298.

A Sigh.—I caught this notion on the way, and rapidly took the readiest, poor words to hold it fast, so that it might not again fly away. And now it has died in these dry words, and hangs and flaps about in them—and I hardly know now, when I look upon it, how I could have had such happiness when I caught this bird.

What one should Learn from Artists.—What means have we for making things beautiful, attractive, and desirable, when they are not so?—and I suppose they are never so in themselves! We have here something to learn from physicians, when, for example, they dilute what is bitter, or put wine and sugar into their mixing-bowl; but we have still more to learn from artists, who in fact, are continually concerned in devising such inventions and artifices. To withdraw from things until one no longer sees much of them, until one has even to see things into them, in order to see them at all—or to view them from the side, and as in a frame—or to place them so that they partly disguise themselves and only permit of perspective views—or to look at them through coloured glasses, or in the light of the sunset—or to furnish them with a surface or skin which is not fully transparent: we should learn all that from artists, and moreover be wiser than they. For this fine power of theirs usually ceases with them where art ceases and life begins; we, however, want to be the poets of our life, and first of all in the smallest and most commonplace matters.

300.

Prelude to Science.—Do you believe then that the sciences would have arisen and grown up if the sorcerers, alchemists, astrologers and witches had not been their forerunners; those who, with their promisings and foreshadowings, had first to create a thirst, a hunger, and a taste for hidden and forbidden powers? Yea, that infinitely more had to be promised than could ever be fulfilled, in order that something might be fulfilled in the domain of knowledge? Perhaps the whole of religion, also, may appear to some distant age as an exercise and a prelude, in like manner as the prelude and preparation of science here exhibit themselves, though not at all practised and regarded as such. Perhaps religion may have been the peculiar means for enabling individual men to enjoy but once the entire self-satisfaction of a God and all his self-redeeming power. Indeed!—one may ask—would man have learned at all to get on the tracks of hunger and thirst for himself, and to extract satiety and fullness out of himself, without that religious schooling and preliminary history? Had Prometheus first to fancy that he had stolen the light, and that he did penance for the theft—in order finally to discover that he had created the light, in that he had longed for the light, and that not only man, but also God had been the work of his hands and the clay in his hands? All mere creations of the creator?—just as the illusion, the theft, the Caucasus, the vulture, and the whole tragic Prometheia of all thinkers!

301.

Illusion of the Contemplative.—Higher men are distinguished from lower, by seeing and hearing immensely more, and in a thoughtful manner—and it is precisely this that distinguishes man from the animal, and the higher animal from the lower. The world always becomes fuller for him who grows up into the full stature of humanity; there are always more interesting fishing-hooks, thrown out to him; the number of his stimuli is continually on the increase, and similarly the varieties of his pleasure and pain,—the higher man becomes always at the same time happier and unhappier. An illusion, however, is his constant accompaniment all along: he thinks he is placed as a spectator and auditor before the great pantomime and concert of life; he calls his nature a contemplative nature, and thereby overlooks the fact that he himself is also a real creator, and continuous poet of life,—that he no doubt differs greatly from the actor in this drama, the so-called practical man, but differs still more from a mere onlooker or spectator before the stage. There is certainly vis contemplativa, and re-examination of his work peculiar to him as poet, but at the same time, and first and foremost, he has the vis creativa, which the practical man or doer lacks, whatever appearance and current belief may say to the contrary. It is we, we who think and feel, that actually and unceasingly make something which does not yet exist: the whole eternally increasing world of valuations, colours, weights, perspectives, gradations, affirmations and negations. This composition of ours is continually learnt, practised, and translated into flesh and actuality, and even into the commonplace, by the so-called practical men (our actors, as we have said). Whatever has value in the present world, has it not in itself, by its nature,—nature is always worthless:—but a value was once given to it, bestowed upon it, and it was we who gave and bestowed! We only have created the world which is of any account to man!—But it is precisely this knowledge that we lack, and when we get hold of it for a moment we have forgotten it the next: we misunderstand our highest power, we contemplative men, and estimate ourselves at too low a rate,—we are neither as proud nor as happy as we might be.