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Letting our Happiness also Shine.—In the same way as painters are unable to reproduce the deep brilliant hue of the natural sky, and are compelled to use all the colours they require for their landscapes a few shades deeper than nature has made them—just as they, by means of this trick, succeed in approaching the brilliancy and harmony of nature's own hues, so also must poets and philosophers, for whom the luminous rays of happiness are inaccessible, endeavour to find an expedient. By picturing all things a shade or two darker than they really are, their light, in which they excel, will produce almost exactly the same effect as the sunlight, and will resemble the light of true happiness.—The pessimist, on the other hand, who paints all things in the blackest and most sombre hues, only makes use of bright flames, lightning, celestial glories, and everything that possesses a glaring, dazzling power, and bewilders our eyes: to him light only serves the purpose of increasing the horror, and of making us look upon things as being more dreadful than they really are.
Letting our Happiness also Shine.—In the same way as painters are unable to reproduce the deep brilliant hue of the natural sky, and are compelled to use all the colours they require for their landscapes a few shades deeper than nature has made them—just as they, by means of this trick, succeed in approaching the brilliancy and harmony of nature's own hues, so also must poets and philosophers, for whom the luminous rays of happiness are inaccessible, endeavour to find an expedient. By picturing all things a shade or two darker than they really are, their light, in which they excel, will produce almost exactly the same effect as the sunlight, and will resemble the light of true happiness.—The pessimist, on the other hand, who paints all things in the blackest and most sombre hues, only makes use of bright flames, lightning, celestial glories, and everything that possesses a glaring, dazzling power, and bewilders our eyes: to him light only serves the purpose of increasing the horror, and of making us look upon things as being more dreadful than they really are.
Approximate author period: c. 1872 AD · industrial
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- Author or tradition
- Friedrich Nietzsche
Attribution: attributed - Country attributed
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- Approximate author period: c. 1872 AD · industrial
author lifetime midpoint (1844–1900); not quotation composition date
An author lifetime, approximate period or collection date is not necessarily the date when these words were first written or spoken. - Recorded source
- The Dawn of Day (1911 English edition) (1911 AD)
The Dawn of Day, complete printed unit 561; John McFarland Kennedy translation; New York: The MacMillan Company,1911
A collection's publication date can be later than the words it records.
The voice behind the words.
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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