The Case of Wagner, Nietzsche Contra Wagner, and Selected Aphorisms. — Nietzsche — John Shaqi
The Case of Wagner, Nietzsche Contra Wagner, and Selected Aphorisms.
Nietzsche · en
constrains or overthrows; born enemies of logic and of straight lines,
thirsting after the exotic, the strange and the monstrous, and all opiates
for the senses and the understanding. On the whole, a daring dare-devil,
magnificently violent, soaring and high-springing crew of artists, who
first had to teach their own century—it is the century of the mob—what the
concept “artist” meant. But they were _ill_.…
Wagner As The Apostle Of Chastity.
1.
Is this the German way?
Comes this low bleating forth from German hearts?
Should Teutons, sin repenting, lash themselves,
Or spread their palms with priestly unctuousness,
Exalt their feelings with the censer’s fumes,
And cower and quake and bend the trembling knee,
And with a sickly sweetness plead a prayer?
Then ogle nuns, and ring the Ave-bell,
And thus with morbid fervour out-do heaven?
Is this the German way?
Beware, yet are you free, yet your own Lords.
What yonder lures is Rome, Rome’s faith sung without words.
2.
There is no necessary contrast between sensuality and chastity, every good
marriage, every genuine love affair is above this contrast; but in those
cases where the contrast exists, it is very far from being necessarily a
tragic one. This, at least, ought to hold good of all well-constituted and
good-spirited mortals, who are not in the least inclined to reckon their
unstable equilibrium between angel and _petite bête_, without further ado,
among the objections to existence, the more refined and more intelligent
like Hafis and Goethe, even regarded it as an additional attraction. It is
precisely contradictions of this kind which lure us to life.… On the other
hand, it must be obvious, that when Circe’s unfortunate animals are
induced to worship chastity, all they see and _worship_ therein, is their
opposite—oh! and with what tragic groaning and fervour, may well be
imagined—that same painful and thoroughly superfluous opposition which,
towards the end of his life, Richard Wagner undoubtedly wished to set to
music and to put on the stage, _And to what purpose?_ we may reasonably
ask.
3.