—
Do the modern musical performers really believe
that the supreme law of their art is to give every
piece as much high-relief as is possible, and to make
it speak at all costs a dramatic language?
Do the modern musical performers really believe
that the supreme law of their art is to give every
piece as much high-relief as is possible, and to make
it speak at all costs a dramatic language?
Nietzsche - v07 - Human All-Too-Human - b
Or are there epidemics
of health?
130.
A RESOLUTION. —Never again to read a book
that is born and christened (with ink) at the same
moment.
131.
Improving OUR Ideas. —Improving our style
means improving our ideas, and nothing else. He
## p. 262 (#302) ############################################
262 HUMAN, ALL-TOO-HUMAN.
who does not at once concede this can never be
convinced of the point.
132.
Classical Books. —The weakest point in every
classical book is that it is written too much in the
mother tongue of its author.
133-
Bad Books. —The book should demand pen, ink,
and desk, but usually it is pen, ink, and desk that
demand the book. That is why books are of so little
account at present.
134-
Presence of Sense. —When the public reflects
on paintings, it becomes a poet; when on poems,
an investigator. At the moment when the artist
summons it it is always lacking in the right sense,
and accordingly in presence of sense, not in pre-
sence of mind.
135-
Choice Ideas. —The choice style of a momentous
period does not only select its words but its ideas—
and both from the customary and prevailing usage.
Venturesome ideas, that smell too fresh, are to the
maturer taste no less repugnant than new and reck-
less images and phrases. Later on both choice
ideas and choice words soon smack of mediocrity,
because the scent of the choice vanishes quickly, and
then nothing but the customary and commonplace
element is tasted.
## p. 263 (#303) ############################################
THE WANDERER AND HIS SHADOW. 263
136.
Main Reason for Corruption of Style. —
The desire to display more sentiment than one
really feels for a thing corrupts style, in language
and in all art. All great art shows rather the
opposite tendency. Like every man of moral
significance, it loves to check emotion on its way
and not let it run its course to the very end. This
modesty of letting emotion but half appear is most
clearly to be observed, for example, in Sophocles.
The features of sentiment seem to become beautified
when sentiment feigns to be more shy than it
really is.
137.
An Excuse for the Heavy Style. — The
lightly uttered phrase seldom falls on the ear with
the full weight of the subject. This is, however, due
to the bad training of the ear, which by education
must pass from what has hitherto been called music
to the school of the higher harmony—in other words,
to conversation.
138.
BIRD'S-EyE VIEWS. — Here torrents rush from
every side into a ravine: their movement is so swift
and stormy, and carries the eye along so quickly,
that the bare or wooded mountain slopes around
seem not to sink down but to fly down. We are in
an agonised tension at the sight, as if behind all
this were hidden some hostile element, before which
all must fly, and against which the abyss alone gave
protection. This landscape cannot be painted, un-
## p. 264 (#304) ############################################
264 HUMAX, AIX-TOO-HUMAX.
less we hover above it like a bird in the open air.
Here for once the so-called bird's-eye view is not an
artistic caprice, but the sole possibility.
139-
Rash Comparisons. —If rash comparisons are
not proofs of the wantonness of the writer, they are
proofs of the exhaustion of his imagination. In any
case they bear witness to his bad taste.
14a
DANCING IN Chains. — In the case of every
Greek artist, poet, or writer we must ask: What is
the new constraint which he imposes upon himself
and makes attractive to his contemporaries, so as to
find imitators? For the thing called "invention"
(in metre, for example) is always a self-imposed
fetter of this kind. "Dancing in chains "—to make
that hard for themselves and then to spread a false
notion that it is easy—that is the trick that they
wish to show us. Even in Homer we may perceive
a wealth of inherited formulae and laws of epic
narration, within the circle of which he had to dance,
and he himself created new conventions for them
that came after. This was the discipline of the
Greek poets: first to impose upon themselves a
manifold constraint by means of the earlier poets;
then to invent in addition a new constraint, to im-
pose it upon themselves and cheerfully to overcome
it, so that constraint and victory are perceived and
admired.
## p. 265 (#305) ############################################
THE WANDERER AND HIS SHADOW. 265
141.
Authors' Copiousness. —The last quality that
a good author acquires is copiousness: whoever has
it to begin with will never become a good author.
The noblest racehorses are lean until they are per-
mitted to rest from their victories.
142.
Wheezing Heroes. —Poets and artists who suffer
from a narrow chest of the emotions generally make
their heroes wheeze. They do not know what easy
breathing means.
143-
The Short-Sighted*—The short-sighted are
the deadly foes of all authors who let themselves go.
These authors should know the wrath with which
these people shut the book in which they observe
that its creator needs fifty pages to express five
ideas. And the cause of their wrath is that they
have endangered what remains of their vision almost
without compensation. A short-sighted person
said, "All authors let themselves go. " "Even the
HolyGhost? " "Even the Holy Ghost. " But he had
a right to, for he wrote for those who had lost their
sight altogether.
144.
The Style of Immortality. —Thucydides and
Tacitus both imagined immortal, life for their works
when they executed them. That might be guessed
* Nietzsche himself was extremely short-sighted—Tr.
## p. 266 (#306) ############################################
266
HUMAN, ALL-TOO-HUMAN.
(if not known otherwise) from their style. The one
thought to give permanence to his ideas by salting
them, the other by boiling them down; and neither,
it seems, made a miscalculation.
145.
AGAINST IMAGES AND SIMILES. —By images and
similes we convince, but we do not prove. That is
why science has such a horror of images and similes.
Science does not want to convince or make plausible,
and rather seeks to provoke cold distrust by its mode
of expression, by the bareness of its walls. For
distrust is the touchstone for the gold of certainty.
146.
CAUTION. -In Germany, he who lacks thorough
knowledge should beware of writing. The good
German does not say in that case “he is ignorant,”
but “he is of doubtful character. ”—This hasty con-
clusion, by the way, does great credit to the Ger-
mans.
147.
PAINTED SKELETONS. — Painted skeletons are
those authors who try to make up for their want of
flesh by artistic colourings.
148.
THE GRAND STYLE AND SOMETHING BETTER.
- It is easier to learn how to write the grand style
than how to write easily and simply. The reasons
for this are inextricably bound up with morality.
## p. 267 (#307) ############################################
THE WANDERER AND HIS SHADOW. 267
149.
Sebastian Bach. —In so far as we do not hear
Bach's music as perfect and experienced connois-
seurs of counterpoint and all the varieties of thefugal
style (and accordingly must dispense with real artistic
enjoyment), we shall feel in listening to his music
—in Goethe's magnificent phrase—as if "we were
present at God's creation of the world. " In other
words, we feel here that something great is in the
makingbut notyet made—our mighty modem music,
which by conquering nationalities, the Church, and
counterpoint has conquered the world. In Bach
there is still too much crude Christianity, crude
Germanism, crude scholasticism. He stands on
the threshold of modern European music, but turns
from thence to look at the Middle Ages.
150.
HANDEL. —Handel, who in the invention of his
music was bold, original, truthful, powerful, inclined
to and akin to all the heroism of which a nation is
capable, often proved stiff, cold, nay even weary of
himself in composition. He applied a few well-tried
methods of execution, wrote copiously and quickly,
and was glad when he had finished—but that joy
was not the joy of God and other creators in the
eventide of their working day.
151.
Haydn. —So far as genius can exist in a man
who is merely good, Haydn had genius. He went
## p. 268 (#308) ############################################
268 HUMAN, ALL-TOO-HUMAN.
just as far as the limit which morality sets to in-
tellect, and only wrote music that has "no past. "
152.
