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Book online «Beyond Good and Evil Friedrich Nietzsche (the little red hen read aloud .txt) đŸ“–Â». Author Friedrich Nietzsche



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each other. 7

How malicious philosophers can be! I know of nothing more stinging than the joke Epicurus took the liberty of making on Plato and the Platonists; he called them Dionysiokolakes. In its original sense, and on the face of it, the word signifies “Flatterers of Dionysius”⁠—consequently, tyrants’ accessories and lick-spittles; besides this, however, it is as much as to say, “They are all actors, there is nothing genuine about them” (for Dionysiokolax was a popular name for an actor). And the latter is really the malignant reproach that Epicurus cast upon Plato: he was annoyed by the grandiose manner, the mise-en-scùne style of which Plato and his scholars were masters⁠—of which Epicurus was not a master! He, the old schoolteacher of Samos, who sat concealed in his little garden at Athens, and wrote three hundred books, perhaps out of rage and ambitious envy of Plato, who knows! Greece took a hundred years to find out who the garden-god Epicurus really was. Did she ever find out?

8

There is a point in every philosophy at which the “conviction” of the philosopher appears on the scene; or, to put it in the words of an ancient mystery:

Adventavit asinus,
Pulcher et fortissimus
.

9

You desire to live “according to Nature”? Oh, you noble Stoics, what fraud of words! Imagine to yourselves a being like Nature, boundlessly extravagant, boundlessly indifferent, without purpose or consideration, without pity or justice, at once fruitful and barren and uncertain: imagine to yourselves indifference as a power⁠—how could you live in accordance with such indifference? To live⁠—is not that just endeavouring to be otherwise than this Nature? Is not living valuing, preferring, being unjust, being limited, endeavouring to be different? And granted that your imperative, “living according to Nature,” means actually the same as “living according to life”⁠—how could you do differently? Why should you make a principle out of what you yourselves are, and must be? In reality, however, it is quite otherwise with you: while you pretend to read with rapture the canon of your law in Nature, you want something quite the contrary, you extraordinary stage-players and self-deluders! In your pride you wish to dictate your morals and ideals to Nature, to Nature herself, and to incorporate them therein; you insist that it shall be Nature “according to the Stoa,” and would like everything to be made after your own image, as a vast, eternal glorification and generalism of Stoicism! With all your love for truth, you have forced yourselves so long, so persistently, and with such hypnotic rigidity to see Nature falsely, that is to say, Stoically, that you are no longer able to see it otherwise⁠—and to crown all, some unfathomable superciliousness gives you the Bedlamite hope that because you are able to tyrannize over yourselves⁠—Stoicism is self-tyranny⁠—Nature will also allow herself to be tyrannized over: is not the Stoic a part of Nature?⁠ ⁠
 But this is an old and everlasting story: what happened in old times with the Stoics still happens today, as soon as ever a philosophy begins to believe in itself. It always creates the world in its own image; it cannot do otherwise; philosophy is this tyrannical impulse itself, the most spiritual Will to Power, the will to “creation of the world,” the will to the causa prima.

10

The eagerness and subtlety, I should even say craftiness, with which the problem of “the real and the apparent world” is dealt with at present throughout Europe, furnishes food for thought and attention; and he who hears only a “Will to Truth” in the background, and nothing else, cannot certainly boast of the sharpest ears. In rare and isolated cases, it may really have happened that such a Will to Truth⁠—a certain extravagant and adventurous pluck, a metaphysician’s ambition of the forlorn hope⁠—has participated therein: that which in the end always prefers a handful of “certainty” to a whole cartload of beautiful possibilities; there may even be puritanical fanatics of conscience, who prefer to put their last trust in a sure nothing, rather than in an uncertain something. But that is Nihilism, and the sign of a despairing, mortally wearied soul, notwithstanding the courageous bearing such a virtue may display. It seems, however, to be otherwise with stronger and livelier thinkers who are still eager for life. In that they side against appearance, and speak superciliously of “perspective,” in that they rank the credibility of their own bodies about as low as the credibility of the ocular evidence that “the earth stands still,” and thus, apparently, allowing with complacency their securest possession to escape (for what does one at present believe in more firmly than in one’s body?)⁠—who knows if they are not really trying to win back something which was formerly an even securer possession, something of the old domain of the faith of former times, perhaps the “immortal soul,” perhaps “the old God,” in short, ideas by which they could live better, that is to say, more vigorously and more joyously, than by “modern ideas”? There is distrust of these modern ideas in this mode of looking at things, a disbelief in all that has been constructed yesterday and today; there is perhaps some slight admixture of satiety and scorn, which can no longer endure the bric-a-brac of ideas of the most varied origin, such as so-called Positivism at present throws on the market; a disgust of the more refined taste at the village-fair motleyness and patchiness of all these reality-philosophasters, in whom there is nothing either new or true, except this motleyness. Therein it seems to me that we should agree with those skeptical anti-realists and knowledge-microscopists of the present day; their instinct, which repels them from modern reality, is unrefuted⁠ ⁠
 what do their retrograde bypaths concern us! The main thing about them is not that they wish to go “back,” but that they wish to get away therefrom. A little more strength, swing, courage, and artistic power,

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