238.
STRIVING FOR GENTLENESS.—When a vigorous nature has not an inclination towards cruelty, and is not always preoccupied with itself; it involuntarily strives after gentleness—this is its distinctive characteristic. Weak natures, on the other hand, have a tendency towards harsh judgments—they associate themselves with the heroes of the contempt of mankind, the religious or philosophical traducers of existence, or they take up their position behind strict habits and punctilious “callings”: in this way they seek to give themselves a character and a kind of strength. This is likewise done quite involuntarily.
239.
A HINT TO MORALISTS.—Our musicians have made a great discovery. They have found out that interesting ugliness is possible even in their art; this is why they throw themselves with such enthusiastic intoxication into this ocean of ugliness, and never before has it been so easy to make music. It is only now that we have got the general, dark–coloured background, upon which every luminous ray of fine music, however faint, seems tinged with golden emerald lustre; it is only now that we dare to inspire our audience with feelings of impetuosity and indignation, taking away their breath, so to speak, in order that we may afterwards, in an interval of restful harmony, inspire them with a feeling of bliss which will be to the general advantage of a proper appreciation of music.
We have discovered the contrast: it is only now that the strongest effects are possible—and cheap. No one bothers any more about good music. But you must hurry up! When any art has once made this discovery, it has but a short space of time to live.—Oh, if only our thinkers could probe into the depths of the souls of our musicians when listening to their music! How long we must wait until we again have an opportunity of surprising the inward man in the very act of his evil doing, and his innocence of this act! For our musicians have not the slightest suspicion that it is their own history, the history of the disfigurement of the soul, which they are transposing into music. In former times a good musician was almost forced by the exigencies of his art to become a good man—and now!
240.
THE MORALITY OF THE STAGE.—The man who imagines that the effect of Shakespeare’s plays is a moral one, and that the sight of Macbeth irresistibly induces us to shun the evil of ambition, is mistaken, and he is mistaken once more if he believes that Shakespeare himself thought so. He who is truly obsessed by an ardent ambition takes delight in beholding this picture of himself; and when the hero is driven to destruction by his passion, this is the most pungent spice in the hot drink of this delight. Did the poet feel this in another way? How royally and with how little of the knave in him does his ambitious hero run his course from the moment of his great crime! It is only from this moment that he becomes “demoniacally” attractive, and that he encourages similar natures to imitate him.—There is something demoniacal here: something which is in revolt against advantage and life, in favour of a thought and an impulse. Do you think that Tristan and Isolde are warnings against adultery, merely because adultery has resulted in the death of both of them? This would be turning poets upside down, these poets who, especially Shakespeare, are in love with the passions in themselves, and not less so with the readiness for death which they give rise to: this mood in which the heart no more clings to life than a drop of water does to the glass. It is not the guilt and its pernicious consequences which interests these poets—Shakespeare as little as Sophocles (in the Ajax, Philoctetes, Œdipus)—however easy it might have been in the cases just mentioned to make the guilt the lever of the play, it was carefully avoided by the poets.
In the same way the tragic poet by his images of life does not wish to set us against life. On the contrary, he exclaims; “It is the charm of charms, this exciting, changing, and dangerous existence of ours, so often gloomy and so often bathed in sun! Life is an adventure—whichever side you may take in life it will always retain this character!”—Thus speaks the poet of a restless and vigorous age, an age which is almost intoxicated and stupefied by its superabundance of blood and energy, in an age more evil than our own: and this is why it is necessary for us to adapt and accommodate ourselves first to the purpose of a Shakespearian play, that is, by misunderstanding it.
241.
FEAR AND INTELLIGENCE.—If that which is now expressly maintained is true, viz. that the cause of the black pigment of the skin must not be sought in light, might this phenomenon perhaps be the ultimate effect of frequent fits of passion accumulated for century after century (and an afflux of blood under the skin)? while in other and more intelligent races the equally frequent spasms of fear and blanching may have resulted in the white colour of the skin?—For the degree of timidity is the standard by which the intelligence may be measured; and the fact that men give themselves up to blind anger is an indication that their animal nature is still near the surface, and is longing for an opportunity to make its presence felt once more. Thus a brownish–grey would probably be the primitive colour of man—something of the ape and the bear, as is only proper.
242.
INDEPENDENCE.—Independence (which in its weakest form is called “freedom of thought”) is the type of resignation which the tyrannical man ends by accepting—he who for a long time had been looking for something to govern, but without finding anything except himself.
243.
THE TWO COURSES.—When we endeavour to examine the mirror in itself we discover in the end that we can detect nothing there but the things which it reflects. If we wish to grasp the things reflected we touch nothing in the end but the mirror.—This is the general history of knowledge.
244.
DELIGHT IN REALITY.—Our present inclination to take delight in reality—for almost every one of us possesses it—can only be explained by the fact that we have taken delight in the unreal for such a long time that we have got tired of it. This inclination in its present form, without choice and without refinement, is not without danger—its least danger is its want of taste.
245.
THE SUBTLETY OF THE FEELING OF POWER.—Napoleon was greatly mortified at the fact that he could not speak well, and he did not deceive himself in this respect: but his thirst for power, which never despised the slightest opportunity of showing itself, and which was still more subtle than his subtle intellect, led him to speak even worse than he might have done. It was in this way that he revenged himself upon his own mortification (he was jealous of all his emotions because they possessed power) in order to enjoy his autocratic pleasure.
He enjoyed this pleasure a second time in respect to the ears and judgment of his audience, as if it were good enough for them to be addressed in this way. He even secretly enjoyed the thought of bewildering their judgment and good taste by the thunder and lightning of his highest authority—that authority which lies in the union of power and genius—while both his judgment and his good taste held fast proudly and indifferently to the truth that he did not speak well.—Napoleon, as the complete and fully developed type of a single instinct, belongs to ancient humanity, whose characteristic—the simple construction and ingenious development and realisation of a single motive or a small number of motives—may be easily enough recognised.
246.
ARISTOTLE AND MARRIAGE.—Insanity makes its appearance in the children of great geniuses, and stupidity in those of the most virtuous—so says Aristotle. Did he mean by this to invite exceptional men to marry?
247.
THE ORIGIN OF A BAD TEMPERAMENT.—Injustice and instability in the minds of certain men, their disordered and immoderate manner, are the ultimate consequences of the innumerable logical inexactitudes, superficialities, and hasty conclusions of which their ancestors have been guilty. Men of a good temperament, on the other hand, are descended from solid and meditative races which have set a high value upon reason—whether for praiseworthy or evil purposes is of no great importance.