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

By Friedrich Nietzsche

Page 156

is, that the _real_ man represents a much
higher value than the "desirable" man of any ideal that has ever
existed hitherto; that all "desiderata" in regard to mankind have
been absurd and dangerous dissipations by means of which a particular
kind of man has sought to establish _his_ measures of preservation
and of growth as a law for all; that every "desideratum" of this
kind which has been made to dominate has _reduced_ man's worth, his
strength, and his trust in the future; that the indigence and mediocre
intellectuality of man becomes most apparent, even to-day, when he
reveals a _desire_; that man's ability to fix values has hitherto been
developed too inadequately to do justice to the actual, not merely
to the "desirable," _worth of man_; that, up to the present, ideals
have really been the power which has most slandered man and power, the
poisonous fumes which have hung over reality, and which have _seduced
men to yearn for nonentity_....

D. _A Criticism of the Words: Improving, Perfecting, Elevating._


The standard _according_ to which the value of moral valuations is to
be determined.

The fundamental fact _that has been overlooked_: The contradiction
between "becoming more moral" and the elevation and the strengthening
of the type man.

_Homo natura_: The "will to power."


Moral values regarded as _values of appearance_ and compared with
_physiological_ values.


Reflecting upon generalities is always retrograde: the last of the
"desiderata" concerning men, for instance, have never been regarded as
problems by philosophers. They always postulate the "_improvement_"
of man, quite guilelessly, as though by means of some intuition they
had been helped over the note of interrogation following the question,
_why_ necessarily "_improve!_" To what extent is it _desirable_ that
man should be more _virtuous,_ or more _intelligent,_ or _happier!_
Granting that nobody yet _knows_ the "wherefore?" of mankind, all
such desiderata have no sense whatever; and if one aspires to one
of them--who knows?--perhaps one is frustrating the other. Is an
increase of virtue compatible with an increase of intelligence and
insight? _Dubito_: only too often shall I have occasion to show that
the reverse is true. Has virtue, as an end, in the strict sense of the
word, not always been opposed to happiness hitherto? And again, does it
not require misfortune, abstinence, and self-castigation as a necessary
means? And if the aim were to arrive at the _highest insight,_ would
it not therefore be necessary to renounce all hope of an increase in
happiness, and to choose danger, adventure, mistrust, and seduction as
a road to enlightenment?... And suppose one will have happiness; maybe
one should join the ranks of the "poor

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Text Comparison with The Case Of Wagner, Nietzsche Contra Wagner, and Selected Aphorisms.

Page 5
Just as Goethe was an abortive painter, and Schiller an abortive orator, so Wagner was an abortive theatrical genius.
Page 7
"It is extremely doubtful whether Wagner is able to bear witness about himself.
Page 8
Page 15
It is a crime against the highest and the holiest to be scientific.
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 19
{~HORIZONTAL ELLIPSIS~} Only with morbid music can money be made to-day; our big theatres live on Wagner.
Page 20
Let us irritate nerves, let us strike them dead: let us handle thunder and lightning,--that is what overthrows.
Page 22
") 7.
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_, a rhetorical medium for the stage, a medium of expression, a means of accentuating an attitude, a vehicle of suggestion and of the psychologically picturesque.
Page 26
Wagner's "arias" are still left over.
Page 31
Even Wagner's success, his triumph, did not uproot this feeling thoroughly.
Page 36
{~HORIZONTAL ELLIPSIS~} The "impersonal," those who are not self-centred, love him for this.
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dreams or mourns over himself in private--in this respect he is modern;--he becomes cold, we no longer feel at one with him when he poses as the child of the classics.
Page 39
The Christian wishes _to be rid_ of himself.
Page 41
Why should I therefore begin by clothing them in aesthetic formulae? AEsthetic is indeed nothing more than applied physiology--The fact I bring forward, my "_petit fait vrai_," is that I can no longer breathe with ease when this music begins to have its effect upon me; that my foot immediately begins to feel indignant at it and rebels: for what it needs is time, dance, march; even the young German Kaiser could not march to Wagner's Imperial March,--what my foot demands in the first place from music is that ecstasy which lies in good walking, stepping and dancing.
Page 46
and negation,--in him evil, purposelessness and ugliness, seem just as allowable as they are in nature--because of his bursting plenitude of creative and rejuvenating powers, which are able to convert every desert into a luxurious land of plenty.
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_"{~HORIZONTAL ELLIPSIS~} "Is it true," a little girl once asked her mother, "that the beloved Father is everywhere?--I think it.
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--Is the fact that this music when heard alone, is, as a whole intolerable (apart from a few intentionally isolated parts) in its _favour_? Suffice it to say that this music without its accompanying drama, is a perpetual contradiction of all the highest laws of style belonging to older music: he who thoroughly accustoms himself to it, loses all feeling for these laws.
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, authorised English edition.