The Dawn of Day

Friedrich Nietzsche, J. M. Kennedy

• Publisher: Dover Publications
• Year: 2012
• ISBN:
  9780486146591
• Topic: Philosophy
• Subtopic: Philosophical Criticism

One of the most important philosophers of the nineteenth century, Friedrich Nietzsche's influence on modern thought has extended beyond the borders of philosophy. His works have helped shape modern anthropology, psychology, theology, and sociology. Poets, novelists, and artists have also been touched by Nietzsche's powerful concepts and perspectives.
Edited by a noted Nietzsche scholar, this authoritative compendium is a vital assembly of nearly all of Nietzsche's early works. Marking the advent of his mature philosophy, these aphorisms and prose poems examine the impulses that lead human beings to seek the comforts of religion, morality, metaphysics, and art. Nietzsche proposes greater individualism and personality development, addresses issues of society and family, and discusses visions of free spirits with the courage to be rid of idealist prejudices. Written in his distinctive, often paradoxical style, The Dawn of Day presents practically every theme touched upon in Nietzsche's later philosophical essays. It is an essential guide and a fundamental basis for the understanding of the great philosopher and his work.

BOOK IV.

208.

A QUESTION OF CONSCIENCE.—“Now, in summa, tell me what this new thing is that you want.”—“ We no longer wish causes to be sinners and effects to be executioners.”

209.

THE UTILITY OF THE STRICTEST THEORIES. —People are indulgent towards a man’s moral weaknesses, and in this connection they use a coarse sieve, provided that he always professes to hold the most strict moral theories. On the other hand, the lives of free-thinking moralists have always been examined closely through a microscope, in the tacit belief that an error in their lives would be the best argument against their disagreeable knowledge.⁶

210.

THE “ THING IN ITSELF.”—We used to ask formerly: What is the ridiculous ?—as if there were something above and beyond ourselves that possessed the quality of provoking laughter, and we exhausted ourselves in trying to guess what it was (a theologian even held that it might be “ the naïveté of sin ”). At the present time we ask: What is laughter? how does it arise? We have considered the point, and finally reached the conclusion that there is nothing which is good, beautiful, sublime, or evil in itself; but rather that there are conditions of soul which lead us to attribute such qualities to things outside ourselves and in us. We have taken back their predicates from things; or we have at all events recollected that we have merely lent the things these predicates. Let us be careful that this insight does not cause us to lose the faculty of lending, and that we do not become at the same time wealthier and more avaricious.

211.

TO THOSE WHO DREAM OF IMMORTALITY.—So you desire the everlasting perpetuity of this beautiful consciousness of yourselves? Is it not shameful? Do you forget all those other things which would in their turn have to support you for all eternity, just as they have borne with you up to the present with more than Christian patience? Or do you think that you can inspire them with an eternally pleasant feeling towards yourself? A single immortal man on earth would imbue everyone around him with such a disgust for him that a general epidemic of murder and suicide would be brought about. And yet, ye petty dwellers on earth, with your narrow conceptions of a few thousand little minutes of time, ye would wish to be an everlasting burden on this everlasting universal existence! Could anything be more impertinent? After all, however, let us be indulgent towards a being of seventy years: he has not been able to exercise his imagination in conceiving his own “eternal tediousness ”—he had not time enough for that!

212.

WHEREIN WE KNOW OURSELVES.—As soon as one animal sees another it mentally compares itself with it; and men of uncivilised ages did the same. The consequence is that almost all men come to know themselves only as regards their defensive and offensive faculties.

213.

MEN WHOSE LIVES HAVE BEEN FAILURES.—Some men are built of such stuff that society is at liberty to do what it likes with them—they will do well in any case, and will not have to complain of having failed in life. Other men are formed of such peculiar material—it need not be a particularly noble one, but simply rarer—that they are sure to fare ill except in one single instance: when they can live according to their own designs,—in all other cases the injury has to be borne by society. For everything that seems to the individual to be a wasted or blighted life, his entire burden of discouragement, powerlessness, sickness, irritation, covetousness, is attributed by him to society—and thus a heavy, vitiated atmosphere is gradually formed round society, or, in the most favourable cases, a thundercloud.

214.

WHAT INDULGENCE!—You suffer, and call upon us to be indulgent towards you, even when in your suffering you are unjust towards things and men! But what does our indulgence matter! You, however, should take greater precautions for your own sake! That’s a nice way of compensating yourself for your sufferings, by imposing still further suffering on your own judgment! Your own revenge recoils upon yourselves when you start reviling something: you dim your own eyes in this way, and not the eyes of others; you accustom yourself to looking at things in the wrong way, and with a squint.

215.

THE MORALITY OF VICTIMS.—“ Enthusiastic sacrifice,” “ self-immolation ”—these are the catchwords of your morality, and I willingly believe that you, as you say, “ mean it honestly”: but I know you better than you know yourselves, if your “ honesty ” is capable of going arm in arm with such a morality. You look down from the heights of this morality upon that other sober morality which calls for self-control, severity, and obedience; you even go so far as to call it egoistic—and you are indeed frank towards yourselves in saying that it displeases you—it must displease you! For, in sacrificing and immolating yourselves with such enthusiasm, you delight in the intoxication of the thought that you are now one with the powerful being, God or man, to whom you are consecrating yourselves: you revel in the feeling of his power, which is again attested by this sacrifice.

