Human, All-Too-Human: A Book for Free Spirits, Part 1 / Complete Works, Volume Six

by Friedrich Wilhelm Nietzsche

Gesture and Speech.—Older than speech is the imitation of gestures, which is carried on unconsciously and which, in the general repression of the language of gesture and trained control of the muscles, is still so great that we cannot look at a face moved by emotion without feeling an agitation of our own face (it may be remarked that feigned yawning excites real yawning in any one who sees it). The imitated gesture leads the one who imitates back to the sensation it expressed in the face or body of the one imitated. Thus men learned to understand one another, thus the child still learns to understand the mother. Generally speaking, painful sensations may also have been expressed by gestures, and the pain which caused them (for instance, tearing the hair, beating the breast, forcible distortion and straining of the muscles of the face). On the other hand, gestures of joy were themselves joyful and lent themselves easily to the communication of the understanding; (laughter, as the expression of the feeling when being tickled, serves also for the expression of other pleasurable sensations). As soon as men understood each other by gestures, there could be established a symbolism of gestures; I mean, an understanding could be arrived at respecting the language of accents, so that first accent and gesture (to which it was symbolically added) were produced, and later on the accent alone. In former times there happened very frequently that which now happens in the development of music, especially of dramatic music,—while music, without explanatory dance and pantomime (language of gesture), is at first only empty sound, but by long familiarity with that combination of music and movement the ear becomes schooled into instant interpretation of the figures of sound, and finally attains a height of quick understanding, where it has no longer any need of visible movement and understands the sound-poet without it. It is then called absolute music, that is music in which, without further help, everything is symbolically understood.

217.

The Spiritualising of Higher Art.—By virtue of extraordinary intellectual exercise through the art-development of the new music, our ears have been growing more intellectual. For this reason we can now endure a much greater volume of sound, much more "noise," because we are far better practised in listening for the sense in it than were our ancestors. As a matter of fact, all our senses have been somewhat blunted, because they immediately look for the sense; that is, they ask what "it means" and not what "it is,"—such a blunting betrays itself, for instance, in the absolute dominion of the temperature of sounds; for ears which still make the finer distinctions, between eis and des, for instance, are now amongst the exceptions. In this respect our ear has grown coarser. And then the ugly side of the world, the one originally hostile to the senses, has been conquered for music; its power has been immensely widened, especially in the expression of the noble, the terrible, and the mysterious: our music now gives utterance to things which had formerly no tongue. In the same way certain painters have rendered the eye more intellectual, and have gone far beyond that which was formerly called pleasure in colour and form. Here, too, that side of the world originally considered as ugly has been conquered by the artistic intellect. What results from all this? The more capable of thought that eye and ear become, the more they approach the limit where they become senseless, the seat of pleasure is moved into the brain, the organs of the senses themselves become dulled and weak, the symbolical takes more and more the place of the actual,—and thus we arrive at barbarism in this way as surely as in any other. In the meantime we may say: the world is uglier than ever, but it represents a more beautiful world than has ever existed. But the more the amber-scent of meaning is dispersed and evaporated, the rarer become those who perceive it, and the remainder halt at what is ugly and endeavour to enjoy it direct, an aim, however, which they never succeed in attaining. Thus, in Germany there is a twofold direction of musical development, here a throng of ten thousand with ever higher, finer demands, ever listening more and more for the "it means," and there the immense countless mass which yearly grows more incapable of understanding what is important even in the form of sensual ugliness, and which therefore turns ever more willingly to what in music is ugly and foul in itself, that is, to the basely sensual.

218.

A Stone Is More of a Stone Than Formerly.—As a general rule we no longer understand architecture, at least by no means in the same way as we understand music. We have outgrown the symbolism of lines and figures, just as we are no longer accustomed to the sound-effects of rhetoric, and have not absorbed this kind of mother's milk of culture since our first moment of life. Everything in a Greek or Christian building originally had a meaning, and referred to a higher order of things; this feeling of inexhaustible meaning enveloped the edifice like a mystic veil. Beauty was only a secondary consideration in the system, without in any way materially injuring the fundamental sentiment of the mysteriously-exalted, the divinely and magically consecrated; at the most, beauty tempered horror—but this horror was everywhere presupposed. What is the beauty of a building now? The same thing as the beautiful face of a stupid woman, a kind of mask.

219.

The Religious Source of the Newer Music.—Soulful music arose out of the Catholicism re-established after the Council of Trent, through Palestrina, who endowed the newly-awakened, earnest, and deeply moved spirit with sound; later on, in Bach, it appeared also in Protestantism, as far as this had been deepened by the Pietists and released from its originally dogmatic character. The supposition and necessary preparation for both origins is the familiarity with music, which existed during and before the Renaissance, namely that learned occupation with music, which was really scientific pleasure in the masterpieces of harmony and voice-training. On the other hand, the opera must have preceded it, wherein the layman made his protest against a music that had grown too learned and cold, and endeavoured to re-endow Polyhymnia with a soul. Without the change to that deeply religious sentiment, without the dying away of the inwardly moved temperament, music would have remained learned or operatic; the spirit of the counter-reformation is the spirit of modern music (for that pietism in Bach's music is also a kind of counter-reformation). So deeply are we indebted to the religious life. Music was the counter-reformation in the field of art; to this belongs also the later painting of the Caracci and Caravaggi, perhaps also the baroque style, in any case more than the architecture of the Renaissance or of antiquity. And we might still ask: if our newer music could move stones, would it build them up into antique architecture? I very much doubt it. For that which predominates in this music, affections, pleasure in exalted, highly-strained sentiments, the desire to be alive at any cost, the quick change of feeling, the strong relief-effects of light and shade, the combination of the ecstatic and the naïve,—all this has already reigned in the plastic arts and created new laws of style:—but it was neither in the time of antiquity nor of the Renaissance.

220.

The Beyond in Art.—It is not without deep pain that we acknowledge the fact that in their loftiest soarings, artists of all ages have exalted and divinely transfigured precisely those ideas which we now recognise as false; they are the glorifiers of humanity's religious and philosophical errors, and they could not have been this without belief in the absolute truth of these errors. But if the belief in such truth diminishes at all, if the rainbow colours at the farthest ends of human knowledge and imagination fade, then this kind of art can never re-flourish, for, like the Divina Commedia, Raphael's paintings, Michelangelo's frescoes, and Gothic cathedrals, they indicate not only a cosmic but also a metaphysical meaning in the work of art. Out of all this will grow a touching legend that such an art and such an artistic faith once existed.