Chapter 53 Idol's twilight eight an untimely roaming 1

dusk of idols Eight One Untimely Roaming 1 Impossible for me to do. — Seneca: Or the virtuous bullfighter. —— Rousseau: or inimpuris naturalibus ① go back to nature. — Schiller: Or the moral trumpeter of sackingen. —Dante: Or the hyena who composes poems on the grave. —Kant: or cant②, as a character that can only be understood by reason. — Victor Hugo: Or the Isle of Farus on the Sea of ​​Absurdity. —— Liszt: Or proficiency lessons - about women. —George Sand: or lactea ubertas ④, in German: a cow with "beautiful style". —Michelet: Or undressed impassioned... Carlyle: Or pessimism, as a lunch given up. —John Stuart Mill: Or uncomfortably clear. —The Brothers Goncourt: Or the two Ajax who fought against Homer. ⑤ Offenbach's music. — Zola: Or "stinking fun."

①Pharus Island (Pharus): near Alexandria, Egypt, famous for its lighthouse. ② English: Prudence. ③ Latin: in the filth of nature. ④ rich milk. ⑤ Ajax: Two heroes of the same name in Greek mythology, known for their bravery. 2 Renan. - Theology, or the destruction of reason by "original sin" (Christianity).Renan's testimony, whenever he ventured to affirm or deny more general categories, was at once cautious and even-tempered.For example, he wants to combine lascience① and lanoblesse② into one: but lascience Belonging to a democracy is obvious.He has no vanity in trying to display a spiritual aristocracy, but at the same time he bows down, and not only bows down, to the opposite doctrine - the Gospel of the Lowly. . . If a man is still Christian, Catholic at heart Christians and even priests, all the free thinking, modern ideas, ironic skills, and adaptability to both sides are of no use!Renan was quite as inventive in seduction as Jesuits and confessors are; his spirit was not lacking in the ready smile of a priest—like all priests.He only becomes dangerous when he loves.No one could worship in such a deadly way as he did... Renan's spirit, a neurasthenic spirit, was a doom for poor, diseased, will-affected France.

①French, science ②French, noble 3 St. Peph—unmanly; full of petty resentments against all masculinity.Wandering around, slender, curious, boring, easy to inquire, - basically a female personality, with a woman's desire for revenge and a woman's sensuality.As a psychologist, he is a genius for gossip; there are endless methods in this field; no one is better at mixing poison and flattery.Extremely crude in the deepest instincts, in line with Rousseau's resentment: so a romantic—for behind all romanticism there is Rousseau's instinct of vengeance grumbling and longing.A revolutionary, but sadly controlled by fear.There is no liberty in the presence of all powerful things (public opinion, the Academy of Sciences, the courts of law, even the Port Royal).Fiercely opposed to all great men and great things, against all self-confident.A poet and a half-woman enough to feel the power of greatness; to squirm like that famous worm, because it always feels itself trampled.Like a critic without principles, positions, and backbone, who talks about everything with the tone of an irreligious cosmopolitan, but has no courage to admit that he is not religious.Like a historian who has no philosophy, no philosophical insight—so he refuses to judge on all important issues, and uses "objectivity" to cover himself.Where a finer and more favorable taste predominates, he takes things differently, where he does have the courage and pleasure to face himself,—there he is the master. —In some respects he is a prototype of Baudelaire.

①Sainte Beuve (1804-1869): French literary critic. ② French: royal clothing. 4 The Imitation of Christ is one of those books that I cannot hold in my hand without physical revulsion, and it exudes a perfume of eternal femininity that one has to be French—or a Wagnerian—to smell...  This saint had a way of talking about love that surprised even a Parisian woman. —I was told that A. Comte, the wisest Jesuit, who wanted to lead his French detours to Rome, detoured from science, and got his inspiration from this book.I believe in it: "Religion of the Heart"... ① Medieval Christian Cultivation Readings, written by Thomas U. Kempel.

