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 writerindeed: there have also been ungifted visionaries, visionaries who donot arouse and fire us and yet intend to produce a very lasting effecthistorically as life-guides and to dominate the future: how muchmore is it incumbent upon us to subject their visionary enthusiasmto the control of reason. Lichtenberg even says: 'There are enthusiasticvisionaries devoid of ability, and these are truly dangerouspeople.' For the present, and in aid of this control by reason, wewould like an honest answer to three questions. First: how does thenew believer imagine his Heaven? Secondly: how far does thecourage bestowed on him by the new faith extend? And thirdly: howdoes he write his books? Strauss the confessor shall answer the firstand second questions for us, Strauss the writer the third.The Heaven of the new believer will naturally have to be a Heavenon earth: for the Christian 'prospect of an immortal Heavenly life'has, together with the other consolations of Christianity, 'irrevocablyfallen away' for him who has 'even one foot' in the Straussian camp(p. 364). There is some significance in how a religion elects to depictits Heaven: and if it be true that Christianity knows no otherHeavenly occupation than music-making and singing, then theStrauss ian philistine cannot very well be expected to look forward toit. The confessional book does, however, contain one paradisialpage, page 294: unroll this parchment first of all, most fo rtunatephilistine! All Heaven.will there climb down to you. 'We shall giveonly an indication', Strauss says, 'of what we do, of what we havedone these many years. Besides our profession - for we belong to themost varied professions, we are by no means only scholars or artistsbut also office workers and soldiers, tradesmen and landed proprietors,and, to say it again, there are not a few of us but many thousandsand not the worst in any country besides our profession, Isay, we try to keep our minds as open as possible to all the higherinterests of mankind: during recent years we have participated in theliveliest way in the great national war and the construction of theGerman state, and we feel ourselves profoundly uplifted by thisturn, as glorious as it was unexpected, in the history of our muchtriednation. We assist our understanding of these things throughhistorical studies, which have now been made easy even for theunlearned by a series of attractive and popularly written historicalworks; at the same time, we seek to broaden our knowledge ofnature, for which there is likewise no lack of aids accessible to thecommon understanding; and lastly, we find in the writings of ourgreat poets, in performances of the works of our great composers, a17
Untimely Meditationsstimulus for the spirit and the heart, for the imagination and thesense of humour, that leaves nothing to be desired. Thus we live andgo our way rejoicing.'This is our man, cries the philistine who reads this: for that is howwe live, how we live every day! * And what a nice turn of phrase hehas to describe things! When, for example, he refers to historicalstudies by means of which we assist our understanding of the politicalsituation, what can he be referring to but newspaper-reading,and when he speaks of our lively participation in the construction ofthe German state, what can he mean but our daily visits to the publichouse? and is a stroll through the zoo not what is meant by 'aidsaccessible to the common understanding' through which webroaden our knowledge of nature? And finallythe theatres andconcerts from which we take home 'stimuli for the imagination andsense of humour' which 'leave nothing to be desired' - how wittily hedignifies these dubious activities! This is our man: fo r his Heaven isour Heaven!Thus the philistine cries and rejoices: and if we are not as contentedas he is, the reason is that we wanted to know more. Scaligerasked: 'What is it to us whether Montaigne drank red wine or white!'But in this more important case how much we should treasure suchdetailed information! If only we could know how many pipes thephilistine must smoke each day according to the dictates of the newfaith, and whether he prefers the Spener or the National-Zeitungwhen he is drinking his coffee. Our thirst for knowledge is not satisfied!On only one point do we receive something of what we desire,but this, happily, concerns the philistine's Heaven of Heavens: theprivate little aesthetic closets consecrated to the great poets and composersin which the philistine not merely 'edifies' himself but inwhich, according to his confession, 'all his blemishes are effaced andwashed away' (p. 363); so that we appear to have to envisage theseclosets as kinds of little bathrooms. 'But that is only fo r fleetingmoments, it happens only in the realm of the imagination and isvalid only therein; as soon as we return to rude reality and the dailyround, the old cares descend upon us again from all sides' - thussighs our teacher, Strauss. Yet if we employ the fleeting moments fo rwhich we are allowed to linger in those little closets, there will be justenough time to view from all sides a picture of the ideal philistine,that is to say the philistine from whom all blemishes have been washed awayand who is now the philistine type in all its purity. What here pre-*This phrase is from a German students' song.18
