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1,822 results · Page 5 of 76Play this collection ▷
01c. 1872 AD
Sensuousness in Present-day Art.—Artists nowadays frequently miscalculate when they count on the sensuous effect of their works, for their spectators or hearers have no longer a fully sensuous nature, and, quite contrary to the artist's intention, his work produces in them a "holiness" of feeling which is closely related to boredom. Their sensuousness begins, perhaps, just where that of the artist ceases; they meet, therefore, only at one point at the most.
Friedrich Nietzsche / quote
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02c. 1872 AD
Shakespeare As a Moralist.—Shakespeare meditated much on the passions, and on account of his temperament had probably a close acquaintance with many of them (dramatists are in general rather wicked men). He could, however not talk on the subject, like Montaigne, but put his observations thereon into the mouths of impassioned figures, which is contrary to nature, certainly, but makes his dramas so rich in thought that they cause all others to seem poor in comparison and readily arouse a general aversion to them. Schiller's reflections (which are almost always based on erroneous or trivial fancies) are just theatrical Reflections, and as such are very effective; whereas Shakespeare's reflections do honour to his model, Montaigne, and contain quite serious thoughts in polished form, but on that account are too remote and refined for the eyes of the theatrical public, and are consequently ineffective.
Friedrich Nietzsche / quote
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04c. 1872 AD
The Incomplete As the Effective.—Just as figures in relief make such a strong impression on the imagination because they seem in the act of emerging from the wall and only stopped by some sudden hindrance; so the relief-like, incomplete representation of a thought, or a whole philosophy, is sometimes more effective than its exhaustive amplification,—more is left for the investigation of the onlooker, he is incited to the further study of that which stands out before him in such strong light and shade; he is prompted to think out the subject, and even to overcome the hindrance which hitherto prevented it from emerging clearly.
Friedrich Nietzsche / quote
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20c. 1872 AD
The Fools of Modern Culture.—The fools of mediæval courts correspond to our feuilleton writers; they are the same kind of men, semi-rational, witty, extravagant, foolish, sometimes there only for the purpose of lessening the pathos of the outlook with fancies and chatter, and of drowning with their clamour the far too deep and solemn chimes of great events; they were formerly in the service of princes and nobles, now they are in the service of parties (since a large portion of the old obsequiousness in the intercourse of the people with their prince still survives in party-feeling and party-discipline). Modern literary men, however, are generally very similar to the feuilleton writers, they are the "fools of modern culture," whom one judges more leniently when one does not regard them as fully responsible beings. To look upon writing as a regular profession should justly be regarded as a form of madness.
Friedrich Nietzsche / quote
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21c. 1872 AD
After the Example of the Greeks.—It is a great hindrance to knowledge at present that, owing to centuries of exaggeration of feeling, all words have become vague and inflated. The higher stage of culture, which is under the sway (though not under the tyranny) of knowledge, requires great sobriety of feeling and thorough concentration of words—on which points the Greeks in the time of Demosthenes set an example to us. Exaggeration is a distinguishing mark of all modern writings, and even when they are simply written the expressions therein are still felt as too eccentric. Careful reflection, conciseness, coldness, plainness, even carried intentionally to the farthest limits,—in a word, suppression of feeling and taciturnity,—these are the only remedies. For the rest, this cold manner of writing and feeling is now very attractive, as a contrast; and to be sure there is a new danger therein. For intense cold is as good a stimulus as a high degree of warmth.
Friedrich Nietzsche / quote
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22c. 1872 AD
Good Narrators, Bad Explainers.—In good narrators there is often found an admirable psychological sureness and logicalness, as far as these qualities can be observed in the actions of their personages, in positively ludicrous contrast to their inexperienced psychological reasoning, so that their culture appears to be as extraordinarily high one moment as it seems regrettably defective the next. It happens far too frequently that they give an evidently false explanation of their own heroes and their actions,—of this there is no doubt, however improbable the thing may appear. It is quite likely that the greatest pianoforte player has thought but little about the technical conditions and the special virtues, drawbacks, usefulness, and tractability of each finger (dactylic ethics), and makes big mistakes whenever he speaks of such things.
Friedrich Nietzsche / quote
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23c. 1872 AD
The Writings of Acquaintances and Their Readers.—We read the writings of our acquaintances (friends and enemies) in a double sense, inasmuch as our perception constantly whispers, "That is something of himself, a remembrance of his inward being, his experiences, his talents," and at the same time another kind of perception endeavours to estimate the profit of the work in itself, what valuation it merits apart from its author, how far it will enrich knowledge. These two manners of reading and estimating interfere with each other, as may naturally be supposed. And a conversation with a friend will only bear good fruit of knowledge when both think only of the matter under consideration and forget that they are friends.
Friedrich Nietzsche / quote
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24c. 1872 AD
Rhythmical Sacrifice.—Good writers alter the rhythm of many a period merely because they do not credit the general reader with the ability to comprehend the measure followed by the period in its first version; thus they make it easier for the reader, by giving the preference to the better known rhythms.. This regard for the rhythmical incapacity of the modern reader has already called forth many a sigh, for much has been sacrificed to it. Does not the same thing happen to good musicians?
Friedrich Nietzsche / quote
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