The best instruction, the most conscientious schooling, the most thorough familiarity, yea, and even isolation, with the Old Masters,—all this only acts as a palliative, or, more strictly speaking, has but an illusory effect, because the first condition of the right thing is no longer in our bodies; whether this first condition be the strong race of a Handel or the overflowing animal spirits of a Rossini. Not everyone has the right to every teacher: and this holds good of whole epochs.—In itself it is not impossible that there are still remains of stronger natures, typical unadapted men, somewhere in Europe: from this quarter the advent of a somewhat belated form of beauty and perfection, even in music, might still be hoped for. But the most that we can expect to see are exceptional cases. From the rule, that corruption is paramount, that corruption is a fatality,—not even a God can save music.



Epilogue

And now let us take breath and withdraw a moment from this narrow world which necessarily must be narrow, because we have to make enquiries relative to the value of persons. A philosopher feels that he wants to wash his hands after he has concerned himself so long with the "Case of Wagner". I shall now give my notion of what is modern. According to the measure of energy of every age, there is also a standard that determines which virtues shall be allowed and which forbidden. The age either has the virtues of ascending life, in which case it resists the virtues of degeneration with all its deepest instincts. Or it is in itself an age of degeneration, in which case it requires the virtues of declining life,—in which case it hates everything that justifies itself, solely as being the outcome of a plenitude, or a superabundance of strength. AEsthetic is inextricably bound up with these biological principles: there is decadent aesthetic, and classical aesthetic,—"beauty in itself" is just as much a chimera as any other kind of idealism.—Within the narrow sphere of the so-called moral values, no greater antithesis could be found than that of master-morality and the morality of Christian valuations: the latter having grown out of a thoroughly morbid soil. (—The gospels present us with the same physiological types, as do the novels of Dostoiewsky), the master-morality ("Roman," "pagan," "classical," "Renaissance"), on the other hand, being the symbolic speech of well-constitutedness, of ascending life, and of the Will to Power as a vital principle. Master-morality affirms just as instinctively as Christian morality denies ("God," "Beyond," "self-denial,"—all of them negations). The first reflects its plenitude upon things,—it transfigures, it embellishes, it rationalises the world,—the latter impoverishes, bleaches, mars the value of things; it suppresses the world. "World" is a Christian term of abuse. These antithetical forms in the optics of values, are both necessary: they are different points of view which cannot be circumvented either with arguments or counter-arguments. One cannot refute Christianity: it is impossible to refute a diseased eyesight. That people should have combated pessimism as if it had been a philosophy, was the very acme of learned stupidity. The concepts "true" and "untrue" do not seem to me to have any sense in optics.—That, alone, which has to be guarded against is the falsity, the instinctive duplicity which would fain regard this antithesis as no antithesis at all: just as Wagner did,—and his mastery in this kind of falseness was of no mean order. To cast side-long glances at master-morality, at noble morality (—Icelandic saga is perhaps the greatest documentary evidence of these values), and at the same time to have the opposite teaching, the "gospel of the lowly," the doctrine of the need of salvation, on one's lips!… Incidentally, I admire the modesty of Christians who go to Bayreuth. As for myself, I could not endure to hear the sound of certain words on Wagner's lips. There are some concepts which are too good for Bayreuth … What? Christianity adjusted for female Wagnerites, perhaps by female Wagnerites—for, in his latter days Wagner was thoroughly feminini generis—? Again I say, the Christians of to-day are too modest for me.… If Wagner were a Christian, then Liszt was perhaps a Father of the Church!—The need of salvation, the quintessence of all Christian needs, has nothing in common with such clowns; it is the most straightforward expression of decadence, it is the most convincing and most painful affirmation of decadence, in sublime symbols and practices. The Christian wishes to be rid of himself. Le moi est toujours haissable. Noble morality, master-morality, on the other hand, is rooted in a triumphant saying of yea to one's self,—it is the self-affirmation and self-glorification of life; it also requires sublime symbols and practices; but only "because its heart is too full." The whole of beautiful art and of great art belongs here; their common essence is gratitude. But we must allow it a certain instinctive repugnance to decadents, and a scorn and horror of the latter's symbolism: such things almost prove it. The noble Romans considered Christianity as a foeda superstitio: let me call to your minds the feelings which the last German of noble taste—Goethe—had in regard to the cross. It is idle to look for more valuable, more necessary contrasts.(14)

But the kind of falsity which is characteristic of the Bayreuthians is not exceptional to-day. We all know the hybrid concept of the Christian gentleman. This innocence in contradiction, this "clean conscience" in falsehood, is rather modern par excellence, with it modernity is almost defined. Biologically, modern man represents a contradiction of values, he sits between two stools, he says yea and nay in one breath. No wonder that it is precisely in our age that falseness itself became flesh and blood, and even genius! No wonder Wagner dwelt amongst us! It was not without reason that I called Wagner the Cagliostro of modernity.… But all of us, though we do not know it, involuntarily have values, words, formulae, and morals in our bodies, which are quite antagonistic in their origin—regarded from a physiological standpoint, we are false.… How would a diagnosis of the modern soul begin? With a determined incision into this agglomeration of contradictory instincts, with the total suppression of its antagonistic values, with vivisection applied to its most instructive case. To philosophers the "Case of Wagner" is a windfall—this essay, as you observe, was inspired by gratitude.



NIETZSCHE CONTRA WAGNER

THE BRIEF OF A PSYCHOLOGIST



Preface

The following chapters have been selected from past works of mine, and not without care. Some of them date back as far as 1877. Here and there, of course, they will be found to have been made a little more intelligible, but above all, more brief. Read consecutively, they can leave no one in any doubt, either concerning myself, or concerning Wagner: we are antipodes. The reader will come to other conclusions, too, in his perusal of these pages: for instance, that this is an essay for psychologists and not for Germans.… I have my readers everywhere, in Vienna, St Petersburg, Copenhagen, Stockholm, Paris, and New York—but I have none in Europe's Flat-land—Germany.… And I might even have something to say to Italians whom I love just as much as I … Quousque tandem, Crispi … Triple alliance: a people can only conclude a mesalliance with the "Empire."…

Friedrich Nietzsche.

Turin, Christmas 1888.



Wherein I Admire Wagner.

