DIGNITY AND TIMIDITY.—Ceremonies, official robes and court dresses, grave countenances, solemn aspects, the slow pace, involved speech—everything, in short, known as dignity—are all pretences adopted by those who are timid at heart: they wish to make themselves feared (themselves or the things they represent). The fearless (_i.e._ originally those who naturally inspire others with awe) have no need of dignity and ceremonies: they bring into repute—or, still more, into ill-repute—honesty and straightforward words and bearing, as characteristics of their self-confident awefulness. 221. THE MORALITY OF SACRIFICE.—The morality which is measured by the spirit of sacrifice is that of a semi-civilised state of society. Reason in this instance gains a hard-fought and bloody victory within the soul; for there are powerful contrary instincts to be overcome. This cannot be brought about without the cruelty which the sacrifices to cannibal gods demand. 222. WHERE FANATICISM IS TO BE DESIRED.—Phlegmatic natures can be rendered enthusiastic only by being fanaticised. 223. THE DREADED EYE.—Nothing is dreaded more by artists, poets, and writers than the eye which sees through their little deceptions and subsequently notices how often they have stopped at the boundary where the paths branch off either to innocent delight in themselves or to the straining after effect; the eye which checks them when they try to sell little things dear, or when they try to exalt and adorn without being exalted themselves; the eye which, despite all the artifices of their art, sees the thought as it first presented itself to them, perhaps as a charming vision of light, perhaps also, however, as a theft from the whole world, or as an everyday conception which they had to expand, contract, colour, wrap up, and spice, in order to make something out of it, instead of the thought making something out of them.—Oh, this eye, which sees in your work all your restlessness, inquisitiveness, and covetousness, your imitation and exaggeration (which is only envious imitation) which knows both your blush of shame and your skill in concealing it from others and interpreting it to yourselves! 224. THE “EDIFYING” ELEMENT IN OUR NEIGHBOUR’S MISFORTUNE.—He is in distress, and straightway the “compassionate” ones come to him and depict his misfortune to him. At last they go away again, satisfied and elevated, after having gloated over the unhappy man’s misfortune and their own, and spent a pleasant Sunday afternoon. 225. TO BE QUICKLY DESPISED.—A man who speaks a great deal, and speaks quickly, soon sinks exceedingly low in our estimation, even when he speaks rationally—not only to the extent that he annoys us personally, but far lower. For we conjecture how great a burden he has already proved to many other people, and we thus add to the discomfort which he causes us all the contempt which we presume he has caused to others. 226.