Beethoven and Mozart. —Beethoven's music
often appears like a deeply emotional meditation
on unexpectedly hearing once more a piece long
thought to be forgotten, "Tonal Innocence": it is
music about music. In the song of the beggar and
child in the street, in the monotonous airs of vagrant
Italians, in the dance of the village inn or in carnival
nights he discovers his melodies. He stores them
together like a bee, snatching here and there some
notes or a short phrase. To him these are hallowed
memories of "the better world," like the ideas of
Plato. —Mozart stands in quite a different relation
to his melodies. He finds his inspiration not in
hearing music but in gazing at life, at the most
stirring life of southern lands. He was always
dreaming of Italy, when he was not there.
153-
RECITATIVE. —Formerly recitative was dry, but
now we live in the age of moist recitative. It has
fallen into the water, and the waves carry it whither-
soever they list.
154.
"Cheerful" Music. — If for a long time we
have heard no music, it then goes like a heavy
southern wine all too quickly into the blood and
leaves behind it a soul dazed with narcotics, half-
'v
## p. 269 (#309) ############################################
THE WANDERER AND HIS SHADOW. 269
awake, longing for sleep. This is particularly the
case with cheerful music, which inspires in us bit-
terness and pain, satiety and home-sickness to-
gether, and forces us to sip again and again as at
a sweetened draught of poison. The hall of gay,
noisy merriment then seems to grow narrow, the
light to lose its brightness and become browner.
At last we feel as if this music were penetrating
to a prison where a poor wretch cannot sleep for
home-sickness.
155.
Franz Schubert. —Franz Schubert, inferior as
an artist to the other great; musicians, had never-
theless the largest share of inherited musical wealth.
He spent it with a free hand and a kind heart, so
that for a few centuries musicians will continue to
nibble at his ideas and inspirations. In his works
we find a store of unused inventions; the greatness
of others will lie in making use of those inventions.
If Beethoven may be called the ideal listener for
a troubadour, Schubert has a right to be called the
ideal troubadour.
156.
Modern Musical Execution. —Great tragic
or dramatic execution of music acquires its character
by imitating the gesture of the great sinner, such
as Christianity conceives and desires him : the slow-
stepping, passionately brooding man, distracted by
the agonies of conscience, now flying in terror,
now clutching with delight, now standing still in
despair—and all the other marks of great sinful-
## p. 270 (#310) ############################################
270 HUMAN, ALL-TOO-HUMAN.
J
ness. Only on the Christian assumption that all
men are great sinners and do nothing but sin could
we justify the application of this style of execution
to all music. So far, music would be the reflection
of all the actions and impulses of man, and would
continually have to express by gestures the lan-
guage of the great sinner. At such a performance,
a listener who was not enough of a Christian to
understand this logic might indeed cry out in hor-
ror, " For the love of Heaven, how did sin find its
way into music? "
157-
Felix Mendelssohn. —Felix Mendelssohn's
music is the music of the good taste that enjoys
all the good things that have ever existed. It
always points behind. How could it have much
"in front," much of a future ? —But did he want
it to have a future? He possessed a virtue rare
among artists, that of gratitude without arriere-
pensee. This virtue, too, always points behind.
158.
A Mother of Arts. —In our sceptical age, real
devotion requires almost a brutal heroism of am-
bition. Fanatical shutting of the eyes and bending
of the knee no longer suffice. Would it not be pos-
sible for ambition—in its eagerness to be the last
devotee of all the ages—to become the begetter of a
final church music, as it has been the begetter of the
final church architecture? (They call it the Jesuit
style. )
## p. 271 (#311) ############################################
THE WANDERER AND HIS SHADOW. 271
159.
Freedom in Fetters—a Princely Freedom.
—Chopin, the last of the modern musicians, who
gazed at and worshipped beauty, like Leopardi;
Chopin, the Pole, the inimitable (none that came
before or after him has a right to this name)—
Chopin had the same princely punctilio in conven-
tion that Raphael shows in the use of the simplest
traditional colours. The only difference is that
Chopin applies them not to colour but to melodic
and rhythmic traditions. He admitted the validity
of these traditions because he was born under the
sway of etiquette. But in these fetters he plays and
dances as the freest and daintiest of spirits, and, be
it observed, he does not spurn the chain.
160.
Chopin's Barcarolle. —Almost all states and
modes of life have a moment of rapture, and good
artists know how to discover that moment. Such
a moment there is even in life by the seashore—that
dreary, sordid, unhealthy existence, dragged out in
the neighbourhood of a noisy and covetous rabble.
This moment of rapture Chopin in his Barcarolle
expressed in sound so supremely that Gods them-
selves, when they heard it, might yearn to lie long
summer evenings in a boat.
161.
Robert Schumann. —"The Stripling," as the
romantic songsters of Germany and France of the
## p. 272 (#312) ############################################
272 HUMAN, ALL-TOO-HUMAN.
first three decades of this century imagined him—
this stripling was completely translated into song
and melody by Robert Schumann, the eternal
youth, so long as he felt himself in full possession
of his powers. There are indeed moments when
his music reminds one of the eternal " old maid. "
162.
Dramatic Singers. —"Why does this beggar
sing? " "Probably he does not know how to wail. "
"Then he does right. " But our dramatic singers,
who wail because they do not know how to sing
—are they also in the right?
163.
Dramatic Music. —For him who does not see
what is happening on the stage, dramatic music is
a monstrosity, just as the running commentary to
a lost text is a monstrosity. Such music requires
us to have ears where our eyes are. This, however,
is doing violence to Euterpe, who, poor Muse, wants
to have her eyes and ears where the other Muses
have theirs.
164.
Victory and Reasonableness. — Unfortu-
nately in the aesthetic wars, which artists provoke
by their works and apologias for their works, just as
is the case in real war, it is might and not reason that
decides. All the world now assumes as a historical
fact that, in his dispute with Piccini, Gluck was in the
right. At any rate, he was victorious, and had might
on his side.
## p. 273 (#313) ############################################
THE WANDERER AND HIS SHADOW. 273
165.
Of the Principle of Musical Execution.
—
Do the modern musical performers really believe
that the supreme law of their art is to give every
piece as much high-relief as is possible, and to make
it speak at all costs a dramatic language? Is not
this principle, when applied for example to Mozart,
a veritable sin against the spirit—the gay, sunny,
airy, delicate spirit—of Mozart, whose seriousness
was of a kindly and not awe-inspiring order, whose
pictures do not try to leap from the wall and drive
away the beholder in panic? Or do you think that
all Mozart's music is identical with the statue-music
in Don Juan? And not only Mozart's, but all
music? —You reply that the advantage of your
principle lies in its greater effect. You would be
right if there did not remain the counter-question,
"On whom has the effect operated, and on whom
should an artist of the first rank desire to produce
his effect? " Never on the populace! Never on
the immature! Never on the morbidly sensitive!
Never on the diseased! And above all—never on
the blase" \
166.
The Music of To-Day. —This ultra-modern
music, with its strong lungs and weak nerves, is
frightened above all things of itself.
167.
Where Music is at Home. —Music reaches its
high-water mark only among men who have not the
vol. 11. s
## p. 274 (#314) ############################################
274 HUMAN, ALL-TOO-HUMAN.
ability or the right to argue. Accordingly, its chief
promoters are princes, whose aim is that there should
be not much criticism nor even much thought in
their neighbourhood. Next come societies which,
under some pressure or other (political or religious),
are forced to become habituated to silence, and
so feel all the greater need of spells to charm away
emotional ennui—these spells beinggenerally eternal
love-making and eternal music. Thirdly, we must
reckon whole nations in which there is no " society,"
but all the greater number of individuals with a
bent towards solitude, mystical thinking, and a re-
verence for all that is inexpressible ; these are the
genuine "musical souls. " The Greeks, as a nation
delighting in talking and argument, accordingly put
up with music only as an hors (fceuvre to those arts
which really admit of discussion and dispute. About
music one can hardly even think clearly. The Py-
thagoreans, who in so many respects were exceptional
Greeks, are said to have been great musicians. This
was the school that invented a five-years' silence,*
but did not invent a dialectic.
