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The collection / 606 fragments

Nature.

Explore passages mentioning nature, flower, flowers. Topic suggestions use transparent word matching, not scholarly classification. Editorial meanings and lexical matches are discovery aids, not independent authentication of a quotation.

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11c. 1872 AD
Pneumatic Explanation of Nature.—Metaphysics explains the writing of Nature, so to speak, pneumatically, as the Church and her learned men formerly did with the Bible. A great deal of understanding is required to apply to Nature the same method of strict interpretation as the philologists have now established for all books with the intention of clearly understanding what the text means, but not suspecting a double sense or even taking it for granted. Just, however, as with regard to books, the bad art of interpretation is by no means overcome, and in the most cultivated society one still constantly comes across the remains of allegorical and mystic interpretation, so it is also with regard to Nature, indeed it is even much worse.
Friedrich Nietzsche / quote
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12c. 1872 AD
No Internal and External in the World.—As Democritus transferred the concepts "above" and "below" to endless space where they have no sense, so philosophers in general have transferred the concepts "Internal" and "External" to the essence and appearance of the world; they think that with deep feelings one can penetrate deeply into the internal and approach the heart of Nature. But these feelings are only deep in so far as along with them, barely noticeable, certain complicated groups of thoughts, which we call deep, are regularly excited; a feeling is deep because we think that the accompanying thought is deep. But the "deep" thought can nevertheless be very far from the truth, as, for instance, every metaphysical one; if one take away from the deep feeling the commingled elements of thought, then the strong feeling remains, and this guarantees nothing for knowledge but itself, just as strong faith proves only its strength and not the truth of what is believed in.
Friedrich Nietzsche / quote
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13c. 1872 AD
The Illogical Necessary.—One of those things that may drive a thinker into despair is the recognition of the fact that the illogical is necessary for man, and that out of the illogical comes much that is good. It is so firmly rooted in the passions, in language, in art, in religion, and generally in everything that gives value to life, that it cannot be withdrawn without thereby hopelessly injuring these beautiful things. It is only the all-too-naïve people who can believe that the nature of man can be changed into a purely logical one; but if there were degrees of proximity to this goal, how many things would not have to be lost on this course! Even the most rational man has need of nature again from time to time, i.e. his illogical fundamental attitude towards all things.
Friedrich Nietzsche / quote
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15c. 1872 AD
The Sinlessness of Man.—If it is understood how "sin came into the world," namely through errors of reason by which men held each other, even the single individual held himself, to be much blacker and much worse than was actually the case, the whole sensation will be much lightened, and man and the world will appear in a blaze of innocence which it will do one good to contemplate. In the midst of nature man is always the child per se. This child sometimes has a heavy and terrifying dream, but when it opens its eyes it always finds itself back again in Paradise.
Friedrich Nietzsche / quote
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16c. 1872 AD
Art Makes Heavy the Heart of the Thinker.—How strong metaphysical need is and how difficult nature renders our departure from it may be seen from the fact that even in the free spirit, when he has cast off everything metaphysical, the loftiest effects of art can easily produce a resounding of the long silent, even broken, metaphysical string,—it may be, for instance, that at a passage in Beethoven's Ninth Symphony he feels himself floating above the earth in a starry dome with the dream of immortality in his heart; all the stars seem to shine round him, and the earth to sink farther and farther away.—If he becomes conscious of this state, he feels a deep pain at his heart, and sighs for the man who will lead back to him his lost darling, be it called religion or metaphysics. In such moments his intellectual character is put to the test.
Friedrich Nietzsche / quote
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17c. 1872 AD
The Destiny of Greatness.—Every great phenomenon is followed by degeneration, especially in the world of art. The example of the great tempts vainer natures to superficial imitation or exaggeration; all great gifts have the fatality of crushing many weaker forces and germs, and of laying waste all nature around them. The happiest arrangement in the development of an art is for several geniuses mutually to hold one another within bounds; in this strife it generally happens that light and air are also granted to the weaker and more delicate natures.
Friedrich Nietzsche / quote
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18c. 1872 AD
Art Dangerous For the Artist.—When art takes strong hold of an individual it draws him back to the contemplation of those times when art flourished best, and it has then a retrograde effect. The artist grows more and more to reverence sudden inspirations; he believes in gods and dæmons, he spiritualises all nature, hates science, is changeable in his moods like the ancients, and longs for an overthrow of all existing conditions which are not favourable to art, and does this with the impetuosity and unreasonableness of a child. Now, in himself, the artist is already a backward nature, because he halts at a game that belongs properly to youth and childhood; to this is added the fact that he is educated back into former times. Thus there gradually arises a fierce antagonism between him and his contemporaries, and a sad ending; according to the accounts of the ancients, Homer and Æschylus spent their last years, and died, in melancholy.
Friedrich Nietzsche / quote
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19c. 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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20c. 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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21c. 1872 AD
The Rise of Genius.—The ingenuity with which a prisoner seeks the means of freedom, the most cold-blooded and patient employment of every smallest advantage, can teach us of what tools Nature sometimes makes use in order to produce Genius,—a word which I beg will be understood without any mythological and religious flavour; she, Nature, begins it in a dungeon and excites to the utmost its desire to free itself. Or to give another picture: some one who has completely lost his way in a wood, but who with unusual energy strives to reach the open in one direction or another, will sometimes discover a new path which nobody knew previously, thus arise geniuses, who are credited with originality. It has already been said that mutilation, crippling, or the loss of some important organ, is frequently the cause of the unusual development of another organ, because this one has to fulfil its own and also another function. This explains the source of many a brilliant talent. These general remarks on the origin of genius may be applied to the special case, the origin of the perfect free spirit.
Friedrich Nietzsche / quote
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22c. 1872 AD
The Voice of History.—In general, history appears to teach the following about the production of genius: it ill-treats and torments mankind—calls to the passions of envy, hatred, and rivalry—drives them to desperation, people against people, throughout whole centuries! Then, perhaps, like a stray spark from the terrible energy thereby aroused, there flames up suddenly the light of genius; the will, like a horse maddened by the rider's spur, thereupon breaks out and leaps over into another domain. He who could attain to a comprehension of the production of genius, and desires to carry out practically the manner in which Nature usually goes to work, would have to be just as evil and regardless as Nature itself. But perhaps we have not heard rightly.
Friedrich Nietzsche / quote
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23c. 1872 AD
The Bell-founding of Culture.—Culture has been made like a bell, within a covering of coarser, commoner material, falsehood, violence, the boundless extension of every individual "I," of every separate people—this was the covering. Is it time to take it off? Has the liquid set, have the good and useful impulses, the habits of the nobler nature become so certain and so general that they no longer require to lean on metaphysics and the errors of religion, no longer have need of hardnesses and violence as powerful bonds between man and man, people and people? No sign from any God can any longer help us to answer this question; our own insight must decide. The earthly rule of man must be taken in hand by man himself, his "omniscience" must watch over the further fate of culture with a sharp eye.
Friedrich Nietzsche / quote
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24c. 1872 AD
The Superstition of the Simultaneous.—Simultaneous things hold together, it is said. A relative dies far away, and at the same time we dream about him,—Consequently! But countless relatives die and we do not dream about them. It is like shipwrecked people who make vows; afterwards, in the temples, we do not see the votive tablets of those who perished. A man dies, an owl hoots, a clock stops, all at one hour of the night,—must there not be some connection? Such an intimacy with nature as this supposition implies is flattering to mankind. This species of superstition is found again in a refined form in historians and delineators of culture, who usually have a kind of hydrophobic horror of all that senseless mixture, in which individual and national life is so rich.
Friedrich Nietzsche / quote
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