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- Author: Friedrich Wilhelm Nietzsche
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136. The one seeks an accoucheur for his thoughts, the other seeks some one whom he can assist: a good conversation thus originates.
137. In intercourse with scholars and artists one readily makes mistakes of opposite kinds: in a remarkable scholar one not infrequently finds a mediocre man; and often, even in a mediocre artist, one finds a very remarkable man.
138. We do the same when awake as when dreaming: we only invent and imagine him with whom we have intercourse—and forget it immediately.
139. In revenge and in love woman is more barbarous than man.
140. ADVICE AS A RIDDLE.—"If the band is not to break, bite it first—secure to make!"
141. The belly is the reason why man does not so readily take himself for a God.
142. The chastest utterance I ever heard: "Dans le veritable amour c'est l'ame qui enveloppe le corps."
143. Our vanity would like what we do best to pass precisely for what is most difficult to us.—Concerning the origin of many systems of morals.
144. When a woman has scholarly inclinations there is generally something wrong with her sexual nature. Barrenness itself conduces to a certain virility of taste; man, indeed, if I may say so, is "the barren animal."
145. Comparing man and woman generally, one may say that woman would not have the genius for adornment, if she had not the instinct for the SECONDARY role.
146. He who fights with monsters should be careful lest he thereby become a monster. And if thou gaze long into an abyss, the abyss will also gaze into thee.
147. From old Florentine novels—moreover, from life: Buona femmina e mala femmina vuol bastone.—Sacchetti, Nov. 86.
148. To seduce their neighbour to a favourable opinion, and afterwards to believe implicitly in this opinion of their neighbour—who can do this conjuring trick so well as women?
149. That which an age considers evil is usually an unseasonable echo of what was formerly considered good—the atavism of an old ideal.
150. Around the hero everything becomes a tragedy; around the demigod everything becomes a satyr-play; and around God everything becomes—what? perhaps a "world"?
151. It is not enough to possess a talent: one must also have your permission to possess it;—eh, my friends?
152. "Where there is the tree of knowledge, there is always Paradise": so say the most ancient and the most modern serpents.
153. What is done out of love always takes place beyond good and evil.
154. Objection, evasion, joyous distrust, and love of irony are signs of health; everything absolute belongs to pathology.
155. The sense of the tragic increases and declines with sensuousness.
156. Insanity in individuals is something rare—but in groups, parties, nations, and epochs it is the rule.
157. The thought of suicide is a great consolation: by means of it one gets successfully through many a bad night.
158. Not only our reason, but also our conscience, truckles to our strongest impulse—the tyrant in us.
159. One MUST repay good and ill; but why just to the person who did us good or ill?
160. One no longer loves one's knowledge sufficiently after one has communicated it.
161. Poets act shamelessly towards their experiences: they exploit them.
162. "Our fellow-creature is not our neighbour, but our neighbour's neighbour":—so thinks every nation.
163. Love brings to light the noble and hidden qualities of a lover—his rare and exceptional traits: it is thus liable to be deceptive as to his normal character.
164. Jesus said to his Jews: "The law was for servants;—love God as I love him, as his Son! What have we Sons of God to do with morals!"
165. IN SIGHT OF EVERY PARTY.—A shepherd has always need of a bell-wether—or he has himself to be a wether occasionally.
166. One may indeed lie with the mouth; but with the accompanying grimace one nevertheless tells the truth.
167. To vigorous men intimacy is a matter of shame—and something precious.
168. Christianity gave Eros poison to drink; he did not die of it, certainly, but degenerated to Vice.
169. To talk much about oneself may also be a means of concealing oneself.
170. In praise there is more obtrusiveness than in blame.
171. Pity has an almost ludicrous effect on a man of knowledge, like tender hands on a Cyclops.
172. One occasionally embraces some one or other, out of love to mankind (because one cannot embrace all); but this is what one must never confess to the individual.
173. One does not hate as long as one disesteems, but only when one esteems equal or superior.
174. Ye Utilitarians—ye, too, love the UTILE only as a VEHICLE for your inclinations,—ye, too, really find the noise of its wheels insupportable!
175. One loves ultimately one's desires, not the thing desired.
176. The vanity of others is only counter to our taste when it is counter to our vanity.
177. With regard to what "truthfulness" is, perhaps nobody has ever been sufficiently truthful.
178. One does not believe in the follies of clever men: what a forfeiture of the rights of man!
179. The consequences of our actions seize us by the forelock, very indifferent to the fact that we have meanwhile "reformed."
180. There is an innocence in lying which is the sign of good faith in a cause.
181. It is inhuman to bless when one is being cursed.
182. The familiarity of superiors embitters one, because it may not be returned.
183. "I am affected, not because you have deceived me, but because I can no longer believe in you."
184. There is a haughtiness of kindness which has the appearance of wickedness.
185. "I dislike him."—Why?—"I am not a match for him."—Did any one ever answer so?