168.
Sentimentality in Music. —We may be ever
so much in sympathy with serious and profound
music, yet nevertheless, or perhaps all the more for
that reason, we shall at occasional moments be over-
powered, entranced, and almost melted away by its
* In the sixth century B. C. Pythagoras founded at Croton a
"school" somewhat resembling a monastic order. Among the
ordeals for novitiates was enforced silence for five years. —Tr.
## p. 275 (#315) ############################################
THE WANDERER AND HIS SHADOW. 275
opposite—I mean, by those simple Italian operatic
airs which, in spite of all their monotony of rhythm
and childishness of harmony, seem at times to sing
to us like the very soul of music. Admit this or not
as you please, you Pharisees of good taste, it is so,
and it is my present task to propound the riddle
that it is so, and to nibble a little myself at the
solution. —In childhood's days we tasted the honey
of many things for the first time. Never was honey
so good as then; it seduced us to life, into abundant
life, in the guise of the first spring, the first flower,
the first butterfly, the first friendship. Then—per-
haps in our ninth year or so—we heard our first
music, and this was the first that we understood;
thus the simplest and most childish tunes, that were
not much more than a sequel to the nurse's lullaby
and the strolling fiddler's tune, were our first experi-
ence. (For even the most trifling " revelations " of
art need preparation and study; there is no " im-
mediate" effect of art, whatever charming fables
the philosophers may tell. ) Our sensation on hear-
ing these Italian airs is associated with those first
musical raptures, the strongest of our lives. The
bliss of childhood and its flight, the feeling that our
most precious possession can never be brought back,
all this moves the chords of the soul more strongly
than the most serious and profound music can move
them. —This minglingof aesthetic pleasure with moral
pain, which nowadays it is customary to call (rather
too haughtily, I think) "sentimentality "—it is the
mood of Faust at the end of the first scene—this
"sentimentality " of the listener is all to the advan-
tage of Italian music. It is a feeling which the ex-
## p. 276 (#316) ############################################
276 HUMAN, ALL-TOO-HUMAN.
periencedconnoisseursin art,thepure "aesthetes," like
to ignore. —Moreover, almost all music has a magical
effect only when we hear it speak the language of
our own j>ast. Accordingly, it seems to the layman
that all the old music is continually growing better,
and that all the latest is of little value. For the latter
arouses no "sentimentality," that most essential
element of happiness, as aforesaid, for every man
who cannot approach this art with pure aesthetic
enjoyment.
169.
As Friends of Music. —Ultimately we are and
remain good friends with music, as we are with the
light of the moon. Neither, after all, tries to sup-
plant the sun: they only want to illumine our nights
to the best of their powers. Yet we may jest and
laugh at them, may we not? Just a little, at least,
and from time to time? At the man in the moon,
at the woman in the music?
170.
ART in an Age OF WORK. —We have the con-
science of an industrious epoch. This debars us
from devoting our best hours and the best part
of our days to art, even though that art be the
greatest and worthiest. Art is for us a matter of
leisure, of recreation, and we consecrate to it the
residue of our time and strength. This is the car-
dinal fact that has altered the relation of art to life.
When art makes its great demands of time and
strength upon its recipients, it has to battle against
the conscience of the industrious and efficient, it is
## p. 277 (#317) ############################################
THE WANDERER AND HIS SHADOW. 277
relegated to the idle and conscienceless, who, by
their very nature, are not exactly suited to great
art, and consider its claims arrogant. It might,
therefore, be all over with art, since it lacks air and
the power to breathe. But perhaps the great art
attempts, by a sort of coarsening and disguising, to
make itself at home in that other atmosphere, or at
least to put up with it—an atmosphere which is really
a natural element only for petty art, the art of re-
creation, of pleasant distraction. This happens now-
adays almost everywhere. Even the exponents of
great art promise recreation and distraction; even
they address themselves to the exhausted; even they
demand from him the evening hours of his working-
day—just like the artists of the entertaining school,
who are content to smooth the furrowed brow and
brighten the lack-lustre eye. What, then, are the
devices of their mightier brethren? These have in
their medicine-chests the most powerful excitants,
which might give a shock even to a man half-dead:
they can deafen you, intoxicate you, make you
shudder, or bring tears to your eyes. By this
means they overpower the exhausted man and
stimulate him for one night to an over-lively con-
dition, to an ecstasy of terror and delight. This
great art, as it now lives in opera, tragedy, and music
—have we a right to be angry with it, because of
its perilous fascination, as we should be angry with
a cunning courtesan? Certainly not. It would far
rather live in the pure element of morning calm, and
would far rather make its appeal to the fresh, ex-
pectant, vigorous morning-soul of the beholder or
listener. Let us be thankful that it prefers living
## p. 278 (#318) ############################################
278 HUMAN, ALL-TOO-HUMAN.
thus to vanishing altogether. But let us also con-
fess that an era that once more introduces free and
complete high-days and holidays into life will have
no use for our great art.
171.
The Employees of Science and the Others.
—Really efHcientand successful men of science might
be collectively called " The Employees. " If in youth
their acumen is sufficiently practised, their memory is
full, and hand and eye have acquired sureness, they
are appointed by an older fellow-craftsman to a
scientific position where their qualities may prove
useful. Later on, when they have themselves gained
an eye for the gaps and defects in their science, they
place themselvesinwhateverposition they areneeded.
These persons all exist for the sake of science. But
there are rarer spirits, spirits that seldom succeed
or fully mature—"for whose sake science exists"
—at least, in their view. They are often unpleasant,
conceited, or cross-grained men, but almost always
prodigies to a certain extent. They are neither
employees nor employers; they make use of what
those others have worked out and established,
with a certain princely carelessness and with little
and rare praise—just as if the others belonged
to a lower order of beings. Yet they possess
the same qualities as their fellow-workers, and
that sometimes in a less developed form. More-
over, they have a peculiar limitation, from which
the others are free; this makes it impossible to
put them into a place and to see in them useful
tools. They can only live in their own air and on
## p. 279 (#319) ############################################
THE WANDERER AND HIS SHADOW. 279
their own soil. This limitation suggests to them
what elements of a science "are theirs "—in other
words, what they can carry home into their house
and atmosphere: they think that they are always
collecting their scattered "property. " If they are
prevented from building at their own nest, they
perish like shelterless birds. The loss of freedom
causes them to wilt away. If they show, like their
colleagues, a fondness for certain regions of science,
it is always only regions where the fruits and seeds
necessary to them can thrive. What do they care
whether science, taken as a whole, has untilled or
badly tilled regions? They lack all impersonal
interest in a scientific problem. As they are them-
selves personal through and through, all their know-
ledge and ideas are remoulded into a person, into
a living complexity, with its parts interdependent,
overlapping, jointly nurtured, and with a peculiar
atmosphere and scent as a whole. —Such natures,
with their system of personal knowledge, produce
the illusion that a science (or even the whole of
philosophy) is finished and has reached its goal.
The life in their system works this magic, which at
times has been fatal to science and deceptive to the
really efficient workers above described, and at other
times, when drought and exhaustion prevailed, has
acted as a kind of restorative, as if it were the air
of a cool, refreshing resting-place. —These men are
usually called philosophers.
