216.

Evil People and Music.—Should the full bliss of love, which consists in unlimited confidence, [pg 228] 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 [pg 230] 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, [pg 231] 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.