WANDERING OF UNTIMELY ONES

TWILIGHT

1.
My impossible. – Seneca, or the toreador of virtue. – Rousseau, or the return to nature in impuris naturalibus [impurities in the physical world]. Schiller: or the moral trumpeter of Säckingen. – Dante, or the hyena, which poetry in graves. – Kant: or cant as an intelligible character. – Victor Hugo, or Pharos, the sea of nonsense. – Liszt: or the School of Velocity – for women. – George Sand: or lactea ubertas [milky fertility], in German: the dairy cow with “nice” style. – Michelet: or the excitement that takes off the skirt… Carlyle: or pessimism as the poorly digested lunch. – John Stuart Mill: or insulting clarity. – Les Frères de Goncourt: Ajax or the two in the fight with Homer. Music by Offenbach. – Zola: or “the joy of stink.” –

2.
Renan. – Theology, or the corruption of reason by the “original sin” (Christianity). Testimony of Renan: whom, once he even a yes or no, scores general nature, engages with embarrassing wrong regularity. He would like to join as la science and la noblesse in one: but la science belongs to democracy, but the grabs with both hands. He wants to present with no small ambition, an aristocracy of the mind: but while he is in front of the counter-doctrine, the Evangel of humbles to the knees, not just on your knees… What helps all free-thinking, modernity, mockery and turning neck suppleness, if Christ is with his bowels, and even Catholic priests has remained! Renan has his ingenuity, much like a Jesuit priest and confessor, in the seduction, his spirituality does not lacks the wide-priests smile (Geschmunzel) – he is, like all priests, dangerous only when he loves. No one does it like to worship in a dangerous way to live… This spirit of Renan, a spirit which is enervated, one more calamity for the poor, sick, ill-willed France. –
3.
Sainte-Beuve. – Nothing of man, full of a little wrath against every man spirits. Wanders around, fine, bored, curious, listening (aushorcherisch) – a wenches basically, with a wife-revenge and female sensuality. As a psychologist, a genius of slander, inexhaustibly rich in means this: no one knows better how to mix poison with praise. Plebeian of the lowest instincts, and with the resentment of Rousseau used: hence romantics – because romanticism and is hungry all the grunts in Rousseau’s instinct for revenge. Revolutionary, but the fear still kept reasonably in check. Without freedom from everything which has power (public opinion, Academy, Court, even Port Royal). Embittered against everything great in person and thing, against all that believes in itself. Poet and half-female (Halbweib) enough to still feel like a big power; resistant curved, like that famous worm because he feels kicked-resistant. As a critic, is without the standard, grip and backbone, with the tongue of the cosmopolitan libertine for many things, but without the courage even to the confession of libertinage. As a historian, without philosophy, without the power of philosophical gaze, – therefore reject the task of judging in all essential things, the “objectivity” as a mask suspensions. It behaves differently to all things, where a fine, uses up taste is the highest authority: because he really has the courage to be who want to be, – because he is a master. – After a few pages a precursor of Baudelaire’s. –
4.
The imitation of Christ is one of the books that I do not think without a physiological resistance in their hands: they breathed a fragrance out of the eternal feminine, to the Frenchman must have been one – or Wagnerian… This saint has a kind of love for talk that even the Parisian women are curious. – I am told that those wisest Jesuit, Auguste Comte, who wanted to lead his French by way of science to Rome, had inspired this book. I believe it: “the religion of the heart”…
5.
G. Eliot. – You are going to the Christian God and believe now hold the more the need for Christian morality: this is an English consistency, we want to blame not the moral little woman à la Eliot. In England, one for every little emancipation from theology in a fearsome way to bring back morality-fanatics in its honor. This is where the penance, which you pay for. – For us it is different from others. If one gives up the Christian faith, pulls you away to the right to Christian morality under their feet. This is understood not a bad thing saying: you have to this point, the English flat heads in defiance, always ask to light. Christianity is a system, together and thought the whole view of things. If you break one of its main idea, a belief in God out, so you break even so the whole thing: it is not necessary anymore between the fingers. Christianity presupposes that man does not know, could not know what is good for him, what evil: he believes in God, who alone knows. Christian morality is a command, its origin is transcendent; it is beyond all criticism, all right to criticism it has truth only if God is the truth – it stands or falls with faith in God. – When the English actually believe that they knew of himself, “intuitively” what is good and evil when they imagine;

