The Essential Works of Friedrich Nietzsche. Friedrich Nietzsche

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      20.

      It may be weighed some day before an impartial judge, in what time and in what men the German spirit has thus far striven most resolutely to learn of the Greeks: and if we confidently assume that this unique praise must be accorded to the noblest intellectual efforts of Goethe, Schiller, and Winkelmann, it will certainly have to be added that since their time, and subsequently to the more immediate influences of these efforts, the endeavour to attain to culture and to the Greeks by this path has in an incomprehensible manner grown feebler and feebler. In order not to despair altogether of the German spirit, must we not infer therefrom that possibly, in some essential matter, even these champions could not penetrate into the core of the Hellenic nature, and were unable to establish a permanent friendly alliance between German and Greek culture? So that perhaps an unconscious perception of this shortcoming might raise also in more serious minds the disheartening doubt as to whether after such predecessors they could advance still farther on this path of culture, or could reach the goal at all. Accordingly, we see the opinions concerning the value of Greek contribution to culture degenerate since that time in the most alarming manner; the expression of compassionate superiority may be heard in the most heterogeneous intellectual and non-intellectual camps, and elsewhere a totally ineffective declamation dallies with "Greek harmony," "Greek beauty," "Greek cheerfulness." And in the very circles whose dignity it might be to draw indefatigably from the Greek channel for the good of German culture, in the circles of the teachers in the higher educational institutions, they have learned best to compromise with the Greeks in good time and on easy terms, to the extent often of a sceptical abandonment of the Hellenic ideal and a total perversion of the true purpose of antiquarian studies. If there be any one at all in these circles who has not completely exhausted himself in the endeavour to be a trustworthy corrector of old texts or a natural-history microscopist of language, he perhaps seeks also to appropriate Grecian antiquity "historically" along with other antiquities, and in any case according to the method and with the supercilious air of our present cultured historiography. When, therefore, the intrinsic efficiency of the higher educational institutions has never perhaps been lower or feebler than at present, when the "journalist," the paper slave of the day, has triumphed over the academic teacher in all matters pertaining to culture, and there only remains to the latter the often previously experienced metamorphosis of now fluttering also, as a cheerful cultured butterfly, in the idiom of the journalist, with the "light elegance" peculiar thereto—with what painful confusion must the cultured persons of a period like the present gaze at the phenomenon (which can perhaps be comprehended analogically only by means of the profoundest principle of the hitherto unintelligible Hellenic genius) of the reawakening of the Dionysian spirit and the re-birth of tragedy? Never has there been another art-period in which so-called culture and true art have been so estranged and opposed, as is so obviously the case at present. We understand why so feeble a culture hates true art; it fears destruction thereby. But must not an entire domain of culture, namely the Socratic-Alexandrine, have exhausted its powers after contriving to culminate in such a daintily-tapering point as our present culture? When it was not permitted to heroes like Goethe and Schiller to break open the enchanted gate which leads into the Hellenic magic mountain, when with their most dauntless striving they did not get beyond the longing gaze which the Goethean Iphigenia cast from barbaric Tauris to her home across the ocean, what could the epigones of such heroes hope for, if the gate should not open to them suddenly of its own accord, in an entirely different position, quite overlooked in all endeavours of culture hitherto—amidst the mystic tones of reawakened tragic music.

      Let no one attempt to weaken our faith in an impending re-birth of Hellenic antiquity; for in it alone we find our hope of a renovation and purification of the German spirit through the fire-magic of music. What else do we know of amidst the present desolation and languor of culture, which could awaken any comforting expectation for the future? We look in vain for one single vigorously-branching root, for a speck of fertile and healthy soil: there is dust, sand, torpidness and languishing everywhere! Under such circumstances a cheerless solitary wanderer could choose for himself no better symbol than the Knight with Death and the Devil, as Dürer has sketched him for us, the mail-clad knight, grim and stern of visage, who is able, unperturbed by his gruesome companions, and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was such a Dürerian knight: he was destitute of all hope, but he sought the truth. There is not his equal.

      But how suddenly this gloomily depicted wilderness of our exhausted culture changes when the Dionysian magic touches it! A hurricane seizes everything decrepit, decaying, collapsed, and stunted; wraps it whirlingly into a red cloud of dust; and carries it like a vulture into the air. Confused thereby, our glances seek for what has vanished: for what they see is something risen to the golden light as from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in the midst of this exuberance of life, sorrow and joy, in sublime ecstasy; she listens to a distant doleful song—it tells of the Mothers of Being, whose names are: Wahn, Wille, Wehe—Yes, my friends, believe with me in Dionysian life and in the re-birth of tragedy. The time of the Socratic man is past: crown yourselves with ivy, take in your hands the thyrsus, and do not marvel if tigers and panthers lie down fawning at your feet. Dare now to be tragic men, for ye are to be redeemed! Ye are to accompany the Dionysian festive procession from India to Greece! Equip yourselves for severe conflict, but believe in the wonders of your god!

      21.

      Gliding back from these hortative tones into the mood which befits the contemplative man, I repeat that it can only be learnt from the Greeks what such a sudden and miraculous awakening of tragedy must signify for the essential basis of a people's life. It is the people of the tragic mysteries who fight the battles with the Persians: and again, the people who waged such wars required tragedy as a necessary healing potion. Who would have imagined that there was still such a uniformly powerful effusion of the simplest political sentiments, the most natural domestic instincts and the primitive manly delight in strife in this very people after it had been shaken to its foundations for several generations by the most violent convulsions of the Dionysian demon? If at every considerable spreading of the Dionysian commotion one always perceives that the Dionysian loosing from the shackles of the individual makes itself felt first of all in an increased encroachment on the political instincts, to the extent of indifference, yea even hostility, it is certain, on the other hand, that the state-forming Apollo is also the genius of the principium individuationis, and that the state and domestic sentiment cannot live without an assertion of individual personality. There is only one way from orgasm for a people,—the way to Indian Buddhism, which, in order to be at all endured with its longing for nothingness, requires the rare ecstatic states with their elevation above space, time, and the individual; СКАЧАТЬ