I believe that artists very often do not know what they are best able to do. They are much too vain. Their minds are directed to something prouder than merely to appear like little plants, which, with freshness, rareness, and beauty, know how to sprout from their soil with real perfection. The ultimate goodness of their own garden and vineyard is superciliously under-estimated by them, and their love and their insight are not of the same quality. Here is a musician who is a greater master than anyone else in the discovering of tones, peculiar to suffering, oppressed, and tormented souls, who can endow even dumb misery with speech. Nobody can approach him in the colours of late autumn, in the indescribably touching joy of a last, a very last, and all too short gladness; he knows of a chord which expresses those secret and weird midnight hours of the soul, when cause and effect seem to have fallen asunder, and at every moment something may spring out of nonentity. He is happiest of all when creating from out the nethermost depths of human happiness, and, so to speak, from out man's empty bumper, in which the bitterest and most repulsive drops have mingled with the sweetest for good or evil at last. He knows that weary shuffling along of the soul which is no longer able either to spring or to fly, nay, which is no longer able to walk, he has the modest glance of concealed suffering, of understanding without comfort, of leave-taking without word or sign; verily as the Orpheus of all secret misery he is greater than anyone, and many a thing was introduced into art for the first time by him, which hitherto had not been given expression, had not even been thought worthy of art—the cynical revolts, for instance, of which only the greatest sufferer is capable, also many a small and quite microscopical feature of the soul, as it were the scales of its amphibious nature—yes indeed, he is the master of everything very small. But this he refuses to be! His tastes are much more in love with vast walls and with daring frescoes!… He does not see that his spirit has another desire and bent—a totally different outlook—that it prefers to squat peacefully in the corners of broken-down houses: concealed in this way, and hidden even from himself, he paints his really great masterpieces, all of which are very short, often only one bar in length—there, only, does he become quite good, great and perfect, perhaps there alone.—Wagner is one who has suffered much—and this elevates him above other musicians.—I admire Wagner wherever he sets himself to music—



Wherein I Raise Objections.

With all this I do not wish to imply that I regard this music as healthy, and least of all in those places where it speaks of Wagner himself. My objections to Wagner's music are physiological objections. Why should I therefore begin by clothing them in aesthetic formulae? AEsthetic is indeed nothing more than applied physiology—The fact I bring forward, my "petit fait vrai," is that I can no longer breathe with ease when this music begins to have its effect upon me; that my foot immediately begins to feel indignant at it and rebels: for what it needs is time, dance, march; even the young German Kaiser could not march to Wagner's Imperial March,—what my foot demands in the first place from music is that ecstasy which lies in good walking, stepping and dancing. But do not my stomach, my heart, my circulation also protest? Are not my intestines also troubled? And do I not become hoarse unawares? … in order to listen to Wagner I require Geraudel's Pastilles.… And then I ask myself, what is it that my whole body must have from music in general? for there is no such thing as a soul.… I believe it must have relief: as if all animal functions were accelerated by means of light, bold, unfettered, self-reliant rhythms, as if brazen and leaden life could lose its weight by means of delicate and smooth melodies. My melancholy would fain rest its head in the haunts and abysses of perfection; for this reason I need music. But Wagner makes one ill—What do I care about the theatre? What do I care about the spasms of its moral ecstasies in which the mob—and who is not the mob to-day?—rejoices? What do I care about the whole pantomimic hocus-pocus of the actor? You are beginning to see that I am essentially anti-theatrical at heart. For the stage, this mob art par excellence, my soul has that deepest scorn felt by every artist to-day. With a stage success a man sinks to such an extent in my esteem as to drop out of sight; failure in this quarter makes me prick my ears, makes me begin to pay attention. But this was not so with Wagner, next to the Wagner who created the most unique music that has ever existed there was the Wagner who was essentially a man of the stage, an actor, the most enthusiastic mimomaniac that has perhaps existed on earth, even as a musician. And let it be said en passant that if Wagner's theory was "drama is the object, music is only a means"—his practice was from beginning to end "the attitude is the end, drama and even music can never be anything else than means." Music as the manner of accentuating, of strengthening, and deepening dramatic poses and all things which please the senses of the actor; and Wagnerian drama only an opportunity for a host of interesting attitudes!—Alongside of all other instincts he had the dictatorial instinct of a great actor in everything and, as I have already said, as a musician also.—On one occasion, and not without trouble, I made this clear to a Wagnerite pur sang,—clearness and a Wagnerite! I won't say another word. There were reasons for adding; "For heaven's sake, be a little more true unto yourself! We are not in Bayreuth now. In Bayreuth people are only upright in the mass; the individual lies, he even lies to himself. One leaves oneself at home when one goes to Bayreuth, one gives up all right to one's own tongue and choice, to one's own taste and even to one's own courage, one knows these things no longer as one is wont to have them and practise them before God and the world and between one's own four walls. In the theatre no one brings the finest senses of his art with him, and least of all the artist who works for the theatre,—for here loneliness is lacking; everything perfect does not suffer a witness.… In the theatre one becomes mob, herd, woman, Pharisee, electing cattle, patron, idiot—Wagnerite: there, the most personal conscience is bound to submit to the levelling charm of the great multitude, there the neighbour rules, there one becomes a neighbour."



Wagner As A Danger.



1.

The aim after which more modern music is striving, which is now given the strong but obscure name of "unending melody," can be clearly understood by comparing it to one's feelings on entering the sea. Gradually one loses one's footing and one ultimately abandons oneself to the mercy or fury of the elements: one has to swim. In the solemn, or fiery, swinging movement, first slow and then quick, of old music—one had to do something quite different; one had to dance. The measure which was required for this and the control of certain balanced degrees of time and energy, forced the soul of the listener to continual sobriety of thought.—Upon the counterplay of the cooler currents of air which came from this sobriety, and from the warmer breath of enthusiasm, the charm of all good music rested—Richard Wagner wanted another kind of movement,—he overthrew the physiological first principle of all music before his time. It was no longer a matter of walking or dancing,—we must swim, we must hover.… This perhaps decides the whole matter. "Unending melody" really wants to break all the symmetry of time and strength; it actually scorns these things—Its wealth of invention resides precisely in what to an older ear sounds like rhythmic paradox and abuse. From the imitation or the prevalence of such a taste there would arise a danger for music—so great that we can imagine none greater—the complete degeneration of the feeling for rhythm, chaos in the place of rhythm.… The danger reaches its climax when such music cleaves ever more closely to naturalistic play-acting and pantomime, which governed by no laws of form, aim at effect and nothing more.… Expressiveness at all costs and music a servant, a slave to attitudes—this is the end.…



2.

What? would it really be the first virtue of a performance (as performing musical artists now seem to believe), under all circumstances to attain to a haut-relief which cannot be surpassed? If this were applied to Mozart, for instance, would it not be a real sin against Mozart's spirit,—Mozart's cheerful, enthusiastic, delightful and loving spirit? He who fortunately was no German, and whose seriousness is a charming and golden seriousness and not by any means that of a German clodhopper.… Not to speak of the earnestness of the "marble statue".… But you seem to think that all music is the music of the "marble statue"?—that all music should, so to speak, spring out of the wall and shake the listener to his very bowels?… Only thus could music have any effect! But on whom would the effect be made? Upon something on which a noble artist ought never to deign to act,—upon the mob, upon the immature! upon the blases! upon the diseased! upon idiots! upon Wagnerites!…



A Music Without A Future.