5 G. Eliot ①. —they have lost the Christian God, and thus believe that Christian morality must now be more upheld: it is an English consistency for which we do not want to blame the little moral girl in Eliot.In England, for every little emancipation from theology, one must refinance himself in terrible ways as moral fanatics.This is the reparation fee paid by the people there. —For the other kind of us, the situation is different.If a man renounces the Christian faith, he thereby renounces his authority over Christian morality.Christian morality is by no means self-evident, and it must be constantly revealed in spite of the shallow English minds.Christianity is a system, a considered and complete view of things.If one of the chief ideas, the belief in God, is destroyed, the whole is shattered, and nothing necessary remains in hand.The premise of Christianity is that man does not know, cannot know what is good and evil for him, he trusts in God, and God alone knows.Christian morality is a command; its origin is transcendent; it is beyond all criticism, all power of criticism; it has truth only when God is truth—it is as Live and die. —If the Englishman in fact believes that he knows what is good and evil spontaneously and "instinctively", if he therefore believes that Christianity is no longer necessary as a guarantee of morality, then this in itself is only the result of being governed by Christian value judgments , is such a powerful and profound expression of this domination that the roots of English morality are forgotten, so that the strict conditionality of its right to existence is no longer felt.Morality is not yet an issue for the British...

①G·Eilot (1819-1880): British female writer. 6 George Sand—I read the first volume of the Letters of Travel, and like everything Rousseau wrote, false, affectation, bluff, exaggeration.I can't bear this gaudy wallpapering style; any more than I can bear the vanity of a rascal who wants to show his generous sentiments.The worst thing, of course, is the coquettishness of a woman's masculinity, her urchin behavior. —how calm she must have been in doing it, this unbearable actress!She winds up like clockwork - and writes... as calm as Hugo, as Balzac, as all Romantics, so long as they are writing!And how she would lie there admiring herself, this prolific writing cow, who had some bad German qualities about her, like Rousseau, her master, and who could at any rate only when French tastes were waning. Appear! —But Renan adored her...

7 The ethics of psychologists. — Don't make cheap peddling psychology!Never observe for the sake of observing!This creates an illusion, a squint, something forced and exaggerated.To experience with the desire to experience is not acceptable.It is not allowed to gaze at oneself while experiencing, otherwise every glance will become a "demon's eye".A born psychologist is instinctively wary of seeing for the sake of seeing; the same applies to a born painter.He never works "according to nature"—he lets his instinct, his camera obscura, sift and squeeze "events," "nature," "experiences"...and then he becomes aware of general things, conclusions, As a result; he does not arbitrarily abstract anything from individual instances. —What if, instead, we produced, say, a cheap psychology like the novelists big and small in Paris?It's like ambushing the real world, bringing home a handful of curiosities every night...but one sees only the final product—a mess of scribbles, a mosaic at best , anyway, it is something piled up, disturbed, and gaudy.Of these, the Goncourt brothers do the worst thing, they don't put together three sentences that don't hurt the eyes, the psychologist's eyes. ——Looking at it from an artistic point of view, nature is not a model.It exaggerates, it distorts, it leaves holes.Nature is an accident. Research "according to nature" seems to me a bad sign, it reveals submission, weakness, fatalism,—

Worshiping petits faits is something a complete artist would disdain.See what's there, it's what another soul does, what the anti-art, pragmatic soul does.A man must know what kind of man he is... ① French: camera obscura. ①French: The end of trivia. 8 On Artist Psychology. ——In order for art to exist, for any kind of aesthetic behavior or aesthetic intuition to exist, a psychological premise is indispensable: drunkenness.First of all there must be intoxication which heightens the sensitivity of the whole organism, before which there is no art.Such various specific types of intoxication possess this power: above all the intoxication of the sexual drive, the oldest and most primitive form of intoxication.At the same time there is the intoxication of all great desires, of all strong emotions; the intoxication of cruelty; A drunkenness, a drunkenness of accumulated, heightened will. ——The essence of intoxication is the sense of heightened force and fullness.Out of this feeling one bestows upon all things, compels all things to take from one's own, rapes all things - this process is called idealization.Here we want to get rid of a prejudice: idealization does not consist, as it is commonly believed, in the extraction or elimination of minutiae.The mobilization of the main characteristics is so powerful that it is so decisive that the other characteristics then disappear.