therefore, Christianity as a guarantee of morality is no longer necessary to have, it is itself merely the consequence of the rule of Christian value judgments and an expression of dominion (Herrschaft) strength (Stärke) and depth of this rule: so that the origin of English morality has been forgotten, so that is not felt for very-conditional (Sehr-Bedingte) their right to existence. For the English morality is not a problem…
6.
George Sand. – I read the first Lettres d’un voyageur [1869]: like everything that comes from Rousseau, false, made bellows exaggerated. I consider this colorful wallpaper-style is not, any more than the mob’s ambition to generous feelings. The worst of course, remains with the female coquetry (Weibskoketterie) with masculinities, naughty boys with manners. – How cold she must have been at it all, this insufferable artist! She pulled up like a clock – and wrote… cold, like Hugo, like Balzac, like all romantics, if they wrote! And how smug (selbstgefällig) they may have laid here, this fruitful writing-cow, which had something German in the bad sense in itself, like Rousseau himself, her master, and in any case only in the decline of French taste was possible! – But Renan admired…
7.
Ethics for psychologists. – No backstairs psychology drive! Never watch to watch! That gives a false appearance, a squint, something forced and exaggerated. Experience as experience wanting – not the device. You may not experience himself gazing after, every look is because the “evil eye”. A born psychologist guards against his instincts, to see, to see, as does that of the born painter. He never works “from nature”, – he leaves it to his instincts, his camera obscura, the sifting and expressions of “if”, the “nature” of the “experienced”… The general comes before him to consciousness, the end, the result: he knows not that arbitrary abstract from the individual case. – What will happen if you make it differently? For example, the type of Parisian novelists, big and small drives backstairs psychology? Lurking speak to the reality that brings every evening a handful of curiosities with home… But you only see what comes last – a heap of splotches, a mosaic at best, in any case something co-added together, restless, colors screaming. The worst thing to reach the Goncourt: they do not put together three sentences, not the eye, the psychologists simply eye-ache. – Nature, estimated artistically, is not a model. It exaggerates, it distorts, and it leaves gaps. Nature is the accident (Zufall). The study “from nature” seems to me a bad sign: it betrays submission, weakness, fatalism – this is in-dust before petits faits [little things] –lying is unworthy of a complete artist. See is what – that belongs to another class of spirits, the anti-artistic, the actual facts. You have to know who you are… (Man muss wissen, wer man ist…)
8.
On the psychology of the artist. – So there is art, so it gives some doing and an aesthetic look, this is a physiological precondition is indispensable: the noise. The noise has only the excitability of the whole machine have increased: rather, there is no art. All so different types of intoxication are related to the force: above all, the rush of sexual excitement, this oldest and most primitive form of intoxication. Similarly, the noise, in the wake of all the great passions, all strong emotions come, and the noise of the feast of the competition, the bravura piece (Bravourstücks) of victory, all extreme movement; the intoxication of cruelty, the noise in the destruction, of intoxication under certain meteorological influences, such as the spring rush, or under the influence of narcotics, and at last the noise of the will, the ecstasy of a cluttered and swollen will. – The essence of noise on the sense of power and wealth increase. From this feeling gives off about the things they are forced to take from us, they violate (vergewaltigt) – this process is called idealizing. Let us here from a prejudice going on: there is the idealizing not, as commonly believed, in a drawing from (Abziehn) or billing of the little ones of the irrelevant. A tremendous challenge and bustle of the main features is rather decisive, so that the others disappear over it.