Of all the arts which succeed in growing on the soil of a particular culture, music is the last plant to appear; maybe because it is the one most dependent upon our innermost feelings, and therefore the last to come to the surface—at a time when the culture to which it belongs is in its autumn season and beginning to fade. It was only in the art of the Dutch masters that the spirit of mediaeval Christianity found its expression—, its architecture of sound is the youngest, but genuine and legitimate, sister of the Gothic. It was only in Handel's music that the best in Luther and in those like him found its voice, the Judeo-heroic trait which gave the Reformation a touch of greatness-the Old Testament, not the New, become music. It was left to Mozart, to pour out the epoch of Louis XIV., and of the art of Racine and Claude Lorrain, in ringing gold; only in Beethoven's and Rossini's music did the Eighteenth Century sing itself out—the century of enthusiasm, broken ideals, and fleeting joy. All real and original music is a swan song—Even our last form of music, despite its prevalence and its will to prevail, has perhaps only a short time to live, for it sprouted from a soil which was in the throes of a rapid subsidence,—of a culture which will soon be submerged. A certain catholicism of feeling, and a predilection for some ancient indigenous (so-called national) ideals and eccentricities, was its first condition. Wagner's appropriation of old sagas and songs, in which scholarly prejudice taught us to see something German par excellence—now we laugh at it all, the resurrection of these Scandinavian monsters with a thirst for ecstatic sensuality and spiritualisation—the whole of this taking and giving on Wagner's part, in the matter of subjects, characters, passions, and nerves, would also give unmistakable expression to the spirit of his music provided that this music, like any other, did not know how to speak about itself save ambiguously: for musica is a woman.… We must not let ourselves be misled concerning this state of things, by the fact that at this very moment we are living in a reaction, in the heart itself of a reaction. The age of international wars, of ultramontane martyrdom, in fact, the whole interlude-character which typifies the present condition of Europe, may indeed help an art like Wagner's to sudden glory, without, however, in the least ensuring its future prosperity. The Germans themselves have no future.…



We Antipodes.

Perhaps a few people, or at least my friends, will remember that I made my first plunge into life armed with some errors and some exaggerations, but that, in any case, I began with hope in my heart. In the philosophical pessimism of the nineteenth century, I recognised—who knows by what by-paths of personal experience—the symptom of a higher power of thought, a more triumphant plenitude of life, than had manifested itself hitherto in the philosophies of Hume, Kant and Hegel!—I regarded tragic knowledge as the most beautiful luxury of our culture, as its most precious, most noble, most dangerous kind of prodigality; but, nevertheless, in view of its overflowing wealth, as a justifiable luxury. In the same way, I began by interpreting Wagner's music as the expression of a Dionysian powerfulness of soul. In it I thought I heard the earthquake by means of which a primeval life-force, which had been constrained for ages, was seeking at last to burst its bonds, quite indifferent to how much of that which nowadays calls itself culture, would thereby be shaken to ruins. You see how I misinterpreted, you see also, what I bestowed upon Wagner and Schopenhauer—myself.… Every art and every philosophy may be regarded either as a cure or as a stimulant to ascending or declining life: they always presuppose suffering and sufferers. But there are two kinds of sufferers:—those that suffer from overflowing vitality, who need Dionysian art and require a tragic insight into, and a tragic outlook upon, the phenomenon life,—and there are those who suffer from reduced vitality, and who crave for repose, quietness, calm seas, or else the intoxication, the spasm, the bewilderment which art and philosophy provide. Revenge upon life itself—this is the most voluptuous form of intoxication for such indigent souls!… Now Wagner responds quite as well as Schopenhauer to the twofold cravings of these people,—they both deny life, they both slander it but precisely on this account they are my antipodes.—The richest creature, brimming over with vitality,—the Dionysian God and man, may not only allow himself to gaze upon the horrible and the questionable; but he can also lend his hand to the terrible deed, and can indulge in all the luxury of destruction, disaggregation, and negation,—in him evil, purposelessness and ugliness, seem just as allowable as they are in nature—because of his bursting plenitude of creative and rejuvenating powers, which are able to convert every desert into a luxurious land of plenty. Conversely, it is the greatest sufferer and pauper in vitality, who is most in need of mildness, peace and goodness—that which to-day is called humaneness—in thought as well as in action, and possibly of a God whose speciality is to be a God of the sick, a Saviour, and also of logic or the abstract intelligibility of existence even for idiots (—the typical "free-spirits," like the idealists, and "beautiful souls," are decadents—); in short, of a warm, danger-tight, and narrow confinement, between optimistic horizons which would allow of stultification.… And thus very gradually, I began to understand Epicurus, the opposite of a Dionysian Greek, and also the Christian who in fact is only a kind of Epicurean, and who, with his belief that "faith saves," carries the principle of Hedonism as far as possible—far beyond all intellectual honesty.… If I am ahead of all other psychologists in anything, it is in this fact that my eyes are more keen for tracing those most difficult and most captious of all deductions, in which the largest number of mistakes have been made,—the deduction which makes one infer something concerning the author from his work, something concerning the doer from his deed, something concerning the idealist from the need which produced this ideal, and something concerning the imperious craving which stands at the back of all thinking and valuing—In regard to all artists of what kind soever, I shall now avail myself of this radical distinction: does the creative power in this case arise from a loathing of life, or from an excessive plenitude of life? In Goethe, for instance, an overflow of vitality was creative, in Flaubert—hate: Flaubert, a new edition of Pascal, but as an artist with this instinctive belief at heart: "Flaubert est toujours haissable, l'homme n'est rien, l'oeuvre est tout".… He tortured himself when he wrote, just as Pascal tortured himself when he thought—the feelings of both were inclined to be "non-egoistic." … "Disinterestedness"—principle of decadence, the will to nonentity in art as well as in morality.



Where Wagner Is At Home.

Even at the present day, France is still the refuge of the most intellectual and refined culture in Europe, it remains the high school of taste: but one must know where to find this France of taste. The North-German Gazette, for instance, or whoever expresses his sentiments in that paper, thinks that the French are "barbarians,"—as for me, if I had to find the blackest spot on earth, where slaves still required to be liberated, I should turn in the direction of Northern Germany.… But those who form part of that select France take very good care to conceal themselves; they are a small body of men, and there may be some among them who do not stand on very firm legs—a few may be fatalists, hypochondriacs, invalids; others may be enervated, and artificial,—such are those who would fain be artistic,—but all the loftiness and delicacy which still remains to this world, is in their possession. In this France of intellect, which is also the France of pessimism, Schopenhauer is already much more at home than he ever was in Germany, his principal work has already been translated twice, and the second time so excellently that now I prefer to read Schopenhauer in French (—he was an accident among Germans, just as I am—the Germans have no fingers wherewith to grasp us; they haven't any fingers at all,—but only claws). And I do not mention Heine—l'adorable Heine, as they say in Paris—who long since has passed into the flesh and blood of the more profound and more soulful of French lyricists. How could the horned cattle of Germany know how to deal with the delicatesses of such a nature!—And as to Richard Wagner, it is obvious, it is even glaringly obvious, that Paris is the very soil for him, the more French music adapts itself to the needs of l'ame moderne, the more Wagnerian it will become,—it is far enough advanced in this direction already.—In this respect one should not allow one's self to be misled by Wagner himself—it was simply disgraceful on Wagner's part to scoff at Paris, as he did, in its agony in 1871.… In spite of it all, in Germany Wagner is only a misapprehension.—who could be more incapable of understanding anything about Wagner than the Kaiser, for instance?—To everybody familiar with the movement of European culture, this fact, however, is certain, that French romanticism and Richard Wagner are most intimately related. All dominated by literature, up to their very eyes and ears—the first European artists with a universal literary culture,—most of them writers, poets, mediators and minglers of the senses and the arts, all fanatics in expression, great discoverers in the realm of the sublime as also of the ugly and the gruesome, and still greater discoverers in passion, in working for effect, in the art of dressing their windows,—all possessing talent far above their genius,—virtuosos to their backbone, knowing of secret passages to all that seduces, lures, constrains or overthrows; born enemies of logic and of straight lines, thirsting after the exotic, the strange and the monstrous, and all opiates for the senses and the understanding. On the whole, a daring dare-devil, magnificently violent, soaring and high-springing crew of artists, who first had to teach their own century—it is the century of the mob—what the concept "artist" meant. But they were ill.…



