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Goethe is the last German whom I respect: he had understood three things as I understand them. We also agree as to the "cross."[9] People often ask me why on earth I write in German: nowhere am I less read than in the Fatherland. But who knows whether I even desire to be read at present?—To create things on which time may try its teeth in vain; to be concerned both in the form and the substance of my writing, about a certain degree of immortality—never have I been modest enough to demand less of myself. The aphorism, the sentence, in both of which I, as the first among Germans, am a master, are the forms of "eternity"; it is my ambition to say in ten sentences what everyone else says in a whole book,—what everyone else does not say in a whole book.
I have given mankind the deepest book it possesses, my Zarathustra; before long I shall give it the most independent one.
[1] The German word Rausch as used by Nietzsche here, suggests a blend of our two English words "intoxication" and "elation."—TR.
[2] An allusion to a verse in Luther's hymn: "Lass fahren dahin ... das Reich muss uns doch bleiben," which Nietzsche applies to the German Empire.—TR.
[3] A disciple of Schopenhauer who blunted the sharpness of his master's Pessimism and who watered it down for modern requirements.—TR.
[4] Quotation from the Libretto of Mozart's "Magic Flute" Act I, Sc. 3.—TR.
[5] This alludes to Parsifal. See my note on p. 96, vol. i., "The Will to Power."—TR.
[6] This is a playful adaptation of Max von Schenkendorfs poem "Freiheit" The proper line reads: "Freiheit die ich meine" (The freedom that I do mean).—TR.
[7] See "Memoirs of a House of the Dead," by Dostoiewsky (translation by Marie von Thilo: "Buried Alive").—TR.
[8] Clothilde de Veaux.—TR.
[9] See my note on p. 147 of Vol. I. of the Will to Power.—TR.
1
In conclusion I will just say a word concerning that world to which I have sought new means of access, to which I may perhaps have found a new passage—the ancient world. My taste, which is perhaps the reverse of tolerant, is very far from saying yea through and through even to this world: on the whole it is not over eager to say Yea, it would prefer to say Nay, and better still nothing whatever.... This is true of whole cultures; it is true of books,—it is also true of places and of landscapes. Truth to tell, the number of ancient books that count for something in my life is but small; and the most famous are not of that number. My sense of style, for the epigram as style, was awakened almost spontaneously upon my acquaintance with Sallust I have not forgotten the astonishment of my respected teacher Corssen, when he was forced to give his worst Latin pupil the highest marks,—at one stroke I had learned all there was to learn. Condensed, severe, with as much substance as possible in the background, and with cold but roguish hostility towards all "beautiful words" and "beautiful feelings"—in these things I found my own particular bent. In my writings up to my "Zarathustra," there will be found a very earnest ambition to attain to the Roman style, to[Pg 113] the "re perennius" in style.—The same thing happened on my first acquaintance with Horace. Up to the present no poet has given me the same artistic raptures as those which from the first I received from an Horatian ode. In certain languages it would be absurd even to aspire to what is accomplished by this poet. This mosaic of words, in which every unit spreads its power to the left and to the right over the whole, by its sound, by its place in the sentence, and by its meaning, this minimum in the compass and number of the signs, and the maximum of energy in the signs which is thereby achieved—all this is Roman, and, if you will believe me, noble par excellence. By the side of this all the rest of poetry becomes something popular,—nothing more than senseless sentimental twaddle.
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I am not indebted to the Greeks for anything like such strong impressions; and, to speak frankly, they cannot be to us what the Romans are. One cannot learn from the Greeks—their style is too strange, it is also too fluid, to be imperative or to have the effect of a classic. Who would ever have learnt writing from a Greek! Who would ever have learned it without the Romans!... Do not let anyone suggest Plato to me. In regard to Plato I am a thorough sceptic, and have never been able to agree to the admiration of Plato the artist, which is traditional among scholars. And after all, in this matter, the most refined judges of taste in antiquity are on my side. In my opinion Plato bundles all the forms of style pell-mell together, in this respect he is one[Pg 114] of the first decadents of style: he has something similar on his conscience to that which the Cynics had who invented the satura Menippea. For the Platonic dialogue—this revoltingly self-complacent and childish kind of dialectics—to exercise any charm over you, you must never have read any good French authors,—Fontenelle for instance. Plato is boring. In reality my distrust of Plato is fundamental. I find him so very much astray from all the deepest instincts of the Hellenes, so steeped in moral prejudices, so pre-existently Christian—the concept "good" is already the highest value with him,—that rather than use any other expression I would prefer to designate the whole phenomenon Plato with the hard word "superior bunkum," or, if you would like it better, "idealism." Humanity has had to pay dearly for this Athenian having gone to school among the Egyptians (—or among the Jews in Egypt?...) In the great fatality of Christianity, Plato is that double-faced fascination called the "ideal," which made it possible for the more noble natures of antiquity to misunderstand themselves and to tread the bridge which led to the "cross." And what an amount of Plato is still to be found in the concept "church," and in the construction, the system and the practice of the church!—My recreation, my predilection, my cure, after all Platonism, has always been Thucydides. Thucydides and perhaps Machiavelli's principe are most closely related to me owing to the absolute determination which they show of refusing to deceive themselves and of seeing reason in reality,—not in "rationality," and still less in "morality." There is no more radical cure than Thucydides for the lamentably[Pg 115] rose-coloured idealisation of the Greeks which the "classically-cultured" stripling bears with him into life, as a reward for his public school training. His writings must be carefully studied line by line, and his unuttered thoughts must be read as distinctly as what he actually says. There are few thinkers so rich in unuttered thoughts. In him the culture "of the Sophists"—that is to say, the culture of realism, receives its most perfect expression: this inestimable movement in the midst of the moral and idealistic knavery of the Socratic Schools which was then breaking out in all directions. Greek philosophy is the decadence of the Greek instinct: Thucydides is the great summing up, the final manifestation of that strong, severe positivism which lay in the instincts of the ancient Hellene. After all, it is courage in the face of reality that distinguishes such natures as Thucydides from Plato: Plato is a coward I in the face of reality—consequently he takes refuge in the ideal: Thucydides is master of himself,—consequently he is able to master life.