9 In this state man enriches all things out of his own abundance: what he sees and wants is in his eyes swollen, compressed, powerful, overburdened with force.A man in this state changes things until they reflect his powers--until they become a reflection of his fullness.This need to become whole is - art.Even everything external to him becomes his self-enjoyment; in art man enjoys himself as complete. —It is true that an opposite state can also be conceived, a special anti-artist type of instinct—that is, a type that impoverishes, desponds, and consumes everything.In fact, history is full of such anti-artists, such life-hungry people.This is the case with real Christians, like Pascal's case: there is no such thing as a Christian who is an artist... Please don't be naive and bring up Raphael or any other nineteenth-century allopathic Christians against me: Raphael speaks affirmations, Raphael affirms, so Raphael is not a Christian...

10 I introduce the opposite concept of aesthetics, Apollo and Dionysus, the two are understood as categories of intoxication, what does it mean? —Apollinian intoxication first excites the eyes, so that the eyes acquire the power of hallucinations.Painters, sculptors, epic poets are brilliant illusionists.In the Dionysian state, it is the whole emotional system that is excited: so the emotional system mobilizes all its means of expression and its abilities of acting, imitating, transfiguring, changing, all kinds of expressions and acting skills are mobilized at once.The essential thing remains the transfigured agility, the inability to fail to react (similarly to certain hysterics who, too, enter every role on every suggestion).It is impossible for a Dionysian to ignore any suggestion, he will not let go of a sign of emotion, he has the strongest instincts for perception and guessing, as he has the highest communication skills.He enters every body, every emotion: he keeps changing himself. —Music, as we understand it today, is at once the total arousal and the total release of emotions, but is only a remnant of a much more complete world of emotional expression, the only vestige of the fruits of the Dionysian drama.In order to make music as a special art possible, some of the faculties, first of all the muscular ones (relatively at least, since all rhythms still appeal to our muscles to a certain extent) are quietly blocked: one no longer immediately performs them. Mimic and act out everything he feels.However, this is after all the true standard Dionysian state, in any case the original state; music is a new product gradually processed with the closest abilities.