Wagner As The Apostle Of Chastity.

1.

Is this the German way? Comes this low bleating forth from German hearts? Should Teutons, sin repenting, lash themselves, Or spread their palms with priestly unctuousness, Exalt their feelings with the censer's fumes, And cower and quake and bend the trembling knee, And with a sickly sweetness plead a prayer? Then ogle nuns, and ring the Ave-bell, And thus with morbid fervour out-do heaven? Is this the German way? Beware, yet are you free, yet your own Lords. What yonder lures is Rome, Rome's faith sung without words.

2.

There is no necessary contrast between sensuality and chastity, every good marriage, every genuine love affair is above this contrast; but in those cases where the contrast exists, it is very far from being necessarily a tragic one. This, at least, ought to hold good of all well-constituted and good-spirited mortals, who are not in the least inclined to reckon their unstable equilibrium between angel and petite bete, without further ado, among the objections to existence, the more refined and more intelligent like Hafis and Goethe, even regarded it as an additional attraction. It is precisely contradictions of this kind which lure us to life.… On the other hand, it must be obvious, that when Circe's unfortunate animals are induced to worship chastity, all they see and worship therein, is their opposite—oh! and with what tragic groaning and fervour, may well be imagined—that same painful and thoroughly superfluous opposition which, towards the end of his life, Richard Wagner undoubtedly wished to set to music and to put on the stage, And to what purpose? we may reasonably ask.

3.

And yet this other question can certainly not be circumvented: what business had he actually with that manly (alas! so unmanly) "bucolic simplicity," that poor devil and son of nature—Parsifal, whom he ultimately makes a catholic by such insidious means—what?—was Wagner in earnest with Parsifal? For, that he was laughed at, I cannot deny, any more than Gottfried Keller can.… We should like to believe that "Parsifal" was meant as a piece of idle gaiety, as the closing act and satyric drama, with which Wagner the tragedian wished to take leave of us, of himself, and above all of tragedy, in a way which befitted him and his dignity, that is to say, with an extravagant, lofty and most malicious parody of tragedy itself, of all the past and terrible earnestness and sorrow of this world, of the most ridiculous form of the unnaturalness of the ascetic ideal, at last overcome. For Parsifal is the subject par excellence for a comic opera.… Is Wagner's "Parsifal" his secret laugh of superiority at himself, the triumph of his last and most exalted state of artistic freedom, of artistic transcendence—is it Wagner able to laugh at himself? Once again we only wish it were so; for what could Parsifal be if he were meant seriously? Is it necessary in his case to say (as I have heard people say) that "Parsifal" is "the product of the mad hatred of knowledge, intellect, and sensuality?" a curse upon the senses and the mind in one breath and in one fit of hatred? an act of apostasy and a return to Christianly sick and obscurantist ideals? And finally even a denial of self, a deletion of self, on the part of an artist who theretofore had worked with all the power of his will in favour of the opposite cause, the spiritualisation and sensualisation of his art? And not only of his art, but also of his life? Let us remember how enthusiastically Wagner at one time walked in the footsteps of the philosopher Feuerbach. Feuerbach's words "healthy sensuality" struck Wagner in the thirties and forties very much as they struck many other Germans—they called themselves the young Germans—that is to say, as words of salvation. Did he ultimately change his mind on this point? It would seem that he had at least had the desire of changing his doctrine towards the end.… Had the hatred of life become dominant in him as in Flaubert? For "Parsifal" is a work of rancour, of revenge, of the most secret concoction of poisons with which to make an end of the first conditions of life, it is a bad work. The preaching of chastity remains an incitement to unnaturalness: I despise anybody who does not regard "Parsifal" as an outrage upon morality.—



How I Got Rid Of Wagner.

1.

Already in the summer of 1876, when the first festival at Bayreuth was at its height, I took leave of Wagner in my soul. I cannot endure anything double-faced. Since Wagner had returned to Germany, he had condescended step by step to everything that I despise—even to anti-Semitism.… As a matter of fact, it was then high time to bid him farewell: but the proof of this came only too soon. Richard Wagner, ostensibly the most triumphant creature alive; as a matter of fact, though, a cranky and desperate decadent, suddenly fell helpless and broken on his knees before the Christian cross.… Was there no German at that time who had the eyes to see, and the sympathy in his soul to feel, the ghastly nature of this spectacle? Was I the only one who suffered from it?—Enough, the unexpected event, like a flash of lightning, made me see only too clearly what kind of a place it was that I had just left,—and it also made me shudder as a man shudders who unawares has just escaped a great danger. As I continued my journey alone, I trembled. Not long after this I was ill, more than ill—I was tired;—tired of the continual disappointments over everything which remained for us modern men to be enthusiastic about, of the energy, industry, hope, youth, and love that are squandered everywhere; tired out of loathing for the whole world of idealistic lying and conscience-softening, which, once again, in the case of Wagner, had scored a victory over a man who was of the bravest; and last but not least, tired by the sadness of a ruthless suspicion—that I was now condemned to be ever more and more suspicious, ever more and more contemptuous, ever more and more deeply alone than I had been theretofore. For I had no one save Richard Wagner.… I was always condemned to the society of Germans.…

2.

Henceforward alone and cruelly distrustful of myself, I then took up sides—not without anger—against myself and for all that which hurt me and fell hard upon me; and thus I found the road to that courageous pessimism which is the opposite of all idealistic falsehood, and which, as it seems to me, is also the road to me—to my mission.… That hidden and dominating thing, for which for long ages we have had no name, until ultimately it comes forth as our mission,—this tyrant in us wreaks a terrible revenge upon us for every attempt we make either to evade him or to escape him, for every one of our experiments in the way of befriending people to whom we do not belong, for every active occupation, however estimable, which may make us diverge from our principal object:—aye, and even for every virtue which would fain protect us from the rigour of our most intimate sense of responsibility. Illness is always the answer, whenever we venture to doubt our right to our mission, whenever we begin to make things too easy for ourselves. Curious and terrible at the same time! It is for our relaxation that we have to pay most dearly! And should we wish after all to return to health, we then have no choice: we are compelled to burden ourselves more heavily than we had been burdened before.…



The Psychologist Speaks.

