Friedrich_Nietzsche - Untimely_Meditations_(Cambridge_Texts_in_the_History_of_Philosophy__1997)
Friedrich_Nietzsche - Untimely_Meditations_(Cambridge_Texts_in_the_History_of_Philosophy__1997) Friedrich_Nietzsche - Untimely_Meditations_(Cambridge_Texts_in_the_History_of_Philosophy__1997)
Richard Wagner in Bayreuthart: as a result of which, as it seems, there has been discovered notonly a new art but an itself. All the arts of modern times have, asisolated and stunted or as luxury arts, been almost disvalued; andthe uncertain, ill coordinated recollections of a true art which wemoderns have derived from the Greeks may now also rest in peace,except insofar as they are now able to shine of themselves in the lightof a new understanding. For many things the time has come to dieout; this new art is a prophet which sees the end approaching fo rother things than the arts. Its admonishing hand must make a verydisquieting impression upon our entire contemporary culture assoon as the laughter provoked by parodies of it has subsided: let themerriment go on for a little while yet!We, on the other hand, we disciples of an resurrected, will havethe time and the will for profound, serious reflection! The noise andchatter which has hitherto gone on about an we are bound to findshamelessly imponunate from now on; everything imposes upon ussilence, the five-year silence of the Pythagoreans. Who of us has notdirtied his hands and heart in the service of the idols of modern culture?Who is not in need of the water of purification, who does nothear the voice that admonished him: be silent and be cleansed! besilent and be cleansed! Only as those who listen to this voice are wealso granted the mighty insight with which we have to view the event atBayreuth, and only in this insight does there lie the mighty future ofthat event.When on that day in the May of 1872 the foundation stone was laidon the hill at Bayreuth amid pouring rain and under a darkened sky,Wagner drove with some of us back to the town; he was silent and heseemed to be gazing into himself with a look not to be described inwords. It was the first day of his sixtieth year: everything that hadgone before was a preparation for this moment. We know that attimes of exceptional danger, or in general at any decisive turningpointof their lives, men compress together all they have experiencedin an infinitely accelerated inner panorama, and behold distantevents as sharply as they do the most recent ones. What may Alexanderthe Great not have seen in the moment he caused Asia and Europe tobe drunk out of the same cup? What Wagner beheld within him onthat day, however - how he became what he is and what he will be we who are closest to him can to a certain extent also see: and it isonly from this Wagnerian inner view that we shall be able to understandhis great deed itself - and with this understanding guarantee itsfruitfulness.199
Untimely Meditations2It would be strange if that which a man can do best and most likes todo failed to become a visible presence within the total fo rmation ofhis life; and in the case of men of exceptional abilities their life mustbecome not only a reflection of their character, as is the case witheveryone, but first and foremost a reflection of their intellect and ofthe capacities most personal to them. The life of the epic poet willhave something of the epic about it as is the case with Goethe, bythe way, whom the Germans insist, quite wrongly, in seeing as principallya lyric poet - and the life of the dramatist will take adramatic course.The dramatic element in Wagner's development is quite unmistakablefrom the moment when his ruling passion became aware ofitself and took his whole nature in its charge: from that time on therewas an end to fu mbling, straying, to the proliferation of secondaryshoots, and within the most convoluted courses and often daringtrajectories assumed by his artistic plans there rules a single innerlaw, a will, by which they can be expfained, however strange thisexplanation will often sound. But there was also a pre-dramatic erain Wagner's life, that of his childhood and YQuth, and one cannotpass this era in review without encountering riddles. He himself doesnot yet seem to be present at all and that which, with hindsight, onemight perhaps interpret as a sign of his presence appears at first asthe simultaneous existence of qualities which must excite misgivingsrather than hopeful anticipation: a spirit of restlessness, of irritability,a nervous hastiness in seizing hold upon a hundred different things,a passionate delight in experiencing moods of almost pathologicalintensity, an abrupt transition from the most soulful quietude tonoise and violence. He was held in check by no traditional familyinvolvement in any particular art: he might as easily have adoptedpainting, poetry, acting, music as academic scholarship or anacademic fu ture; and a superficial view of him might suggest that hewas a born dilettante. The little world under whose spell he grew upwas not such as one could have congratulated an artist on having fo ra homeland. He was very close to enjoying the perilous pleasure inthe superficial tasting of one thing after another in the intellectualrealm, as he was to the self-conceit engendered by much superficialknowledge which is commonplace in cities of scholars; his sensibilitieswere easily aroused and as easily satisfied; wherever the eyesof the boy rested he saw himself surrounded by a strangely pre-200
