THE MORALITY OF VICTIMS.—“Enthusiastic sacrifice,” “self-immolation”—these are the catch-words of your morality, and I willingly believe that you, as you say, “mean it honestly”: but I know you better than you know yourselves, if your “honesty” is capable of going arm in arm with such a morality. You look down from the heights of this morality upon that other sober morality which calls for self-control, severity, and obedience; you even go so far as to call it egoistic—and you are indeed frank towards yourselves in saying that it displeases you—it must displease you! For, in sacrificing and immolating yourselves with such enthusiasm, you delight in the intoxication of the thought that you are now one with the powerful being, God or man, to whom you are consecrating yourselves: you revel in the feeling of his power, which is again attested by this sacrifice. In reality, however, you only _appear_ to sacrifice yourselves; for your imagination turns you into gods and you enjoy yourselves as such. Judged from the point of view of this enjoyment, how poor and feeble must that other “egoistic” morality of obedience, duty, and reason seem to you: it is displeasing to you because in this instance true self-sacrifice and self-surrender are called for, without the victim thinking himself to be transformed into a god, as you do. In a word, you want intoxication and excess, and this morality which you despise takes up a stand against intoxication and excess—no wonder it causes you some displeasure! 216. EVIL PEOPLE AND MUSIC.—Should the full bliss of love, which consists in unlimited confidence, 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.