It enriches everything in this state from his own wealth: what you see, what you want, you can see it swollen, urged strongly, overloaded with power. The man of this state transforms things until they mirror his power – until they are reflections of his perfection. This must-turn into the more perfect is – art. Everything himself, what he is not, is it still a delight in itself, is very popular in art, the human being as perfection. – It would be allowed to devise an opposite state, a specific anti-artistic (Antikünstlerthum) of instinct – a way of being (sein), all things (Dinge), which impoverished, diluted, and was consumptive. And in fact, the story is rich in such anti-artists, in such starved of life: what to take with the necessity of things yet, they wasting, they need to make leaner. This is the case for example of true Christians, Pascal’s, for example: a Christian who would also artist, does not happen… One is not childish, and turn me [into] Raphael, or any homeopathic (homöopathische) Christian of the nineteenth century: Raphael said, Yes, Raphael did Yes, Raphael was therefore not a Christian…
10.
I understood what the Apollonian aesthetic introduced into the contrast-concept (Gegensatz-Begriff) and the Dionysian, as both types of intoxication? — The Apollonian frenzy (Rausch) stops at all the eye is energized so that it gets the power of vision. The painter, the sculptor, the epic poet are visionaries par excellence. In the Dionysian state, however, is the whole affective system is excited and enhanced: so that it discharges all its means of expression at once and the power of presentation, replication, trans figuring that turn, all kind of facial expressions and acting out while driving. The essence remains the ease of metamorphosis (Metamorphose), the inability not to react (- similar to some hysterical, which also occur on every hint towards in each role). It is impossible for the Dionysian man, any suggestion is not to understand, he sees no sign of emotion, and he has the highest degree of understanding and divining instinct, as it has the highest degree of mid-healing art. He goes into every skin, into any affect: he constantly turns. – Music as we understand it today, is also a total area-excitation and -discharge (Gesammt-Erregung und -Entladung ) of the emotions, but only a remnant of a much fuller expression of the emotion-world, a mere residuum of the Dionysian histrionicism (dionysischen Histrionismus). One has to allow the music as a special art, a number of senses made, still with all the muscle sense (relatively at least’s talking to a certain extent even all the rhythm of our own to muscles) so that the person is no longer all that he feels immediate bodily imitates and represents. Nevertheless, the Dionysian is actually the normal state (Normalzustand), in any case the original state (Urzustand), the music is slowly reaching the same specification at the expense of the most nearest related (die Musik ist die langsam erreichte Spezifikation desselben auf Unkosten der nächstverwandten Vermögen).
11.
The actor, the mime, the dancer, the musician, the poet are fundamentally related to their instincts and to be separated one, but gradually specialized and each other – even up to the opposition. The poet remained the longest united with the musician, the actor with the dancers. – The architect represents is neither a Dionysian nor an Apollonian condition: there is the great act of will, the will that moves mountains, the intoxication of great will to the demands of art. The most powerful people have always inspired the architects; the architect was always under the power of suggestion. The building becomes visible itself is the pride of victory over gravity, the will to power (der Wille zur Macht); architecture is a kind of eloquence in the forms of power, sometimes persuasively, even flattering, sometimes merely commanding. The highest feeling of power and clarity to the expression, which has great style. The power that has no more need of proof, which disdains to please, and the answers difficult, which feels no witnesses around; lives without the awareness that there is opposition to them, which rests in itself, fatalistically, a law under laws: the talk of itself as great style (Das redet als grosser Stil von sich). —
12.
I read Thomas Carlyle’s life, without knowing or desiring this farce, this heroic and moral interpretation of dyspeptic states. – Carlyle, a man of strong words and attitudes, rhetoric from necessity, the resistant and lurid (agaçirt) by the desire for a strong faith and a sense of inability to do so (- is a typical romantic). The desire for a strong faith is not evidence of a strong faith, rather the contrary. Has been made, we may indulge in the beautiful luxury of skepticism: it is safe enough, strong enough bound, enough for them. Carlyle somewhat stunned by the fortissimo of his reverence for people of strong faith and his rage against the less simple-minded: he requires noise. A constant passionate dishonesty against him – that is his proprium [property], so he is and remains interesting. – Of course, in England he is admired for just his honesty… Well, that is English, and given that the English are the people of perfect cant, even cheap, and not only understandable… Basically, Carlyle is an English atheist who seeks his glory in it, but it not to be.

 

 

 

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