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Friedrich Nietzsche

Friedrich Nietzsche Quotes

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Famous Friedrich Nietzsche Quotes

“When one gives up the Christian faith, one pulls the right to Christian morality out from under one's feet... Christianity is a system, a whole view of things thought out together. By breaking one main concept out of it, the faith in God, one breaks the whole: nothing necessary remains in one's hands. Christianity presupposes that man does not know, cannot know, what is good for him, what evil: he believes in God, who alone knows it... it has truth only if God is the truth — it stands and falls with faith in God.”

“Alas, where in the world have there been greater follies than with the compassionate? And what in the world has caused more suffering than the follies of the compassionate? Woe to all lovers who cannot surmount pity! Thus spoke the Devil to me once: Even God has his Hell: it is his love for man. And I lately heard him say these words: God is dead; God has died of his pity for man.”

“today we read of Don Quixote with a bitter taste in the mouth, it is almost an ordeal, which would make us seem very strange and incomprehensible to the author and his contemporaries, – they read it with a clear conscience as the funniest of books, it made them nearly laugh themselves to death).To see suffering does you good, to make suffer, better still – that On the Genealogy of Morality 42 48 See below, Supplementary material, pp. 153–4. 49 See below, Supplementary material, pp. 137–9, pp. 140–1, pp. 143–4. 50 Don Quixote, Book II, chs 31–7. is a hard proposition, but an ancient, powerful, human-all-too-human proposition to which, by the way, even the apes might subscribe: as people say, in thinking up bizarre cruelties they anticipate and, as it were, act out a ‘demonstration’ of what man will do. No cruelty, no feast: that is what the oldest and longest period in human history teaches us – and punishment, too, has such very strong festive aspects! –”

“If, however, thou hast a suffering friend, then be a resting-place for his suffering; like a hard bed, however, a camp-bed: thus wilt thou serve him best. And if a friend doeth thee wrong, then say: "I forgive thee what thou hast done unto me; that thou hast done it unto THYSELF, however--how could I forgive that!" Thus speaketh all great love: it surpasseth even forgiveness and pity. One should hold fast one's heart; for when one letteth it go, how quickly doth one's head run away!”

“Since humanity came into being, man hath enjoyed himself too little: that alone, my brethren, is our original sin! And when we learn better to enjoy ourselves, then do we unlearn best to give pain unto others, and to contrive pain. Therefore do I wash the hand that hath helped the sufferer; therefore do I wipe also my soul. For in seeing the sufferer suffering – thereof was I ashamed on account of his shame; and in helping him, sorely did I wound his pride.”

“The eternal child. - We think that play and fairy tales belong to childhood: how shortsighted that is! As though we would want at any time of life to live without play and fairy tales! We give these things other names, to be sure, and feel differently about them, but precisely this is the evidence that they are the same things - for the child too regards play as his work and fairy tales as his truth. The brevity of life ought to preserve us from a pedantic division of life into different stages - as though each brought something new - and a poet ought for once to present a man of two hundred: one, that is, who really does live without play and fairy tales.”

“The Press. -- If we consider how even to-day all great political transactions glide upon the stage secretly and stealthily; how they are hidden by unimportant events, and seem small when close at hand; how they only show their far-reaching effect, and leave the soil still quaking, long after they have taken place; -- what significance can we attach to the Press in its present position, with its daily expenditure of lung-power in order to bawl, to deafen, to excite, to terrify? Is it anything more than an everlasting false alarm, which tries to lead our ears and our wits into a false direction?”

“Truly, you understand the reverse art of alchemy, the depreciating of the most valuable things! Try, just for once, another recipe, in order not to realise as hitherto the opposite of what you mean to attain: deny those good things, withdraw from them the applause of the populace and discourage the spread of them, make them once more the concealed chastities of solitary souls, and say: morality is something forbidden! Perhaps you will thus attract to your cause the sort of men who are only of any account, I mean the heroic. But then there must be something formidable in it, and not as hitherto something disgusting!”

“Preparatory men. I welcome all signs that a more manly, a warlike, age is about to begin, an age which, above all, will give honor to valor once again. For this age shall prepare the way for one yet higher, and it shall gather the strength which this higher age will need one day - this age which is to carry heroism into the pursuit of knowledge and wage wars for the sake of thoughts and their consequences. To this end we now need many preparatory valorous men who cannot leap into being out of nothing - any more than out of the sand and slime of our present civilisation and metropolitanism: men who are bent on seeking for that aspect in all things which must be overcome; men characterised by cheerfulness, patience, unpretentiousness, and contempt for all great vanities, as well as by magnanimity in victory and forbearance regarding the small vanities of the vanquished; men possessed of keen and free judgement concerning all victors and the share of chance in every victory and every fame; men who have their own festivals, their own weekdays, their own periods of mourning, who are accustomed to command with assurance and are no less ready to obey when necessary, in both cases equally proud and serving their own cause; men who are in greater danger, more fruitful, and happier! For, believe me, the secret of the greatest fruitfulness and the greatest enjoyment of existence is: to live dangerously! Build your cities under Vesuvius! Send your ships into uncharted seas! Live at war with your peers and yourselves! Be robbers and conquerors, as long as you cannot be rulers and owners, you lovers of knowledge! Soon the age will be past when you could be satisfied to live like shy deer, hidden in the woods! At long last the pursuit of knowledge will reach out for its due: it will want to rule and own, and you with it!”