172.
Recognition of Talent. —As I went through
the village of S. , a boy began to crack his whip with
## p. 279 (#320) ############################################
278
HUMAN, ALL-TOO-HUMAN.
thus to vanishing altogether. But let us also con-
fess that an era that once more introduces free and
complete high-days and holidays into life will have
no use for our great art.
171.
THE EMPLOYEES OF SCIENCE AND THE OTHERS.
--Really efficientand successfulmen of science might
be collectively called “The Employees. ” If in youth
their acumen is sufficiently practised, their memory is
full, and hand and eye have acquired sureness, they
are appointed by an older fellow-craftsman to a
scientific position where their qualities may prove
useful. Later on, when they have themselves gained
an eye for the gaps and defects in their science, they
place themselvesin whatever position they are needed.
These persons all exist for the sake of science. But
there are rarer spirits, spirits that seldom succeed
or fully mature—“for whose sake science exists "
—at least, in their view. They are often unpleasant,
conceited, or cross-grained men, but almost always
prodigies to a certain extent. They are neither
employees nor employers; they make use of what
those others have worked out and established,
with a certain princely carelessness and with little
and rare praise-just as if the others belonged
to a lower order of beings. Yet they possess
the same qualities as their fellow-workers, and
that sometimes in a less developed form. More-
over, they have a peculiar limitation, from which
the others are free; this makes it impossible to
put them into a place and to see in them useful
tools. They can only live in their own air and on
## p. 279 (#321) ############################################
THE WANDERER AND HIS SHADOW.
279
their own soil. This limitation suggests to them
what elements of a science "are theirs ”-in other
words, what they can carry home into their house
and atmosphere: they think that they are always
collecting their scattered "property. ” If they are
prevented from building at their own nest, they
perish like shelterless birds. The loss of freedom
causes them to wilt away. If they show, like their
colleagues, a fondness for certain regions of science,
it is always only regions where the fruits and seeds
necessary to them can thrive. What do they care
whether science, taken as a whole, has untilled or
badly tilled regions? They lack all impersonal
interest in a scientific problem. As they are them-
selves personal through and through, all their know-
ledge and ideas are remoulded into a person, into
a living complexity, with its parts interdependent,
overlapping, jointly nurtured, and with a peculiar
atmosphere and scent as a whole. -Such natures,
with their system of personal knowledge, produce
the illusion that a science (or even the whole of
philosophy) is finished and has reached its goal.
The life in their system works this magic, which at
times has been fatal to science and deceptive to the
really efficient workers above described, and at other
times, when drought and exhaustion prevailed, has
acted as a kind of restorative, as if it were the air
of a cool, refreshing resting-place. These men are
usually called philosophers.
172.
RECOGNITION OF TALENT. —As I went through
the village of S. , a boy began to crack his whip with
## p. 280 (#322) ############################################
280 HUMAN, ALL-TOO-HUMAN.
all his might—he had made great progress in this art,
and he knew it. I threw him a look of recognition
—in reality it hurt me cruelly. We do the same in
our recognition of many of the talents. We do good
to them when they hurt us.
173-
Laughing and Smiling. —The more joyful and
assured the mind becomes, the more man loses the
habit of loud laughter. In compensation, there is
an intellectual smile continually bubbling up in him,
a sign of his astonishment at the innumerable con-
cealed delights of a good existence.
174.
The Talk of Invalids. —Just as in spiritual
grief we tear our hair, strike our foreheads, lacerate
our cheeks or even (like CEdipus) gouge our eyes
out, so against violent physical pain we call to our
aid a bitter, violent emotion, through the recollec-
tion of slanderous and malignant people, through
the denigration of our future, through the sword-
pricks and acts of malice which we mentally direct
against the absent. And at times it is true that
one devil drives out another—but then we have the
other. —Hence a different sort of talk, tending to
alleviate pain, should be recommended invalids:
reflections upon the kindnesses and courtesies that
can be performed towards friend and foe.
175-
j Mediocrity as a Mask. —Mediocrity is the
happiest mask which the superior mind can wear,
## p. 281 (#323) ############################################
THE WANDERER AND HIS SHADOW. 28l
because it does not lead the great majority—that
is, the mediocre—to think that there is any disguise.
Yet the superior mind assumes the mask just for
their sake—so as not to irritate them, nay, often
from a feeling of pity and kindness.
176.
The Patient. —The pine tree seems to listen,
the fir tree to wait, and both without impatience.
They do not give a thought to the petty human
being below who is consumed by his impatience
and his curiosity.
177.
The Best Joker. —My favourite joke is the one
that takes the place of a heavy and rather hesitat-
ing idea, and that at once beckons with its finger
and winks its eye.
178.
The Accessaries of all Reverence. —Wher-
ever the past is revered, the over-cleanly and over-
tidy people should not be admitted. Piety does not
feel content without a little dust, dirt, and dross.
179.
The Great Danger of Savants. —It is just
the most thorough and profound savants who are
in peril of seeing their life's goal set ever lower
and lower, and, with a feeling of this in their minds,
to become ever more discouraged and more unen-
durable in the latter half of their lives. At first they
plunge into their science with spacious hopes and
set themselves daring tasks, the ends of which are
## p. 282 (#324) ############################################
282 HUMAN-. jEk-TOO-HUMAN
T
d<m tt
already anticipated 'B their imaginations. Then
there are moments as in the lives of the great
maritime discoverers—knowledge, presentiment, and
power raise each other higher and higher, until a new
shore first dawns upon the eye in the far distance.
But now the stern man recognises more and more
how important it is that the individual task of the
inquirer should be limited as far as possible, so
that it may be entirely accomplished and the in-
tolerable waste of force from which earlier periods
of science suffered may be avoided. In those days
everything was done ten times over, and then the
eleventh always had the last and best word. Yet
the more the savant learns and practises this art of
solving riddles in their entirety, the more pleasure
he finds in so doing. But at the same time his de-
mands upon what is here called "entirety" grow
more exacting. He sets aside everything that must
remain in this sense incomplete, he acquires a dis-
gust and an acute scent for the half-soluble—for
all that can only give a kind of certainty in a
general and indefinite form. His youthful plans
crumble away before his eyes. There remains
scarcely anything but a few little knots, in unty-
ing which the master now takes his pleasure and
shows his strength. Then, in the midst of all this
useful, restless activity, he, now grown old, is sud-
denly then often overcome by a deep misgiving, a
sort of torment of conscience. He looks upon
himself as one changed, as if he were diminished,
humbled, transformed into a dexterous dwarf; he
grows anxious as to whether mastery in small
matters be not a convenience, an escape from the
## p. 283 (#325) ############################################
THE WANDERER AND HIS SHADOW. 283
summons to greatness in life and form. But he can-
not pass beyond any longer—the time for that has
gone by.
180.
Teachers in the Age of Books. —Now that
self-education and mutual education are becoming
more widespread, the teacher in his usual form must
become almost unnecessary. Friends eager to learn,
who wish to master some branch of knowledge to-
gether, find in our age of books a shorter and more
natural way than "school" and "teachers. "
181.
Vanity as the Greatest Utility. —Origin-
ally the strong individual uses not only Nature but
even societies and weaker individuals as objects of
rapine. He exploits them, so far as he can, and
then passes on. As he lives from hand to mouth,
alternating between hunger and superfluity, he kills
more animals than he can eat, and robs and mal-
treats men more than is necessary. His manifesta-
tion of power is at the same time one of revenge
against his cramped and worried existence. Further-
more, he wishes to be held more powerful than he
is, and thus misuses opportunities; the accretion of
fear that he begets being an accretion of power. He
soon observes that he stands or falls not by what
he is but by what he is thought to be. Herein lies
the origin of vanity.
of health?