11 The actor, the player, the dancer, the musician, the lyric poet are united in their instincts, originally one, but gradually specialized and differentiated—until they came into conflict with each other.The union of lyric poet and musician, of actor and dancer, lasted longest. —The architect represents neither the Dionysian nor the Apollonian state: here is the great act of the will, the will to move mountains, the intoxication of the great will that craves art.The most powerful man always inspires the architect; the architect is always inspired by force.Architecture is supposed to reveal pride, the triumph of gravity, the will to power; architectural style is an eloquent form of power, sometimes persuading, even flattering, sometimes merely commanding.Architecture of great style, expressing the highest sense of power and security.Power needs no proof; it disdains flattery; it sternly answers; it feels no witnesses around it; it lives, ignorant of the existence of its opposite; it rests upon itself, fate, a law of laws : This is the freedom of great style. 12 I have read the life of Thomas Carlyle, this unconscious farce, this heroic interpretation of the state of indigestion. —Carlyle, a man of unashamed words, an impatient rhetorician, constantly disturbed by the longing for a powerful conviction and the feeling of incapacity to act on it (such is the characteristic of a Romantic!).The desire for a strong belief is not evidence of a strong belief, but rather counterproductive.If a man has such convictions, he can allow himself the luxury of skepticism because he is safe enough, firm enough, and self-controlled enough.Carlyle sings adoringly high-pitched voices to characters of powerful conviction.Throwing tantrums at less than innocent people numbs something in him: he needs noise.A constant passionate dishonesty about himself—this is his proprium, and he is and always is interesting for that reason. —Of course, he is admired in England precisely for his honesty...well, it's British; considering that the English are a very cant people, it's not only understandable, but even natural.Carlyle is at heart an English atheist, but he prides himself on not being one. ①Latin: Features ② English: Prudence. 13 Emerson. —much more enlightened, carefree, complex, subtle, and above all luckier than Carlyle .Compared with Carlyle, he was a man of taste. —Carlyle liked him, though, and said of him: "He doesn't give us enough to chew on." That's a fair statement, but it doesn't do Emerson any harm. —Emerson has a jovial disposition of generosity and intelligence that dissolves all earnestness; he is utterly ignorant of how old he is and how young they will be,—he may use Vegar's words for himself:" Yo mesucedo a mi mismo." His soul always found reasons for contentment and even gratitude; he sometimes attained the blissful transcendence of that honest man who, returning from a lover's tryst tamguamre bene gesta, said gratefully: Ut desint vires, tamen eot lau-danda volu-ptas ④. . " ①lope de Vega (1562-1635): Spanish dramatist. ②I am my successor. ③ contentedly. ④ Latin: Although pleasure-seeking is worthy and praiseworthy, the ability has disappeared. 14 Anti-Darwin. ——With regard to the famous "struggle for existence", I currently believe that it is rather an arbitrariness than a proven one.It happened, but as an exception; the general aspect of life is not scarcity and hunger, but abundance.Extravagance to the point of absurd waste—wherever there is competition, it is competition for the sake of might...Malthus should not be confused with Nature. —But assuming that there is a struggle for existence—and that it actually happens—then, alas, the result is the opposite of what the Darwinians wished, and what one might wish with them, that is to say, for the stronger, the superior. , The lucky exceptions are unfavorable.The species does not go to perfection: the weak always rule the strong, - because they are the majority, they are also more shrewd... Darwin forgot the spirit (this is British!), the weak have more spirit... one needs Spirit, to get spirit. —he loses it when he no longer needs it.Whoever is strong gives up the spirit (in Germany people think now: "Go away the spirit, but the Reich must still be ours"...).By spirit, it is known, I mean foresight, patience, cunning, pretense, great self-denial, and everything that mimicry (the great majority of the so-called virtues belong to this last category). ① English: imitation. 15 Analysis by psychologists. ——This is an expert who knows people, why does he want to study people?He wanted to make a small profit out of them, even a big one—he was a politician! ... That one is also a connoisseur of people, and he told them that he did not want to gain any benefit from it, this is a great "selfless person".Take a closer look!Perhaps he wants to gain a more insidious advantage, namely, to feel superior to people, to look down on them, and not to confuse himself with them.This "disinterested one" is a despiser of humanity; and the former is human, as can be determined by observation.At least he puts himself on an equal footing, he puts himself in... 16 My modesty prevents me from presenting a list of the series of examples in which I have discovered that the mental rhythms of the Germans are rather problematic.One example tempted me to argue my thesis: I resented that the Germans got it wrong about Kant and his "back door philosophy" (as I called it)--it's not intellectual. The epitome of sexual integrity. - Another thing I can't hear is the notorious "and": the Germans say "Goethe and Schiller", - I'm afraid they say "Schiller and Goethe"... Don't people understand this Schiller? —And there is an even worse "and"; I have heard with my own ears (but only among our university professors) Schopenhauer and Hartmann... ① K. Hartmann (1842-1906): German philosopher. 