“The new non-Dionysiac spirit is most clearly apparent in the endings of the new dramas. At the end of the old tragedies there was a sense of metaphysical conciliation without which it is impossible to imagine our taking delight in tragedy; perhaps the conciliatory tones from another world echo most purely in Oedipus at Colonus. Now, once tragedy had lost the genius of music, tragedy in the strictest sense was dead: for where was that metaphysical consolation now to be found? Hence an earthly resolution for tragic dissonance was sought; the hero, having been adequately tormented by fate, won his well-earned reward in a stately marriage and tokens of divine honour. The hero had become a gladiator, granted freedom once he had been satisfactorily flayed and scarred. Metaphysical consolation had been ousted by the deus ex machina.”

“There is an ancient story that King Midas hunted in the forest a long time for the wise Silenus, the companion of Dionysus, without capturing him. When Silenus at last fell into his hands, the king asked what was the best and most desirable of all things for man. Fixed and immovable, the demigod said not a word, till at last, urged by the king, he gave a shrill laugh and broke out into these words: ‘Oh, wretched ephemeral race, children of chance and misery, why do you compel me to tell you what it would be most expedient for you not to hear? What is best of all is utterly beyond your reach: not to be born, not to be, to be nothing. But the second best for you is—to die soon.”

“Examine the lives of the best and more fruitful men and peoples, and ask yourselves whether a tree, if it is to grow proudly into the sky, can do without bad weather and storms: whether unkindness and opposition from without, whether some sort of hatred, envy, obstinacy, mistrust, severity, greed and violence do not belong to the favouring circumstances without which a great increase even in virtue is hardly possible. The poison which destroys the weaker nature strengthens the stronger – and he does not call it poison, either.”

“The slow arrow of beauty. The most noble kind of beauty is that which does not carry us away suddenly, whose attacks are not violent or intoxicating (this kind easily awakens disgust), but rather the kind of beauty which infiltrates slowly, which we carry along with us almost unnoticed, and meet up with again in dreams; finally, after it has for a long time lain modestly in our heart, it takes complete possession of us, filling our eyes with tears, our hearts with longing. What do we long for when we see beauty? To be beautiful. We think much happiness must be connected with it. But that is an error.”

“Under the charm of the Dionysian not only is the union between man and man reaffirmed, but nature which has become alienated, hostile, or subjugated, celebrates once more her reconciliation with her lost son, man. Freely, earth proffers her gifts, and peacefully the beasts of prey of the rocks and desert approach. The chariot of Dionysus is covered with flowers and garlands; panthers and tigers walk under its yoke. Transform Beethoven’s 'Hymn to Joy' into a painting; let your imagination conceive the multitudes bowing to the dust, awestruck—then you will approach the Dionysian. Now the slave is a free man; now all the rigid, hostile barriers that necessity, caprice, or 'impudent convention' have fixed between man and man are broken. Now, with the gospel of universal harmony, each one feels himself not only united, reconciled, and fused with his neighbor, but as one with him, as if the veil of maya had been torn aside and were now merely fluttering in tatters before the mysterious primordial unity.”

“Customs and Beauty.—In justice to custom it must not be overlooked that, in the case of all those who conform to it whole-heartedly from the very start, the organs of attack and defence, both physical and intellectual, begin to waste away; i.e. these individuals gradually become more beautiful! For it is the exercise of these organs and their corresponding feelings that brings about ugliness and helps to preserve it. It is for this reason that the old baboon is uglier than the young one, and that the young female baboon most closely resembles man, and is hence the most handsome.—Let us draw from this our own conclusions as to the origin of female beauty!”

“Under Christianity neither morality nor religion has any point of contact with actuality. It offers purely imaginary causes ("God" "soul," "ego," "spirit," "free will" -- "unfree will" for that matter), and purely imaginary effects ("sin," "salvation," "grace," "punishment," "forgiveness of sins"). Intercourse between imaginary beings ("God," "spirits," "souls"); an imaginary natural science (anthropocentric; a total denial of the concept of natural causes); an imaginary psychology (misunderstandings of self, misinterpretations of agreeable or disagreeable general feelings -- for example, of the states of the nervus sympathicus with the help of the sign-language of religio-ethical balderdash -- , "repentance," "pangs of conscience," "temptation by the devil," "the presence of God"); an imaginary teleology (the "kingdom of God," "the last judgment," "eternal life"). -- This purely fictitious world, greatly to its disadvantage, is to be differentiated from the world of dreams; the later at least reflects reality, whereas the former falsifies it, cheapens it and denies it. Once the concept of "nature" had been opposed to the concept of "God," the word "natural" necessarily took on the meaning of "abominable" -- the whole of that fictitious world has its sources in hatred of the natural (-- the real! --), and is no more than evidence of a profound uneasiness in the presence of reality. . . . This explains everything. Who alone has any reason for lying his way out of reality? The man who suffers under it. But to suffer from reality one must be a botched reality. . . . The preponderance of pains over pleasures is the cause of this fictitious morality and religion: but such a preponderance also supplies the formula for decadence...”

“Just as in the second part of a verse bad poets seek a thought to fit their rhyme, so in the second half of their lives people tend to become more anxious about finding actions, positions, relationships that fit those of their earlier lives, so that everything harmonizes quite well on the surface: but their lives are no longer ruled by a strong thought, and instead, in its place, comes the intention of finding a rhyme.”