The Essential Works of Friedrich Nietzsche. Friedrich Nietzsche

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СКАЧАТЬ and "not itself": and this "no" is its creative deed. This volte-face of the valuing standpoint—this inevitable gravitation to the objective instead of back to the subjective—is typical of "resentment": the slave-morality requires as the condition of its existence an external and objective world, to employ physiological terminology, it requires objective stimuli to be capable of action at all—its action is fundamentally a reaction. The contrary is the case when we come to the aristocrat's system of values: it acts and grows spontaneously, it merely seeks its antithesis in order to pronounce a more grateful and exultant "yes" to its own self;—its negative conception, "low," "vulgar," "bad," is merely a pale late-born foil in comparison with its positive and fundamental conception (saturated as it is with life and passion), of "we aristocrats, we good ones, we beautiful ones, we happy ones."

      When the aristocratic morality goes astray and commits sacrilege on reality, this is limited to that particular sphere with which it is not sufficiently acquainted—a sphere, in fact, from the real knowledge of which it disdainfully defends itself. It misjudges, in some cases, the sphere which it despises, the sphere of the common vulgar man and the low people: on the other hand, due weight should be given to the consideration that in any case the mood of contempt, of disdain, of superciliousness, even on the supposition that it falsely portrays the object of its contempt, will always be far removed from that degree of falsity which will always characterise the attacks—in effigy, of course—of the vindictive hatred and revengefulness of the weak in onslaughts on their enemies. In point of fact, there is in contempt too strong an admixture of nonchalance, of casualness, of boredom, of impatience, even of personal exultation, for it to be capable of distorting its victim into a real caricature or a real monstrosity. Attention again should be paid to the almost benevolent nuances which, for instance, the Greek nobility imports into all the words by which it distinguishes the common people from itself; note how continuously a kind of pity, care, and consideration imparts its honeyed flavour, until at last almost all the words which are applied to the vulgar man survive finally as expressions for "unhappy," "worthy of pity" (compare δειλο, δείλαιος, πονηρός, μοχθηρός]; the latter two names really denoting the vulgar man as labour-slave and beast of burden)—and how, conversely, "bad," "low," "unhappy" have never ceased to ring in the Greek ear with a tone in which "unhappy" is the predominant note: this is a heritage of the old noble aristocratic morality, which remains true to itself even in contempt (let philologists remember the sense in which ὀιζυρός, ἄνολβος, τλήμων, δυστυχεῑν, ξυμφορά used to be employed). The "well-born" simply felt themselves the "happy"; they did not have to manufacture their happiness artificially through looking at their enemies, or in cases to talk and lie themselves into happiness (as is the custom with all resentful men); and similarly, complete men as they were, exuberant with strength, and consequently necessarily energetic, they were too wise to dissociate happiness from action—activity becomes in their minds necessarily counted as happiness (that is the etymology of εὖ πρἆττειν)—all in sharp contrast to the "happiness" of the weak and the oppressed, with their festering venom and malignity, among whom happiness appears essentially as a narcotic, a deadening, a quietude, a peace, a "Sabbath," an enervation of the mind and relaxation of the limbs,—in short, a purely passive phenomenon. While the aristocratic man lived in confidence and openness with himself (γενναῐος, "nobleε-born," emphasises the nuance "sincere," and perhaps also "naïf"), the resentful man, on the other hand, is neither sincere nor naïf, nor honest and candid with himself. His soul squints; his mind loves hidden crannies, tortuous paths and back-doors, everything secret appeals to him as his world, his safety, his balm; he is past master in silence, in not forgetting, in waiting, in provisional self-depreciation and self-abasement. A race of such resentful men will of necessity eventually prove more prudent than any aristocratic race, it will honour prudence on quite a distinct scale, as, in fact, a paramount condition of existence, while prudence among aristocratic men is apt to be tinged with a delicate flavour of luxury and refinement; so among them it plays nothing like so integral a part as that complete certainty of function of the governing unconscious instincts, or as indeed a certain lack of prudence, such as a vehement and valiant charge, whether against danger or the enemy, or as those ecstatic bursts of rage, love, reverence, gratitude, by which at all times noble souls have recognised each other. When the resentment of the aristocratic man manifests itself, it fulfils and exhausts itself in an immediate reaction, and consequently instills no venom: on the other hand, it never manifests itself at all in countless instances, when in the case of the feeble and weak it would be inevitable. An inability to take seriously for any length of time their enemies, their disasters, their misdeeds—that is the sign of the full strong natures who possess a superfluity of moulding plastic force, that heals completely and produces forgetfulness: a good example of this in the modern world is Mirabeau, who had no memory for any insults and meannesses which were practised on him, and who was only incapable of forgiving because he forgot. Such a man indeed shakes off with a shrug many a worm which would have buried itself in another; it is only in characters like these that we see the possibility (supposing, of course, that there is such a possibility in the world) of the real "love of one's enemies." What respect for his enemies is found, forsooth, in an aristocratic man—and such a reverence is already a bridge to love! He insists on having his enemy to himself as his distinction. He tolerates no other enemy but a man in whose character there is nothing to despise and much to honour! On the other hand, imagine the "enemy" as the resentful man conceives him—and it is here exactly that we see his work, his creativeness; he has conceived "the evil enemy," the "evil one," and indeed that is the root idea from which he now evolves as a contrasting and corresponding figure a "good one," himself—his very self!

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      The method of this man is quite contrary to that of the aristocratic man, who conceives the root idea "good" spontaneously and straight away, that is to say, out of himself, and from that material then creates for himself a concept of "bad"! This "bad" of aristocratic origin and that "evil" out of the cauldron of unsatisfied hatred—the former an imitation, an "extra," an additional nuance; the latter, on the other hand, the original, the beginning, the essential act in the conception of a slave-morality—these two words "bad" and "evil," how great a difference do they mark, in spite of the fact that they have an identical contrary in the idea "good." But the idea "good" is not the same: much rather let the question be asked, "Who is really evil according to the meaning of the morality of resentment?" In all sternness let it be answered thus:—just the good man of the other morality, just the aristocrat, the powerful one, the one who rules, but who is distorted by the venomous eye of resentfulness, into a new colour, a new signification, a new appearance. This particular point we would be the last to deny: the man who learnt to know those "good" ones only as enemies, learnt at the same time not to know them only as "evil enemies" and the same men who inter pares were kept so rigorously in bounds through convention, respect, custom, and gratitude, though much more through mutual vigilance and jealousy inter pares, these men who in their relations with each other find so many new ways of manifesting consideration, self-control, delicacy, loyalty, pride, and friendship, these men are in reference to what is outside their circle (where the foreign element, a foreign country, begins), not much better than beasts of prey, which have been let loose. They enjoy there freedom from all social control, they feel that in the wilderness they can give vent with impunity to that tension which is produced by enclosure and imprisonment in the peace of society, they revert to the innocence of the beast-of-prey conscience, like jubilant monsters, who perhaps come from a ghastly bout of murder, arson, rape, and torture, with bravado and a moral equanimity, as though merely some wild student's prank had been played, perfectly convinced that the poets have now an ample theme to sing and celebrate. It is impossible not to recognise at the core of all these aristocratic races the beast of prey; the magnificent blonde brute, avidly rampant for spoil and victory; this hidden core needed an outlet from time to time, the beast must get loose again, must return into the wilderness—the Roman, Arabic, German, and Japanese nobility, the Homeric heroes, the Scandinavian Vikings, are all alike in this need. It is the aristocratic races who have left the idea "Barbarian" on all the tracks in which they have marched; nay, a consciousness СКАЧАТЬ