24
" Error regarding life necessary to life. - Every belief in the value and dignity of life rests on false thinking; it is possible only through the fact that empathy with the universal life and suffering of mankind is very feebly developed in the individual. Even those rarer men who think beyond themselves at all have an eye, not for this universal life, but for fenced-off portions of it. If one knows how to keep the exceptions principally in view, I mean the greatly gifted and pure of soul, takes their production for the goal of world-evolution and rejoices in the effects they in turn produce, one may believe in the value of life, because the one is overlooking all other men: thinking falsely, that is to say. And likewise if, though one does keep in view all mankind, one accords validity only to one species of drives, the less egoistical, and justifies them in face of all the others, then again one can hope for something of mankind as a whole and to this extent believe in the value of life: thus, in this case too, through falsity of thinking. Whichever of these attitudes one adopts, however, one is by adopting in an exception among men. The great majority endure life without complaining overmuch; they believe in the value of existence, but they do so precisely because each of them exists for himself alone, refusing to step out of himself as those exceptions do: everything outside themselves they notice not at all or at most as a dim shadow. Thus for the ordinary, everyday man the value of life rests solely on the fact that regards himself more highly than he does the world. The great lack of imagination from which he suffers means he is unable to feel his way into other beings and thus he participates as little as possible in their fortunes and sufferings. He, on the other hand, who really could participate in them would have to despair of the value of life; if he succeeded in encompassing and feeling within himself the total consciousness of mankind he would collapse with a curse on existence - for mankind has as a whole no goal, and the individual man when he regards its total course cannot derive from it any support or comfort, but must be reduced to despair. If in all he does he has before him the ultimate goallessness of man, his actions acquire in his own eyes the character of useless squandering. But to feel thus squandered, not merely as an individual fruits but as humanity as a whole, in the way we behold the individual fruits of nature squandered, is a feeling beyond all other feelings. - But who is capable of such a feeling? Certainly only a poet: and poets always know how to console themselves. "
― Friedrich Nietzsche , Human, All Too Human: A Book for Free Spirits
26
" ...we are concluding falsely that we can deduce the justification, the rational admissibility of displeasure, from the fact that it exists; and from this false deduction Schopenhauer arrives at his fantastic conclusion of so-called intelligible freedom. But displeasure after the deed need not be rational at all: in fact, it certainly is not rational, for it rests on the erroneous assumption that the deed did not have to follow necessarily. Thus, because he thinks he is free (but not because he is free), man feels remorse and the pangs of conscience.
Furthermore, this displeasure is a habit that can be given up; many men do not feel it at all, even after the same actions that cause many other men to feel it. Tied to the development of custom and culture, it is a very changeable thing, and present perhaps only within a relatively short period of world history.
No one is responsible for his deeds, no one for his nature; to judge is to be unjust. This is also true when the individual judges himself. The tenet is as bright as sunlight, and yet everyone prefers to walk back into the shadow and untruth - for fear of the consequences. "
― Friedrich Nietzsche , Human, All Too Human: A Book for Free Spirits
35
" The great man of the masses. It is easy to give the recipe for what the masses call a great man. By all means, supply them with something that they find very pleasant, or, first, put the idea into their heads that this or that would be very pleasant, and then give it to them. But on no account immediately: let it rather be won with great exertion, or let it seem so. The masses must have the impression that a mighty, indeed invincible, strength of will is present; at least it must be seen to be there. Everyone admires a strong will, because no one has it, and everyone tells himself that, if he had it, there would be no more limits for him and his egoism. Now, if it appears that this strong will is producing something very unpleasant for the masses, instead of listening to its own covetous desires, then everyone admires it all the more, and congratulates himself. For the rest, let him have all the characteristics of the masses: the less they are ashamed before him, the more popular he is. So, let him be violent, envious, exploitative, scheming, fawning, grovelling, puffed up, or, according to the circumstances, all of the above. "
― Friedrich Nietzsche , Human, All Too Human: A Book for Free Spirits
37
" Not without deep pain do we admit to ourselves that the artists of all ages have in their highest flights carried to heavenly transfiguration precisely those conceptions that we now recognize as false: they are the glorifiers of the religious and philosophical errors of humanity, and they could not have done this without their belief in the absolute truth of these errors. Now if the belief in such truth generally diminishes, if the rainbow colors at the outermost ends of human knowing and imagining fade: then the species of art that, like the Divina commedia, Raphael's pictures, Michelangelo's frescoes, the Gothic cathedrals, presupposes not only a cosmic, but also a metaphysical significance for art objects can never blossom again. A touching tale will come of this, that there was once such an art, such belief by artists. "
― Friedrich Nietzsche , Human, All Too Human: A Book for Free Spirits
38
" When a misfortune strikes us, we can overcome it either by removing its cause or else by changing the effect it has on our feelings, that is, by reinterpreting the misfortune as good, whose benefit may only later become clear. Religion and art (as well as metaphysical philosophy) strive to effect a change in our feeling, in part by changing the way we judge experiences...and in part by awakening a pleasure in pain, in emotion generally...The more a person tends to reinterpret and justify, the less will he confront the causes of the misfortune and eliminate them; a momentary palliation and narcotization (as used, for example, for a toothache) is also enough for him in more serious suffering. The more the rule of religions and all narcotic arts decrease, the more squarely do men confront the real elimination of the misfortune - of course, this is bad for the tragic poets (there being less and less material for the tragedy, because the realm of the inexorable, invincible fate grows ever smaller) but it is even worse for the priests (for until now they had fed on the narcotization of human misfortunes). "
― Friedrich Nietzsche , Human, All Too Human: A Book for Free Spirits
39
" It is always as it was between Achilles and Homer: one person has the experience, the sensation, the other describes it. A real writer only gives words to the affects and experiences of others; he is an artist in divining a great deal from the little that he has felt. Artist are by no means people of great passion, but they frequently present themselves as such, unconsciously sensing that others give greater credence to the passions they portray if the artist's own life testifies to his experience in this area. We need only let ourselves go, not control ourselves, give free play to our wrath or our desire, and the whole world immediately cries: how passionate he is! But there really is something significant in a deeply gnawing passion that consumes and often swallows up an individual: whoever experiences this surely does not describe it in dramas, music, or novels. Artists are frequently unbridled individuals, insofar, that is, as they are not artists: but that is something different. "
― Friedrich Nietzsche , Human, All Too Human: A Book for Free Spirits