Page 50 of 80
An overflow of spunk and energy may quite as well lead to symptoms of partial constraint, sense hallucinations, peripheral sensitiveness, as a poor vitality does—the stimuli are differently determined, the effect is the same.... What is not the same is above all the ultimate result; the extreme torpidity of all morbid natures, after their nervous eccentricities, has nothing in common with the states of the artist, who need in no wise repent his best moments.... He is rich enough for it all: he can squander without becoming poor.
Just as we now feel justified in judging genius as a form of neurosis, we may perhaps think the same of artistic suggestive power,—and our artists are, as a matter of fact, only too closely related to hysterical females!!! This, however, is only an argument against the present day, and not against artists in general.
The inartistic states are: objectivity, reflection suspension of the will ... (Schopenhauer's scandalous misunderstanding consisted in regarding art as a mere bridge to the denial of life)... The inartistic states are: those which impoverish, which subtract, which bleach, under which life suffers—the Christian.
813.
The modern artist who, in his physiology, is next of kin to the hysteric, may also be classified as a character belonging to this state of morbidness. The hysteric is false,—he lies from the love of lying, he is admirable in all the arts of dissimulation,—unless his morbid vanity hood-wink him. This vanity is like a perpetual fever which is in need of stupefying drugs, and which recoils from no self-deception and no farce that promises it the most fleeting satisfaction. (The incapacity for pride and the need of continual revenge for his deep-rooted self-contempt, this is almost the definition of this man's vanity.)
The absurd irritability of his system, which makes a crisis out of every one of his experiences, and sees dramatic elements in the most insignificant occurrences of life, deprives him of all calm reflection; he ceases from being a personality, at most he is a rendezvous of personalities of which first one and then the other asserts itself with barefaced assurance. Precisely on this account he is great as an actor i all these poor will-less people, whom doctors study so profoundly, astound one through their virtuosity in mimicking, in transfiguration, in their assumption of almost any character required.
814.
Artists are not men of great passion, despite all their assertions to the contrary both to themselves and to others. And for the following two reasons:[Pg 259] they lack all shyness towards themselves (they watch themselves live, they spy upon themselves, they are much too inquisitive), and they also lack shyness in the presence of passion (as artists they exploit it). Secondly, however, that vampire, their talent, generally forbids them such an expenditure of energy as passion demands.—A man, who has a talent is sacrificed to that talent; he lives under the vampirism of his talent.
A man does not get rid of his passion by reproducing it, but rather he is rid of it if he is able to reproduce it. (Goethe teaches the reverse, but it seems as though he deliberately misunderstood himself here—from a sense of delicacy.)
815.
Concerning a reasonable mode of life.—.Relative, chastity, a fundamental and shrewd caution in regard to erotica, even in thought, may be a reasonable mode of life even in richly equipped and perfect natures. But this principle applies more particularly to artists; it belongs to the best wisdom of their lives. Wholly trustworthy voices have already been raised in favour of this view, e.g. Stendhal, Th. Gautier, and Flaubert. The artist is perhaps in his way necessarily a sensual man, generally susceptible, accessible to everything, and capable of responding to the remotest stimulus or suggestion of a stimulus. Nevertheless, as a rule he is in the power of his work, of his will to mastership, really a sober and often even a chaste man. His dominating instinct will have him so:[Pg 260] it does not allow him to spend himself haphazardly. It is one and the same form of strength which is spent in artistic conception and in the sexual act: there is only one form of strength. The artist who yields in this respect, and who spends himself, is betrayed: by so doing he reveals his lack of instinct, his lack of will in general. It may be a sign of decadence,—in any case it reduces the value of his art to an incalculable degree.
816.
Compared with the artist, the scientific man, regarded as a phenomenon, is indeed a sign of a certain storing-up and levelling-down of life (but also of an increase of strength, severity, hardness, and will-power). To what extent can falsity and indifference towards truth and utility be a sign of youth, of childishness, in the artist? ... Their habitual manner, their unreasonableness, their ignorance of themselves, their indifference to "eternal values," their seriousness in play, their lack of dignity; clowns and gods in one; the saint and the rabble.... Imitation as an imperious instinct.—Do not artists of ascending life and artists of degeneration belong to all phases? ... Yes!
817.
Would any link be missing in the whole chain of science and art, if woman, if woman's work, were excluded from it? Let us acknowledge the[Pg 261] exception—it proves the rule—that woman is capable of perfection in everything which does not constitute a work: in letters, in memoirs, in the most intricate handiwork—in short, in everything which is not a craft; and just precisely because in the things mentioned woman perfects herself, because in them she obeys the only artistic impulse in her nature,—which is to captivate.... But what has woman to do with the passionate indifference of the genuine artist who sees more importance in a breath, in a sound, in the merest trifle, than in himself?—who with all his five fingers gropes for his most secret and hidden treasures?—who attributes no value to anything unless it knows how to take shape (unless it surrenders itself, unless it visualises itself in some way). Art as it is practised by artists—do you not understand what it is? is it not an outrage on all our pudeurs? ... Only in this century has woman dared to try her hand at literature ("Vers la canaille plumire crivassire," to speak with old Mirabeau): woman now writes, she now paints, she is losing her instincts. And to what purpose, if one may put such a question?
818.
A man is an artist to the extent to which he regards everything that inartistic people call "form" as the actual substance, as the "principal" thing. With such ideas a man certainly belongs to a world upside down: for henceforward substance seems to him something merely formal,—his own life included.
819.
A sense for, and a delight in, nuances (which is characteristic of modernity), in that which is not general, runs counter to the instinct which finds its joy and its strength in grasping what is typical: like Greek taste in its best period. In this there is an overcoming of the plenitude of life; restraint dominates, the peace of the strong soul which is slow to move and which feels a certain repugnance towards excessive activity is defeated. The general rule, the law, is honoured and made prominent, conversely, the exception is laid aside, and shades are suppressed. All that which is firm, mighty, solid, life resting on a broad and powerful basis, concealing its strength this pleases: i.e. it corresponds with what we think of ourselves.
