Human All-Too-Human, Part 1

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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.

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Revolution in Poetry. – The strict limit which the French dramatists marked out with regard to unity of action, time and place, construction of style, verse and sentence, selection of words and ideas, was a school as important as that of counterpoint and fugue in the development of modern music or that of the Gorgianic figures in Greek oratory. Such a restriction may appear absurd; nevertheless there is no means of getting out of naturalism except by confining ourselves at first to the strongest (perhaps most arbitrary) means. Thus we gradually learn to walk gracefully on the narrow paths that bridge giddy abysses, and acquire great suppleness of movement as a result, as the history of music proves to our living eyes. Here we see how, step by step, the fetters get looser, until at last they may appear to be altogether thrown off; this appearance is the highest achievement of a necessary development in art. In the art of modern poetry there existed no such fortunate, gradual emerging from self-imposed fetters. Lessing held up to scorn in Germany the French form, the only modern form of art, and pointed to Shakespeare; and thus the steadiness of that unfettering was lost and a spring was made into naturalism – that is, back into the beginnings of art. From this Goethe endeavoured to save himself, by always trying to limit himself anew in different ways; but even the most gifted only succeeds by continuously experimenting, if the thread of development has once been broken. It is to the unconsciously revered, if also repudiated, model of French tragedy that Schiller owes his comparative sureness of form, and he remained fairly independent of Lessing (whose dramatic attempts he is well known to have rejected). But after Voltaire the French themselves suddenly lacked the great talents which would have led the development of tragedy out of constraint to that apparent freedom; later on they followed the German example and made a spring into a sort of Rousseau-like state of nature and experiments. It is only necessary to read Voltaire's "Mahomet" from time to time in order to perceive clearly what European culture has lost through that breaking down of tradition. Once for all, Voltaire was the last of the great dramatists who with Greek proportion controlled his manifold soul, equal even to the greatest storms of tragedy, – he was able to do what no German could, because the French nature is much nearer akin to the Greek than is the German; he was also the last great writer who in the wielding of prose possessed the Greek ear, Greek artistic conscientiousness, and Greek simplicity and grace; he was, also, one of the last men able to combine in himself the greatest freedom of mind and an absolutely unrevolutionary way of thinking without being inconsistent and cowardly. Since that time the modern spirit, with its restlessness and its hatred of moderation and restrictions, has obtained the mastery on all sides, let loose at first by the fever of revolution, and then once more putting a bridle on itself when it became filled with fear and horror at itself, – but it was the bridle of rigid logic, no longer that of artistic moderation. It is true that through that unfettering for a time we are able to enjoy the poetry of all nations, everything that has sprung up in hidden places, original, wild, wonderfully beautiful and gigantically irregular, from folk-songs up to the "great barbarian" Shakespeare; we taste the joys of local colour and costume, hitherto unknown to all artistic nations; we make liberal use of the "barbaric advantages" of our time, which Goethe accentuated against Schiller in order to place the formlessness of his Faust in the most favourable light. But for how much longer? The encroaching flood of poetry of all styles and all nations must gradually sweep away that magic garden upon which a quiet and hidden growth would still have been possible; all poets must become experimenting imitators, daring copyists, however great their primary strength may be. Eventually, the public, which has lost the habit of seeing the actual artistic fact in the controlling of depicting power, in the organising mastery over all art-means, must come ever more and more to value power for power's sake, colour for colour's sake, idea for idea's sake, inspiration for inspiration's sake; accordingly it will not enjoy the elements and conditions of the work of art, unless isolated, and finally will make the very natural demand that the artist must deliver it to them isolated. True, the "senseless" fetters of Franco-Greek art have been thrown off, but unconsciously we have grown accustomed to consider all fetters, all restrictions as senseless; – and so art moves towards its liberation, but, in so doing, it touches – which is certainly highly edifying – upon all the phases of its beginning, its childhood, its incompleteness, its sometime boldness and excesses, – in perishing it interprets its origin and growth. One of the great ones, whose instinct may be relied on and whose theory lacked nothing but thirty years more of practice, Lord Byron, once said: that with regard to poetry in general, the more he thought about it the more convinced he was that one and all we are entirely on a wrong track, that we are following an inwardly false revolutionary system, and that either our own generation or the next will yet arrive at this same conviction. It is the same Lord Byron who said that he "looked upon Shakespeare as the very worst model, although the most extraordinary poet." And does not Goethe's mature artistic insight in the second half of his life say practically the same thing? – that insight by means of which he made such a bound in advance of whole generations that, generally speaking, it may be said that Goethe's influence has not yet begun, that his time has still to come. Just because his nature held him fast for a long time in the path of the poetical revolution, just because he drank to the dregs of whatsoever new sources, views and expedients had been indirectly discovered through that breaking down of tradition, of all that had been unearthed from under the ruins of art, his later transformation and conversion carries so much weight; it shows that he felt the deepest longing to win back the traditions of art, and to give in fancy the ancient perfection and completeness to the abandoned ruins and colonnades of the temple, with the imagination of the eye at least, should the strength of the arm be found too weak to build where such tremendous powers were needed even to destroy. Thus he lived in art as in the remembrance of the true art, his poetry had become an aid to remembrance, to the understanding of old and long-departed ages of art. With respect to the strength of the new age, his demands could not be satisfied; but the pain this occasioned was amply balanced by the joy that they have been satisfied once, and that we ourselves can still participate in this satisfaction. Not individuals, but more or less ideal masks; no reality, but an allegorical generality; topical characters, local colours toned down and rendered mythical almost to the point of invisibility; contemporary feeling and the problems of contemporary society reduced to the simplest forms, stripped of their attractive, interesting pathological qualities, made ineffective in every other but the artistic sense; no new materials and characters, but the old, long-accustomed ones in constant new animation and transformation; that is art, as Goethe understood it later, as the Greeks and even the French practised it.

