The Essential Works of Friedrich Nietzsche - Friedrich Nietzsche

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of your conscience; it makes you headstrong against objections and red rags; it stupefies, animalizes, and brutalizes, when in the struggle with danger, slander, suspicion, expulsion, and even worse consequences of enmity, ye have at last to play your last card as protectors of truth upon earth—as though "the Truth" were such an innocent and incompetent creature as to require protectors! and you of all people, ye knights of the sorrowful countenance, Messrs Loafers and Cobweb-spinners of the spirit! Finally, ye know sufficiently well that it cannot be of any consequence if YE just carry your point; ye know that hitherto no philosopher has carried his point, and that there might be a more laudable truthfulness in every little interrogative mark which you place after your special words and favourite doctrines (and occasionally after yourselves) than in all the solemn pantomime and trumping games before accusers and law-courts! Rather go out of the way! Flee into concealment! And have your masks and your ruses, that ye may be mistaken for what you are, or somewhat feared! And pray, don't forget the garden, the garden with golden trellis-work! And have people around you who are as a garden—or as music on the waters at eventide, when already the day becomes a memory. Choose the GOOD solitude, the free, wanton, lightsome solitude, which also gives you the right still to remain good in any sense whatsoever! How poisonous, how crafty, how bad, does every long war make one, which cannot be waged openly by means of force! How PERSONAL does a long fear make one, a long watching of enemies, of possible enemies! These pariahs of society, these long-pursued, badly-persecuted ones—also the compulsory recluses, the Spinozas or Giordano Brunos—always become in the end, even under the most intellectual masquerade, and perhaps without being themselves aware of it, refined vengeance-seekers and poison-Brewers (just lay bare the foundation of Spinoza's ethics and theology!), not to speak of the stupidity of moral indignation, which is the unfailing sign in a philosopher that the sense of philosophical humour has left him. The martyrdom of the philosopher, his "sacrifice for the sake of truth," forces into the light whatever of the agitator and actor lurks in him; and if one has hitherto contemplated him only with artistic curiosity, with regard to many a philosopher it is easy to understand the dangerous desire to see him also in his deterioration (deteriorated into a "martyr," into a stage-and-tribune-bawler). Only, that it is necessary with such a desire to be clear WHAT spectacle one will see in any case—merely a satyric play, merely an epilogue farce, merely the continued proof that the long, real tragedy IS AT AN END, supposing that every philosophy has been a long tragedy in its origin.

      26. Every select man strives instinctively for a citadel and a privacy, where he is FREE from the crowd, the many, the majority—where he may forget "men who are the rule," as their exception;—exclusive only of the case in which he is pushed straight to such men by a still stronger instinct, as a discerner in the great and exceptional sense. Whoever, in intercourse with men, does not occasionally glisten in all the green and grey colours of distress, owing to disgust, satiety, sympathy, gloominess, and solitariness, is assuredly not a man of elevated tastes; supposing, however, that he does not voluntarily take all this burden and disgust upon himself, that he persistently avoids it, and remains, as I said, quietly and proudly hidden in his citadel, one thing is then certain: he was not made, he was not predestined for knowledge. For as such, he would one day have to say to himself: "The devil take my good taste! but 'the rule' is more interesting than the exception—than myself, the exception!" And he would go DOWN, and above all, he would go "inside." The long and serious study of the AVERAGE man—and consequently much disguise, self-overcoming, familiarity, and bad intercourse (all intercourse is bad intercourse except with one's equals):—that constitutes a necessary part of the life-history of every philosopher; perhaps the most disagreeable, odious, and disappointing part. If he is fortunate, however, as a favourite child of knowledge should be, he will meet with suitable auxiliaries who will shorten and lighten his task; I mean so-called cynics, those who simply recognize the animal, the commonplace and "the rule" in themselves, and at the same time have so much spirituality and ticklishness as to make them talk of themselves and their like BEFORE WITNESSES—sometimes they wallow, even in books, as on their own dung-hill. Cynicism is the only form in which base souls approach what is called honesty; and the higher man must open his ears to all the coarser or finer cynicism, and congratulate himself when the clown becomes shameless right before him, or the scientific satyr speaks out. There are even cases where enchantment mixes with the disgust—namely, where by a freak of nature, genius is bound to some such indiscreet billy-goat and ape, as in the case of the Abbe Galiani, the profoundest, acutest, and perhaps also filthiest man of his century—he was far profounder than Voltaire, and consequently also, a good deal more silent. It happens more frequently, as has been hinted, that a scientific head is placed on an ape's body, a fine exceptional understanding in a base soul, an occurrence by no means rare, especially among doctors and moral physiologists. And whenever anyone speaks without bitterness, or rather quite innocently, of man as a belly with two requirements, and a head with one; whenever any one sees, seeks, and WANTS to see only hunger, sexual instinct, and vanity as the real and only motives of human actions; in short, when any one speaks "badly"—and not even "ill"—of man, then ought the lover of knowledge to hearken attentively and diligently; he ought, in general, to have an open ear wherever there is talk without indignation. For the indignant man, and he who perpetually tears and lacerates himself with his own teeth (or, in place of himself, the world, God, or society), may indeed, morally speaking, stand higher than the laughing and self-satisfied satyr, but in every other sense he is the more ordinary, more indifferent, and less instructive case. And no one is such a LIAR as the indignant man.

      28. What is most difficult to render from one language into another is the TEMPO of its style, which has its basis in the character of the race, or to speak more physiologically, in the average TEMPO of the assimilation of its nutriment. There are honestly meant translations, which, as involuntary vulgarizations, are almost falsifications of the original, merely because its lively and merry TEMPO (which overleaps and obviates all dangers in word and expression) could not also be rendered. A German is almost incapacitated for PRESTO in his language; consequently also, as may be reasonably inferred, for many of the most delightful and daring NUANCES of free, free-spirited thought. And just as the buffoon and satyr are foreign to him in body and conscience, so Aristophanes and Petronius are untranslatable for him. Everything ponderous, viscous, and pompously clumsy, all long-winded and wearying species of style, are developed in profuse variety among Germans—pardon me for stating the fact that even Goethe's prose, in its mixture of stiffness and elegance, is no exception, as a reflection of the "good old time" to which it belongs, and as an expression of German taste at a time when there was still a "German taste," which was a rococo-taste in moribus et artibus. Lessing is an exception, owing to his histrionic nature, which understood much, and was versed in many things; he who was not the translator of Bayle to no purpose, who took refuge willingly in the shadow of Diderot and Voltaire, and still more willingly among the Roman comedy-writers—Lessing loved also free-spiritism in the TEMPO, and flight out of Germany. But how could the German language, even in the prose of Lessing, imitate the TEMPO of Machiavelli, who in his "Principe" makes us breathe the dry, fine air of Florence, and cannot help presenting the most serious events in a boisterous allegrissimo, perhaps not without a malicious artistic sense of the contrast he ventures to present—long, heavy, difficult, dangerous thoughts, and a TEMPO of the gallop, and of the best, wantonest humour? Finally, who would venture on a German translation of Petronius, who, more than any great musician hitherto, was a master of PRESTO in invention, ideas, and words? What matter in the end about the swamps of the sick, evil world, or of the "ancient world," when like him, one has the feet of a wind, the rush, the breath, the emancipating scorn of a wind,

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