The Worship of Natural Sounds.—What signification can we find in the fact that our culture is not only indulgent to the manifestations of grief, such as tears, complaints, reproaches, and attitudes of rage and humility, but even approves them and reckons them among the most noble and essential things?—while, on the other hand, the spirit of ancient philosophy looked down upon them with contempt, without admitting their necessity in any way. Let us remember how Plato—who was by no means one of the most inhuman of the philosophers—speaks of the Philoctetus of the tragic stage. Is it possible that our modern culture is wanting in “philosophy”? or, in accordance with the valuations of those old philosophers, do we perhaps all form part of the “mob”?
158.
The Climate for Flattery.—In our day flatterers should no longer be sought at the courts of kings, since these have all acquired a taste for militarism, which cannot tolerate flattery. But this flower even now often grows in abundance in the neighbourhood of bankers and artists.
159.
The Revivers.—Vain men value a fragment of the past more highly from the moment when they are able to revive it in their imagination (especially if it is difficult to do so), they would [pg 166] even like if possible to raise it from the dead. Since, however, the number of vain people is always very large, the danger presented by historical studies, if an entire epoch devotes its attention to them, is by no means small: too great an amount of strength is then wasted on all sorts of imaginable resurrections. The entire movement of romanticism is perhaps best understood from this point of view.
160.
Vain, Greedy, and not very Wise.—Your desires are greater than your understanding, and your vanity is even greater than your desires,—to people of your type a great deal of Christian practice and a little Schopenhauerian theory may be strongly recommended.
161.
Beauty corresponding to the Age.—If our sculptors, painters, and musicians wish to catch the significance of the age, they should represent beauty as bloated, gigantic, and nervous: just as the Greeks, under the influence of their morality of moderation, saw and represented beauty in the Apollo di Belvedere. We should, indeed, call him ugly! But the pedantic “classicists” have deprived us of all our honesty!