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What Remains of Art. – It is true that art has a much greater value in the case of certain metaphysical hypotheses, for instance when the belief obtains that the character is unchangeable and that the essence of the world manifests itself continually in all character and action; thus the artist's work becomes the symbol of the eternally constant, while according to our views the artist can only endow his picture with temporary value, because man on the whole has developed and is mutable, and even the individual man has nothing fixed and constant. The same thing holds good with another metaphysical hypothesis: assuming that our visible world were only a delusion, as metaphysicians declare, then art would come very near to the real world, for there would then be far too much similarity between the world of appearance and the dream-world of the artist; and the remaining difference would place the meaning of art higher even than the meaning of nature, because art would represent the same forms, the types and models of nature. But those suppositions are false; and what position does art retain after this acknowledgment? Above all, for centuries it has taught us to look upon life in every shape with interest and pleasure and to carry our feelings so far that at last we exclaim, "Whatever it may be, life is good." This teaching of art, to take pleasure in existence and to regard human life as a piece of nature, without too vigorous movement, as an object of regular development, – this teaching has grown into us; it reappears as an all-powerful need of knowledge. We could renounce art, but we should not therewith forfeit the ability it has taught us, – just as we have given up religion, but not the exalting and intensifying of temperament acquired through religion. As the plastic arts and music are the standards of that wealth of feeling really acquired and obtained through religion, so also, after a disappearance of art, the intensity and multiplicity of the joys of life which it had implanted in us would still demand satisfaction. The scientific man is the further development of the artistic man.

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The After-glow of Art. – Just as in old age we remember our youth and celebrate festivals of memory, so in a short time mankind will stand towards art: its relation will be that of a touching memory of the joys of youth. Never, perhaps, in former ages was art dealt with so seriously and thoughtfully as now when it appears to be surrounded by the magic influence of death. We call to mind that Greek city in southern Italy, which once a year still celebrates its Greek feasts, amidst tears and mourning, that foreign barbarism triumphs ever more and more over the customs its people brought with them into the land; and never has Hellenism been so much appreciated, nowhere has this golden nectar been drunk with so great delight, as amongst these fast disappearing Hellenes. The artist will soon come to be regarded as a splendid relic, and to him, as to a wonderful stranger on whose power and beauty depended the happiness of former ages, there will be paid such honour as is not often enjoyed by one of our race. The best in us is perhaps inherited from the sentiments of former times, to which it is hardly possible for us now to return by direct ways; the sun has already disappeared, but the heavens of our life are still glowing and illumined by it, although we can behold it no longer.

