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)
David Strauss, the confessor and the writerinternational journals which stand at its service to proclaim certainindividuals from its midst as the new German classics and modelwriters. One might perhaps have expected that the more thoughtfuland learned among cultivated Germans would have recognized thedangers inherent in such a misuse of success, or at least have felt thisspectacle as painful: for what could be more painful than the sight ofa deformed man pluming himself before the mirror like a cockereland exchanging admiring glances with his reflection? But thelearned classes are happy to let happen what is happening, and havein any case quite enough to do in maintaining themselves withoutthe additional burden of looking after the welfare of the Germanspirit. Its members are, moreover, supremely convinced that theirown culture is the ripest and fairest fruit of the age, indeed of all theages, and cannot comprehend why anyone should need to look afterthe welfare of German culture in general, since they themselves andcountless numbers like them have already gone far, far beyond allsuch considerations. The more cautious observer, however, especiallyif he is a foreigner, cannot help noticing that what the Germanscholar now calls his culture and that jubilant culture of the newGerman classics differ from one another only in the extent of theirknowledge: wherever the question is one not of knowledge andinformation, but of art and ability - wherever, that is to say, life bearswitness to the culture - there is now only one German culture: and isit this that is supposed to have triumphed over France?Such an assertion seems completely incomprehensible: all impartialjudges, and finally the French themselves, have seenGermany's decisive advantage to have lain in the more extensiveknowledge possessed by its officers, in the superior training of itstroops, and in the greater science of its conduct of the war. In whatsense, then, can German culture be said to have triumphed, if onethinks to deduct from it German erudition? In no sense: fo r themoral qualities of stricter discipline and readier obedience havenothing to do with culture - though they distinguished the Macedoniansoldiery from the Greek, for example, the latter were incomparablymore cultured. It can only be the result of confusion if onespeaks of the victory of German culture, a confusion originating inthe fact that in Germany there no longer exists any clear conceptionof what culture is.Culture is, above all, unity of artistic style in all the expressionsof the life of a people. Much knowledge and learning is neitheran essential means to culture nor a sign of it, and if needs be can5
Untimely Meditationsget along very well with the opposite of culture, barbarism, whichis lack of style or a chaotic jumble of all styles.It is in such a chaotic jumble of styles that the German of our daydwells: and one seriously wonders how, with all his erudition, he canpossibly fail to notice it, but, on the contrary, rejoices from the veryheart at the 'culture' he at present possesses. For everything ought toinstruct him: every glance he casts at his clothes, his room, his home,every walk he takes through the streets of his town, every visit he paysto a fashionable shop; in his social life he ought to be aware of theorigin of his manners and deportment, in the world of our artisticinstitutions, of our concerts, theatres and museums, he ought tonotice the grotesque juxtaposition and confusion of different styles.The German amasses around him the fo rms and colours, productionsand curiosities of every age and every clime, and producesthat modem fairground motley which his learned colleagues arethen obliged to observe and classify as the 'modern as such', while hehimself remains seated calmly in the midst of the tumult. But withthis kind of' culture' , which is in fact only a phlegmatic lack of all feelingfor culture, one cannot overcome enemies, least of all those who,like the French, actually possess a real and productive culture,regardless of what its value may be, and from whom we havehitherto copied everything, though usually with little skill.If we had in fact ceased to copy it we would not thereby havetriumphed over it, but only have liberated ourselves from it: only ifwe had imposed upon the French an original German culture couldthere be any question of a victory of German culture. In the meantime,we should not forget that we are still dependent on Paris in allmatters of form, just as beforeand that we have to go on beingdependent, fo r up to now there has been no original Germanculture.We all ought to have been aware of this from our own knowledge:in addition to which, one of the few who had a right to speak to theGermans of it in a tone of reproach has publicly revealed it. 'WeGermans are of yesterday', Goethe once said to Eckermann; 'it istrue that we have been soundly cultivating ourselves for a century,but another couple of centuries may have to pass before sufficientspirit and higher culture has penetrated our countrymen andbecome general for it to be possible to say of them: it is a long timesince they were barbarians.' **Goethe to Eckermann, on 3 May 1827.6
