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Dreams.—Our dreams, if for once in a way they succeed and are complete—generally a dream is a bungled piece of work—are symbolic concatenations of scenes and images in place of a narrative poetical language. They paraphrase our experiences or expectations or relations with poetic boldness and definiteness, so that in the morning we are always astonished at ourselves when we remember the nature of our dream. In dreams we use up too much artistry—and hence are often too poor in artistry in the daytime.
Dreams.—Our dreams, if for once in a way they succeed and are complete—generally a dream is a bungled piece of work—are symbolic concatenations of scenes and images in place of a narrative poetical language. They paraphrase our experiences or expectations or relations with poetic boldness and definiteness, so that in the morning we are always astonished at ourselves when we remember the nature of our dream. In dreams we use up too much artistry—and hence are often too poor in artistry in the daytime.
Approximate author period: c. 1872 AD · industrial
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- Friedrich Nietzsche
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- Approximate author period: c. 1872 AD · industrial
author lifetime midpoint (1844–1900); not quotation composition date
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- Human, All-Too-Human, Part 2 (1913 English edition) (1913 AD)
The Wanderer and His Shadow, complete printed aphorism 194; Paul V. Cohn translation; New York: The MacMillan Company,1913
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Author of Human, All-Too-Human, here represented by complete numbered passages in Helen Zimmern’s 1909 and Paul V. Cohn’s 1913 English editions. Catalogue lifetime 1844–1900; historical philosophical arguments and dated viewpoints require context, rather than treating every sentence as general advice.
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