130.
A RESOLUTION. —Never again to read a book
that is born and christened (with ink) at the same
moment.
131.
Improving OUR Ideas. —Improving our style
means improving our ideas, and nothing else. He
## p. 262 (#302) ############################################
262 HUMAN, ALL-TOO-HUMAN.
who does not at once concede this can never be
convinced of the point.
132.
Classical Books. —The weakest point in every
classical book is that it is written too much in the
mother tongue of its author.
133-
Bad Books. —The book should demand pen, ink,
and desk, but usually it is pen, ink, and desk that
demand the book. That is why books are of so little
account at present.
134-
Presence of Sense. —When the public reflects
on paintings, it becomes a poet; when on poems,
an investigator. At the moment when the artist
summons it it is always lacking in the right sense,
and accordingly in presence of sense, not in pre-
sence of mind.
135-
Choice Ideas. —The choice style of a momentous
period does not only select its words but its ideas—
and both from the customary and prevailing usage.
Venturesome ideas, that smell too fresh, are to the
maturer taste no less repugnant than new and reck-
less images and phrases. Later on both choice
ideas and choice words soon smack of mediocrity,
because the scent of the choice vanishes quickly, and
then nothing but the customary and commonplace
element is tasted.
## p. 263 (#303) ############################################
THE WANDERER AND HIS SHADOW. 263
136.
Main Reason for Corruption of Style. —
The desire to display more sentiment than one
really feels for a thing corrupts style, in language
and in all art. All great art shows rather the
opposite tendency. Like every man of moral
significance, it loves to check emotion on its way
and not let it run its course to the very end. This
modesty of letting emotion but half appear is most
clearly to be observed, for example, in Sophocles.
The features of sentiment seem to become beautified
when sentiment feigns to be more shy than it
really is.
137.
An Excuse for the Heavy Style. — The
lightly uttered phrase seldom falls on the ear with
the full weight of the subject. This is, however, due
to the bad training of the ear, which by education
must pass from what has hitherto been called music
to the school of the higher harmony—in other words,
to conversation.
138.
BIRD'S-EyE VIEWS. — Here torrents rush from
every side into a ravine: their movement is so swift
and stormy, and carries the eye along so quickly,
that the bare or wooded mountain slopes around
seem not to sink down but to fly down. We are in
an agonised tension at the sight, as if behind all
this were hidden some hostile element, before which
all must fly, and against which the abyss alone gave
protection. This landscape cannot be painted, un-
## p. 264 (#304) ############################################
264 HUMAX, AIX-TOO-HUMAX.
less we hover above it like a bird in the open air.
Here for once the so-called bird's-eye view is not an
artistic caprice, but the sole possibility.
139-
Rash Comparisons. —If rash comparisons are
not proofs of the wantonness of the writer, they are
proofs of the exhaustion of his imagination. In any
case they bear witness to his bad taste.
14a
DANCING IN Chains. — In the case of every
Greek artist, poet, or writer we must ask: What is
the new constraint which he imposes upon himself
and makes attractive to his contemporaries, so as to
find imitators? For the thing called "invention"
(in metre, for example) is always a self-imposed
fetter of this kind. "Dancing in chains "—to make
that hard for themselves and then to spread a false
notion that it is easy—that is the trick that they
wish to show us. Even in Homer we may perceive
a wealth of inherited formulae and laws of epic
narration, within the circle of which he had to dance,
and he himself created new conventions for them
that came after. This was the discipline of the
Greek poets: first to impose upon themselves a
manifold constraint by means of the earlier poets;
then to invent in addition a new constraint, to im-
pose it upon themselves and cheerfully to overcome
it, so that constraint and victory are perceived and
admired.
## p. 265 (#305) ############################################
THE WANDERER AND HIS SHADOW. 265
141.
Authors' Copiousness. —The last quality that
a good author acquires is copiousness: whoever has
it to begin with will never become a good author.
The noblest racehorses are lean until they are per-
mitted to rest from their victories.
142.
Wheezing Heroes. —Poets and artists who suffer
from a narrow chest of the emotions generally make
their heroes wheeze. They do not know what easy
breathing means.
143-
The Short-Sighted*—The short-sighted are
the deadly foes of all authors who let themselves go.
These authors should know the wrath with which
these people shut the book in which they observe
that its creator needs fifty pages to express five
ideas. And the cause of their wrath is that they
have endangered what remains of their vision almost
without compensation. A short-sighted person
said, "All authors let themselves go. " "Even the
HolyGhost? " "Even the Holy Ghost. " But he had
a right to, for he wrote for those who had lost their
sight altogether.
144.
The Style of Immortality. —Thucydides and
Tacitus both imagined immortal, life for their works
when they executed them. That might be guessed
* Nietzsche himself was extremely short-sighted—Tr.
## p. 266 (#306) ############################################
266
HUMAN, ALL-TOO-HUMAN.
(if not known otherwise) from their style. The one
thought to give permanence to his ideas by salting
them, the other by boiling them down; and neither,
it seems, made a miscalculation.
145.
AGAINST IMAGES AND SIMILES. —By images and
similes we convince, but we do not prove. That is
why science has such a horror of images and similes.
Science does not want to convince or make plausible,
and rather seeks to provoke cold distrust by its mode
of expression, by the bareness of its walls. For
distrust is the touchstone for the gold of certainty.
146.
CAUTION. -In Germany, he who lacks thorough
knowledge should beware of writing. The good
German does not say in that case “he is ignorant,”
but “he is of doubtful character. ”—This hasty con-
clusion, by the way, does great credit to the Ger-
mans.
147.
PAINTED SKELETONS. — Painted skeletons are
those authors who try to make up for their want of
flesh by artistic colourings.
148.
THE GRAND STYLE AND SOMETHING BETTER.
- It is easier to learn how to write the grand style
than how to write easily and simply. The reasons
for this are inextricably bound up with morality.
## p. 267 (#307) ############################################
THE WANDERER AND HIS SHADOW. 267
149.
Sebastian Bach. —In so far as we do not hear
Bach's music as perfect and experienced connois-
seurs of counterpoint and all the varieties of thefugal
style (and accordingly must dispense with real artistic
enjoyment), we shall feel in listening to his music
—in Goethe's magnificent phrase—as if "we were
present at God's creation of the world. " In other
words, we feel here that something great is in the
makingbut notyet made—our mighty modem music,
which by conquering nationalities, the Church, and
counterpoint has conquered the world. In Bach
there is still too much crude Christianity, crude
Germanism, crude scholasticism. He stands on
the threshold of modern European music, but turns
from thence to look at the Middle Ages.
150.
HANDEL. —Handel, who in the invention of his
music was bold, original, truthful, powerful, inclined
to and akin to all the heroism of which a nation is
capable, often proved stiff, cold, nay even weary of
himself in composition. He applied a few well-tried
methods of execution, wrote copiously and quickly,
and was glad when he had finished—but that joy
was not the joy of God and other creators in the
eventide of their working day.
151.
Haydn. —So far as genius can exist in a man
who is merely good, Haydn had genius. He went
## p. 268 (#308) ############################################
268 HUMAN, ALL-TOO-HUMAN.
just as far as the limit which morality sets to in-
tellect, and only wrote music that has "no past. "
152.