1.

The oftener a psychologist—a born, an unavoidable psychologist and soul-diviner—turns his attention to the more select cases and individuals, the greater becomes his danger of being suffocated by sympathy: he needs greater hardness and cheerfulness than any other man. For the corruption, the ruination of higher men, is in fact the rule: it is terrible to have such a rule always before our eyes. The manifold torments of the psychologist who has discovered this ruination, who discovers once, and then discovers almost repeatedly throughout all history, this universal inner "hopelessness" of higher men, this eternal "too late!" in every sense—may perhaps one day be the cause of his "going to the dogs" himself. In almost every psychologist we may see a tell-tale predilection in favour of intercourse with commonplace and well-ordered men: and this betrays how constantly he requires healing, that he needs a sort of flight and forgetfulness, away from what his insight and incisiveness—from what his "business"—has laid upon his conscience. A horror of his memory is typical of him. He is easily silenced by the judgment of others, he hears with unmoved countenance how people honour, admire, love, and glorify, where he has opened his eyes and seen—or he even conceals his silence by expressly agreeing with some obvious opinion. Perhaps the paradox of his situation becomes so dreadful that, precisely where he has learnt great sympathy, together with great contempt, the educated have on their part learnt great reverence. And who knows but in all great instances, just this alone happened: that the multitude worshipped a God, and that the "God" was only a poor sacrificial animal! Success has always been the greatest liar—and the "work" itself, the deed, is a success too; the great statesman, the conqueror, the discoverer, are disguised in their creations until they can no longer be recognised, the "work" of the artist, of the philosopher, only invents him who has created it, who is reputed to have created it, the "great men," as they are reverenced, are poor little fictions composed afterwards; in the world of historical values counterfeit coinage prevails.

2.

Those great poets, for example, such as Byron, Musset, Poe, Leopardi, Kleist, Gogol (I do not dare to mention much greater names, but I imply them), as they now appear, and were perhaps obliged to be: men of the moment, sensuous, absurd, versatile, light-minded and quick to trust and to distrust, with souls in which usually some flaw has to be concealed, often taking revenge with their works for an internal blemish, often seeking forgetfulness in their soaring from a too accurate memory, idealists out of proximity to the mud:—what a torment these great artists are and the so-called higher men in general, to him who has once found them out! We are all special pleaders in the cause of mediocrity. It is conceivable that it is just from woman—who is clairvoyant in the world of suffering, and, alas! also unfortunately eager to help and save to an extent far beyond her powers—that they have learnt so readily those outbreaks of boundless sympathy which the multitude, above all the reverent multitude, overwhelms with prying and self-gratifying interpretations. This sympathising invariably deceives itself as to its power; woman would like to believe that love can do everything—it is the superstition peculiar to her. Alas, he who knows the heart finds out how poor, helpless, pretentious, and blundering even the best and deepest love is—how much more readily it destroys than saves.…

3.

The intellectual loathing and haughtiness of every man who has suffered deeply—the extent to which a man can suffer, almost determines the order of rank—the chilling uncertainty with which he is thoroughly imbued and coloured, that by virtue of his suffering he knows more than the shrewdest and wisest can ever know, that he has been familiar with, and "at home" in many distant terrible worlds of which "you know nothing!"—this silent intellectual haughtiness, this pride of the elect of knowledge, of the "initiated," of the almost sacrificed, finds all forms of disguise necessary to protect itself from contact with gushing and sympathising hands, and in general from all that is not its equal in suffering. Profound suffering makes noble; it separates.—One of the most refined forms of disguise is Epicurism, along with a certain ostentatious boldness of taste which takes suffering lightly, and puts itself on the defensive against all that is sorrowful and profound. There are "cheerful men" who make use of good spirits, because they are misunderstood on account of them—they wish to be misunderstood. There are "scientific minds" who make use of science, because it gives a cheerful appearance, and because love of science leads people to conclude that a person is shallow—they wish to mislead to a false conclusion. There are free insolent spirits which would fain conceal and deny that they are at bottom broken, incurable hearts—this is Hamlet's case: and then folly itself can be the mask of an unfortunate and alas! all too dead-certain knowledge.



Epilogue.

1.

I have often asked myself whether I am not much more deeply indebted to the hardest years of my life than to any others. According to the voice of my innermost nature, everything necessary, seen from above and in the light of a superior economy, is also useful in itself—not only should one bear it, one should love it.… Amor fati: this is the very core of my being—And as to my prolonged illness, do I not owe much more to it than I owe to my health? To it I owe a higher kind of health, a sort of health which grows stronger under everything that does not actually kill it!—To it, I owe even my philosophy.… Only great suffering is the ultimate emancipator of spirit, for it teaches one that vast suspiciousness which makes an X out of every U, a genuine and proper X, i.e., the antepenultimate letter. Only great suffering; that great suffering, under which we seem to be over a fire of greenwood, the suffering that takes its time—forces us philosophers to descend into our nethermost depths, and to let go of all trustfulness, all good-nature, all whittling-down, all mildness, all mediocrity,—on which things we had formerly staked our humanity. I doubt whether such suffering improves a man; but I know that it makes him deeper.… Supposing we learn to set our pride, our scorn, our strength of will against it, and thus resemble the Indian who, however cruelly he may be tortured, considers himself revenged on his tormentor by the bitterness of his own tongue. Supposing we withdraw from pain into nonentity, into the deaf, dumb, and rigid sphere of self-surrender, self-forgetfulness, self-effacement: one is another person when one leaves these protracted and dangerous exercises in the art of self-mastery, one has one note of interrogation the more, and above all one has the will henceforward to ask more, deeper, sterner, harder, more wicked, and more silent questions, than anyone has ever asked on earth before.… Trust in life has vanished; life itself has become a problem.—But let no one think that one has therefore become a spirit of gloom or a blind owl! Even love of life is still possible,—but it is a different kind of love.… It is the love for a woman whom we doubt.…

2.

The rarest of all things is this: to have after all another taste—a second taste. Out of such abysses, out of the abyss of great suspicion as well, a man returns as though born again, he has a new skin, he is more susceptible, more full of wickedness; he has a finer taste for joyfulness; he has a more sensitive tongue for all good things; his senses are more cheerful; he has acquired a second, more dangerous, innocence in gladness; he is more childish too, and a hundred times more cunning than ever he had been before.

