Friedrich_Nietzsche - Untimely_Meditations_(Cambridge_Texts_in_the_History_of_Philosophy__1997)

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Richard Wagner in Bayreuthtalent who does not inwardly listen to him and find him more worthlistening to than his own and all other music together. Some, determinedto mean something at all cost, wrestle with this overwhelminginner influence, exile themselves to the circle of the older mastersand prefer to found their 'independence' on Schubert -or Handelrather than on Wagner. In vain! By struggling against their betterconscience, they themselves grow meaner and pettier as artists, theyruin their character by having to endure base friends and allies: andafter all these sacrifices they still find themselves, perhaps in adream, giving ear to Wagner. These opponents are pitiable: theybelieve they have lost a great deal when they lose themselves, butthey are here in error.Now, it is plain that Wagner is not very much concerned whethercomposers from now on compose in a Wagnerian manner orwhether they compose at all; indeed, he does what he can to destroythe unfortunate current belief that a school of composers must nownecessarily attach itself to him. Insofar as he exercises a directinfluence on present-day musicians he tries to instruct them in thean of grand execution; it seems to him that the evolution of the anhas reached a point at which the will to become an efficient master ofperformance and practical musicianship is far more estimable thanthe thirst to be 'creative' at any cost. For, at the stage the an has nowreached, such creativity, by multiplying and then wearing outthrough everyday use the techniques and inventions of genius, hasthe fatal consequence of trivializing the effect of what is truly great.In an, even the good is superfluous and harmful when it originatesin imitation of the best. Wagnerian means and ends belong together:to feel the truth of this requires nothing more than anistic honesty,and it is dishonesty to observe the means and then employ them forquite different, pettier ends.If Wagner thus declines to live among a crowd of composers allcomposing away in the Wagnerian manner, he is all the more insistentin setting every talent the new task of discovering together with himthe stylistic laws of dramatic performance. He feels a profound need tofound for his art a stylistic tradition by means of which his work couldlive on unalloyed from one age to the next until it attains thatfuture'for which its creator has destined it.Wagner possesses the insatiable urge to impart everything pertainingto this foundation of a style and thereby to the continuingexistence of his an. To make his work, as a sacred deposit and truefruit of his existence (to employ an expression of Schopenhauer's),245
Untimely Meditationsthe property of mankind, to lay it down fo r a posterity better able tojudge it, has become to him a goal which takes precedence over allother goals and for the sake of which he wears the crown of thornswhich shall one day blossom into a laurel-wreath: his efforts are concentratedon the safeguarding of his work just as decidedly as arethose of the insect in its final stage on safeguarding its eggs and oncaring for the brood whose existence it will never know: it depositsthe eggs where it knows for sure they will one day find life andnourishment, and dies contented.This goal, which takes precedence over al l other goals, inspireshim to ever new inventions; the more clearly he feels himself in conflictwith his most unresponsive age and its utter unwillingness to listen,the more abundantly does he draw on the well of his demonic geniusfo r communication. Gradually, however, even this age begins to giveway before his unwearying promptings and enticements and lendshim its ear. Whenever an opportunity, great or small, of elucidatinghis thoughts by practical example appeared in the distance, Wagnerwas prepared for it: he applied his ideas to the prcumstances obtainingand made them speak even out of the most inadequate embodiments.Whenever an even halfway receptive soul appeared he casthis seed into it. He attached his hopes to things at which the coldobserver shrugged his shoulders; he was willing to deceive himself ahundred times if it meant being once in the right as against thisobserver. As the wise man traffics with living men only so far as hecan thereby augment the treasury of his knowledge, so it almostseems as though the artist can have no traffic with the men of his ageexcept that through which he can perpetuate his art: to love himmeans to love his art and its perpetuation, and he likewise understandsonly one kind of hatred directed at himself, that which seeksto break down the bridges between his art and its fu ture. The pupilsWagner reared for himself, the individual musicians and performersto whom he spoke a word or illustrated a gesture, the great and modestorchestras he directed, the towns which saw him earnestly at work,the princes and women who, half timidly, half with love, participatedin his plans, the various European countries of which hewas temporarily the judge and bad conscience: all gradually becamean echo of his idea, of his inexhaustible striving for a fruitfulness inthe future; if this echo often returned to him distorted and confused,in the end it grew to the overwhelming chorus which the overwhelmingintensity of the message he cried to the world was bound finally toevoke; and soon it will be impossible not to hear him or to mis-246
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CAMBRIDGE UNIVERSITY PRESSCambridge
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IIntroductionin particular had a sp
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IntroductionHuman, that by the time
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Introductionanything disingenuous a
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IntroductionUntimely Meditations, i
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IntroductionIn 1886, after he had a
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Introductionhence to significant pa
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IntroductionPeter Gast at the very
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IntroductionBasel and the academy f
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Introduction25 Letter to Malwinda v
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Chronology18 January 1871Mid:June 1
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Chronology18 December 1879LateJuly
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Further readingThe standard German
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Further readingPeter Berkowitz, Nie
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Note on the textR. J. Hollingdale's
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Note on the textattack upon the sov
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Untimely Meditations
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1Public opinion in Germany seems al
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David Strauss, the confessor and th
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Foreword'In any case, I hate everyt
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Untimely Meditationsbe without this
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Untimely MeditationsAnd that is the
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Untimely MeditationsIithat they are
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Untimely Meditationscovered any par
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Untimely Meditationsthe semi-thinke
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Untimely Meditationsperish and at b
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Untimely Meditationsand their perpe
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Untimely Meditationsthe hieroglyphi
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Untimely Meditationsthat he does no
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Untimely Meditationsible, against t
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Untimely Meditationsevent is a joke
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Untimely Meditationsanything of tha
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Untimely Meditationsof all and in t
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Untimely Meditations5But I have und
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Untimely Meditationswhat we all do
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1'[...Untimely Meditationsrigid but
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Schopenhauer as educatorception and
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Schopenhauer as educatorthe more of
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Schopenhauer as educatorthose named
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Untimely Meditationsunfruitful - a
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Untimely Meditationssimilar wandere
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Untimely Meditationsso as to sweep
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Untimely Meditationslook. Conversel
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Untimely Meditationsmanner of moder
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Untimely MeditationsExperience unfo
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IIUntimely Meditationsregard to how
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Untimely Meditationsappearance is s
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Untimely Meditationswanted to say:
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Untimely MeditationsI. !that it is
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Friedrich_Nietzsche - Untimely_Meditations_(Cambridge_Texts_in_the_History_of_Philosophy__1997)

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