modesty _to see that he is_ paid, honoured and celebrated in this position.--No, my learned friends! I bless you even on account of your humps! And also because like me you despise the littérateurs and parasites of culture! And because you do not know how to make merchandise of your intellect! And have so many opinions which cannot be expressed in money value! And because you do not represent anything which you _are_ not! Because your sole desire is to become masters of your craft; because you reverence every kind of mastership and ability, and repudiate with the most relentless scorn everything of a make-believe, half-genuine, dressed-up, virtuoso, demagogic, histrionic nature in _litteris et artibus_--all that which does not convince you by its absolute _genuineness_ of discipline and preparatory training, or cannot stand your test! (Even genius does not help a person to get over such a defect, however well it may be able to deceive with regard to it: one understands this if one has once looked closely at our most gifted painters and musicians,--who almost without exception, can artificially and supplementarily appropriate to themselves (by means of artful inventions of style, make-shifts, and even principles), the _appearance_ of that genuineness, that solidity of training and culture; to be sure, without thereby deceiving themselves, without thereby imposing perpetual silence on their bad consciences. For you know of course that all great modern artists suffer from bad consciences?...) [3] An allusion to the German Proverb, "Handwerk hat einen goldenen Boden."--TR. 367. _How one has to Distinguish first of all in Works of Art--_Everything that is thought, versified, painted and composed, yea, even built and moulded, belongs either to monologic art, or to art before witnesses. Under the latter there is also to be included the apparently monologic art which involves the belief in God, the whole lyric of prayer; because for a pious man there is no solitude,--we, the godless, have been the first to devise this invention. I know of no profounder distinction in all the perspective of the artist than this: Whether he looks at his growing work of art (at "himself--") with the eye of the witness; or whether he "has forgotten the world," as is the essential thing in all monologic art,--it rests _on forgetting,_ it is the music of forgetting. 368.