Nietzsche: The Will to Power. Friedrich Nietzsche
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partial transference to broader and more bourgeois spheres). In the case of Larochefoucauld we find a knowledge of the actual impulses of a noble temperament—together with the gloomy Christian estimate of these impulses.
The protraction of Christianity through the French Revolution. The seducer is Rousseau; he once again liberates woman, who thenceforward is always represented as ever more interesting—suffering. Then come the slaves and Mrs. Beecher-Stowe. Then the poor and the workmen. Then the vicious and the sick—all this is drawn into the foreground (even for the purpose of disposing people in favour of the genius, it has been customary for five hundred years to press him forward as the great sufferer!). Then comes the cursing of all voluptuousness (Baudelaire and Schopenhauer), the most decided conviction that the lust of power is the greatest vice; absolute certainty that morality and disinterestedness are identical things; that the "happiness of all" is a goal worth striving after (i.e., Christ's Kingdom of Heaven). We are on the best road to it: the Kingdom of Heaven of the poor in spirit has begun.—Intermediate stages: the bourgeois (as a result of the nouveau riche) and the workman (as a result of the machine).
Greek and French culture of the time of Louis XIV. compared. A decided belief in oneself. A leisure-class which makes things hard for itself and exercises a great deal of self-control. The power of form, the will to form oneself. "Happiness" acknowledged as a purpose. Much strength and energy behind all formality of manners. Pleasure at the sight of a life that is seemingly so easy. The Greeks seemed like children to the French.
95.
The Three Centuries.
Their different kinds of sensitiveness may perhaps be best expressed as follows:—
Aristocracy: Descartes, the reign of reason, evidence showing the sovereignty of the will.
Feminism: Rousseau, the reign of feeling, evidence showing the sovereignty of the senses; all lies.
Animalism: Schopenhauer, the reign of passion, evidence showing the sovereignty of animality, more honest, but gloomy.
The seventeenth century is aristocratic, all for order, haughty towards everything animal, severe in regard to the heart, "austere," and even free from sentiment, "non-German," averse to all that is burlesque and natural, generalising and maintaining an attitude of sovereignty towards the past for it believes in itself. At bottom it partakes very much of the beast of prey, and practises asceticism in order to remain master. It is the century of strength of will, as also that of strong passion.
The eighteenth century is dominated by woman, it is gushing, spiritual, and flat; but with intellect at the service of aspirations and of the heart, it is a libertine in the pleasures of intellect, undermining all authorities; emotionally intoxicated, cheerful, clear, humane, and sociable, false to itself and at bottom very rascally....
The nineteenth century is more animal, more subterranean, hateful, realistic, plebeian, and on that very account "better," "more honest," more submissive to "reality" of what kind soever, and truer; but weak of will, sad, obscurely exacting and fatalistic. It has no feeling of timidity or reverence, either in the presence of "reason" or the "heart"; thoroughly convinced of the dominion of the desires (Schopenhauer said "Will," but nothing is more characteristic of his philosophy than that it entirely lacks all actual willing). Even morality is reduced to an instinct ("Pity").
Auguste Comte is the continuation of the eighteenth century (the dominion of the heart over the head, sensuality in the theory of knowledge, altruistic exaltation).
The fact that science has become as sovereign as it is to-day, proves how the nineteenth century has emancipated itself from the dominion of ideals. A certain absence of "needs" and wishes makes our scientific curiosity and rigour possible—this is our kind of virtue.
Romanticism is the counterstroke of the eighteenth century; a sort of accumulated longing for its grand style of exaltation (as a matter of fact, largely mingled with mummery and self-deception: the desire was to represent strong nature and strong passion).
The nineteenth century instinctively goes in search of theories by means of which it may feel its fatalistic, submission to the empire of facts justified. Hegel's success against sentimentality and romantic idealism was already a sign of its fatalistic trend of thought, in its belief that superior reason belongs to the triumphant side, and in its justification of the actual "state" (in the place of "humanity," etc.).—Schopenhauer: we are something foolish, and at the best self-suppressive. The success of determinism, the genealogical derivation of obligations which were formerly held to be absolute, the teaching of environment and adaptation, the reduction of will to a process of reflex movement, the denial of the will as a "working cause"; finally—a real process of re-christening: so little will is observed that the word itself becomes available for another purpose. Further theories: the teaching of objectivity, "will-less" contemplation, as the only road to truth, as also to beauty (also the belief in "genius," in order to have the right to be submissive); mechanism, the determinable rigidity of the mechanical process; so-called "Naturalism," the elimination of the choosing, directing, interpreting subject, on principle.
Kant, with his "practical reason," with his moral fanaticism, is quite eighteenth century style; still completely outside the historical movement, without any notion whatsoever of the reality of his time, for instance, revolution; he is not affected by Greek philosophy; he is a phantasist of the notion of duty, a sensualist with a hidden leaning to dogmatic pampering.
The return to Kant in our century means a return to the eighteenth century, people desire to create themselves a right to the old ideas and to the old exaltation—hence a theory of knowledge which "describes limits," that is to say, which admits of the option of fixing a Beyond to the domain of reason.
Hegel's way of thinking is not so very far removed from that of Goethe: see the latter on the subject of Spinoza, for instance. The will to deify the All and Life, in order to find both peace and happiness in contemplating them: Hegel looks for reason everywhere—in the presence of reason man may be submissive and resigned. In Goethe we find a kind of fatalism which is almost joyous and confiding, which neither revolts nor weakens, which strives to make a totality out of itself, in the belief that only in totality does everything seem good and justified, and find itself resolved.
96.
The period of rationalism—followed by a period of sentimentality. To what extent does Schopenhauer come under "sentimentality"? (Hegel under intellectuality?)
97.
The seventeenth century suffers from humanity as from a host of contradictions ("l'amas de contradictions" that we are); it endeavours to discover man, to co-ordinate him, to excavate him: whereas the eighteenth century tries to forget what is known of man's nature, in order to adapt him to its Utopia. "Superficial, soft, humane"—gushes over "humanity."
The seventeenth century tries to banish all traces of the individual in order that the artist's work may resemble life as much as possible. The eighteenth century strives to create interest in the author by means of the work. The seventeenth century seeks art in art, a piece of culture; the eighteenth uses art in its propaganda for political and social reforms.
"Utopia," the "ideal man," the deification of Nature, the vanity of making one's own personality the centre of interest, subordination to the propaganda of social ideas, charlatanism—all this we derive from the eighteenth century.
The style of the seventeenth century: propre exact et libre.
The strong individual who is self-sufficient, or who appeals ardently to God—and that obtrusiveness and indiscretion of modern authors—these things are opposites. "Showing-oneself-off"—what a contrast to the Scholars of Port-Royal!
Alfieri had a sense for the grand style.
The hate of the