Human, All-Too-Human: A Book For Free Spirits; Part II. Фридрих Вильгельм НицшеЧитать онлайн книгу.
Picture of Life. – The task of painting the picture of life, often as it has been attempted by poets and philosophers, is nevertheless irrational. Even in the hands of the greatest artist-thinkers, pictures and miniatures of one life only – their own – have come into being, and indeed no other result is possible. While in the process of developing, a thing that develops, cannot mirror itself as fixed and permanent, as a definite object.
Truth will have no Gods before it. – The belief in truth begins with the doubt of all truths in which one has previously believed.
Where Silence is Required. – If we speak of freethinking as of a highly dangerous journey over glaciers and frozen seas, we find that those who do not care to travel on this track are offended, as if they had been reproached with cowardice and weak knees. The difficult, which we find to be beyond our powers, must not even be mentioned in our presence.
Historia in Nuce.– The most serious parody I ever heard was this: “In the beginning was the nonsense, and the nonsense was with God, and the nonsense was God.”4
Incurable. – The idealist is incorrigible: if he be thrown out of his Heaven, he makes himself a suitable ideal out of Hell. Disillusion him, and lo! he will embrace disillusionment with no less ardour than he recently embraced hope. In so far as his impulse belongs to the great incurable impulses of human nature, he can bring about tragic destinies and later become a subject for tragedy himself, for such tragedies as deal with the incurable, implacable, inevitable in the lot and character of man.
Applause Itself as the Continuation of the Play. – Sparkling eyes and an amiable smile are the tributes of applause paid to all the great comedy of world and existence – but this applause is a comedy within a comedy, meant to tempt the other spectators to a plaudite amici.
Courage for Tedium. – He who has not the courage to allow himself and his work to be considered tedious, is certainly no intellect of the first rank, whether in the arts or in the sciences. – A scoffer, who happened for once in a way to be a thinker, might add, with a glance at the world and at history: “God did not possess this courage, for he wanted to make and he made all things so interesting.”
From the Most Intimate Experience of the Thinker. – Nothing is harder for a man than to conceive of an object impersonally, I mean to see in it an object and not a person. One may even ask whether it is possible for him to dispense for a single moment with the machinery of his instinct to create and construct a personality. After all, he associates with his thoughts, however abstract they may be, as with individuals, against whom he must fight or to whom he must attach himself, whom he must protect, support and nourish. Let us watch or listen to ourselves at the moment when we hear or discover a new idea. Perhaps it displeases us because it is so defiant and so autocratic, and we unconsciously ask ourselves whether we cannot place a contradiction of it by its side as an enemy, or fasten on to it a “perhaps” or a “sometimes”: the mere little word “probably” gives us a feeling of satisfaction, for it shatters the oppressive tyranny of the unconditional. If, on the other hand, the new idea enters in gentle shape, sweetly patient and humble, and falling at once into the arms of contradiction, we put our autocracy to the test in another way. Can we not come to the aid of this weak creature, stroke it and feed it, give it strength and fulness, and truth and even unconditionality? Is it possible for us to show ourselves parental or chivalrous or compassionate towards our idea? – Then again, we see here a judgment and there a judgment, sundered from each other, never looking at or making any movement towards each other. So we are tickled by the thought, whether it be not here feasible to make a match, to draw a conclusion, with the anticipation that if a consequence follows this conclusion it is not only the two judgments united in wedlock but the matchmakers that will gain honour. If, however, we cannot acquire a hold upon that thought either on the path of defiance and ill-will or on that of good-will (if we hold it to be true) – then we submit to it and do homage to it as a leader and a prince, give it a chair of honour, and speak not of it without a flourish of trumpets: for we are bright in its brightness. Woe to him who tries to dim this brightness! Perhaps we ourselves one day grow suspicious of our idea. Then we, the indefatigable “king-makers” of the history of the intellect, cast it down from its throne and immediately exalt its adversary. Surely if this be considered and thought out a little further, no one will speak of an “absolute impulse to knowledge”!
Why, then, does man prefer the true to the untrue, in this secret combat with thought-personalities, in this generally clandestine match-making of thoughts, constitution-founding of thoughts, child-rearing of thoughts, nursing and almsgiving of thoughts? For the same reason that he practises honesty in intercourse with real persons: now from habit, heredity, and training, originally because the true, like the fair and the just, is more expedient and more reputable than the untrue. For in the realm of thought it is difficult to assume a power and glory that are built on error or on falsehood. The feeling that such an edifice might at some time collapse is humiliating to the self-esteem of the architect – he is ashamed of the fragility of the material, and, as he considers himself more important than the rest of the world, he would fain construct nothing that is less durable than the rest of the world. In his longing for truth he embraces the belief in a personal immortality, the most arrogant and defiant idea that exists, closely allied as it is to the underlying thought, pereat mundus, dum ego salvus sim! His work has become his “ego,” he transforms himself into the Imperishable with its universal challenge. It is his immeasurable pride that will only employ the best and hardest stones for the work – truths, or what he holds for such. Arrogance has always been justly called the “vice of the sage”; yet without this vice, fruitful in impulses, Truth and her status on earth would be in a parlous plight. In our propensity to fear our thoughts, concepts and words, and yet to honour ourselves in them, unconsciously to ascribe to them the power of rewarding, despising, praising, and blaming us, and so to associate with them as with free intellectual personalities, as with independent powers, as with our equals – herein lie the roots of the remarkable phenomenon which I have called “intellectual conscience.” Thus something of the highest moral species has bloomed from a black root.
The Obscurantists. – The essential feature of the black art of obscurantism is not its intention of clouding the brain, but its attempt to darken the picture of the world and cloud our idea of existence. It often employs the method of thwarting all illumination of the intellect, but at times it uses the very opposite means, seeking by the highest refinement of the intellect to induce a satiety of the intellect's fruits. Hair-splitting metaphysicians, who pave the way for scepticism and by their excessive acumen provoke a distrust of acumen, are excellent instruments of the more subtle form of obscurantism. – Is it possible that even Kant may be applied to this purpose? Did he even intend something of the sort, for a time at least, to judge from his own notorious exposition: “to clear the way for belief by setting limitations to knowledge”? – Certainly he did not succeed, nor did his followers, on the wolf and fox tracks of this highly refined and dangerous form of obscurantism – the most dangerous of all, for the black art here appears in the garb of light.
By what Kind of Philosophy Art is Corrupted. – When the mists of a metaphysical-mystical philosophy succeed in making all æsthetic phenomena opaque, it follows that these phenomena cannot be comparatively valued, inasmuch as each becomes individually inexplicable. But when once they cannot be compared for the sake of valuation, there arises an entire absence-of-criticism, a blind indulgence. From this source springs a continual diminution of the enjoyment of art (which is only distinguished from the crude satisfaction of a need by the highest refinement of taste and appreciation). The more taste diminishes, the more does the desire for art change and revert to a vulgar hunger, which the artist henceforth seeks to appease by ever coarser fare.
On Gethsemane. – The most painful thing a thinker can say to artists is: “Could ye not watch with me one hour?”
At the Loom. – There are many (artists and women, for instance) who work against the
Cf. John i. 1. – Tr.