The Dawn of Day · Friedrich Wilhelm Nietzsche
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THE DEMON OF POWER.—Neither necessity nor desire, but the love of power, is the demon of mankind. You may give men everything possible—health, food, shelter, enjoyment—but they are and remain unhappy and capricious, for the demon waits and waits; and must be satisfied. Let everything else be taken away from men, and let this demon be satisfied, and then they will nearly be happy—as happy as men and demons can be; but why do I repeat this? Luther has already said it, and better than I have done, in the verses: “And though they take our life, Goods, honour, children, wife, Yet is their profit small, These things shall vanish all, The Kingdom it remaineth.” The Kingdom! there it is again!(7) CONTRADICTION INCARNATE AND ANIMATED.—There is a physiological contradiction in what is called genius: genius possesses on the one hand a great deal of savage disorder and involuntary movement, and on the other hand a great deal of superior activity in this movement. Joined to this a genius possesses a mirror which reflects the two movements beside one another, and within one another, but often opposed to one another. Genius in consequence of this sight is often unhappy, and if it feels its greatest happiness in creating, it is because it forgets that precisely then, with the highest determinate activity, it does something fantastic and irrational (such is all art) and cannot help doing it.
DECEIVING ONE’S SELF.—Envious men with a discriminating intuition endeavour not to become too closely acquainted with their rivals in order that they may feel themselves superior to 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. WITHOUT CHARM.—He lacks charm and knows it. Ah, how skilful he is in masking this defect! He does it by a strict virtue, gloomy looks, and acquired distrust of all men, and of existence itself; by coarse jests, by contempt for a more refined manner of living, by pathos and pretensions, and by a cynical philosophy—yea, he has even developed into a character through the continual knowledge of his deficiency. WHY SO PROUD?—A noble character is distinguished from a vulgar one by the fact that the latter has not at ready command a certain number of habits and points of view like the former: fate willed that they should not be his either by inheritance or by education.
THE ORATOR’S SCYLLA AND CHARYBDIS.—How difficult it was in Athens to speak in such a way as to win over the hearers to one’s cause without repelling them at the same time by the form in which one’s speech was cast, or withdrawing their attention from the cause itself by this form! How difficult it still is to write thus in France! SICK PEOPLE AND ART.—For all kinds of sadness and misery of soul we should first of all try a change of diet and severe manual labour; but in such cases men are in the habit of having recourse to mental intoxicants, to art for example—which is both to their own detriment and that of art! Can you not see that when you call for art as sick people you make the artists themselves sick?
Text from Project Gutenberg, public domain in the United States.