence with
the finger of reproach, but rather entertain the hope that life may one
day be more evil and more full of suffering than it has ever been.

The zenith of intellectuality, according to Schopenhauer, was to arrive
at the knowledge that all is to no purpose--in short, to recognise what
the good man already _does_ instinctively.... He denies that there can
be higher states of intellectuality--he regards his view as a _non plus
ultra.._.. Here intellectuality is placed much lower than goodness; its
highest value (as art, for instance) would be to lead up to, and to
advise the adoption of, morality, the absolute predominance of _moral

Next to Schopenhauer I will now characterise _Kant_: there was nothing
Greek in Kant; he was quite anti-historical (cf. his attitude in
regard to the French Revolution) and a moral fanatic (see Goethe's
words concerning the

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

Page 3
His extraordinary gifts manifested themselves chiefly in his independent and private studies and artistic efforts.
Page 6
Again, in the case of Richard Wagner, my brother, from the first, laid the utmost stress upon the man's personality, and could only regard his works and views as an expression of the artist's whole being, despite the fact that he by no means understood every one of those works at that time.
Page 8
He was twenty-four years and six months old when he took up his position as professor in Bale,--and it was with a heavy heart that he proceeded there, for he knew "the golden period of untrammelled activity" must cease.
Page 12
Why? The degeneration of the Germanic spirit is ascribed to its influence.
Page 14
Page 25
In these St.
Page 27
" For some time, however, it would seem that the Greeks were perfectly secure and guarded against the feverish agitations of these festivals (--the knowledge of which entered Greece by all the channels of land and sea) by the figure of Apollo himself rising here in full pride, who could not have held out the Gorgon's head to a more dangerous power than this grotesquely uncouth Dionysian.
Page 41
,_ as the antithesis of the æsthetic, purely contemplative, and passive frame of mind.
Page 44
An infinitely more valuable insight into the signification of the chorus had already been displayed by Schiller in the celebrated Preface to his Bride of Messina, where he regarded the chorus as a living wall which tragedy draws round herself to guard her from contact with the world of reality, and to preserve her ideal domain and poetical freedom.
Page 56
Page 59
This dying myth was now seized by the new-born genius of Dionysian music, in whose hands it bloomed once more, with such colours as it had never yet displayed, with a fragrance that awakened a longing anticipation of a metaphysical world.
Page 65
In a myth composed in the eve of his life, Euripides himself most urgently propounded to his contemporaries the question as to the value and signification of this tendency.
Page 73
An instance of this is the aforesaid Plato: he, who in the condemnation of tragedy and of art in general certainly did not fall short of the naïve cynicism of his master, was nevertheless constrained by sheer artistic necessity to create a form of art which is inwardly related even to the then existing forms of art which he repudiated.
Page 83
When now, in the particular case, such a relation is actually given, that is to say, when the composer has been able to express in the universal language of music the emotions of will which constitute the heart of an event, then the melody of the song, the music of the opera, is expressive.
Page 86
With respect to Greek tragedy, which of course presents itself to us only as word-drama, I have even intimated that the incongruence between myth and expression might easily tempt us to regard it as shallower and less significant than it really is, and accordingly to postulate for it a more superficial effect than it must have had according to the testimony of the ancients: for how easily one forgets that what the word-poet did not succeed in doing, namely realising the highest spiritualisation and ideality of myth, he might succeed in doing every moment as creative musician! We require, to be sure, almost by philological method to reconstruct for ourselves the ascendency of musical influence in order to receive something of the incomparable comfort which must be characteristic of true tragedy.
Page 91
The extraordinary courage and wisdom of _Kant_ and _Schopenhauer_ have succeeded in gaining the most, difficult, victory, the victory over the optimism hidden in the essence of logic, which optimism in turn is the basis of our culture.
Page 99
It may at last, after returning to the primitive source of its being, venture to stalk along boldly and freely before all nations without hugging the leading-strings of a Romanic civilisation: if only it can.
Page 107
Of the process just set forth, however, it could still be said as decidedly that it is only a glorious appearance, namely the afore-mentioned Apollonian _illusion,_ through the influence of which we are to be delivered from the Dionysian obtrusion and excess.
Page 112
It is only by myth that all the powers of the imagination and of the Apollonian dream are freed from their random rovings.
Page 116
The greatest distinctness of the picture did not suffice us: for it seemed to reveal as well as veil something; and while it seemed, with its symbolic revelation, to invite the rending of the veil for the disclosure of the mysterious background, this illumined all-conspicuousness itself enthralled the eye and prevented it from penetrating more deeply He who has not experienced this,--to have to view, and at the same time to have a longing beyond the viewing,--will hardly be able to conceive how clearly and definitely these two processes coexist in the contemplation of tragic myth and are felt to be conjoined; while the truly æsthetic spectators will confirm my assertion that among the peculiar effects of tragedy this conjunction is the most noteworthy.