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There is a Time for the Theatre.—When the imagination of a people begins to diminish, there arises the desire to have its legends represented on the stage: it then tolerates the coarse substitutes for imagination. In the age of the epic rhapsodist, however, the theatre itself, and the actor dressed up as a hero, form an obstacle in the path of the imagination instead of acting as wings for it—too near, too definite, too heavy, and with too little of dreamland and the flights of birds about them.

There is a Time for the Theatre.—When the imagination of a people begins to diminish, there arises the desire to have its legends represented on the stage: it then tolerates the coarse substitutes for imagination. In the age of the epic rhapsodist, however, the theatre itself, and the actor dressed up as a hero, form an obstacle in the path of the imagination instead of acting as wings for it—too near, too definite, too heavy, and with too little of dreamland and the flights of birds about them.

Approximate author period: c. 1872 AD · industrial

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Attribution & collection notes
Author or tradition
Friedrich Nietzsche
Attribution: attributed
Country attributed
Not established
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Historical period
Approximate author period: c. 1872 AD · industrial
author lifetime midpoint (1844–1900); not quotation composition date
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Recorded source
The Dawn of Day (1911 English edition) (1911 AD)

The Dawn of Day, complete printed unit 265; 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.

Friedrich Nietzsche: Photographic portrait, 1882

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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