Early Greek Philosophy & Other Essays Collected Works, Volume Two · Friedrich Wilhelm Nietzsche
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That dangerous word, Hybris, is indeed the touchstone for every Heraclitean; here he may show whether he has understood or mistaken his master. Is there in this world: Guilt, injustice, contradiction, suffering? Yes, exclaims Heraclitus, but only for the limited human being, who sees divergently and not convergently, not for the contuitive god; to him everything opposing converges into one harmony, invisible it is true to the common human eye, yet comprehensible to him who like Heraclitus resembles the contemplative god. Before his fiery eye no drop of injustice is left in the world poured out around him, and even that cardinal obstacle--how pure fire can take up its quarters in forms so impure--he masters by means of a sublime simile. A Becoming and Passing, a building and destroying, without any moral bias, in perpetual innocence is in this world only the play of the artist and of the child. And similarly, just as the child and the artist play, the eternally living fire plays, builds up and destroys, in innocence--and this game the _Æon_ plays with himself. Transforming himself into water and earth, like a child he piles heaps of sand by the sea, piles up and demolishes; from time to time he recommences the game. A moment of satiety, then again desire seizes him, as desire compels the artist to create. Not wantonness, but the ever newly awakening impulse to play, calls into life other worlds. The child throws away his toys; but soon he starts again in an innocent frame of mind. As soon however as the child builds he connects, joins and forms lawfully and according to an innate sense of order.
Thus only is the world contemplated by the æsthetic man, who has learned from the artist and the genesis of the latter's work, how the struggle of plurality can yet bear within itself law and justice, how the artist stands contemplative above, and working within the work of art, how necessity and play, antagonism and harmony must pair themselves for the procreation of the work of art. Who now will still demand from such a philosophy a system of Ethics with the necessary imperatives--Thou Shalt,--or even reproach Heraclitus with such a deficiency. Man down to his last fibre is Necessity and absolutely "unfree "--if by freedom one understands the foolish claim to be able to change at will one's _essentia_ like a garment, a claim, which up to the present every serious philosophy has rejected with due scorn. That so few human beings live with consciousness in the _Logos_ and in accordance with the all-overlooking artist's eye originates from their souls being wet and from the fact that men's eyes and ears, their intellect in general is a bad witness when "moist ooze fills their souls." Why that is so, is not questioned any more than why fire becomes water and earth. Heraclitus is not _compelled_ to prove (as Leibnitz was) that this world was even the best of all; it was sufficient for him that the world is the beautiful, innocent play of the _Æon._ Man on the whole is to him even an irrational being, with which the fact that in all his essence the law of all-ruling reason is fulfilled does lot clash.
He does not occupy a specially favoured position in nature, whose highest phenomenon is not simple-minded man, but fire, for instance, as stars. In so far as man has through necessity received a share of fire, he is a little more rational; as far as he consists of earth and water it stands badly with his reason. He is not compelled to take cognisance of the _Logos_ simply because he is a human being. Why is there water, why earth? This to Heraclitus is a much more serious problem than to ask, why men are so stupid and bad. In the highest and the most perverted men the same inherent lawfulness and justice manifest themselves. If however one would ask Heraclitus the question "Why is fire not always fire, why is it now water, now earth?" then he would only just answer: "It is a game, don't take it too pathetically and still less, morally." Heraclitus describes only the existing world and has the same contemplative pleasure in it which the artist experiences when looking at his growing work. Only those who have cause to be discontented with his natural history of man find him gloomy, melancholy, tearful, sombre, atrabilarious, pessimistic and altogether hateful. He however would take these discontented people, together with their antipathies and sympathies, their hatred und their love, as negligible and perhaps answer them with some such comment as: "Dogs bark at anything they do not know," or, "To the ass chaff is preferable to gold."
Text from Project Gutenberg, public domain in the United States.