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

By Friedrich Nietzsche

Page 73

the Jewish
experience, their propaganda, and their expertness in _the preservation
of a community_ under a foreign power--this is what he conceived to
be his duty. He it was who discovered that absolutely unpolitical and
isolated body of _paltry people,_ and their art of asserting themselves
and pushing themselves to the front, by means of a host of acquired
virtues which are made to represent the only forms of virtue ("the
self-preservative measure and weapon of success of a certain class of

The principle of _love_ comes from the small community of Jewish
people: a _very passionate_ soul glows here, beneath the ashes of
humility and wretchedness: it is neither Greek, Indian, nor German. The
song in praise of love which Paul wrote is not Christian; it is the
Jewish flare of that eternal flame which is Semitic. If Christianity
has done anything essentially new in a psychological sense, it is this,
that it has _increased the temperature of the soul_ among those cooler
and more noble races who were at one time at the head of affairs;
it discovered that the most wretched life could be made rich and
invaluable, by means of an elevation of the temperature of the soul....

It is easily understood that a transfer of this sort could _not_
take place among the ruling classes: the Jews and Christians were at
a disadvantage owing to their bad manners--spiritual strength and
passion, when accompanied by bad manners, only provoke loathing (I
become aware of these bad manners while reading the New Testament). It
was necessary to be related both in baseness and sorrow with this type
of lower manhood in order to feel anything attractive in him.... The
attitude a man maintains towards the New Testament is a test of the
amount of taste he may have for the classics (see Tacitus); he who is
not revolted by it, he who does not feel honestly and deeply that he is
in the presence of a sort of _fœda superstitio_ when reading it, and
who does not draw his hand back so as not to soil his fingers--such a
man does not know what is classical. A man must feel about "the cross"
as Goethe did.[1]

[Footnote 1:

Vieles kann ich ertragen. Die meisten beschwerlichen Dinge
Duld' ich mit ruhigem Mut, wie es ein Gott mir gebeut.
Wenige sind mir jedoch wie Gift und Schlange zuwider;
Viere: Rauch des Tabaks, Wanzen, und Knoblauch und
Goethe's _Venetian Epigrams,_ No. 67.

Much can I bear. Things the most irksome
I endure with such patience as comes from a god.
Four things, however, repulse me like venom:--Tobacco
smoke, garlic, bugs, and

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

Page 4
aren't you accustomed to criticism on the part of German philosophers? Is it not the ancient and time-honoured privilege of the whole range of them from Leibnitz to Hegel--even of German poets, like Goethe and Heine--to call you bad names and to use unkind language towards you? Has there not always been among the few thinking heads in Germany a silent consent and an open contempt for you and your ways; the sort of contempt you yourselves have for the even more Anglo-Saxon culture of the Americans? I candidly confess that in my more German moments I have felt and still feel as the German philosophers do; but I have also my European turns and moods, and then I try to understand you and even excuse you, and take your part against earnest and thinking Germany.
Page 39
How clever it was of my friend to read no further, once he had been enlightened (thanks to that chimerical vision) concerning the Straussian Lessing and Strauss himself.
Page 40
But whoever can this Sweetmeat-Beethoven of Strauss's be? He is said to have composed nine symphonies, of which the Pastoral is "the least remarkable"; we are told that "each time in composing the third, he seemed impelled to exceed his bounds, and depart on an adventurous quest," from which we might infer that we are here concerned with a sort of double monster, half horse and half cavalier.
Page 42
Now, however, our second question must be answered: How far does the courage lent to its adherents by this new faith extend? Even this question would already have been answered, if courage and pretentiousness had been one; for then Strauss would not be lacking even in the just and veritable courage of a Mameluke.
Page 44
" This judgment of Strauss's concerning Kant did not strike me as being more modest than the one concerning Schopenhauer.
Page 45
" If this refutation of Schopenhauer is not the same as that to which Strauss refers somewhere else as "the refutation loudly and jubilantly acclaimed in higher spheres," then I quite fail to understand the dramatic phraseology used by him elsewhere to strike an opponent.
Page 49
On the contrary, Great Master: an honest natural scientist believes in the unconditional rule of natural laws in the world, without, however, taking up any position in regard to the ethical or intellectual value of these laws.
Page 58
But this fact only tends to increase his admiration for honesty in another.
Page 60
At bottom, therefore, the religion is not a new belief, but, being of a piece with modern science, it has nothing to do with religion at all.
Page 69
affairs continues," he says, "in the year 1900 German classics will cease to be understood, for the simple reason that no other language will be known, save the trumpery jargon of the noble present, the chief characteristic of which is impotence.
Page 70
The wholly bombastic, distorted, and threadbare syntax of the modern standard author--yea, even his ludicrous neologisms--are not only tolerated, but placed to his credit as the spicy element in his works.
Page 74
"For in these books," says Schopenhauer, "I find a regular and fixed language which, throughout, faithfully follows the laws of grammar and orthography, so that I can give up my thoughts completely to their matter; whereas in German I am constantly being disturbed by the author's impudence and his continual attempts to establish his own orthographical freaks and absurd ideas--the swaggering foolery of which disgusts me.
Page 78
No omens, no periods of transition, and no concessions preceded the enterprise at Bayreuth; no one except Wagner knew either the goal or the long road that was to lead to it.
Page 93
The gaze which the mysterious eye of tragedy vouchsafes us neither lulls nor paralyses.
Page 101
The superior and more uncommon artist must be in the throes of a bewildering nightmare in order to be blind to all this, and like a ghost, diffidently and in a quavering voice, he goes on repeating beautiful words which he declares descend to him from higher spheres, but whose sound he can hear only very indistinctly.
Page 103
They rather _hate_ light--more particularly when it is thrown on themselves.
Page 124
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.
Page 127
That is why all Wagner's efforts were concentrated upon the one object of discovering those means which best served the purpose of _distinctness_, and to this end it was above all necessary for him to emancipate himself from all the prejudices and claims of the old "mood" music, and to give his compositions--the musical interpretations of feelings and passion--a perfectly unequivocal mode of expression.
Page 137
May blessed reason preserve us from ever thinking that mankind will at any time discover a final and ideal order of things, and that happiness will then and ever after beam down upon us uniformly, like the rays of the sun in the tropics.
Page 139
How he forges his sword, kills the dragon, gets possession of the ring, escapes the craftiest ruse, awakens Brunhilda; how the curse abiding in the ring gradually overtakes him; how, faithful in faithfulness, he wounds the thing he most loves, out of love; becomes enveloped in the shadow and cloud of guilt, and, rising out of it more brilliantly than the sun, ultimately goes down, firing the whole heavens with his burning glow and purging the world of the curse,--all this is seen by the god whose sovereign spear was broken in the contest with the freest man, and who lost his power through him, rejoicing greatly over his own defeat: full of sympathy for the triumph and pain of his victor, his eye burning with aching joy looks back upon the last events; he has become free through love, free from himself.