of Greek culture, after it has been cut. Listen to the world-historic accent with which the concept "sense for the tragic" is introduced on page 180: there are little else but world-historic accents in this essay. This is the strangest kind of "objectivity" that ever existed: my absolute certainty in regard to what I _am,_ projected itself into any chance reality--truth about myself was voiced from out appalling depths. On pages 174 and 175 the style of _Zarathustra_ is described and foretold with incisive certainty, and no more magnificent expression will ever be found than that on pages 144-147 for the event for which _Zarathustra_ stands--that prodigious act of the purification and consecration of mankind. [Footnote 1: Those Germans who, like Nietzsche or Goethe, recognised that politics constituted a danger to culture, and who appreciated the literature of maturer cultures, such as that of France, are called _un-deutsch_ (un-German) by Imperialistic Germans.--Tr.] [Footnote 2: Aristotle's _Poetics_, c. vi.--Tr.] [Footnote 3: This number and those which follow refer to _Thoughts out of Season,_ Part I. in this edition of Nietzsche's Works.--TR.] "THOUGHTS OUT OF SEASON" 1 The four essays composing the _Thoughts out of Season_ are thoroughly warlike in tone. They prove that I was no mere dreamer, that I delight in drawing the sword--and perhaps, also, that my wrist is dangerously supple. The first onslaught (1873) was directed against German culture, upon which I looked down even at that time with unmitigated contempt Without either sense, substance, or goal, it was simply "public opinion." There could be no more dangerous misunderstanding than to suppose that Germany's success at arms proved anything in favour of German culture--and still less the triumph of this culture; over that of France. The second essay (1874) brings to light that which is dangerous, that which corrodes and poisons life in our manner of pursuing scientific study: Life is diseased, thanks to this dehumanised piece of clockwork and mechanism, thanks to the "impersonality" of the workman, 1 and the false economy of the "division of labour." The object, which is culture, is lost sight of: modern scientific activity as a means thereto simply produces barbarism. In this treatise, the "historical sense," of which this century is so proud, is for the first time recognised as sickness, as a typical symptom of decay. In the third and fourth essays, a sign-post is set up pointing to a higher concept of culture, to a re-establishment of the notion "culture"; and two pictures of the hardest self-love and self-discipline are presented, two essentially un-modern types, full of the most sovereign contempt for all that which lay around them and was called "Empire," "Culture," "Christianity," "Bismarck," and "Success,"--these two types were Schopenhauer and Wagner, _or,_ in a word, Nietzsche.... 2