172
What, then, is antiquity now, in the face of modern art, science, and philosophy? It is no longer the treasure-chamber of all knowledge; for in natural and historical science we have advanced greatly beyond it. Oppression by the church has been stopped. A pure knowledge of antiquity is now possible, but perhaps also a more ineffective and weaker knowledge.—This is right enough, if effect is known only as effect on the masses; but for the breeding of higher minds antiquity is more powerful than ever.
Goethe as a German poet-philologist; Wagner as a still higher stage: his clear glance for the only worthy position of art. No ancient work has ever had so powerful an effect as the "Orestes" had on Wagner. The objective, emasculated philologist, who is but a philistine of culture and a worker in "pure science," is, however, a sad spectacle.
173
Between our highest art and philosophy and that which is recognised to be truly the oldest antiquity, there is no contradiction: they support and harmonise with one another. It is in this that I place my hopes.
174
The main standpoints from which to consider the importance of antiquity:
1. There is nothing about it for young people, for it exhibits man with an entire freedom from shame.
2. It is not for direct imitation, but it teaches by which means art has hitherto been perfected in the highest degree.
3. It is accessible only to a few, and there should be a police des mœurs, in charge of it—as there should be also in charge of bad pianists who play Beethoven.