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

By Friedrich Nietzsche

Page 45

made
hopeless mistakes in regard to great historical values (the French
Revolution); a moral fanatic _à la_ Rousseau; with a subterranean
current of Christian values; a thorough dogmatist, but bored to
extinction by this tendency, to the extent of wishing to tyrannise
over it, but quickly tired, even of 'scepticism; and not yet affected
by any cosmopolitan thought or antique beauty ... a _dawdler_ and a
_go-between,_ not at all original (like _Leibnitz,_ something between
mechanism and spiritualism; like _Goethe,_ something between the taste
of the eighteenth century and that of the "historical sense" [which
_is_ essentially a sense of exoticism]; like _German music,_ between
French and Italian music; like Charles the Great, who mediated and
built bridges between the Roman Empire and Nationalism--a dawdler _par
excellence_).


102.

In what respect have the _Christian_ centuries with their Pessimism
been _stronger_ centuries than the eighteenth--and how do they
correspond with the _tragic_ age of the Greeks?

The nineteenth century _versus_ the eighteenth. How was it an
heir?--how was it a step backwards from the latter? (more lacking in
"spirit" and in taste)--how did it show an advance on the latter?
(more gloomy, more realistic, _stronger_).


103.

How can we _explain_ the fact that we feel something in common with the
_Campagna romana?_ And the high mountain chain?

Chateaubriand in a letter to M. de Fontanes in 1803 writes his first
impression of the _Campagna romana._

The President de Brosses says of the _Campagna romana_: "Il fallait
que Romulus fût ivre quand il songea à bâtir une ville dans un terrain
aussi laid."

Even Delacroix would have nothing to do with Rome, it frightened him.
He loved Venice, just as Shakespeare, Byron, and Georges Sand did.
Théophile Gautier's and Richard Wagner's dislike of Rome must not be
forgotten.

Lamartine has the language for Sorrento and Posilippo.

Victor Hugo raves about Spain, "parce que aucune autre nation n'a
moins emprunté à l'antiquité, parce qu'elle n'a subi aucune influence
classique."


104.

The _two great attempts_ that were made to overcome the eighteenth
century:

_Napoleon,_ in that he called man, the soldier, and the great struggle
for power, to life again, and conceived Europe as a political power.

_Goethe,_ in that he imagined a European culture which would consist
of the whole heritage of what humanity had _attained to_ up to his time.

German culture in this century inspires mistrust--the music of the
period lacks that complete element which liberates and binds as well,
to wit--Goethe.

The pre-eminence of _music_ in the romanticists of 1830 and 1840.
Delacroix. Ingres--a passionate musician (admired Gluck, Haydn,
Beethoven, Mozart), said to his pupils in Rome: "Si je pouvais vous
rendre tous musiciens, vous y gagneriez comme peintres"--likewise
Horace Vernet, who

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Text Comparison with The Will to Power, Book III and IV An Attempted Transvaluation of all Values

Page 0
In the two books before us Nietzsche boldly carries his principle still further into the various departments of human life, and does not shrink from showing its application even to science, to art, and to metaphysics.
Page 4
, which is possibly the most important part of all, seeing that it treats of those questions which may be regarded as Nietzsche's most constant concern from the time when he wrote his first book.
Page 12
To the extent to which knowledge has any sense at all, the world is knowable: but it may be interpreted _differently,_ it has not one sense behind it, but hundreds of senses.
Page 21
, as realities--that is to say, the conception of a metaphysical world or a "real world" (--_this is, however, once more the world of appearance.
Page 29
532.
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_ in a world where there is no such thing as being, a certain calculable world of _identical_ cases must first be created through _appearance;_ a _tempo_ in which observation and comparison is possible, etc.
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e.
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a mere superficial judgment to declare that the diamond, graphite, and carbon are identical.
Page 74
Or, rather, because all action is a process of overcoming, of becoming master of, and of _increasing_ the _feeling of power_? The pleasure of thought.
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, _thinkable_--that is to say, we should _deny_ them and treat them as _errors of the intellect.
Page 88
My theory would be: that the will to power is the primitive motive force out of which all other motives have been derived; That it is exceedingly illuminating to substitute _power_ for individual "happiness" (after which every living organism is said to strive): "It strives after power, after _more_ power";--happiness is only a symptom of the feeling of power attained, a consciousness of difference (it does not strive after happiness: but happiness steps in when the object is attained, after which the organism has striven: happiness is an accompanying, not an actuating factor); That all motive force is the will to power; that there is no other force, either physical, dynamic, or psychic.
Page 91
If the essence of pleasure has been aptly characterised as the feeling of increased power (that is to say, as a feeling of difference which presupposes comparison), that does not define the nature of pain.
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707.
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.
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This is why greatness is lacking: these geniuses had a double outlook; first, they catered for the coarsest needs, and then for the most refined.
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What good can come of all extension in the means of expression, when that which is expressed, art itself, has lost all its law and order? The picturesque pomp and power of tones, the symbolism of sound, rhythm, the colour effects of harmony and discord, the suggestive significance of music, the whole sensuality of this art which Wagner made prevail--it is all this that Wagner derived, developed, and drew out of music.
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In order to fight one's way out of that chaos, and up to this form, a certain _disciplinary constraint_ is necessary: a man should have to choose between either going to the dogs or _prevailing.
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977.
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finds that he is tolerated even by God:[6] better still, he has become interesting as one who has been misunderstood and slandered for ages,--we are the saviours of the devil's honour.
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Or, better still, it develops, it passes away, but it never began to develop, and has never ceased from passing away; it _maintains_ itself in both states.