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

By Friedrich Nietzsche

Page 40

and again here, it was a low form of
exhaustion, a sort of general _ruere in servitium_.... Then the
_disreputable_ century of Germany dawned.


_Chivalry_--the position won by power: its gradual break-up (and
partial transference to broader and more bourgeois spheres). In the
case of Larochefoucauld we find a knowledge of the actual impulses of a
noble temperament--together with the gloomy Christian estimate of these

The _protraction of Christianity_ through the _French Revolution._ The
seducer is Rousseau; he once again liberates woman, who thenceforward
is always represented as ever more interesting--_suffering._ Then come
the slaves and Mrs. Beecher-Stowe. Then the poor and the workmen.
Then the vicious and the sick--all this is drawn into the foreground
(even for the purpose of disposing people in favour of the genius,
it has been customary for five hundred years to press him forward as
the great sufferer!). Then comes the cursing of all voluptuousness
(Baudelaire and Schopenhauer), the most decided conviction that the
lust of power is the greatest vice; absolute certainty that morality
and disinterestedness are identical things; that the "happiness of all"
is a goal worth striving after (_i.e.,_ Christ's Kingdom of Heaven).
We are on the best road to it: the Kingdom of Heaven of the poor in
spirit has begun.--Intermediate stages: the bourgeois (as a result of
the _nouveau riche_) and the workman (as a result of the machine).

Greek and French culture of the time of Louis XIV. compared. A decided
belief in oneself. A leisure-class which makes things hard for itself
and exercises a great deal of self-control. The power of form, the will
to form _oneself._ "Happiness" acknowledged as a purpose. Much strength
and energy _behind_ all formality of manners. Pleasure at the sight of
a life that is _seemingly so easy._ The _Greeks_ seemed like _children_
to the French.


_The Three Centuries._

Their different kinds of _sensitiveness_ may perhaps be best expressed
as follows:--

_Aristocracy_: Descartes, the reign of _reason,_ evidence showing the
sovereignty of the _will_.

_Feminism_: Rousseau, the reign of _feeling,_ evidence showing the
sovereignty of the senses; all lies.

_Animalism_: Schopenhauer, the reign of _passion,_ evidence showing the
sovereignty of animality, more honest, but gloomy.

The seventeenth century is _aristocratic,_ all for order, haughty
towards everything animal, severe in regard to the heart, "austere,"
and even free from sentiment, "non-German," averse to all that is
burlesque and natural, generalising and maintaining an attitude of
sovereignty towards the past for it believes in itself. At bottom it
partakes very much of the beast of prey, and practises asceticism in
order to remain master. It is the century of strength of will, as also
that of strong passion.

The eighteenth

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Text Comparison with Thoughts out of Season, Part I David Strauss, the Confessor and the Writer - Richard Wagner in Bayreuth.

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Germany has had her Goethe to do this; France her Stendhal; in Russia we find that fearless curiosity for all problems, which is the sign of a youthful, perhaps too youthful nation; while in Spain, on the other hand, we have an old and experienced people, with a long training away from Christianity under the dominion of the Semitic Arabs, who undoubtedly left some of their blood behind,--but I find great difficulty in pointing out any man over here who could serve as a useful guide to the heights of the Nietzschean thought, except one, who was not a Britisher.
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And bring hither the fatted calf, and kill it and let us eat and be merry!" AMEN.
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It therefore speaks with gravity, affects to apostrophise the German People, and issues complete works, after the manner of the classics; nor does it shrink from proclaiming in those journals which are open to it some few of its adherents as new German classical writers and model authors.
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It is true, however, that people of a certain age cannot possibly understand Kant, especially when, in their youth, they understood or fancied they understood that "gigantic mind," Hegel, as Strauss did; and had moreover concerned themselves with Schleiermacher, who, according to Strauss, "was gifted with perhaps too much acumen.
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The heir of but a few hours, he sees himself encompassed by yawning abysses, terrible to behold; and every step he takes should recall the questions, Wherefore? Whither? and Whence? to his mind.
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The theological opponents, despite the fact that their voices were the loudest of all, nevertheless constitute but an infinitesimal portion of the great public; and even with regard to them, Strauss still maintains that he is right when he says: "Compared with my thousands of readers, a few dozen public cavillers form but an insignificant minority, and they can hardly prove that they are their faithful interpreters.
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They rely upon it that these fragments are related among themselves, and thus confound the logical and the artistic relation between them.
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Soberly and limpidly it welcomes us: its mural decorations consist of astronomical charts and mathematical figures; it is filled with scientific apparatus, and its cupboards contain skeletons, stuffed apes, and anatomical specimens.
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In striving after this state of bliss, he often seems to waver between two alternatives--either to mimic the brave and dialectical petulance of Lessing, or to affect the manner of the faun-like and free-spirited man of antiquity that Voltaire was.
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From which it follows that David Strauss is to them a classical author.
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--All quotations from _The Old Faith and the New_ which appear in the above translation have either been taken bodily out of Mathilde Blind's translation (Asher and Co.
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His feelings were easily roused and but indifferently satisfied; wherever the boy turned he found himself surrounded by a wonderful and would-be learned activity, to which the garish theatres presented a ridiculous contrast, and the entrancing strains of music a perplexing one.
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Under the charm of such a spectacle the observer will be led to take pleasure even in this painful development itself, and will regard it as fortunate.
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If he inquired into what it was that most consoled him and revived his spirits in his sorrow, what it was that succeeded best in counteracting his affliction, it was with joyful certainty that he discovered this force only in music and myth, the latter of which he had already recognised as the people's creation and their language of distress.
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The Ring of the Nibelung is a huge system of thought without the usual abstractness of the latter.
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rhythm could once more dare to manifest itself in the general proportions of the edifice; for there was no more need of "the deliberate confusion and involved variety of styles, whereby the ordinary playwright strove in the interests of his work to produce that feeling of wonder and thrilling suspense which he ultimately enhanced to one of delighted amazement.
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" Once, however, the art of the ethos had repeatedly been made to ring all the changes on the moods and situations which convention had decreed as suitable, despite the most astounding resourcefulness on the part of its masters, its powers were exhausted.
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His writings contain nothing canonical or severe: the canons are to be found in his works as a whole.
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What the reader who is only imperfectly initiated will probably find most oppressive is the general tone of authoritative dignity which is peculiar to Wagner, and which is very difficult to describe: it always strikes me as though Wagner were continually _addressing enemies_; for the style of all these tracts more resembles that of the spoken than of the written language, hence they will seem much more intelligible if heard read aloud, in the presence of his enemies, with whom he cannot be on familiar terms, and towards whom he must therefore show some reserve and aloofness.
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_ But to the men of the future.