CHAPTER V. THE NATURAL HISTORY OF MORALS
186. The moral sentiment in Europe at present is perhaps as subtle, belated, diverse, sensitive, and refined, as the "Science of Morals" belonging thereto is recent, initial, awkward, and coarse-fingered:—an interesting contrast, which sometimes becomes incarnate and obvious in the very person of a moralist. Indeed, the expression, "Science of Morals" is, in respect to what is designated thereby, far too presumptuous and counter to GOOD taste,—which is always a foretaste of more modest expressions. One ought to avow with the utmost fairness WHAT is still necessary here for a long time, WHAT is alone proper for the present: namely, the collection of material, the comprehensive survey and classification of an immense domain of delicate sentiments of worth, and distinctions of worth, which live, grow, propagate, and perish—and perhaps attempts to give a clear idea of the recurring and more common forms of these living crystallizations—as preparation for a THEORY OF TYPES of morality. To be sure, people have not hitherto been so modest. All the philosophers, with a pedantic and ridiculous seriousness, demanded of themselves something very much higher, more pretentious, and ceremonious, when they concerned themselves with morality as a science: they wanted to GIVE A BASIC to morality—and every philosopher hitherto has believed that he has given it a basis; morality itself, however, has been regarded as something "given." How far from their awkward pride was the seemingly insignificant problem—left in dust and decay—of a description of forms of morality, notwithstanding that the finest hands and senses could hardly be fine enough for it! It was precisely owing to moral philosophers' knowing the moral facts imperfectly, in an arbitrary epitome, or an accidental abridgement—perhaps as the morality of their environment, their position, their church, their Zeitgeist, their climate and zone—it was precisely because they were badly instructed with regard to nations, eras, and past ages, and were by no means eager to know about these matters, that they did not even come in sight of the real problems of morals—problems which only disclose themselves by a comparison of MANY kinds of morality. In every "Science of Morals" hitherto, strange as it may sound, the problem of morality itself has been OMITTED: there has been no suspicion that there was anything problematic there! That which philosophers called "giving a basis to morality," and endeavoured to realize, has, when seen in a right light, proved merely a learned form of good FAITH in prevailing morality, a new means of its EXPRESSION, consequently just a matter-of-fact within the sphere of a definite morality, yea, in its ultimate motive, a sort of denial that it is LAWFUL for this morality to be called in question—and in any case the reverse of the testing, analyzing, doubting, and vivisecting of this very faith. Hear, for instance, with what innocence—almost worthy of honour—Schopenhauer represents his own task, and draw your conclusions concerning the scientificness of a "Science" whose latest master still talks in the strain of children and old wives: "The principle," he says (page 136 of the Grundprobleme der Ethik), [Footnote: Pages 54-55 of Schopenhauer's Basis of Morality, translated by Arthur B. Bullock, M.A. (1903).] "the axiom about the purport of which all moralists are PRACTICALLY agreed: neminem laede, immo omnes quantum potes juva—is REALLY the proposition which all moral teachers strive to establish, ... the REAL basis of ethics which has been sought, like the philosopher's stone, for centuries."—The difficulty of establishing the proposition referred to may indeed be great—it is well known that Schopenhauer also was unsuccessful in his efforts; and whoever has thoroughly realized how absurdly false and sentimental this proposition is, in a world whose essence is Will to Power, may be reminded that Schopenhauer, although a pessimist, ACTUALLY—played the flute... daily after dinner: one may read about the matter in his biography. A question by the way: a pessimist, a repudiator of God and of the world, who MAKES A HALT at morality—who assents to morality, and plays the flute to laede-neminem morals, what? Is that really—a pessimist?
187. Apart from the value of such assertions as "there is a categorical imperative in us," one can always ask: What does such an assertion indicate about him who makes it? There are systems of morals which are meant to justify their author in the eyes of other people; other systems of morals are meant to tranquilize him, and make him self-satisfied; with other systems he wants to crucify and humble himself, with others he wishes to take revenge, with others to conceal himself, with others to glorify himself and gave superiority and distinction,—this system of morals helps its author to forget, that system makes him, or something of him, forgotten, many a moralist would like to exercise power and creative arbitrariness over mankind, many another, perhaps, Kant especially, gives us to understand by his morals that "what is estimable in me, is that I know how to obey—and with you it SHALL not be otherwise than with me!" In short, systems of morals are only a SIGN-LANGUAGE OF THE EMOTIONS.
188. In contrast to laisser-aller, every system of morals is a sort of tyranny against "nature" and also against "reason", that is, however, no objection, unless one should again decree by some system of morals, that all kinds of tyranny and unreasonableness are unlawful What is essential and invaluable in every system of morals, is that it is a long constraint. In order to understand Stoicism, or Port Royal, or Puritanism, one should remember the constraint under which every language has attained to strength and freedom—the metrical constraint, the tyranny of rhyme and rhythm. How much trouble have the poets and orators of every nation given themselves!—not excepting some of the prose writers of today, in whose ear dwells an inexorable conscientiousness—"for the sake of a folly," as utilitarian bunglers say, and thereby deem themselves wise—"from submission to arbitrary laws," as the anarchists say, and thereby fancy themselves "free," even free-spirited. The singular fact remains, however, that everything of the nature of freedom, elegance, boldness, dance, and masterly certainty, which exists or has existed, whether it be in thought itself, or in administration, or in speaking and persuading, in art just as in conduct, has only developed by means of the tyranny of such arbitrary law, and in all seriousness, it is not at all improbable that precisely this is "nature" and "natural"—and not laisser-aller! Every artist
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