FIFTH DIVISION

THE SIGNS OF HIGHER AND LOWER CULTURE

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Ennoblement Through Degeneration. – History teaches that a race of people is best preserved where the greater number hold one common spirit in consequence of the similarity of their accustomed and indisputable principles: in consequence, therefore, of their common faith. Thus strength is afforded by good and thorough customs, thus is learnt the subjection of the individual, and strenuousness of character becomes a birth gift and afterwards is fostered as a habit. The danger to these communities founded on individuals of strong and similar character is that gradually increasing stupidity through transmission, which follows all stability like its shadow. It is on the more unrestricted, more uncertain and morally weaker individuals that depends the intellectual progress of such communities, it is they who attempt all that is new and manifold. Numbers of these perish on account of their weakness, without having achieved any specially visible effect; but generally, particularly when they have descendants, they flare up and from time to time inflict a wound on the stable element of the community. Precisely in this sore and weakened place the community is inoculated with something new; but its general strength must be great enough to absorb and assimilate this new thing into its blood. Deviating natures are of the utmost importance wherever there is to be progress. Every wholesale progress must be preceded by a partial weakening. The strongest natures retain the type, the weaker ones help it to develop. Something similar happens in the case of individuals;'a deterioration, a mutilation, even a vice and, above all, a physical or moral loss is seldom without its advantage. For instance, a sickly man in the midst of a warlike and restless race will perhaps have more chance of being alone and thereby growing quieter and wiser, the one-eyed man will possess a stronger eye, the blind man will have a deeper inward sight and will certainly have a keener sense of hearing. In so far it appears to me that the famous Struggle for Existence is not the only point of view from which an explanation can be given of the progress or strengthening of an individual or a race. Rather must two different things converge: firstly, the multiplying of stable strength through mental binding in faith and common feeling; secondly, the possibility of attaining to higher aims, through the fact that there are deviating natures and, in consequence, partial weakening and wounding of the stable strength; it is precisely the weaker nature, as the more delicate and free, that makes all progress at all possible. A people that is crumbling and weak in any one part, but as a whole still strong and healthy, is able to absorb the infection of what is new and incorporate it to its advantage. The task of education in a single individual is this: to plant him so firmly and surely that, as a whole, he can no longer be diverted from his path. Then, however, the educator must wound him, or else make use of the wounds which fate inflicts, and when pain and need have thus arisen, something new and noble can be inoculated into the wounded places. With regard to the State, Machiavelli says that, "the form of Government is of very small importance, although halfeducated people think otherwise. The great aim of State-craft should be duration, which out-weighs all else, inasmuch as it is more valuable than liberty." It is only with securely founded and guaranteed duration that continual development and ennobling inoculation are at all possible. As a rule, however, authority, the dangerous companion of all duration, will rise in opposition to this.

225

Free-thinker a Relative Term. – We call that man a free-thinker who thinks otherwise than is expected of him in consideration of his origin, surroundings, position, and office, or by reason of the prevailing contemporary views. He is the exception, fettered minds are the rule; these latter reproach him, saying that his free principles either have their origin in a desire to be remarkable or else cause free actions to inferred, – that is to say, actions which are not compatible with fettered morality. Sometimes it is also said that the cause of such and such free principles may be traced to mental perversity and extravagance; but only malice speaks thus, nor does it believe what it says, but wishes thereby to do an injury, for the free-thinker; usually bears the proof of his greater goodness and keenness of intellect written in his face so plainly that the fettered spirits understand it well enough. But the two other derivations of free-thought are honestly intended; as a matter of fact, many free-thinkers are created in one or other of these ways. For this reason, however, the tenets to which they attain in this manner might be truer and more reliable than those of the fettered spirits. In the knowledge of truth, what really matters is the possession of it, not the impulse under which it was sought, the way in which it was found. If the free-thinkers are right then the fettered spirits are wrong, and it is a matter of indifference whether the former have reached truth through immorality or the latter hitherto retained hold of untruths through morality. Moreover, it is not essential to the free-thinker that he should hold more correct views, but that he should have liberated himself from what was customary, be it successfully or disastrously. As a rule, however, he will have truth, or at least the spirit of truth-investigation, on his side; he demands reasons, the others demand faith.

226

The Origin of Faith. – The fettered spirit does not take up his position from conviction, but from habit; he is a Christian, for instance, not because he had a comprehension of different creeds and could take his choice; he is an Englishman, not because he decided for England, but he found Christianity and England ready-made and accepted them without any reason, just as one who is born in a wine-country becomes a wine-drinker. Later on, perhaps, as he was a Christian and an Englishman, he discovered a few reasons in favour of his habit; these reasons may be upset, but he is not therefore upset in his whole position. For instance, let a fettered spirit be obliged to bring forward his reasons against bigamy and then it will be seen whether his holy zeal in favour of monogamy is based upon reason or upon custom. The adoption of guiding principles without reasons is called faith.

