Friedrich Nietzsche

Christianity destroyed for us the whole harvest of ancient civilization, and later it also destroyed for us the whole harvest of Mohammedan civilization. The wonderful culture of the Moors in Spain, which was fundamentally nearer to us and appealed more to our senses and tastes than that of Rome and Greece, was trampled down ( — I do not say by what sort of feet — ) Why? Because it had to thank noble and manly instincts for its origin — because it said yes to life, even to the rare and refined luxuriousness of Moorish life! The crusaders later made war on something before which it would have been more fitting for them to have grovelled in the dust — a civilization beside which even that of our nineteenth century seems very poor and very "senile."[...] Intrinsically there should be no more choice between Islam and Christianity than there is between an Arab and a Jew. The decision is already reached; nobody remains at liberty to choose here. Either a man is a Chandala or he is not.... “War to the knife with Rome! Peace and friendship with Islam!”: this was the feeling, this was the act, of that great free spirit, that genius among German emperors, Frederick II.

Nietzsche does not favor reckless, anarchic action. The model of the artist, and more specifically the musician, is important. Rhythm is of the essence; timing of notes, of actions, allows for a style that is cohesive, even if not uniform. The music that emerges comes out over time, it becomes and develops slowly into a whole that is effective if timed well. Again Nietzsche sees that artists, especially musicians and poets, have such a talent. And to the extent that a writer writes poetically, he also shares in this talent.

Morality is herd instinct in the individual.

Es ist immer etwas Wahnsinn in der Liebe. Es ist aber immer auch etwas Vernunft im Wahnsinn.

Love is a state in which a man sees things most decidedly as they are not.

Rohde became more and more firmly bound to the bourgeois world, its institutions and accepted opinions. … The contrast between the two natures makes Rohde and Nietzsche exemplary representatives of two distinctive worlds. In their youth they both live in the realm of boundless possibilities and feel an affinity through the exuberance of their noble aspirations. Subsequently they go in opposite directions. Nietzsche remains young, leaving concrete reality as his task assumes existential import. Rohde grows old, bourgeois, stable, and skeptical. Hence courage is a fundamental trait in Nietzsche, plaintive self-irony in Rohde. … Rohde retained the interests but not the attitudes of his youth; he looked to the world of the Greeks for the object of his contemplation rather than the norm of obligation.

Whatever has value in our world now does not have value in itself, according to its nature — nature is always value-less, but has been given value at some time, as a present — and it was we who gave and bestowed it.

In reality, hope is the worst of all evils, because it prolongs man’s torments.

A strong and well-constituted man digests his experiences (deeds and misdeeds all included) just as he digests his meats, even when he has some tough morsels to swallow.

The states in which we infuse a transfiguration and a fullness into things and poetize about them until they reflect back our fullness and joy in life...three elements principally: sexuality, intoxication and cruelty — all belonging to the oldest festal joys.

Art furnishes us with eyes and hands and above all the good conscience to be able to turn ourselves into such a phenomenon.

Hope, in its stronger forms, is a great deal more powerful stimulans to life than any sort of realized joy can ever be. Man must be sustained in suffering by a hope so high that no conflict with actuality can dash it—so high, indeed, that no fulfilment can satisfy it: a hope reaching out beyond this world.

Gott ist tot! aber so wie die Art der Menschen ist, wird es vielleicht noch Jahrtausende lang Höhlen geben, in denen man seinen Schatten zeigt. — Und wir — Wir müssen auch noch seinen Schatten besiegen.

We often contradict an opinion for no other reason than that we do not like the tone in which it is expressed.

Thus the man who is responsive to artistic stimuli reacts to the reality of dreams as does the philosopher to the reality of existence; he observes closely, and he enjoys his observation: for it is out of these images that he interprets life, out of these processes that he trains himself for life. It is not only pleasant and agreeable images that he experiences with such universal understanding: the serious, the gloomy, the sad and the profound, the sudden restraints, the mockeries of chance, fearful expectations, in short the whole 'divine comedy' of life, the Inferno included, passes before him, not only as a shadow-play — for he too lives and suffers through these scenes — and yet also not without that fleeting sense of illusion; and perhaps many, like myself, can remember calling out to themselves in encouragement, amid the perils and terrors of the dream, and with success: 'It is a dream! I want to dream on!' Just as I have often been told of people who have been able to continue one and the same dream over three and more successive nights: facts which clearly show that our innermost being, our common foundation, experiences dreams with profound pleasure and joyful necessity.

The doctrine of equality! … But there is no more venomous poison in existence: for it appears to be preached by justice itself, when it is actually the end of justice … "Equality to the equal; inequality to the unequal" — that would be true justice speaking: and its corollary, "never make the unequal equal".

Art is the supreme task and the truly metaphysical activity in this life…

Höheres als alle Versöhnung muss der Wille wollen, welcher der Wille zur Macht ist.

That every will must consider every other will its equal — would be a principle hostile to life, an agent of the dissolution and destruction of man, an attempt to assassinate the future of man, a sign of weariness, a secret path to nothingness.

How can a man know himself? He is a thing dark and veiled; and if the hare has seven skins, man can slough off seventy times seven and still not be able to say: “this is really you, this is no longer outer shell.”