word. I wish them neither
to learn afresh, nor teach anew, but only to bid farewell to their own
bodies,--and thus be dumb.
"Body am I, and soul"--so saith the child. And why should one not speak
But the awakened one, the knowing one, saith: "Body am I entirely, and
nothing more; and soul is only the name of something in the body."
The body is a big sagacity, a plurality with one sense, a war and a
peace, a flock and a shepherd.
An instrument of thy body is also thy little sagacity, my brother, which
thou callest "spirit"--a little instrument and plaything of thy big
"Ego," sayest thou, and art proud of that word. But the greater
thing--in which thou art unwilling to believe--is thy body with its big
sagacity; it saith not "ego," but doeth it.
What the sense feeleth, what the spirit discerneth, hath never its end
in itself. But sense and spirit would fain persuade thee that they are
the end of all things: so vain are they.
Instruments and playthings are sense and spirit: behind them there
is still the Self. The Self seeketh with the eyes of the senses, it
hearkeneth also with the ears of the spirit.
Ever hearkeneth the Self, and seeketh; it compareth, mastereth,
conquereth, and destroyeth. It ruleth, and is also the ego's ruler.
Behind thy thoughts and feelings, my brother, there is a mighty lord,
an unknown sage--it is called Self; it dwelleth in thy body, it is thy
There is more sagacity in thy body than in thy best wisdom. And who then
knoweth why thy body requireth just thy best wisdom?
Thy Self laugheth at thine ego, and its proud prancings. "What are these
prancings and flights of thought unto me?" it saith to itself. "A by-way
to my purpose. I am the leading-string of the ego, and the prompter of
The Self saith unto the ego: "Feel pain!" And thereupon it suffereth,
and thinketh how it may put an end thereto--and for that very purpose it
IS MEANT to think.
The Self saith unto the ego: "Feel pleasure!" Thereupon it rejoiceth,
and thinketh how it may ofttimes rejoice--and for that very purpose it
IS MEANT to think.
To the despisers of the body will I speak a word. That they despise is
caused by their esteem. What is it that created esteeming and despising
and worth and will?
The creating Self created for itself esteeming and despising, it created
for itself joy and woe. The creating body created for itself spirit, as
a hand to its will.
Even in your folly and despising
It is really surprising to see how very soon he actually began grappling with the questions which were to prove the problems of his life.Page 17
is the meaning of--morality?.Page 33
Apollo, however, again appears to us as the apotheosis of the _principium individuationis,_ in which alone the perpetually attained end of the Primordial Unity, its redemption through appearance, is consummated: he shows us, with sublime attitudes, how the entire world of torment is necessary, that thereby the individual may be impelled to realise the redeeming vision, and then, sunk in contemplation thereof, quietly sit in his fluctuating barque, in the midst of the sea.Page 38
Besides this, however, and along with it, by the sight of surrounding nature, the singer becomes conscious of himself as the subject of pure will-less knowing, the unbroken, blissful peace of which now appears, in contrast to the stress of desire, which is always restricted and always needy.Page 51
 Zuschauer.Page 52
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 naÃ¯ve 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 75
And in this frame of mind he composes a poem on Apollo and turns a few Ãsopian fables into verse.Page 78
that the previously mentioned lesson of Hamlet is to be gathered not from his words, but from a more profound contemplation and survey of the whole.Page 89
In the Old Tragedy one could feel at the close the metaphysical comfort, without which the delight in tragedy cannot be explained at all; the conciliating tones from another world sound purest, perhaps, in the Ådipus at Colonus.Page 90
One is chained by the Socratic love of knowledge and the vain hope of being able thereby to heal the eternal wound of existence; another is ensnared by art's seductive veil of beauty fluttering before his eyes; still another by the metaphysical comfort that eternal life flows on indestructibly beneath the whirl of phenomena: to say nothing of the more ordinary and almost more powerful illusions which the will has always at hand.Page 94
The new style was regarded by them as the re-awakening of the most effective music, the Old Greek music: indeed, with the universal and popular conception of the Homeric world _as the primitive world,_ they could abandon themselves to the dream of having descended once more into the paradisiac beginnings of mankind, wherein music also must needs have had the unsurpassed purity, power, and innocence of which the poets could give such touching accounts in their pastoral plays.Page 95
Because he does not divine the Dionysian depth of music,.Page 96
He dreams himself into a time when passion suffices to generate songs and poems: as if emotion had ever been able to create anything artistic.Page 108
Whence must we derive this curious internal dissension, this.Page 116
It shares with the Apollonian sphere of art the full delight in appearance and contemplation, and at the same time it denies this delight and finds a still higher satisfaction in the annihilation of the visible world of appearance.Page 117
How can the ugly and the discordant, the substance of tragic myth, excite an Ã¦sthetic pleasure? Here it is necessary to raise ourselves with a daring bound into a metaphysics of Art.