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Those who say: "But antiquity nevertheless remains as a subject of consideration for pure science, even though all its educational purposes may be disowned," must be answered by the words, What is pure science here! Actions and characteristics must be judged; and those who judge them must stand[Pg 179] above them: so you must first devote your attention to overcoming antiquity. If you do not do that, your science is not pure, but impure and limited . as may now be perceived.
To overcome Greek antiquity through our own deeds: this would be the right task. But before we can do this we must first know it!—There is a thoroughness which is merely an excuse for inaction. Let it be recollected how much Goethe knew of antiquity: certainly not so much as a philologist, and yet sufficient to contend with it in such a way as to bring about fruitful results. One should not even know more about a thing than one could create. Moreover, the only time when we can actually recognise something is when we endeavour to make it. Let people but attempt to live after the manner of antiquity, and they will at once come hundreds of miles nearer to antiquity than they can do with all their erudition.—Our philologists never show that they strive to emulate antiquity in any way, and thus their antiquity remains without any effect on the schools.
The study of the spirit of emulation (Renaissance, Goethe), and the study of despair.
The non-popular element in the new culture of the Renaissance: a frightful fact!
The worship of classical antiquity, as it was to be seen in Italy, may be interpreted as the only earnest, disinterested, and fecund worship which has yet fallen to the lot of antiquity. It is a splendid[Pg 180] example of Don Quixotism; and philology at best is such Don Quixotism. Already at the time of the Alexandrian savants, as with all the sophists of the first and second centuries, the Atticists, &c., the scholars are imitating something purely and simply chimerical and pursuing a world that never existed. The same trait is seen throughout antiquity · the manner in which the Homeric heroes were copied, and all the intercourse held with the myths, show traces of it. Gradually all Greek antiquity has become an object of Don Quixotism. It is impossible to understand our modern world if we do not take into account the enormous influence of the purely fantastic. This is now confronted by the principle · there can be no imitation. Imitation, however, is merely an artistic phenomenon, i.e., it is based on appearance . we can accept manners, thoughts, and so on through imitation; but imitation can create nothing. True, the creator can borrow from all sides and nourish himself in that way. And it is only as creators that we shall be able to take anything from the Greeks. But in what respect can philologists be said to be creators! There must be a few dirty jobs, such as knackers' men, and also text-revisers: are the philologists to carry out tasks of this nature?
What, then, is antiquity now, in the face of modern art, science, and philosophy? It is no longer the treasure-chamber of all knowledge; for in natural and historical science we have advanced greatly beyond it. Oppression by the church has[Pg 181] been stopped. A pure knowledge of antiquity is now possible, but perhaps also a more ineffective and weaker knowledge.—This is right enough, if effect is known only as effect on the masses; but for the breeding of higher minds antiquity is more powerful than ever.
Goethe as a German poet-philologist; Wagner as a still higher stage: his clear glance for the only worthy position of art. No ancient work has ever had so powerful an effect as the "Orestes" had on Wagner. The objective, emasculated philologist, who is but a philistine of culture and a worker in "pure science," is, however, a sad spectacle.
Between our highest art and philosophy and that which is recognised to be truly the oldest antiquity, there is no contradiction: they support and harmonise with one another. It is in this that I place my hopes.
The main standpoints from which to consider the importance of antiquity:
1. There is nothing about it for young people, for it exhibits man with an entire freedom from shame.
2. It is not for direct imitation, but it teaches by which means art has hitherto been perfected in the highest degree.
3. It is accessible only to a few, and there should be a police des mœurs, in charge of it—as there should be also in charge of bad pianists who play Beethoven.
4. These few apply this antiquity to the judg[Pg 182]ment of our own time, as critics of it; and they judge antiquity by their own ideals and are thus critics of antiquity.
5. The contract between the Hellenic and the Roman should be studied, and also the contrast between the early Hellenic and the late Hellenic.—Explanation of the different types of culture.
The advancement of science at the expense of man is one of the most pernicious things in the world. The stunted man is a retrogression in the human race: he throws a shadow over all succeeding generations The tendencies and natural purpose of the individual science become degenerate, and science itself is finally shipwrecked: it has made progress, but has either no effect at all on life or else an immoral one.
Men not to be used like things!
From the former very incomplete philology and knowledge of antiquity there flowed out a stream of freedom, while our own highly developed knowledge produces slaves and serves the idol of the State.
There will perhaps come a time when scientific work will be carried on by women, while the men will have to create, using the word in a spiritual sense: states, laws, works of art, &c.
People should study typical antiquity just as they do typical men: i.e., imitating what they under[Pg 183]stand of it, and, when the pattern seems to lie far in the distance, considering ways and means and preliminary preparations, and devising stepping-stones.
The whole feature of study lies in this: that we should study only what we feel we should like to imitate; what we gladly take up and have the desire to multiply. What is really wanted is a progressive canon of the ideal model, suited to boys, youths, and men.
Goethe grasped antiquity in the right way · invariably with an emulative soul. But who else did so? One sees nothing of a well-thought-out pedagogics of this nature: who knows that there is a certain knowledge of antiquity which cannot be imparted to youths!
The puerile character of philology: devised by teachers for pupils.
The ever more and more common form of the ideal: first men, then institutions, finally tendencies, purposes, or the want of them. The highest form: the conquest of the ideal by a backward movement from tendencies to institutions, and from institutions to men.
I will set down in writing what I no longer believe—and also what I do believe. Man stands in the midst of the great whirlpool of forces, and imagines[Pg 184] that this whirlpool is rational and has a rational aim in view: error! The only rationality that we know is the small reason of man: he must exert it to the utmost, and it invariably leaves him in the lurch if he tries to place himself in the hands of "Providence."