Oh, how much more repulsive pleasure now is to him, that coarse, heavy, buff-coloured pleasure, which is understood by our pleasure-seekers, our "cultured people," our wealthy folk and our rulers! With how much more irony we now listen to the hubbub as of a country fair, with which the "cultured" man and the man about town allow themselves to be forced through art, literature, music, and with the help of intoxicating liquor, to "intellectual enjoyments." How the stage-cry of passion now stings our ears; how strange to our taste the whole romantic riot and sensuous bustle, which the cultured mob are so fond of, together with its aspirations to the sublime, to the exalted and the distorted, have become. No: if we convalescents require an art at all, it is another art—-a mocking, nimble, volatile, divinely undisturbed, divinely artificial art, which blazes up like pure flame into a cloudless sky! But above all, an art for artists, only for artists! We are, after all, more conversant with that which is in the highest degree necessary—cheerfulness, every kind of cheerfulness, my friends!… We men of knowledge, now know something only too well: oh how well we have learnt by this time, to forget, not to know, as artists!… As to our future: we shall scarcely be found on the track of those Egyptian youths who break into temples at night, who embrace statues, and would fain unveil, strip, and set in broad daylight, everything which there are excellent reasons to keep concealed.(15) No, we are disgusted with this bad taste, this will to truth, this search after truth "at all costs;" this madness of adolescence, "the love of truth;" we are now too experienced, too serious, too joyful, too scorched, too profound for that.… We no longer believe that truth remains truth when it is unveiled,—we have lived enough to understand this.… To-day it seems to us good form not to strip everything naked, not to be present at all things, not to desire to "know" all. "Tout comprendre c'est tout mepriser."… "Is it true," a little girl once asked her mother, "that the beloved Father is everywhere?—I think it quite improper,"—a hint to philosophers.… The shame with which Nature has concealed herself behind riddles and enigmas should be held in higher esteem. Perhaps truth is a woman who has reasons for not revealing her reasons?… Perhaps her name, to use a Greek word is Baubo?—Oh these Greeks, they understood the art of living! For this it is needful to halt bravely at the surface, at the fold, at the skin, to worship appearance, and to believe in forms, tones, words, and the whole Olympus of appearance! These Greeks were superficial—from profundity.… And are we not returning to precisely the same thing, we dare-devils of intellect who have scaled the highest and most dangerous pinnacles of present thought, in order to look around us from that height, in order to look down from that height? Are we not precisely in this respect—Greeks? Worshippers of form, of tones, of words? Precisely on that account—artists?



SELECTED APHORISMS FROM NIETZSCHE'S RETROSPECT OF HIS YEARS OF FRIENDSHIP WITH WAGNER.



(Summer 1878.)



1.

My blunder was this, I travelled to Bayreuth with an ideal in my breast, and was thus doomed to experience the bitterest disappointment. The preponderance of ugliness, grotesqueness and strong pepper thoroughly repelled me.



2.

I utterly disagree with those who were dissatisfied with the decorations, the scenery and the mechanical contrivances at Bayreuth. Far too much industry and ingenuity was applied to the task of chaining the imagination to matters which did not belie their epic origin. But as to the naturalism of the attitudes, of the singing, compared with the orchestra!! What affected, artificial and depraved tones, what a distortion of nature, were we made to hear!



3.

We are witnessing the death agony of the last Art: Bayreuth has convinced me of this.



4.

My picture of Wagner, completely surpassed him; I had depicted an ideal monster—one, however, which is perhaps quite capable of kindling the enthusiasm of artists. The real Wagner, Bayreuth as it actually is, was only like a bad, final proof, pulled on inferior paper from the engraving which was my creation. My longing to see real men and their motives, received an extraordinary impetus from this humiliating experience.



5.

This, to my sorrow, is what I realised; a good deal even struck me with sudden fear. At last I felt, however, that if only I could be strong enough to take sides against myself and what I most loved I would find the road to truth and get solace and encouragement from it—and in this way I became filled with a sensation of joy far greater than that upon which I was now voluntarily turning my back.



6.

I was in love with art, passionately in love, and in the whole of existence saw nothing else than art—and this at an age when, reasonably enough, quite different passions usually possess the soul.



7.

Goethe said: "The yearning spirit within me, which in earlier years I may perhaps have fostered too earnestly, and which as I grew older I tried my utmost to combat, did not seem becoming in the man, and I therefore had to strive to attain to more complete freedom." Conclusion?—I have had to do the same.



8.

He who wakes us always wounds us.



9.

I do not possess the talent of being loyal, and what is still worse, I have not even the vanity to try to appear as if I did.



10.

He who accomplishes anything that lies beyond the vision and the experience of his acquaintances,—provokes envy and hatred masked as pity,—prejudice regards the work as decadence, disease, seduction. Long faces.



11.

I frankly confess that I had hoped that by means of art the Germans would become thoroughly disgusted with decaying Christianity—I regarded German mythology as a solvent, as a means of accustoming people to polytheism.

What a fright I had over the Catholic revival!!



12.

It is possible neither to suffer sufficiently acutely from life, nor to be so lifeless and emotionally weak, as to have need of Wagner's art, as to require it as a medium. This is the principal reason of one's opposition to it, and not baser motives; something to which we are not driven by any personal need, and which we do not require, we cannot esteem so highly.



13.

It is a question either of no longer requiring Wagner's art, or of still requiring it.

Gigantic forces lie concealed in it: it drives one beyond its own domain.



14.

Goethe said: "Are not Byron's audacity, sprightliness and grandeur all creative? We must beware of always looking for this quality in that which is perfectly pure and moral. All greatness is creative the moment we realise it." This should be applied to Wagner's art.



15.

We shall always have to credit Wagner with the fact that in the second half of the nineteenth century he impressed art upon our memory as an important and magnificent thing. True, he did this in his own fashion, and this was not the fashion of upright and far-seeing men.



16.

Wagner versus the cautious, the cold and the contented of the world—in this lies his greatness—he is a stranger to his age—he combats the frivolous and the super-smart—But he also fights the just, the moderate, those who delight in the world (like Goethe), and the mild, the people of charm, the scientific among men—this is the reverse of the medal.



17.

Our youth was up in arms against the soberness of the age. It plunged into the cult of excess, of passion, of ecstasy, and of the blackest and most austere conception of the world.



18.

Wagner pursues one form of madness, the age another form. Both carry on their chase at the same speed, each is as blind and as unjust as the other.



19.

It is very difficult to trace the course of Wagner's inner development—no trust must be placed in his own description of his soul's experiences. He writes party-pamphlets for his followers.



20.

It is extremely doubtful whether Wagner is able to bear witness about himself.



21.

There are men who try in vain to make a principle out of themselves. This was the case with Wagner.



22.

Wagner's obscurity concerning final aims; his non-antique fogginess.



23.

All Wagner's ideas straightway become manias; he is _tyrannised_ over by them. How can _such a man allow himself to be tyrannised over in this _ way_! For instance by his hatred of Jews. He _kills_ his themes like his "ideas," by means of his violent love of repeating them. The problem of excessive length and breadth; he bores us with his raptures.



24.

"C'est la rage de voulour penser et sentir au dela de sa force" (Doudan). The Wagnerites.



25.

Wagner whose ambition far exceeds his natural gifts, has tried an incalculable number of times to achieve what lay beyond his powers—but it almost makes one shudder to see some one assail with such persistence that which defies conquest—the fate of his constitution.



26.