In reality, however, you only appear to sacrifice yourselves; for your imagination turns you into gods and you enjoy yourselves as such. Judged from the point of view of this enjoyment, how poor and feeble must that other “ egoistic ” morality of obedience, duty, and reason seem to you: it is displeasing to you because in this instance true self-sacrifice and self-surrender are called for, without the victim thinking himself to be transformed into a god, as you do. In a word, you want intoxication and excess, and this morality which you despise takes up a stand against intoxication and excess—no wonder it causes you some displeasure!

216.

EVIL PEOPLE AND MUSIC.—Should the full bliss of love, which consists in unlimited confidence, ever have fallen to the lot of persons other than those who are profoundly suspicious, evil, and bitter? For such people enjoy in this bliss the gigantic, unlooked-for, and incredible exception of their souls! One day they are seized with that infinite, dreamy sensation which is entirely opposed to the remainder of their private and public life, like a delicious enigma, full of golden splendour, and impossible to be described by mere words or similes. Implicit confidence makes them speechless—there is even a species of suffering and heaviness in this blissful silence; and this is why souls that are overcome with happiness generally feel more grateful to music than others and better ones do: for they see and hear through music, as through a coloured mist, their love becoming, as it were, more distant, more touching, and less heavy. Music is the only means that such people have of observing their extraordinary condition and of becoming aware of its presence with a feeling of estrangement and relief. When the sound of music reaches the ears of every lover he thinks: “It speaks of me, it speaks in my stead; it knows everything! ”

217.

THE ARTIST.—The Germans wish to be transported by the artist into a state of dreamy passion; by his aid the Italians wish to rest from their real passions; the French wish him to give them an opportunity of showing their judgment and of making speeches. So let us be just!

218.

TO DEAL LIKE AN ARTIST WITH ONE’S WEAKNESSES. —If we must positively have weaknesses and come in the end to look upon them as laws beyond ourselves, I wish that everybody may be possessed of as much artistic capacity as will enable him to set off his virtues by means of his weaknesses, and to make us, through his weaknesses, desirous of acquiring his virtues: a power which great musicians have possessed in quite an exceptional degree. How frequently do we notice in Beethoven’s music a coarse, dogmatic, and impatient tone; in Mozart, the joviality of an honest man, whose heart and mind have not overmuch to give us; in Richard Wagner, an abrupt and aggressive restlessness, in the midst of which, just as the most patient listener is on the point of losing his temper, the composer regains his powers, and likewise the others. Through their very weaknesses, these musicians have created in us an ardent desire for their virtues, and have given us a palate which is ten times more sensitive to every note of this tuneful intellect, tuneful beauty, and tuneful goodness.

219.

DECEIT IN HUMILIATION.—By your foolishness you have done a great wrong to your neighbour and destroyed his happiness irretrievably—and then, having overcome your vanity, you humble yourself before him, surrender your foolishness to his contempt, and fancy that, after this difficult scene, which is an exceedingly painful one for you, everything has been set right, that your own voluntary loss of honour compensates your neighbour for the injury you have done to his happiness. With this feeling you take your leave comforted, believing that your virtue has been re-established.

Your neighbour, however, suffers as intensely as before. He finds nothing to comfort him in the fact that you have been irrational and have told him so: on the contrary, he remembers the painful appearance you presented to him when you were disparaging yourself in his presence—it is as if another wound had been inflicted on him. He does not think of revenging himself, however; and cannot conceive how a proper balance can be struck between you and him. In point of fact, you have been acting that scene for yourself and before yourself: you invited a witness to be present, not on his account, but on your own—don’t deceive yourself !

220.

DIGNITY AND TIMIDITY.—Ceremonies, official robes and court dresses, grave countenances, solemn aspects, the slow pace, involved speech—everything, in short, known as dignity—are all pretences adopted by those who are timid at heart: they wish to make themselves feared (themselves or the things they represent). The fearless (i.e. originally those who naturally inspire others with awe) have no need of dignity and ceremonies: they bring into repute—or, still more, into ill-repute —honesty and straightforward words and bearing, as characteristics of their self-confident awefulness.

221.

THE MORALITY OF SACRIFICE.—The morality which is measured by the spirit of sacrifice is that of a semi-civilised state of society. Reason in this instance gains a hard-fought and bloody victory within the soul; for there are powerful contrary instincts to be overcome. This cannot be brought about without the cruelty which the sacrifices to cannibal gods demand.

222.

WHERE FANATICISM IS TO BE DESIRED.—Phlegmatic natures can be rendered enthusiastic only by being fanaticised.

223.

THE DREADED EYE.—Nothing is dreaded more by artists, poets, and writers than the eye which sees through their little deceptions and subsequently notices how often they have stopped at the boundary where the paths branch off either to innocent delight in themselves or to the straining after effect; the eye which checks them when they try to sell little things dear, or when they try to exalt and adorn without being exalted themselves; the eye which, despite all the artifices of their art, sees the thought as it first presented itself to them, perhaps as a charming vision of light, perhaps also, however, ...