169.
THE GREEK GENIUS FOREIGN TO US.—Oriental or modern, Asiatic or European: compared with the ancient Greeks, everything is characterised by enormity of size and by the revelling in great masses as the expression of the sublime, whilst in Paestum, Pompeii, and Athens we are astonished, when contemplating Greek architecture, to see with what small masses the Greeks were able to express the sublime, and how they loved to express it thus. In the same way, how simple were the Greeks in the idea which they formed of themselves! How far we surpass them in the knowledge of man! Again, how full of labyrinths would our souls and our conceptions of our souls appear in comparison with theirs! If we had to venture upon an architecture after the style of our own souls—(we are too cowardly for that!)—a labyrinth would have to be our model. That music which is peculiar to us, and which really expresses us, lets this be clearly seen! (for in music men let themselves go, because they think there is no one who can see them hiding behind their music).
170.
ANOTHER POINT OF VIEW.—How we babble about the Greeks! What do we understand of their art, the soul of which was the passion for naked masculine beauty! It was only by starting therefrom that they appreciated feminine beauty. For the latter they had thus a perspective quite different from ours. It was the same in regard to their love for women: their worship was of a different kind, and so also was their contempt.
171.
THE FOOD OF THE MODERN MAN.—He has learned to digest many things; nay, almost everything; it is his ambition to do so. He would, however, be really of a higher order if he did not understand this so welclass="underline" homo pamphagus is not the finest type of the human race. We live between a past which had a more wayward and deranged taste than we, and a future which will possibly have a more select taste,—we live too much midway.
172.
TRAGEDY AND MUSIC.—Men of essentially warlike disposition, such, for example, as the ancient Greeks in the time of Æschylus, are difficult to rouse, and when pity once triumphs over their hardness they are seized as by a kind of giddiness or a “demoniacal power,”—they feel themselves overpowered and thrilled by a religious horror. After this they become sceptical about their condition; but as long as they are in it they enjoy the charm of being, as it were, outside themselves, and the delight of the marvellous mixed with the bitterest gall of suffering: this is the proper kind of drink for fighting men,—something rare, dangerous, and bitter–sweet, which does not often fall to one’s lot.
Tragedy appeals to souls who feel pity in this way, to those fierce and warlike souls which are difficult to overcome, whether by fear or pity, but which lose nothing by being softened from time to time. Of what use, however, is tragedy to those who are as open to the “sympathetic affections” as the sails of a ship to the wind! When at the time of Plato the Athenians had become more softened and sensitive, oh, how far they were still removed from the gushing emotions of the inhabitants of our modern towns and villages! And yet even then the philosophers were beginning to complain of the injurious nature of tragedy. An epoch full of danger such as that now beginning, in which bravery and manliness are rising in value, will perhaps again harden souls to such an extent that they will once more stand in need of tragic poets: but in the meantime these are somewhat superfluous, to put it mildly. For music, too, a better age may be approaching (it will certainly be a more evil age!) when artists will have to make their music appeal to strongly individual beings, beings which will have become hard and which will be dominated by the gloomy earnestness of their own passion; but of what use is music to the little souls of the present age which is fast passing away, souls that are too unsteady, ill–developed, half–personal, inquisitive, and covetous of everything?
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THE FLATTERERS OF WORK.—In the glorification of “work” and the never–ceasing talk about the “blessing of labour,” I see the same secret arrière–pensée as I do in the praise bestowed on impersonal acts of a general interest, viz. a fear of everything individual. For at the sight of work—that is to say, severe toil from morning till night—we have the feeling that it is the best police, viz. that it holds every one in check and effectively hinders the development of reason, of greed, and of desire for independence. For work uses up an extraordinary proportion of nervous force, withdrawing it from reflection, meditation, dreams, cares, love, and hatred; it dangles unimportant aims before the eyes of the worker and affords easy and regular gratification. Thus it happens that a society where work is continually being performed will enjoy greater security, and it is security which is now venerated as the supreme deity.—And now, horror of horrors! it is the “workman” himself who has become dangerous; the whole world is swarming with “dangerous individuals,” and behind them follows the danger of dangers—the individuum!
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THE MORAL FASHION OF A COMMERCIAL COMMUNITY.—Behind the principle of the present moral fashion: “Moral actions are actions performed out of sympathy for others,” I see the social instinct of fear, which thus assumes an intellectual disguise: this instinct sets forth as its supreme, most important, and most immediate principle that life shall be relieved of all the dangerous characteristics which it possessed in former times, and that every one must help with all his strength towards the attainment of this end. It is for that reason that only those actions which keep in view the general security and the feeling of security of society are called “good.” How little joy must men now have in themselves when such a tyranny of fear prescribes their supreme moral law, if they make no objection when commanded to turn their eyes from themselves and to look aside from themselves! And yet at the same time they have lynx eyes for all distress and suffering elsewhere! Are we not, then, with this gigantic intention of ours of smoothing down every sharp edge and corner in life, utilising the best means of turning mankind into sand! Small, soft, round, infinite sand! Is that your ideal, ye harbingers of the “sympathetic affections”? In the meantime even the question remains unanswered whether we are of more use to our neighbour in running immediately and continually to his help,—which for the most part can only be done in a very superficial way, as otherwise it would become a tyrannical meddling and changing,—or by transforming ourselves into something which our neighbour can look upon with pleasure,—something, for example, which may be compared to a beautiful, quiet, and secluded garden, protected by high walls against storms and the dust of the roads, but likewise with a hospitable gate.