Beethoven and Mozart. —Beethoven's music
often appears like a deeply emotional meditation
on unexpectedly hearing once more a piece long
thought to be forgotten, "Tonal Innocence": it is
music about music. In the song of the beggar and
child in the street, in the monotonous airs of vagrant
Italians, in the dance of the village inn or in carnival
nights he discovers his melodies. He stores them
together like a bee, snatching here and there some
notes or a short phrase. To him these are hallowed
memories of "the better world," like the ideas of
Plato. —Mozart stands in quite a different relation
to his melodies. He finds his inspiration not in
hearing music but in gazing at life, at the most
stirring life of southern lands. He was always
dreaming of Italy, when he was not there.
153-
RECITATIVE. —Formerly recitative was dry, but
now we live in the age of moist recitative. It has
fallen into the water, and the waves carry it whither-
soever they list.
154.
"Cheerful" Music. — If for a long time we
have heard no music, it then goes like a heavy
southern wine all too quickly into the blood and
leaves behind it a soul dazed with narcotics, half-
'v
## p. 269 (#309) ############################################
THE WANDERER AND HIS SHADOW. 269
awake, longing for sleep. This is particularly the
case with cheerful music, which inspires in us bit-
terness and pain, satiety and home-sickness to-
gether, and forces us to sip again and again as at
a sweetened draught of poison. The hall of gay,
noisy merriment then seems to grow narrow, the
light to lose its brightness and become browner.
At last we feel as if this music were penetrating
to a prison where a poor wretch cannot sleep for
home-sickness.
155.
Franz Schubert. —Franz Schubert, inferior as
an artist to the other great; musicians, had never-
theless the largest share of inherited musical wealth.
He spent it with a free hand and a kind heart, so
that for a few centuries musicians will continue to
nibble at his ideas and inspirations. In his works
we find a store of unused inventions; the greatness
of others will lie in making use of those inventions.
If Beethoven may be called the ideal listener for
a troubadour, Schubert has a right to be called the
ideal troubadour.
156.
Modern Musical Execution. —Great tragic
or dramatic execution of music acquires its character
by imitating the gesture of the great sinner, such
as Christianity conceives and desires him : the slow-
stepping, passionately brooding man, distracted by
the agonies of conscience, now flying in terror,
now clutching with delight, now standing still in
despair—and all the other marks of great sinful-
## p. 270 (#310) ############################################
270 HUMAN, ALL-TOO-HUMAN.
J
ness. Only on the Christian assumption that all
men are great sinners and do nothing but sin could
we justify the application of this style of execution
to all music. So far, music would be the reflection
of all the actions and impulses of man, and would
continually have to express by gestures the lan-
guage of the great sinner. At such a performance,
a listener who was not enough of a Christian to
understand this logic might indeed cry out in hor-
ror, " For the love of Heaven, how did sin find its
way into music? "
157-
Felix Mendelssohn. —Felix Mendelssohn's
music is the music of the good taste that enjoys
all the good things that have ever existed. It
always points behind. How could it have much
"in front," much of a future ? —But did he want
it to have a future? He possessed a virtue rare
among artists, that of gratitude without arriere-
pensee. This virtue, too, always points behind.
158.
A Mother of Arts. —In our sceptical age, real
devotion requires almost a brutal heroism of am-
bition. Fanatical shutting of the eyes and bending
of the knee no longer suffice. Would it not be pos-
sible for ambition—in its eagerness to be the last
devotee of all the ages—to become the begetter of a
final church music, as it has been the begetter of the
final church architecture? (They call it the Jesuit
style. )
## p. 271 (#311) ############################################
THE WANDERER AND HIS SHADOW. 271
159.
Freedom in Fetters—a Princely Freedom.
—Chopin, the last of the modern musicians, who
gazed at and worshipped beauty, like Leopardi;
Chopin, the Pole, the inimitable (none that came
before or after him has a right to this name)—
Chopin had the same princely punctilio in conven-
tion that Raphael shows in the use of the simplest
traditional colours. The only difference is that
Chopin applies them not to colour but to melodic
and rhythmic traditions. He admitted the validity
of these traditions because he was born under the
sway of etiquette. But in these fetters he plays and
dances as the freest and daintiest of spirits, and, be
it observed, he does not spurn the chain.
160.
Chopin's Barcarolle. —Almost all states and
modes of life have a moment of rapture, and good
artists know how to discover that moment. Such
a moment there is even in life by the seashore—that
dreary, sordid, unhealthy existence, dragged out in
the neighbourhood of a noisy and covetous rabble.
This moment of rapture Chopin in his Barcarolle
expressed in sound so supremely that Gods them-
selves, when they heard it, might yearn to lie long
summer evenings in a boat.
161.
Robert Schumann. —"The Stripling," as the
romantic songsters of Germany and France of the
## p. 272 (#312) ############################################
272 HUMAN, ALL-TOO-HUMAN.
first three decades of this century imagined him—
this stripling was completely translated into song
and melody by Robert Schumann, the eternal
youth, so long as he felt himself in full possession
of his powers. There are indeed moments when
his music reminds one of the eternal " old maid. "
162.
Dramatic Singers. —"Why does this beggar
sing? " "Probably he does not know how to wail. "
"Then he does right. " But our dramatic singers,
who wail because they do not know how to sing
—are they also in the right?
163.
Dramatic Music. —For him who does not see
what is happening on the stage, dramatic music is
a monstrosity, just as the running commentary to
a lost text is a monstrosity. Such music requires
us to have ears where our eyes are. This, however,
is doing violence to Euterpe, who, poor Muse, wants
to have her eyes and ears where the other Muses
have theirs.
164.
Victory and Reasonableness. — Unfortu-
nately in the aesthetic wars, which artists provoke
by their works and apologias for their works, just as
is the case in real war, it is might and not reason that
decides. All the world now assumes as a historical
fact that, in his dispute with Piccini, Gluck was in the
right. At any rate, he was victorious, and had might
on his side.
## p. 273 (#313) ############################################
THE WANDERER AND HIS SHADOW. 273
165.
Of the Principle of Musical Execution.
—
Do the modern musical performers really believe
that the supreme law of their art is to give every
piece as much high-relief as is possible, and to make
it speak at all costs a dramatic language? Is not
this principle, when applied for example to Mozart,
a veritable sin against the spirit—the gay, sunny,
airy, delicate spirit—of Mozart, whose seriousness
was of a kindly and not awe-inspiring order, whose
pictures do not try to leap from the wall and drive
away the beholder in panic? Or do you think that
all Mozart's music is identical with the statue-music
in Don Juan? And not only Mozart's, but all
music? —You reply that the advantage of your
principle lies in its greater effect. You would be
right if there did not remain the counter-question,
"On whom has the effect operated, and on whom
should an artist of the first rank desire to produce
his effect? " Never on the populace! Never on
the immature! Never on the morbidly sensitive!
Never on the diseased! And above all—never on
the blase" \
166.
The Music of To-Day. —This ultra-modern
music, with its strong lungs and weak nerves, is
frightened above all things of itself.
167.
Where Music is at Home. —Music reaches its
high-water mark only among men who have not the
vol. 11. s
## p. 274 (#314) ############################################
274 HUMAN, ALL-TOO-HUMAN.
ability or the right to argue. Accordingly, its chief
promoters are princes, whose aim is that there should
be not much criticism nor even much thought in
their neighbourhood. Next come societies which,
under some pressure or other (political or religious),
are forced to become habituated to silence, and
so feel all the greater need of spells to charm away
emotional ennui—these spells beinggenerally eternal
love-making and eternal music. Thirdly, we must
reckon whole nations in which there is no " society,"
but all the greater number of individuals with a
bent towards solitude, mystical thinking, and a re-
verence for all that is inexpressible ; these are the
genuine "musical souls. " The Greeks, as a nation
delighting in talking and argument, accordingly put
up with music only as an hors (fceuvre to those arts
which really admit of discussion and dispute. About
music one can hardly even think clearly. The Py-
thagoreans, who in so many respects were exceptional
Greeks, are said to have been great musicians. This
was the school that invented a five-years' silence,*
but did not invent a dialectic.