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<strong>Untimely</strong> <strong>Meditations</strong>get along very well with <strong>the</strong> opposite <strong>of</strong> culture, barbarism, whichis lack <strong>of</strong> style or a chaotic jumble <strong>of</strong> all styles.It is <strong>in</strong> such a chaotic jumble <strong>of</strong> styles that <strong>the</strong> German <strong>of</strong> our daydwells: and one seriously wonders how, with all his erudition, he canpossibly fail to notice it, but, on <strong>the</strong> contrary, rejoices from <strong>the</strong> veryheart at <strong>the</strong> 'culture' he at present possesses. For everyth<strong>in</strong>g ought to<strong>in</strong>struct him: every glance he casts at his clo<strong>the</strong>s, his room, his home,every walk he takes through <strong>the</strong> streets <strong>of</strong> his town, every visit he paysto a fashionable shop; <strong>in</strong> his social life he ought to be aware <strong>of</strong> <strong>the</strong>orig<strong>in</strong> <strong>of</strong> his manners and deportment, <strong>in</strong> <strong>the</strong> world <strong>of</strong> our artistic<strong>in</strong>stitutions, <strong>of</strong> our concerts, <strong>the</strong>atres and museums, he ought tonotice <strong>the</strong> grotesque juxtaposition and confusion <strong>of</strong> different styles.The German amasses around him <strong>the</strong> fo rms and colours, productionsand curiosities <strong>of</strong> every age and every clime, and producesthat modem fairground motley which his learned colleagues are<strong>the</strong>n obliged to observe and classify as <strong>the</strong> 'modern as such', while hehimself rema<strong>in</strong>s seated calmly <strong>in</strong> <strong>the</strong> midst <strong>of</strong> <strong>the</strong> tumult. But withthis k<strong>in</strong>d <strong>of</strong>' culture' , which is <strong>in</strong> fact only a phlegmatic lack <strong>of</strong> all feel<strong>in</strong>gfor culture, one cannot overcome enemies, least <strong>of</strong> all those who,like <strong>the</strong> French, actually possess a real and productive culture,regardless <strong>of</strong> what its value may be, and from whom we havehi<strong>the</strong>rto copied everyth<strong>in</strong>g, though usually with little skill.If we had <strong>in</strong> fact ceased to copy it we would not <strong>the</strong>reby havetriumphed over it, but only have liberated ourselves from it: only ifwe had imposed upon <strong>the</strong> French an orig<strong>in</strong>al German culture could<strong>the</strong>re be any question <strong>of</strong> a victory <strong>of</strong> German culture. In <strong>the</strong> meantime,we should not forget that we are still dependent on Paris <strong>in</strong> allmatters <strong>of</strong> form, just as beforeand that we have to go on be<strong>in</strong>gdependent, fo r up to now <strong>the</strong>re has been no orig<strong>in</strong>al Germanculture.We all ought to have been aware <strong>of</strong> this from our own knowledge:<strong>in</strong> addition to which, one <strong>of</strong> <strong>the</strong> few who had a right to speak to <strong>the</strong>Germans <strong>of</strong> it <strong>in</strong> a tone <strong>of</strong> reproach has publicly revealed it. 'WeGermans are <strong>of</strong> yesterday', Goe<strong>the</strong> once said to Eckermann; 'it istrue that we have been soundly cultivat<strong>in</strong>g ourselves for a century,but ano<strong>the</strong>r couple <strong>of</strong> centuries may have to pass before sufficientspirit and higher culture has penetrated our countrymen andbecome general for it to be possible to say <strong>of</strong> <strong>the</strong>m: it is a long times<strong>in</strong>ce <strong>the</strong>y were barbarians.' **Goe<strong>the</strong> to Eckermann, on 3 May 1827.6