227

Conclusions Drawn from the Consequences and Traced Back to Reason and Un-reason. – All states and orders of society, professions, matrimony, education, law: all these find strength and duration only in the faith which the fettered spirits repose in them, – that is, in the absence of reasons, or at least in the averting of inquiries as to reasons. The restricted spirits do not willingly acknowledge this, and feel that it is a pudendum. Christianity, however, which was very simple in its intellectual ideas, remarked nothing of this pudendum, required faith and nothing but faith, and passionately repulsed the demand for reasons; it pointed to the success of faith: "You will soon feel the advantages of faith," it suggested, "and through faith shall ye be saved." As an actual fact, the State pursues the same course, and every father brings up his son in the same way: "Only believe this," he says, "and you will soon feel the good it does." This implies, however, that the truth of an opinion is proved by its personal usefulness; the wholesomeness of a doctrine must be a guarantee for its intellectual surety and solidity. It is exactly as if an accused person in a court of law were to say, "My counsel speaks the whole truth, for only see what is the result of his speech: I shall be acquitted." Because the fettered spirits retain their principles on account of their usefulness, they suppose that the free spirit also seeks his own advantage in his views and only holds that to be true which is profitable to him. But as he appears to find profitable just the contrary of that which his compatriots or equals find profitable, these latter assume that his principles are dangerous to them; they say or feel, "He must not be right, for he is injurious to us."

228

The Strong, Good Character. – The restriction of views, which habit has made instinct, leads to what is called strength of character. When any one acts from few but always from the same motives, his actions acquire great energy; if these actions accord with the principles of the fettered spirits they are recognised, and they produce, moreover, in those who perform them the sensation of a good conscience. Few motives, energetic action, and a good conscience compose what is called strength of character. The man of strong character lacks a knowledge of the many possibilities and directions of action; his intellect is fettered and restricted, because in a given case it shows him, perhaps, only two possibilities; between these two he must now of necessity choose, in accordance with his whole nature, and he does this easily and quickly because he has not to choose between fifty possibilities. The educating surroundings aim at fettering every individual, by always placing before him the smallest number of possibilities. The individual is always treated by his educators as if he were, indeed, something new, but should become a duplicate. If he makes his first appearance as something unknown, unprecedented, he must be turned into something known and precedented. In a child, the familiar manifestation of restriction is called a good character; in placing itself on the side of the fettered spirits the child first discloses its awakening common feeling; with this foundation of common sentiment, he will eventually become useful to his State or rank.

229

The Standards and Values of the Fettered Spirits. – There are four species of things concerning which the restricted spirits say they are in the right. Firstly: all things that last are right; secondly: all things that are not burdens to us are right; thirdly: all things that are advantageous for us are right; fourthly: all things for which we have made sacrifices are right. The last sentence, for instance, explains why a war that was begun in opposition to popular feeling is carried on with enthusiasm directly a sacrifice has been made for it. The free spirits, who bring their case before the forum of the fettered spirits, must prove that free spirits always existed, that free-spiritism is therefore enduring, that it will not become a burden, and, finally, that on the whole they are an advantage to the fettered spirits. It is because they cannot convince the restricted spirits on this last point that they profit nothing by having proved the first and second propositions.

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Esprit Fort.– Compared with him who has tradition on his side and requires no reasons for his actions, the free spirit is always weak, especially in action; for he is acquainted with too many motives and points of view, and has, therefore, an uncertain and unpractised hand. What means exist of making him strong in spite of this, so that he will, at least, manage to survive, and will not perish ineffectually? What is the source of the strong spirit (esprit fort)! This is especially the question as to the production of genius. Whence comes the energy, the unbending strength, the endurance with which the one, in opposition to accepted ideas, endeavours to obtain an entirely individual knowledge of the world?

231

The Rise of Genius. – The ingenuity with which a prisoner seeks the means of freedom, the most cold-blooded and patient employment of every smallest advantage, can teach us of what tools Nature sometimes makes use in order to produce Genius, – a word which I beg will be understood without any mythological and religious flavour; she, Nature, begins it in a dungeon and excites to the utmost its desire to free itself. Or to give another picture: some one who has completely lost his way in a wood, but who with unusual energy strives to reach the open in one direction or another, will sometimes discover a new path which nobody knew previously, thus arise geniuses, who are credited with originality. It has already been said that mutilation, crippling, or the loss of some important organ, is frequently the cause of the unusual development of another organ, because this one has to fulfil its own and also another function. This explains the source of many a brilliant talent. These general remarks on the origin of genius may be applied to the special case, the origin of the perfect free spirit.

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Conjecture As to the Origin of Free-spiritism. – Just as the glaciers increase when in equatorial regions the sun shines upon the seas with greater force than hitherto, so may a very strong and spreading free-spiritism be a proof that somewhere or other the force of feeling has grown extraordinarily.