We should not shrink from treading the road to a virtue, even when we see clearly that nothing but egotism, and accordingly utility, personal comfort, fear, considerations of health, reputation, or glory, are the impelling motives. These motives are styled ignoble and selfish. Very well, but if they stimulate us to some virtue--for example, self-denial, dutifulness, order, thrift, measure, and moderation--let us listen to them, whatever their epithets may be! 2, 48 The tendency of a talent towards moral subjects, characters, motives, towards the "beautiful soul" of the work of art, is often only a glass eye put on by the artist who lacks a beautiful soul. 2, 78 Art is above all and meant to embellish life, to make us ourselves endurable and if possible agreeable in the eyes of others. With this task in view, art moderates us and holds us in restraint, creates forms of intercourse, binds over the uneducated to laws of decency, cleanliness, politeness, well-timed speech and silence. Hence art must conceal or transfigure everything that is ugly--the painful, terrible, and disgusting elements which in spite of every effort will always break out afresh in accordance with the very origin of human nature. Art has to perform this duty especially in regard to the passions and spiritual agonies and anxieties, and to cause the significant factor to shine through unavoidable or unconquerable ugliness. To this great, super-great task the so-called art proper, that of works of art, is a mere accessory. A man who feels within himself a surplus of such powers of embellishment, concealment, and transfiguration will finally seek to unburden himself of this surplus in works of art. The same holds good, under special circumstances, of a whole nation. 2, 01-92 On great minds is bestowed the terrifying all-too-human of their natures, their blindnesses, deformities, and extravagances, so that their more powerful, easily all-too-powerful influence may be continually held within bounds through the distrust aroused by such qualities. 2, 100 Original minds are distinguished not by being the first to see a new thing, but by seeing the old, well-known thing, which is seen and overlooked by every one, as something new. The first discoverer is usually that quite ordinary and unintellectual visionary--chance. 2, 105 The obvious satisfaction of the individual with his own form excites imitation and gradually creates the form of the many--that is, fashion. 2, 107 Who of us could dare to call himself a "free spirit" if he could not render homage after his fashion, by taking on his own shoulders a portion of that burden of public dislike and abuse, to men to whom this name is attached as a reproach? 2, 108