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Richard Wagner <strong>in</strong> Bayreuthart: as a result <strong>of</strong> which, as it seems, <strong>the</strong>re has been discovered notonly a new art but an itself. All <strong>the</strong> arts <strong>of</strong> modern times have, asisolated and stunted or as luxury arts, been almost disvalued; and<strong>the</strong> uncerta<strong>in</strong>, ill coord<strong>in</strong>ated recollections <strong>of</strong> a true art which wemoderns have derived from <strong>the</strong> Greeks may now also rest <strong>in</strong> peace,except <strong>in</strong>s<strong>of</strong>ar as <strong>the</strong>y are now able to sh<strong>in</strong>e <strong>of</strong> <strong>the</strong>mselves <strong>in</strong> <strong>the</strong> light<strong>of</strong> a new understand<strong>in</strong>g. For many th<strong>in</strong>gs <strong>the</strong> time has come to dieout; this new art is a prophet which sees <strong>the</strong> end approach<strong>in</strong>g fo ro<strong>the</strong>r th<strong>in</strong>gs than <strong>the</strong> arts. Its admonish<strong>in</strong>g hand must make a verydisquiet<strong>in</strong>g impression upon our entire contemporary culture assoon as <strong>the</strong> laughter provoked by parodies <strong>of</strong> it has subsided: let <strong>the</strong>merriment go on for a little while yet!We, on <strong>the</strong> o<strong>the</strong>r hand, we disciples <strong>of</strong> an resurrected, will have<strong>the</strong> time and <strong>the</strong> will for pr<strong>of</strong>ound, serious reflection! The noise andchatter which has hi<strong>the</strong>rto gone on about an we are bound to f<strong>in</strong>dshamelessly imponunate from now on; everyth<strong>in</strong>g imposes upon ussilence, <strong>the</strong> five-year silence <strong>of</strong> <strong>the</strong> Pythagoreans. Who <strong>of</strong> us has notdirtied his hands and heart <strong>in</strong> <strong>the</strong> service <strong>of</strong> <strong>the</strong> idols <strong>of</strong> modern culture?Who is not <strong>in</strong> need <strong>of</strong> <strong>the</strong> water <strong>of</strong> purification, who does no<strong>the</strong>ar <strong>the</strong> voice that admonished him: be silent and be cleansed! besilent and be cleansed! Only as those who listen to this voice are wealso granted <strong>the</strong> mighty <strong>in</strong>sight with which we have to view <strong>the</strong> event atBayreuth, and only <strong>in</strong> this <strong>in</strong>sight does <strong>the</strong>re lie <strong>the</strong> mighty future <strong>of</strong>that event.When on that day <strong>in</strong> <strong>the</strong> May <strong>of</strong> 1872 <strong>the</strong> foundation stone was laidon <strong>the</strong> hill at Bayreuth amid pour<strong>in</strong>g ra<strong>in</strong> and under a darkened sky,Wagner drove with some <strong>of</strong> us back to <strong>the</strong> town; he was silent and heseemed to be gaz<strong>in</strong>g <strong>in</strong>to himself with a look not to be described <strong>in</strong>words. It was <strong>the</strong> first day <strong>of</strong> his sixtieth year: everyth<strong>in</strong>g that hadgone before was a preparation for this moment. We know that attimes <strong>of</strong> exceptional danger, or <strong>in</strong> general at any decisive turn<strong>in</strong>gpo<strong>in</strong>t<strong>of</strong> <strong>the</strong>ir lives, men compress toge<strong>the</strong>r all <strong>the</strong>y have experienced<strong>in</strong> an <strong>in</strong>f<strong>in</strong>itely accelerated <strong>in</strong>ner panorama, and behold distantevents as sharply as <strong>the</strong>y do <strong>the</strong> most recent ones. What may Alexander<strong>the</strong> Great not have seen <strong>in</strong> <strong>the</strong> moment he caused Asia and Europe tobe drunk out <strong>of</strong> <strong>the</strong> same cup? What Wagner beheld with<strong>in</strong> him onthat day, however - how he became what he is and what he will be we who are closest to him can to a certa<strong>in</strong> extent also see: and it isonly from this Wagnerian <strong>in</strong>ner view that we shall be able to understandhis great deed itself - and with this understand<strong>in</strong>g guarantee itsfruitfulness.199