We Philologists Complete Works of Friedrich Nietzsche, Volume 8

By Friedrich Nietzsche

Page 5

do not regard themselves as
individuals: their lives indicate this. The Christian command that
everyone shall steadfastly keep his eyes fixed upon his salvation, and
his alone, has as its counterpart the general life of mankind, where
every man lives merely as a point among other points--living not only as
the result of earlier generations, but living also only with an eye to
the future. There are only three forms of existence in which a man
remains an individual as a philosopher, as a Saviour, and as an artist.
But just let us consider how a scientific man bungles his life: what
has the teaching of Greek particles to do with the sense of life?--Thus
we can also observe how innumerable men merely live, as it were, a
preparation for a man, the philologist, for example, as a preparation
for the philosopher, who in his turn knows how to utilise his ant-like
work to pronounce some opinion upon the value of life. When such
ant-like work is not carried out under any special direction the greater
part of it is simply nonsense, and quite superfluous.


Besides the large number of unqualified philologists there is, on the
other hand, a number of what may be called born philologists, who from
some reason or other are prevented from becoming such. The greatest
obstacle, however, which stands in the way of these born philologists is
the bad representation of philology by the unqualified philologists.

Leopardi is the modern ideal of a philologist: The German philologists
can do nothing. (As a proof of this Voss should be studied!)


Let it be considered how differently a science is propagated from the
way in which any special talent in a family is transmitted. The bodily
transmission of an individual science is something very rare. Do the
sons of philologists easily become philologists? _Dubito_. Thus there is
no such accumulation of philological capacity as there was, let us say,
in Beethoven's family of musical capacity. Most philologists begin from
the beginning, and even then they learn from books, and not through
travels, &c. They get some training, of course.


Most men are obviously in the world accidentally; no necessity of a
higher kind is seen in them. They work at this and that, their talents
are average. How strange! The manner in which they live shows that they
think very little of themselves: they merely esteem themselves in so far
as they waste their energy on trifles (whether these be mean or
frivolous desires, or the trashy concerns of their everyday calling). In
the so-called life's calling, which everyone must choose, we may
perceive a

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Text Comparison with The Case of Wagner Complete Works, Volume 8

Page 1
If he used a name at all, it was merely as a means to an end, just as one might use a magnifying glass in order to make a general, but elusive and intricate fact more clear and more apparent; and if he used the name of David Strauss, without bitterness or spite (for he did not even know the man), when he wished to personify Culture-Philistinism, so, in the same spirit, did he use the name of Wagner, when he wished to personify the general decadence of modern ideas, values, aspirations and Art.
Page 7
The only difference between them and the romanticists lies in the fact that they (the former) were conscious of what was wrong with them, and possessed the will and the strength to overcome their illness; whereas the romanticists chose the easier alternative--namely, that of shutting their eyes on.
Page 14
Or that young hysterics like to be saved by their doctor? (the case in "Lohengrin").
Page 17
What had he set to music? Optimism? Wagner was ashamed.
Page 19
All that the world most needs to-day, is combined in the most seductive manner in his art,--the three great stimulants of exhausted people: _brutality, artificiality_ and _innocence_ (idiocy).
Page 22
" Life, equal vitality, all the vibration and exuberance of life, driven back into the smallest structure, and the remainder left almost lifeless.
Page 23
--"Very good! But how can this _décadent_ spoil one's taste if perchance one is not a musician, if perchance one is not oneself a _décadent?"_--Conversely! How can one _help_ it! _Just_ you try it!--You know not what Wagner is: quite a great actor! Does a more profound, a more _ponderous_ influence exist on the stage? Just look at these youthlets,--all benumbed, pale, breathless! They are Wagnerites: they.
Page 32
_ Secondly: an ever increasing indifference towards severe, noble and conscientious schooling in the service of art; and in its place the belief in genius, or in plain English, cheeky dilettantism (--the formula for this is to be found in the _Mastersingers).
Page 33
Music in the form of Circe .
Page 42
And let it be said _en passant_ that if Wagner's theory was "drama is the object, music is only a means"--his practice was from beginning to end, the attitude is the end, drama and even music can never be anything else than means.
Page 50
I was always _condemned_ to the society of Germans.
Page 52
It is conceivable that it is just from woman--who is clair-voyant in the world of suffering, and, alas! also unfortunately eager to help and save to an extent far beyond her powers--that _they_ have learnt so readily those outbreaks of boundless _sympathy_ which the multitude, above all the reverent multitude, overwhelms with prying and self-gratifying interpretations.
Page 66
It follows from this that old men are well suited to be philologists if they were not such during that portion of their life which was richest in experiences.
Page 72
The desire for classical antiquity as it is now felt should be tested, and, as it were, taken to pieces and analysed with a view to seeing how much of this desire is due to habit, and how much to mere love of adventure--I refer to that inward.
Page 80
Why not as men who form their lives after antiquity? 49 The decline of the poet-scholars is due in great part to their own corruption: their type is continually arising again; Goethe and Leopardi, for example, belong to it.
Page 87
Page 91
Even the poet does not require to be too consistent, and consistency is the last thing Greeks would understand.
Page 94
147 The unmathematical undulation of the column in Paestum is analogous to the modification of the _tempo:_ animation in place of a mechanical movement.
Page 99
There is no doubt that the contrast between a pure, incorporeal soul and a body has been almost set aside.
Page 103
The man who could feel the progress of a ray of light would be greatly enraptured, for it is very rapid.