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- Page 37 and 38: Chronology18 January 1871Mid:June 1
- Page 39 and 40: Chronology18 December 1879LateJuly
- Page 41 and 42: Further readingThe standard German
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David Strauss, <strong>the</strong> confessor and <strong>the</strong> writer<strong>in</strong>deed: <strong>the</strong>re have also been ungifted visionaries, visionaries who donot arouse and fire us and yet <strong>in</strong>tend to produce a very last<strong>in</strong>g effecthistorically as life-guides and to dom<strong>in</strong>ate <strong>the</strong> future: how muchmore is it <strong>in</strong>cumbent upon us to subject <strong>the</strong>ir visionary enthusiasmto <strong>the</strong> control <strong>of</strong> reason. Lichtenberg even says: 'There are enthusiasticvisionaries devoid <strong>of</strong> ability, and <strong>the</strong>se are truly dangerouspeople.' For <strong>the</strong> present, and <strong>in</strong> aid <strong>of</strong> this control by reason, wewould like an honest answer to three questions. First: how does <strong>the</strong>new believer imag<strong>in</strong>e his Heaven? Secondly: how far does <strong>the</strong>courage bestowed on him by <strong>the</strong> new faith extend? And thirdly: howdoes he write his books? Strauss <strong>the</strong> confessor shall answer <strong>the</strong> firstand second questions for us, Strauss <strong>the</strong> writer <strong>the</strong> third.The Heaven <strong>of</strong> <strong>the</strong> new believer will naturally have to be a Heavenon earth: for <strong>the</strong> Christian 'prospect <strong>of</strong> an immortal Heavenly life'has, toge<strong>the</strong>r with <strong>the</strong> o<strong>the</strong>r consolations <strong>of</strong> Christianity, 'irrevocablyfallen away' for him who has 'even one foot' <strong>in</strong> <strong>the</strong> Straussian camp(p. 364). There is some significance <strong>in</strong> how a religion elects to depictits Heaven: and if it be true that Christianity knows no o<strong>the</strong>rHeavenly occupation than music-mak<strong>in</strong>g and s<strong>in</strong>g<strong>in</strong>g, <strong>the</strong>n <strong>the</strong>Strauss ian philist<strong>in</strong>e cannot very well be expected to look forward toit. The confessional book does, however, conta<strong>in</strong> one paradisialpage, page 294: unroll this parchment first <strong>of</strong> all, most fo rtunatephilist<strong>in</strong>e! All Heaven.will <strong>the</strong>re climb down to you. 'We shall giveonly an <strong>in</strong>dication', Strauss says, '<strong>of</strong> what we do, <strong>of</strong> what we havedone <strong>the</strong>se many years. Besides our pr<strong>of</strong>ession - for we belong to <strong>the</strong>most varied pr<strong>of</strong>essions, we are by no means only scholars or artistsbut also <strong>of</strong>fice workers and soldiers, tradesmen and landed proprietors,and, to say it aga<strong>in</strong>, <strong>the</strong>re are not a few <strong>of</strong> us but many thousandsand not <strong>the</strong> worst <strong>in</strong> any country besides our pr<strong>of</strong>ession, Isay, we try to keep our m<strong>in</strong>ds as open as possible to all <strong>the</strong> higher<strong>in</strong>terests <strong>of</strong> mank<strong>in</strong>d: dur<strong>in</strong>g recent years we have participated <strong>in</strong> <strong>the</strong>liveliest way <strong>in</strong> <strong>the</strong> great national war and <strong>the</strong> construction <strong>of</strong> <strong>the</strong>German state, and we feel ourselves pr<strong>of</strong>oundly uplifted by thisturn, as glorious as it was unexpected, <strong>in</strong> <strong>the</strong> history <strong>of</strong> our muchtriednation. We assist our understand<strong>in</strong>g <strong>of</strong> <strong>the</strong>se th<strong>in</strong>gs throughhistorical studies, which have now been made easy even for <strong>the</strong>unlearned by a series <strong>of</strong> attractive and popularly written historicalworks; at <strong>the</strong> same time, we seek to broaden our knowledge <strong>of</strong>nature, for which <strong>the</strong>re is likewise no lack <strong>of</strong> aids accessible to <strong>the</strong>common understand<strong>in</strong>g; and lastly, we f<strong>in</strong>d <strong>in</strong> <strong>the</strong> writ<strong>in</strong>gs <strong>of</strong> ourgreat poets, <strong>in</strong> performances <strong>of</strong> <strong>the</strong> works <strong>of</strong> our great composers, a17