168.
Sentimentality in Music. —We may be ever
so much in sympathy with serious and profound
music, yet nevertheless, or perhaps all the more for
that reason, we shall at occasional moments be over-
powered, entranced, and almost melted away by its
* In the sixth century B. C. Pythagoras founded at Croton a
"school" somewhat resembling a monastic order. Among the
ordeals for novitiates was enforced silence for five years. —Tr.
## p. 275 (#315) ############################################
THE WANDERER AND HIS SHADOW. 275
opposite—I mean, by those simple Italian operatic
airs which, in spite of all their monotony of rhythm
and childishness of harmony, seem at times to sing
to us like the very soul of music. Admit this or not
as you please, you Pharisees of good taste, it is so,
and it is my present task to propound the riddle
that it is so, and to nibble a little myself at the
solution. —In childhood's days we tasted the honey
of many things for the first time. Never was honey
so good as then; it seduced us to life, into abundant
life, in the guise of the first spring, the first flower,
the first butterfly, the first friendship. Then—per-
haps in our ninth year or so—we heard our first
music, and this was the first that we understood;
thus the simplest and most childish tunes, that were
not much more than a sequel to the nurse's lullaby
and the strolling fiddler's tune, were our first experi-
ence. (For even the most trifling " revelations " of
art need preparation and study; there is no " im-
mediate" effect of art, whatever charming fables
the philosophers may tell. ) Our sensation on hear-
ing these Italian airs is associated with those first
musical raptures, the strongest of our lives. The
bliss of childhood and its flight, the feeling that our
most precious possession can never be brought back,
all this moves the chords of the soul more strongly
than the most serious and profound music can move
them. —This minglingof aesthetic pleasure with moral
pain, which nowadays it is customary to call (rather
too haughtily, I think) "sentimentality "—it is the
mood of Faust at the end of the first scene—this
"sentimentality " of the listener is all to the advan-
tage of Italian music. It is a feeling which the ex-
## p. 276 (#316) ############################################
276 HUMAN, ALL-TOO-HUMAN.
periencedconnoisseursin art,thepure "aesthetes," like
to ignore. —Moreover, almost all music has a magical
effect only when we hear it speak the language of
our own j>ast. Accordingly, it seems to the layman
that all the old music is continually growing better,
and that all the latest is of little value. For the latter
arouses no "sentimentality," that most essential
element of happiness, as aforesaid, for every man
who cannot approach this art with pure aesthetic
enjoyment.
169.
As Friends of Music. —Ultimately we are and
remain good friends with music, as we are with the
light of the moon. Neither, after all, tries to sup-
plant the sun: they only want to illumine our nights
to the best of their powers. Yet we may jest and
laugh at them, may we not? Just a little, at least,
and from time to time? At the man in the moon,
at the woman in the music?
170.
ART in an Age OF WORK. —We have the con-
science of an industrious epoch. This debars us
from devoting our best hours and the best part
of our days to art, even though that art be the
greatest and worthiest. Art is for us a matter of
leisure, of recreation, and we consecrate to it the
residue of our time and strength. This is the car-
dinal fact that has altered the relation of art to life.
When art makes its great demands of time and
strength upon its recipients, it has to battle against
the conscience of the industrious and efficient, it is
## p. 277 (#317) ############################################
THE WANDERER AND HIS SHADOW. 277
relegated to the idle and conscienceless, who, by
their very nature, are not exactly suited to great
art, and consider its claims arrogant. It might,
therefore, be all over with art, since it lacks air and
the power to breathe. But perhaps the great art
attempts, by a sort of coarsening and disguising, to
make itself at home in that other atmosphere, or at
least to put up with it—an atmosphere which is really
a natural element only for petty art, the art of re-
creation, of pleasant distraction. This happens now-
adays almost everywhere. Even the exponents of
great art promise recreation and distraction; even
they address themselves to the exhausted; even they
demand from him the evening hours of his working-
day—just like the artists of the entertaining school,
who are content to smooth the furrowed brow and
brighten the lack-lustre eye. What, then, are the
devices of their mightier brethren? These have in
their medicine-chests the most powerful excitants,
which might give a shock even to a man half-dead:
they can deafen you, intoxicate you, make you
shudder, or bring tears to your eyes. By this
means they overpower the exhausted man and
stimulate him for one night to an over-lively con-
dition, to an ecstasy of terror and delight. This
great art, as it now lives in opera, tragedy, and music
—have we a right to be angry with it, because of
its perilous fascination, as we should be angry with
a cunning courtesan? Certainly not. It would far
rather live in the pure element of morning calm, and
would far rather make its appeal to the fresh, ex-
pectant, vigorous morning-soul of the beholder or
listener. Let us be thankful that it prefers living
## p. 278 (#318) ############################################
278 HUMAN, ALL-TOO-HUMAN.
thus to vanishing altogether. But let us also con-
fess that an era that once more introduces free and
complete high-days and holidays into life will have
no use for our great art.
171.
The Employees of Science and the Others.
—Really efHcientand successful men of science might
be collectively called " The Employees. " If in youth
their acumen is sufficiently practised, their memory is
full, and hand and eye have acquired sureness, they
are appointed by an older fellow-craftsman to a
scientific position where their qualities may prove
useful. Later on, when they have themselves gained
an eye for the gaps and defects in their science, they
place themselvesinwhateverposition they areneeded.
These persons all exist for the sake of science. But
there are rarer spirits, spirits that seldom succeed
or fully mature—"for whose sake science exists"
—at least, in their view. They are often unpleasant,
conceited, or cross-grained men, but almost always
prodigies to a certain extent. They are neither
employees nor employers; they make use of what
those others have worked out and established,
with a certain princely carelessness and with little
and rare praise—just as if the others belonged
to a lower order of beings. Yet they possess
the same qualities as their fellow-workers, and
that sometimes in a less developed form. More-
over, they have a peculiar limitation, from which
the others are free; this makes it impossible to
put them into a place and to see in them useful
tools. They can only live in their own air and on
## p. 279 (#319) ############################################
THE WANDERER AND HIS SHADOW. 279
their own soil. This limitation suggests to them
what elements of a science "are theirs "—in other
words, what they can carry home into their house
and atmosphere: they think that they are always
collecting their scattered "property. " If they are
prevented from building at their own nest, they
perish like shelterless birds. The loss of freedom
causes them to wilt away. If they show, like their
colleagues, a fondness for certain regions of science,
it is always only regions where the fruits and seeds
necessary to them can thrive. What do they care
whether science, taken as a whole, has untilled or
badly tilled regions? They lack all impersonal
interest in a scientific problem. As they are them-
selves personal through and through, all their know-
ledge and ideas are remoulded into a person, into
a living complexity, with its parts interdependent,
overlapping, jointly nurtured, and with a peculiar
atmosphere and scent as a whole. —Such natures,
with their system of personal knowledge, produce
the illusion that a science (or even the whole of
philosophy) is finished and has reached its goal.
The life in their system works this magic, which at
times has been fatal to science and deceptive to the
really efficient workers above described, and at other
times, when drought and exhaustion prevailed, has
acted as a kind of restorative, as if it were the air
of a cool, refreshing resting-place. —These men are
usually called philosophers.
172.
