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Friedrich Nietzsche: Photographic portrait, 1882Photographic portrait, 1882Gustav Adolf Schultze; public domain · Public domain

Friedrich Nietzsche

Life dates: 1844 AD — 1900 AD

German philosopher and cultural critic whose numbered passages question familiar judgments about morality, knowledge and everyday conduct. Read the arguments in context, with attention to their historical translation.

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Life and writing

Friedrich Nietzsche lived from 1844 to 1900. He taught classical philology at Basel before leaving his professorship in 1879. His philosophical writing developed through criticism of inherited assumptions about culture, morality and religion, often examining the motives behind judgments that appear self-evident.

Human, All-Too-Human appeared in 1878 and marked a turn toward short numbered passages. A complete aphorism may make an argument, stage an objection or expose a tension rather than settle a question. The archive preserves whole numbered units in historical English translations; neighbouring passages and the larger work help readers assess the claim being made.

Reading this voice

Begin with a complete numbered passage, then follow the source reference into the same edition linked below. Helen Zimmern’s 1909 Part I and Paul V. Cohn’s 1913 Part II have different translation choices. Do not treat a historical argument as a fact merely because it is memorable. Some passages contain dated social assumptions. The approximate 1872 timeline coordinate is the midpoint of 1844–1900, not the composition date of the words.

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Profile sources and editorial notes

Agent-assisted editorial profile, updated 2026-10-04. A human reviewer is not recorded. Biographical context does not independently authenticate every quotation attributed to this person.

Quotations and sayings

02c. 1872 AD
How Paradoxical Homer can be.—Is there anything more desperate, more horrible, more incredible, shining over human destiny like a winter sun, than that idea of Homer's: “So the decree of the Gods willed it, and doomed man to perish, that it might be a matter for song even to distant generations”? In other words, we suffer and perish so that poets may not lack material, and this is the dispensation of those very Gods of Homer who seem much concerned about the joyousness of generations to come, but very little about us men of the present. To think that such ideas should ever have entered the head of a Greek!
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19c. 1872 AD
Why Savants are Nobler than Artists.—Science requires nobler natures than does poetry; natures that are more simple, less ambitious, more restrained, calmer, that think less of posthumous fame and can bury themselves in studies which, in the eye of the many, scarcely seem worthy of such a sacrifice of personality. There is another loss of which they are conscious. The nature of their occupation, its continual exaction of the greatest sobriety, weakens their will; the fire is not kept up so vigorously as on the hearths of poetic minds. As such, they often lose their strength and prime earlier than artists do—and, as has been said, they are aware of their danger. Under all circumstances they seem less gifted because they shine less, and thus they will always be rated below their value.
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22c. 1872 AD
Origin and Utility of Fashion.—The obvious satisfaction of the individual with his own form excites imitation and gradually creates the form of the many—that is, fashion. The many desire, and indeed attain, that same comforting satisfaction with their own form. Consider how many reasons every man has for anxiety and shy self-concealment, and how, on this account, three-fourths of his energy and goodwill is crippled and may become unproductive! So we must be very grateful to fashion for unfettering that three-fourths and communicating self-confidence and the power of cheerful compromise to those who feel themselves bound to each other by its law. Even foolish laws give freedom and calm of the spirit, so long as many persons have submitted to their sway.
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24c. 1872 AD
Against the Cultivation of Music.—The artistic training of the eye from childhood upwards by means of drawing, painting, landscape-sketching, figures, scenes, involves an estimable gain in life, making the eyesight keen, calm, and enduring in the observation of men and circumstances. No similar secondary advantage arises from the artistic cultivation of the ear, whence public schools will generally do well to give the art of the eye a preference over that of the ear.
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