Our Virtues : Part 2

Beyond Good and Evil
by Friedrich Nietzsche, Helen Zimmern (Translator)

(Page 8 of 14)

221. "It sometimes happens," said a moralistic pedant and trifle- retailer, "that I honour and respect an unselfish man: not, however, because he is unselfish, but because I think he has a right to be useful to another man at his own expense. In short, the question is always who HE is, and who THE OTHER is. For instance, in a person created and destined for command, self- denial and modest retirement, instead of being virtues, would be the waste of virtues: so it seems to me. Every system of unegoistic morality which takes itself unconditionally and appeals to every one, not only sins against good taste, but is also an incentive to sins of omission, an ADDITIONAL seduction under the mask of philanthropy - and precisely a seduction and injury to the higher, rarer, and more privileged types of men. Moral systems must be compelled first of all to bow before the GRADATIONS OF RANK; their presumption must be driven home to their conscience - until they thoroughly understand at last that it is IMMORAL to say that 'what is right for one is proper for another.'" - So said my moralistic pedant and bonhomme. Did he perhaps deserve to be laughed at when he thus exhorted systems of morals to practise morality? But one should not be too much in the right if one wishes to have the laughers on ONE'S OWN side; a grain of wrong pertains even to good taste.

222. Wherever sympathy (fellow-suffering) is preached nowadays - and, if I gather rightly, no other religion is any longer preached - let the psychologist have his ears open through all the vanity, through all the noise which is natural to these preachers (as to all preachers), he will hear a hoarse, groaning, genuine note of SELF-CONTEMPT. It belongs to the overshadowing and uglifying of Europe, which has been on the increase for a century (the first symptoms of which are already specified documentarily in a thoughtful letter of Galiani to Madame d'Epinay) - IF IT IS NOT REALLY THE CAUSE THEREOF! The man of "modern ideas," the conceited ape, is excessively dissatisfied with himself - this is perfectly certain. He suffers, and his vanity wants him only "to suffer with his fellows."

223. The hybrid European - a tolerably ugly plebeian, taken all in all - absolutely requires a costume: he needs history as a storeroom of costumes. To be sure, he notices that none of the costumes fit him properly - he changes and changes. Let us look at the nineteenth century with respect to these hasty preferences and changes in its masquerades of style, and also with respect to its moments of desperation on account of "nothing suiting" us. It is in vain to get ourselves up as romantic, or classical, or Christian, or Florentine, or barocco, or "national," in moribus et artibus: it does not "clothe us"! But the "spirit," especially the "historical spirit," profits even by this desperation: once and again a new sample of the past or of the foreign is tested, put on, taken off, packed up, and above all studied - we are the first studious age in puncto of "costumes," I mean as concerns morals, articles of belief, artistic tastes, and religions; we are prepared as no other age has ever been for a carnival in the grand style, for the most spiritual festival - laughter and arrogance, for the transcendental height of supreme folly and Aristophanic ridicule of the world. Perhaps we are still discovering the domain of our invention just here, the domain where even we can still be original, probably as parodists of the world's history and as God's Merry-Andrews, - perhaps, though nothing else of the present have a future, our laughter itself may have a future!

224. The historical sense (or the capacity for divining quickly the order of rank of the valuations according to which a people, a community, or an individual has lived, the "divining instinct" for the relationships of these valuations, for the relation of the authority of the valuations to the authority of the operating forces), - this historical sense, which we Europeans claim as our specialty, has come to us in the train of the enchanting and mad semi-barbarity into which Europe has been plunged by the democratic mingling of classes and races - it is only the nineteenth century that has recognized this faculty as its sixth sense. Owing to this mingling, the past of every form and mode of life, and of cultures which were formerly closely contiguous and superimposed on one another, flows forth into us "modern souls"; our instincts now run back in all directions, we ourselves are a kind of chaos: in the end, as we have said, the spirit perceives its advantage therein. By means of our semi-barbarity in body and in desire, we have secret access everywhere, such as a noble age never had; we have access above all to the labyrinth of imperfect civilizations, and to every form of semi-barbarity that has at any time existed on earth; and in so far as the most considerable part of human civilization hitherto has just been semi-barbarity, the "historical sense" implies almost the sense and instinct for everything, the taste and tongue for everything: whereby it immediately proves itself to be an IGNOBLE sense. For instance, we enjoy Homer once more: it is perhaps our happiest acquisition that we know how to appreciate Homer, whom men of distinguished culture (as the French of the seventeenth century, like Saint- Evremond, who reproached him for his ESPRIT VASTE, and even Voltaire, the last echo of the century) cannot and could not so easily appropriate - whom they scarcely permitted themselves to enjoy. The very decided Yea and Nay of their palate, their promptly ready disgust, their hesitating reluctance with regard to everything strange, their horror of the bad taste even of lively curiosity, and in general the averseness of every distinguished and self-sufficing culture to avow a new desire, a dissatisfaction with its own condition, or an admiration of what is strange: all this determines and disposes them unfavourably even towards the best things of the world which are not their property or could not become their prey - and no faculty is more unintelligible to such men than just this historical sense, with its truckling, plebeian curiosity. The case is not different with Shakespeare, that marvelous Spanish-Moorish-Saxon synthesis of taste, over whom an ancient Athenian of the circle of AEschylus would have half-killed himself with laughter or irritation: but we - accept precisely this wild motleyness, this medley of the most delicate, the most coarse, and the most artificial, with a secret confidence and cordiality; we enjoy it as a refinement of art reserved expressly for us, and allow ourselves to be as little disturbed by the repulsive fumes and the proximity of the English populace in which Shakespeare's art and taste lives, as perhaps on the Chiaja of Naples, where, with all our senses awake, we go our way, enchanted and voluntarily, in spite of the drain-odour of the lower quarters of the town. That as men of the "historical sense" we have our virtues, is not to be disputed: - we are unpretentious, unselfish, modest, brave, habituated to self-control and self-renunciation, very grateful, very patient, very complaisant - but with all this we are perhaps not very "tasteful." Let us finally confess it, that what is most difficult for us men of the "historical sense" to grasp, feel, taste, and love, what finds us fundamentally prejudiced and almost hostile, is precisely the perfection and ultimate maturity in every culture and art, the essentially noble in works and men, their moment of smooth sea and halcyon self-sufficiency, the goldenness and coldness which all things show that have perfected themselves. Perhaps our great virtue of the historical sense is in necessary contrast to GOOD taste, at least to the very bad taste; and we can only evoke in ourselves imperfectly, hesitatingly, and with compulsion the small, short, and happy godsends and glorifications of human life as they shine here and there: those moments and marvelous experiences when a great power has voluntarily come to a halt before the boundless and infinite, - when a super-abundance of refined delight has been enjoyed by a sudden checking and petrifying, by standing firmly and planting oneself fixedly on still trembling ground. PROPORTIONATENESS is strange to us, let us confess it to ourselves; our itching is really the itching for the infinite, the immeasurable. Like the rider on his forward panting horse, we let the reins fall before the infinite, we modern men, we semi- barbarians - and are only in OUR highest bliss when we - ARE IN MOST DANGER.

Source: "Beyond Good and Evil," as published in The Complete Works of Friedrich Nietzsche (1909-1913).

About the Author

Friedrich Wilhelm Nietzsche (October 15, 1844 - August 25, 1900) was a German philosopher. His writing included critiques of religion, morality, contemporary culture, philosophy, and science. His style of writing was distinctive, displaying a fondness for aphorism and paradox. Nietzsche's influence remains substantial within and beyond philosophy, notably in existentialism and postmodernism.