17 The most spiritual people, they are first and foremost the bravest and, in a broad sense, the most painful tragedies.But they respect life for this, because it confronts them with its greatest hostility. 18 On "Conscience". —It seems to me that nothing is rarer today than genuine hypocrisy.I doubt very much that this plant cannot stand the warm atmosphere of our culture.Hypocrisy belongs to the age of strong beliefs, when men did not abandon one belief even when they were compelled to adopt another.People today drop it; or, more often, add a second belief,—and they are still honest on every occasion.There is no doubt that a far greater number of beliefs are possible today than in the past, and the so-called can means that it is allowed, that is, there is no danger.From this comes self-forgiveness. —This self-tolerance allows many beliefs, which coexist peacefully, —and which guard themselves against disgrace, as the whole world is doing today.How can a person be ashamed today?In the case of his determination.When he went all the way to the end.Where he is not ambiguous.In his pure nature... I fear that modern man is simply too indolent for some evils, and that these evils are being exterminated.All evil that presupposes a strong will (perhaps there is no evil without a strong will) is degenerating into virtue in our warm air.... The few hypocrites I know imitate hypocrisy, like almost all Ten-year-old children are also actors. 19 beauty and ugliness. —Nothing is more conditioned, or rather limited, than our sense of beauty.If you try to think about beauty apart from the pleasure of people to people, you will immediately lose your ground and foothold. "Beauty in its own right" is purely empty words, never a concept.In beauty man sets himself up as the measure of perfection; on select occasions he adores himself in beauty.A species cannot assert itself without this.Its deepest instinct, the instinct of self-preservation and self-reproduction, still functions in this sublimation.Man believes that the world itself is full of beauty—he forgets that he is the cause of beauty.He alone bestows beauty on the world, alas, a human, all too human beauty... After all, man reflects himself in things, and he considers beautiful everything that reflects his image: the "beautiful" Judgment is the vanity of his race...a small question may whisper in the skeptic's ear: is the world really beautified because man thinks it is beautiful?Man humanizes the world: that's all.Yet there is no guarantee, no guarantee at all, that what man offers is precisely the archetype of beauty.Who knows what man looks like to a higher judge of taste?Daredevil perhaps?Maybe even hilarious?Maybe a little arbitrary? ... "O Dionysus, god, why do you pull my ear?" Ariadne asked her philosophical lover in a famous dialogue at Naxos. "I found a humor in your ears, Ariadne, why aren't they longer?" ①Daughter of Minos, king of Crete in Greek mythology, who later married Dionysus, the god of wine. 20 Nothing is beautiful but man: on this simple truth all aesthetics is built, and it is the first truth of aesthetics.We immediately add the second truth of aesthetics: nothing is uglier than a degenerate man,—the field of aesthetic judgment is thus limited. ——From a physiological point of view, all ugliness makes people weak and miserable.It conjures up images of decadence, danger, and impotence; beside it, man actually loses his strength.The ugly effect can be measured with a power meter.As long as a person is depressed, he can estimate that something "ugly" is close by.His sense of power, his will to power, his courage, his pride—these all fall with the ugly and rise with the beautiful... In both cases we come to the same conclusion: beauty and ugliness The presuppositions of the Instinct are accumulated extremely richly.Ugliness is seen as a cue and a symptom of decay: even the most indirect reminder of decay leads us to judge it ugly.Every sign of exhaustion, heaviness, old age, weariness, every involuntary, whether convulsive or paralyzed, especially the smell, color, shape of disintegration and decay, even if at last reduced to a mark—all evoked the same response , all lead to the value judgment of "ugliness".Here, a feeling of loathing arises spontaneously: what does man hate?Undoubtedly, the decline of the genre that loathed him.He abhors from the deepest of human instincts; in this abhorrence there is terror, prudence, profundity, foresight,--the deepest abhorrence in the world.Because of this, art is profoundly... twenty one Schopenhauer. —Schopenhauer, the last German of note (like Goethe, Hegel, and Heinrich Heine, he was a European event, not just a local one, a "national" event), for Psychologists are a subject of first class: he is a mischievous attempt at genius, to devalue life at all for