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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)

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<strong>Untimely</strong> <strong>Meditations</strong>remote regions: that is why he can be called a simplifier <strong>of</strong> <strong>the</strong> world,for simplification <strong>of</strong> <strong>the</strong> world consists <strong>in</strong> be<strong>in</strong>g able to view and thusmaster <strong>the</strong> tremendous abundance <strong>of</strong> an apparently chaotic wildernessand to br<strong>in</strong>g toge<strong>the</strong>r <strong>in</strong> unity that which was formerly thoughtto be set irreconcilably asunder. Wagner did this by discover<strong>in</strong>g arelationship between two th<strong>in</strong>gs which appeared to be completelyalien to one ano<strong>the</strong>r as though <strong>the</strong>y dwelt <strong>in</strong> different spheres: betweenmusic and life, and likewise between music and drama. He did not<strong>in</strong>vent or create <strong>the</strong>se relationships: <strong>the</strong>y are <strong>the</strong>re, ly<strong>in</strong>g <strong>in</strong>everybody's path, just as every great problem is like <strong>the</strong> preciousstone which thousands walk over before one f<strong>in</strong>ally picks it up. Whatdoes it signify, Wagner asked himself, that precisely such an art asmusic should have arisen with such <strong>in</strong>comparable force <strong>in</strong> <strong>the</strong> life <strong>of</strong>modern man? It is not at all necessary to have a low op<strong>in</strong>ion <strong>of</strong> thislife <strong>in</strong> order to perceive a problem here; no, when one considers all<strong>the</strong> great forces perta<strong>in</strong><strong>in</strong>g to this life and pictures to oneself an existencestriv<strong>in</strong>g mightily upwards and struggl<strong>in</strong>g for conscious freedomand <strong>in</strong>dependence <strong>of</strong> tlwught - only <strong>the</strong>n does music appear truly anenigma <strong>in</strong> this world. Must one not say that music could not arise out<strong>of</strong> this age! But what <strong>the</strong>n is <strong>the</strong> mean<strong>in</strong>g <strong>of</strong> its existence? Is it achance event? A s<strong>in</strong>gle great artist might be a chance event, certa<strong>in</strong>ly;but <strong>the</strong> appearance <strong>of</strong> a series <strong>of</strong> great artists such as <strong>the</strong> history <strong>of</strong>modern music discloses - a series equalled only once before, <strong>in</strong> <strong>the</strong>age <strong>of</strong> <strong>the</strong> Greeks - makes one th<strong>in</strong>k it is not chance but necessity thatrules here. This necessity is precisely <strong>the</strong> problem to which Wagnerfurnishes an answer.First <strong>of</strong> all he recognized a state <strong>of</strong> distress extend<strong>in</strong>g as far ascivilization now unites nations: everywhere language is sick, and <strong>the</strong>oppression <strong>of</strong> this tremendous sickness weighs on <strong>the</strong> whole <strong>of</strong>human development. Inasmuch as language has had cont<strong>in</strong>ually toclimb up to <strong>the</strong> highest rung <strong>of</strong> achievement possible to it so as toencompass <strong>the</strong> realm <strong>of</strong> thought - a realm diametrically opposed tothat for <strong>the</strong> expression <strong>of</strong> which it was orig<strong>in</strong>ally supremely adapted,namely <strong>the</strong> realm <strong>of</strong> strong feel<strong>in</strong>gsit has dur<strong>in</strong>g <strong>the</strong> brief period <strong>of</strong>contemporary civilization become exhausted through this excessiveeffort: so that now it is no longer capable <strong>of</strong> perform<strong>in</strong>g that functionfor <strong>the</strong> sake <strong>of</strong> which alone it exists: to enable suffer<strong>in</strong>g mank<strong>in</strong>d tocorne to an understand<strong>in</strong>g with one ano<strong>the</strong>r over <strong>the</strong> simplest needs<strong>of</strong>life. Man can no longer express his needs and distress by means <strong>of</strong>language, thus he can no longer really communicate at all: andunder <strong>the</strong>se dimly perceived conditions language has everywhere214

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