He is always thinking of the most extreme expression,—in every word. But in the end superlatives begin to pall.



27.

There is something which is in the highest degree suspicious in Wagner, and that is Wagner's suspicion. It is such a strong trait in him, that on two occasions I doubted whether he were a musician at all.



28.

The proposition: "in the face of perfection there is no salvation save love,"(16) is thoroughly Wagnerian. Profound jealousy of everything great from which he can draw fresh ideas. Hatred of all that which he cannot approach, the Renaissance, French and Greek art in style.



29.

Wagner is jealous of all periods that have shown restraint: he despises beauty and grace, and finds only his own virtues in the "Germans," and even attributes all his failings to them.



30.

Wagner has not the power to unlock and liberate the soul of those he frequents. Wagner is not sure of himself, but distrustful and arrogant. His art has this effect upon artists, it is envious of all rivals.



31.

Plato's Envy. He would fain monopolise Socrates. He saturates the latter with himself, pretends to adorn him (καλὸς Σωκράτης), and tries to separate all Socratists from him in order himself to appear as the only true apostle. But his historical presentation of him is false, even to a parlous degree: just as Wagner's presentation of Beethoven and Shakespeare is false.



32.

When a dramatist speaks about himself he plays a part: this is inevitable. When Wagner speaks about Bach and Beethoven he speaks like one for whom he would fain be taken. But he impresses only those who are already convinced, for his dissimulation and his genuine nature are far too violently at variance.



33.

Wagner struggles against the "frivolity" in his nature, which to him the ignoble (as opposed to Goethe) constituted the joy of life.



34.

Wagner has the mind of the ordinary man who prefers to trace things to one cause. The Jews do the same: one aim, therefore one Saviour. In this way he simplifies German and culture; wrongly but strongly.



35.

Wagner admitted all this to himself often enough when in private communion with his soul. I only wish he had also admitted it publicly. For what constitutes the greatness of a character if it is not this, that he who possesses it is able to take sides even against himself in favour of truth.



Wagner's Teutonism.



36.

That which is un-German in Wagner. He lacks the German charm and grace of a Beethoven, a Mozart, a Weber; he also lacks the flowing, cheerful fire (Allegro con brio) of Beethoven and Weber. He cannot be free and easy without being grotesque. He lacks modesty, indulges in big drums, and always tends to surcharge his effect. He is not the good official that Bach was. Neither has he that Goethean calm in regard to his rivals.



37.

Wagner always reaches the high-water mark of his vanity when he speaks of the German nature (incidentally it is also the height of his imprudence); for, if Frederick the Great's justice, Goethe's nobility and freedom from envy, Beethoven's sublime resignation, Bach's delicately transfigured spiritual life,—if steady work performed without any thought of glory and success, and without envy, constitute the true German qualities, would it not seem as if Wagner almost wished to prove he is no German?



38.

Terrible wildness, abject sorrow, emptiness, the shudder of joy, unexpectedness,—in short all the qualities peculiar to the Semitic race! I believe that the Jews approach Wagner's art with more understanding than the Aryans do.



39.

A passage concerning the Jews, taken from Taine.—As it happens, I have misled the reader, the passage does not concern Wagner at all.—But can it be possible that Wagner is a Jew? In that case we could readily understand his dislike of Jews.(17)



40.

Wagner's art is absolutely the art of the age: an aesthetic age would have rejected it. The more subtle people amongst us actually do reject it even now. The coarsifying of everything aesthetic.—Compared with Goethe's ideal it is very far behind. The moral contrast of these self-indulgent burningly loyal creatures of Wagner, acts like a spur, like an irritant and even this sensation is turned to account in obtaining an effect.



41.

What is it in our age that Wagner's art expresses? That brutality and most delicate weakness which exist side by side, that running wild of natural instincts, and nervous hyper-sensitiveness, that thirst for emotion which arises from fatigue and the love of fatigue.—All this is understood by the Wagnerites.



42.

Stupefaction or intoxication constitute all Wagnerian art. On the other hand I could mention instances in which Wagner stands higher, in which real joy flows from him.



43.

The reason why the figures in Wagner's art behave so madly, is because he greatly feared lest people would doubt that they were alive.



44.

Wagner's art is an appeal to inartistic people; all means are welcomed which help towards obtaining an effect. It is calculated not to produce an artistic effect but an effect upon the nerves in general.



45.

Apparently in Wagner we have an art for everybody, because coarse and subtle means seem to be united in it. Albeit its pre-requisite may be musico-aesthetic education, and particularly with moral indifference.



46.

In Wagner we find the most ambitious combination of all means with the view of obtaining the strongest effect whereas genuine musicians quietly develop individual genres.



47.

Dramatists are borrowers—their principal source of wealth—artistic thoughts drawn from the epos. Wagner borrowed from classical music besides. Dramatists are constructive geniuses, they are not inventive and original as the epic poets are. Drama takes a lower rank than the epos: it presupposes a coarser and more democratic public.



48.

Wagner does not altogether trust music. He weaves kindred sensations into it in order to lend it the character of greatness. He measures himself on others; he first of all gives his listeners intoxicating drinks in order to lead them into believing that it was the music that intoxicated them.



49.

The same amount of talent and industry which makes the classic, when it appears some time too late, also makes the baroque artist like Wagner.



50.

Wagner's art is calculated to appeal to short-sighted people—one has to get much too close up to it (Miniature): it also appeals to long-sighted people, but not to those with normal sight.



Contradictions in the Idea of Musical Drama.



51.

Just listen to the second act of the "Goetterdaemmerung," without the drama. It is chaotic music, as wild as a bad dream, and it is as frightfully distinct as if it desired to make itself clear even to deaf people. This volubility with nothing to say is alarming. Compared with it the drama is a genuine relief.—Is the fact that this music when heard alone, is, as a whole intolerable (apart from a few intentionally isolated parts) in its favour? Suffice it to say that this music without its accompanying drama, is a perpetual contradiction of all the highest laws of style belonging to older music: he who thoroughly accustoms himself to it, loses all feeling for these laws. But has the drama been improved thanks to this addition? A symbolic interpretation has been affixed to it, a sort of philological commentary, which sets fetters upon the inner and free understanding of the imagination—it is tyrannical. Music is the language of the commentator, who talks the whole of the time and gives us no breathing space. Moreover his is a difficult language which also requires to be explained. He who step by step has mastered, first the libretto (language!), then converted it into action in his mind's eye, then sought out and understood, and became familiar with the musical symbolism thereto: aye, and has fallen in love with all three things: such a man then experiences a great joy. But how exacting! It is quite impossible to do this save for a few short moments,—such tenfold attention on the part of one's eyes, ears, understanding, and feeling, such acute activity in apprehending without any productive reaction, is far too exhausting!—Only the very fewest behave in this way: how is it then that so many are affected? Because most people are only intermittingly attentive, and are inattentive for sometimes whole passages at a stretch; because they bestow their undivided attention now upon the music, later upon the drama, and anon upon the scenery—that is to say they take the work to pieces.—But in this way the kind of work we are discussing is condemned: not the drama but a moment of it is the result, an arbitrary selection. The creator of a new genre should consider this! The arts should not always be dished up together,—but we should imitate the moderation of the ancients which is truer to human nature.