the sake of nihilism, but to turn the opposite verdict, the great self-affirmation of the "will to live", the exuberant form of life, leads to the field.He in turn interprets art, heroism, genius, beauty, great sympathy, knowledge, the will to truth, and tragedy as the product of "negation" or the desire to negate the "will"—except for Christianity, which is what has happened in history. The biggest psychology of counterfeiters.On closer inspection, he is in this respect only a successor to the Christian interpretation, but he still knows what Christianity rejects, that is, the great cultural enterprise of mankind, and still approves in a Christian, that is, nihilistic sense (that is, as The road to "liberation", as a prelude to "liberation", as a stimulus to arouse the desire for "liberation"...). twenty two I will give an example.Schopenhauer speaks of beauty with a melancholy passion—what after all?For he sees in it a bridge upon which one walks or desires to walk... It is, in his view, a temporary release from the "will" - which draws men to a permanent release...especially his Appreciating it as a savior from "the focus of the will," that is, from sexuality,—he sees in beauty the reproductive drive negated... Strange saint!I'm afraid that nature will use the mouth of anyone to refute you.In nature, why does the beauty of sound, color, smell, rhythmic movement, etc. exist?What makes beauty appear? — Fortunately, there was a philosopher who refuted him.An authority no less than the divine Plato (as Schopenhauer himself called him) held the other opinion to be true: all beauty stimulates reproduction,—this is the propriBum of the effects of beauty, from the most sensual to the most spiritual... ① Latin: characteristics twenty three Plato went further.With a sense of innocence—for which one must be a Greek and not a “Christian”—he says that without such a beautiful Athenian youth, there would be no Platonic philosophy at all: Their longing makes the philosopher's soul tender and restless, Till it has planted in this beautiful soil the seed of all sublime things.Another weird saint! —People can hardly believe their ears, but suppose they believe Plato.They would have guessed, at least, that philosophy was practiced in a different way, especially in public, in Athens.Nothing is less Greek than a hermit's web, or a Spinoza-like amor intel lec-tualis dei.Philosophy, in Plato's way, can rather be defined as a erotic contest, a deep study and meditation on ancient sexual madness and its premises... What finally grows out of Plato's philosophic passion?A new art form of Greek athletics - forensics. —I am also reminded of a fact against Schopenhauer and for Plato: all the high culture and literature of classical France grew up on the soil of sexual interest.Everywhere in it one can look for gallantry, sensuality, sexual rivalry, "women"—never in vain. . . . ①Latin: the intellectual love of God twenty four Art for art's sake—the struggle against purpose in art is always a struggle against the moralizing tendencies in art, against the subordination of art to morality.Art for art's sake means: "To hell with morality!" Yet this hostility still exposes the dominance of prejudice.If the purpose of moral exhortation and human improvement is excluded from art, it will not take long to have a result: art is completely aimless, aimless, meaningless, in short, art for art's sake - a bite A roundworm that lives on its own tail. "Better to have no purpose than to have a moral purpose!"--so says pure passion.A psychologist asked: What is all art for?Doesn't it praise?Does it not glorify?Does it not choose?Isn't it promotion?It uses it to strengthen or weaken a certain value evaluation... Is this just a trick?Just minutiae?The artist's instinct is not involved at all?Or on the contrary: isn't that a prerequisite for what the artist can do?Doesn't the artist's deepest instinct point to art, or more precisely, to the meaning of art—life?A yearning for life? — Art is the great stimulant of life: how can it be understood as aimless, aimless, art for art's sake? —One more question: Art also expresses many ugly, harsh, and questionable aspects of life—doesn't it therefore seem to criticize life? ——In fact, some philosophers advocate this meaning of art: Schopenhauer described "abandoning the will" as the whole purpose of art, and regarded "producing resigned emotions" as the great function of tragedy. ——However, I have already stated that this is the optics of the pessimists, the "eyes of the devil"—: we must appeal to the artist himself.What does the tragic artist convey about himself?Was it not the state of fearlessness in the face of the terrible doubtful things which he manifested? —This state is desirable in itself; it is held in the highest esteem by those who know it.He communicates it, he has to communicate it, as long as he is an artist, a genius of communication.Courage and emotional freedom in the face of a mighty enemy, of a great misfortune, of a dreadful problem--such a state of triumph is chosen and celebrated by tragic artists.In the face of tragedy the warrior in our soul celebrates his carnival; who is used to pain and who seeks it, the heroic man praises his existence with tragedy,--the tragic poet pours him only the sweetest cup Cruel wine. ①Original text in French: Lart pour Lart