Recognition of Talent. —As I went through
the village of S. , a boy began to crack his whip with
## p. 279 (#320) ############################################
278
HUMAN, ALL-TOO-HUMAN.
thus to vanishing altogether. But let us also con-
fess that an era that once more introduces free and
complete high-days and holidays into life will have
no use for our great art.
171.
THE EMPLOYEES OF SCIENCE AND THE OTHERS.
--Really efficientand successfulmen of science might
be collectively called “The Employees. ” If in youth
their acumen is sufficiently practised, their memory is
full, and hand and eye have acquired sureness, they
are appointed by an older fellow-craftsman to a
scientific position where their qualities may prove
useful. Later on, when they have themselves gained
an eye for the gaps and defects in their science, they
place themselvesin whatever position they are needed.
These persons all exist for the sake of science. But
there are rarer spirits, spirits that seldom succeed
or fully mature—“for whose sake science exists "
—at least, in their view. They are often unpleasant,
conceited, or cross-grained men, but almost always
prodigies to a certain extent. They are neither
employees nor employers; they make use of what
those others have worked out and established,
with a certain princely carelessness and with little
and rare praise-just as if the others belonged
to a lower order of beings. Yet they possess
the same qualities as their fellow-workers, and
that sometimes in a less developed form. More-
over, they have a peculiar limitation, from which
the others are free; this makes it impossible to
put them into a place and to see in them useful
tools. They can only live in their own air and on
## p. 279 (#321) ############################################
THE WANDERER AND HIS SHADOW.
279
their own soil. This limitation suggests to them
what elements of a science "are theirs ”-in other
words, what they can carry home into their house
and atmosphere: they think that they are always
collecting their scattered "property. ” If they are
prevented from building at their own nest, they
perish like shelterless birds. The loss of freedom
causes them to wilt away. If they show, like their
colleagues, a fondness for certain regions of science,
it is always only regions where the fruits and seeds
necessary to them can thrive. What do they care
whether science, taken as a whole, has untilled or
badly tilled regions? They lack all impersonal
interest in a scientific problem. As they are them-
selves personal through and through, all their know-
ledge and ideas are remoulded into a person, into
a living complexity, with its parts interdependent,
overlapping, jointly nurtured, and with a peculiar
atmosphere and scent as a whole. -Such natures,
with their system of personal knowledge, produce
the illusion that a science (or even the whole of
philosophy) is finished and has reached its goal.
The life in their system works this magic, which at
times has been fatal to science and deceptive to the
really efficient workers above described, and at other
times, when drought and exhaustion prevailed, has
acted as a kind of restorative, as if it were the air
of a cool, refreshing resting-place. These men are
usually called philosophers.
172.
RECOGNITION OF TALENT. —As I went through
the village of S. , a boy began to crack his whip with
## p. 280 (#322) ############################################
280 HUMAN, ALL-TOO-HUMAN.
all his might—he had made great progress in this art,
and he knew it. I threw him a look of recognition
—in reality it hurt me cruelly. We do the same in
our recognition of many of the talents. We do good
to them when they hurt us.
173-
Laughing and Smiling. —The more joyful and
assured the mind becomes, the more man loses the
habit of loud laughter. In compensation, there is
an intellectual smile continually bubbling up in him,
a sign of his astonishment at the innumerable con-
cealed delights of a good existence.
174.
The Talk of Invalids. —Just as in spiritual
grief we tear our hair, strike our foreheads, lacerate
our cheeks or even (like CEdipus) gouge our eyes
out, so against violent physical pain we call to our
aid a bitter, violent emotion, through the recollec-
tion of slanderous and malignant people, through
the denigration of our future, through the sword-
pricks and acts of malice which we mentally direct
against the absent. And at times it is true that
one devil drives out another—but then we have the
other. —Hence a different sort of talk, tending to
alleviate pain, should be recommended invalids:
reflections upon the kindnesses and courtesies that
can be performed towards friend and foe.
175-
j Mediocrity as a Mask. —Mediocrity is the
happiest mask which the superior mind can wear,
## p. 281 (#323) ############################################
THE WANDERER AND HIS SHADOW. 28l
because it does not lead the great majority—that
is, the mediocre—to think that there is any disguise.
Yet the superior mind assumes the mask just for
their sake—so as not to irritate them, nay, often
from a feeling of pity and kindness.
176.
The Patient. —The pine tree seems to listen,
the fir tree to wait, and both without impatience.
They do not give a thought to the petty human
being below who is consumed by his impatience
and his curiosity.
177.
The Best Joker. —My favourite joke is the one
that takes the place of a heavy and rather hesitat-
ing idea, and that at once beckons with its finger
and winks its eye.
178.
The Accessaries of all Reverence. —Wher-
ever the past is revered, the over-cleanly and over-
tidy people should not be admitted. Piety does not
feel content without a little dust, dirt, and dross.
179.
The Great Danger of Savants. —It is just
the most thorough and profound savants who are
in peril of seeing their life's goal set ever lower
and lower, and, with a feeling of this in their minds,
to become ever more discouraged and more unen-
durable in the latter half of their lives. At first they
plunge into their science with spacious hopes and
set themselves daring tasks, the ends of which are
## p. 282 (#324) ############################################
282 HUMAN-. jEk-TOO-HUMAN
T
d<m tt
already anticipated 'B their imaginations. Then
there are moments as in the lives of the great
maritime discoverers—knowledge, presentiment, and
power raise each other higher and higher, until a new
shore first dawns upon the eye in the far distance.
But now the stern man recognises more and more
how important it is that the individual task of the
inquirer should be limited as far as possible, so
that it may be entirely accomplished and the in-
tolerable waste of force from which earlier periods
of science suffered may be avoided. In those days
everything was done ten times over, and then the
eleventh always had the last and best word. Yet
the more the savant learns and practises this art of
solving riddles in their entirety, the more pleasure
he finds in so doing. But at the same time his de-
mands upon what is here called "entirety" grow
more exacting. He sets aside everything that must
remain in this sense incomplete, he acquires a dis-
gust and an acute scent for the half-soluble—for
all that can only give a kind of certainty in a
general and indefinite form. His youthful plans
crumble away before his eyes. There remains
scarcely anything but a few little knots, in unty-
ing which the master now takes his pleasure and
shows his strength. Then, in the midst of all this
useful, restless activity, he, now grown old, is sud-
denly then often overcome by a deep misgiving, a
sort of torment of conscience. He looks upon
himself as one changed, as if he were diminished,
humbled, transformed into a dexterous dwarf; he
grows anxious as to whether mastery in small
matters be not a convenience, an escape from the
## p. 283 (#325) ############################################
THE WANDERER AND HIS SHADOW. 283
summons to greatness in life and form. But he can-
not pass beyond any longer—the time for that has
gone by.
180.
Teachers in the Age of Books. —Now that
self-education and mutual education are becoming
more widespread, the teacher in his usual form must
become almost unnecessary. Friends eager to learn,
who wish to master some branch of knowledge to-
gether, find in our age of books a shorter and more
natural way than "school" and "teachers. "
181.
Vanity as the Greatest Utility. —Origin-
ally the strong individual uses not only Nature but
even societies and weaker individuals as objects of
rapine. He exploits them, so far as he can, and
then passes on. As he lives from hand to mouth,
alternating between hunger and superfluity, he kills
more animals than he can eat, and robs and mal-
treats men more than is necessary. His manifesta-
tion of power is at the same time one of revenge
against his cramped and worried existence. Further-
more, he wishes to be held more powerful than he
is, and thus misuses opportunities; the accretion of
fear that he begets being an accretion of power. He
soon observes that he stands or falls not by what
he is but by what he is thought to be. Herein lies
the origin of vanity.