52.

Wagner reminds one of lava which blocks its own course by congealing, and suddenly finds itself checked by dams which it has itself built. There is no Allegro con fuoco for him.



53.

I compare Wagner's music, which would fain have the same effect as speech, with that kind of sculptural relief which would have the same effect as painting. The highest laws of style are violated, and that which is most sublime can no longer be achieved.



54.

The general heaving, undulating and rolling of Wagner's art.



55.

In regard to Wagner's rejection of form, we are reminded of Goethe's remark in conversation with Eckermann: "there is no great art in being brilliant if one respects nothing."



56.

Once one theme is over, Wagner is always embarrassed as to how to continue. Hence the long preparation, the suspense. His peculiar craftiness consisted in transvaluing his weakness into virtues.—



57.

The lack of melody and the poverty of melody in Wagner. Melody is a whole consisting of many beautiful proportions, it is the reflection of a well-ordered soul. He strives after melody; but if he finds one, he almost suffocates it in his embrace.



58.

The natural nobility of a Bach and a Beethoven, the beautiful soul (even of a Mendelssohn) are wanting in Wagner. He is one degree lower.



59.

Wagner imitates himself again and again—mannerisms. That is why he was the quickest among musicians to be imitated. It is so easy.



60.

Mendelssohn who lacked the power of radically staggering one (incidentally this was the talent of the Jews in the Old Testament), makes up for this by the things which were his own, that is to say: freedom within the law, and noble emotions kept within the limits of beauty.



61.

Liszt, the first representative of all musicians, but no musician. He was the prince, not the statesman. The conglomerate of a hundred musicians' souls, but not enough of a personality to cast his own shadow upon them.



62.

The most wholesome phenomenon is Brahms, in whose music there is more German blood than in that of Wagner's. With these words I would say something complimentary, but by no means wholly so.



63.

In Wagner's writings there is no greatness or peace, but presumption. Why?



64.

Wagner's Style.—The habit he acquired, from his earliest days, of having his say in the most important matters without a sufficient knowledge of them, has rendered him the obscure and incomprehensible writer that he is. In addition to this he aspired to imitating the witty newspaper article, and finally acquired that presumption which readily joins hands with carelessness "and, behold, it was very good."



65.

I am alarmed at the thought of how much pleasure I could find in Wagner's style, which is so careless as to be unworthy of such an artist.



66.

In Wagner, as in Brahms, there is a blind denial of the healthy, in his followers this denial is deliberate and conscious.



67.

Wagner's art is for those who are conscious of an essential blunder in the conduct of their lives. They feel either that they have checked a great nature by a base occupation, or squandered it through idle pursuits, a conventional marriage, &c. &c.

In this quarter the condemnation of the world is the outcome of the condemnation of the ego.



68.

Wagnerites do not wish to alter themselves in any way, they live discontentedly in insipid, conventional and brutal circumstances—only at intervals does art have to raise them as by magic above these things. Weakness of will.



69.

Wagner's art is for scholars who do not dare to become philosophers: they feel discontented with themselves and are generally in a state of obtuse stupefaction—from time to time they take a bath in the opposite conditions.



70.

I feel as if I had recovered from an illness: with a feeling of unutterable joy I think of Mozart's Requiem. I can once more enjoy simple fare.



71.

I understand Sophocles' development through and through—it was the repugnance to pomp and pageantry.



72.

I gained an insight into the injustice of idealism, by noticing that I avenged myself on Wagner for the disappointed hopes I had cherished of him.



73.

I leave my loftiest duty to the end, and that is to thank Wagner and Schopenhauer publicly, and to make them as it were take sides against themselves.



74.

I counsel everybody not to fight shy of such paths (Wagner and Schopenhauer). The wholly unphilosophic feeling of remorse, has become quite strange to me.



Wagner's Effects.

75.

We must strive to oppose the false after-effects of Wagner's art. If he, in order to create Parsifal, is forced to pump fresh strength from religious sources, this is not an example but a danger.

76.

I entertain the fear that the effects of Wagner's art will ultimately pour into that torrent which takes its rise on the other side of the mountains, and which knows how to flow even over mountains.(18)



FOOTNOTES

1 It should be noted that the first and second editions of these essays on Wagner appeared in pamphlet form, for which the above first preface was written.

2 Fisher Unwin, 1911.

3 T. N. Foulis, 1910.

4 See Richard Wagner, by Houston Stuart Chamberlain (translated by G. A. Hight), pp. 15, 16.

5 Constable & Co., 1911.

6 See Author's Preface to "The Case of Wagner" in this volume.

7 Senta is the heroine in the "Flying Dutchman"—Tr.

8 A character in "Tannhauser."—Tr.

9 See "The Will to Power," vol. ii., authorised English edition.—Tr.

10 Note.—It was a real disaster for aesthetics when the word drama got to be translated by "action." Wagner is not the only culprit here, the whole world does the same,—even the philologists who ought to know better. What ancient drama had in view was grand pathetic scenes,—it even excluded action (or placed it before the piece or behind the scenes). The word drama is of Doric origin, and according to the usage of the Dorian language it meant "event," "history,"—both words in a hieratic sense. The oldest drama represented local legends, "sacred history," upon which the foundation of the cult rested (—thus it was not "action," but fatality. δρᾶν in Doric has nothing to do with action).

11 Hegel and his school wrote notoriously obscure German.—Tr.

12 Was Wagner a German at all? There are reasons enough for putting this question. It is difficult to find a single German trait in his character. Great learner that he was, he naturally imitated a great deal that was German—but that is all. His very soul contradicts everything which hitherto has been regarded as German, not to mention German musicians!—His father was an actor of the name of Geyer.… That which has been popularised hitherto as "Wagner's life" is fable convenue if not something worse. I confess my doubts on any point which is vouched for by Wagner alone. He was not proud enough to be able to suffer the truth about himself. Nobody had less pride than he. Like Victor Hugo he remained true to himself even in his biography,—he remained an actor.

13 This undoubtedly refers to Nietzsche's only disciple and friend, Peter Gast—Tr.

14 My "Genealogy of Morals" contains the best exposition of the antithesis "noble morality" and "Christian morality"; a more decisive turning point in the history of religious and moral science does not perhaps exist. This book, which is a touchstone by which I can discover who are my peers, rejoices in being accessible only to the most elevated and most severe minds: the others have not the ears to hear me. One must have one's passion in things, wherein no one has passion nowadays.

15 An allusion to Schiller's poem: "Das verschleierte Bild zu Sais."—Tr.

16 What Schiller said of Goethe.—Tr.

17 See note on page 37.

18 It should be noted that the German Catholic party is called the Ultramontane Party. The river which can thus flow over mountains is Catholicism, towards which Nietzsche thought Wagner's art to be tending.—Tr.

THE END