how everything vanishes and fades. They call it l'art pour l'art, "objectivity," etc.
82.
The main symptoms of Pessimism:—Dinners at Magny's; Russian Pessimism (Tolstoy, Dostoiewsky); æsthetic Pessimism, l'art pour l'art, "description" (the romantic and the anti-romantic Pessimism); Pessimism in the theory of knowledge (Schopenhauer: phenomenalism); anarchical Pessimism; the "religion of pity," Buddhistic preparation; the Pessimism of culture (exoticness, cosmopolitanism); moral Pessimism, myself.
83.
"Without the Christian Faith" said Pascal, "you would yourselves be like nature and history, un monstre et un chaos." We fulfilled this prophecy: once the weak and optimistic eighteenth century had embellished and rationalised man.
Schopenhauer and Pascal.—I none essential point, Schopenhauer is the first who takes up Pascal's movement again: un monstre et un chaos, consequently something that must be negatived ... history, nature, and man himself!
"Our inability to know the truth is the result of our corruption, of our moral decay" says Pascal. And Schopenhauer says essentially the same. "The more profound the corruption of reason is, the more necessary is the doctrine of salvation"—or, putting it into Schopenhauerian phraseology, negation.
84.
Schopenhauer as an epigone (state of affairs before the Revolution):—Pity, sensuality, art, weakness of will, Catholicism of the most intellectual desires—that is, at bottom, the good old eighteenth century.
Schopenhauer's fundamental misunderstanding of the will (just as though passion, instinct, and desire were the essential factors of will) is typical: the depreciation of the will to the extent of mistaking it altogether. Likewise the hatred of willing: the attempt at seeing something superior—yea, even superiority itself, and that which really matters, in non-willing, in the "subject-being without aim or intention." Great symptom of fatigue or of the weakness of will: for this, in reality, is what treats the passions as master, and directs them as to the way and to the measure....
85.
The undignified attempt has been made to regard Wagner and Schopenhauer as types of the mentally unsound: an infinitely more essential understanding of the matter would have been gained if the exact decadent type which each of them represents had been scientifically and accurately defined.
86.
In my opinion, Henrik Ibsen has become very German. With all his robust idealism and "Will to Truth," he never dared to ring himself free from moral-illusionism which says "freedom," and will not admit, even to itself, what freedom is: the second stage in the metamorphosis of the "Will to Power" in him who lacks it. In the first stage, one demands justice at the hands of those who have power. In the second, one speaks of "freedom," that is to say, one wishes to "shake oneself free" from those who have power. In the third stage, one speaks of "equal rights"—that is to say, so long as one is not a predominant personality one wishes to prevent one's competitors from growing in power.
87.
The Decline of Protestantism: theoretically and historically understood as a half-measure. Undeniable predominance of Catholicism to-day: Protestant feeling is so dead that the strongest anti-Protestant movements (Wagner's Parsifal, for instance) are no longer regarded as such. The whole of the more elevated intellectuality in France is Catholic in instinct; Bismarck recognised that there was no longer any such thing as Protestantism.
88.
Protestantism, that spiritually unclean and tiresome form of decadence, in which Christianity has known how to survive in the mediocre North, is something incomplete and complexly valuable for knowledge, in so far as it was able to bring experiences of different kinds and origins into the same heads.
89.
What has the German spirit not made out of Christianity! And, to refer to Protestantism again, how much beer is there not still in Protestant Christianity! Can a crasser, more indolent, and more lounging form of Christian belief be imagined, than that of the average German Protestant?... It is indeed a very humble Christianity. I call it the Homœopathy of Christianity! I am reminded that, to-day, there also exists a less humble sort of Protestantism; it is taught by royal chaplains and anti-Semitic speculators: but nobody has ever maintained that any "spirit" "hovers" over these waters. It is merely a less respectable form of Christian faith, not by any means a more comprehensible one.
90.
Progress.—Let us be on our guard lest we deceive ourselves! Time flies forward apace,—we would fain believe that everything flies forward with it,—that evolution is an advancing development.... That is the appearance of things which deceives the most circumspect. But the nineteenth century shows no advance whatever on the sixteenth: and the German spirit of 1888 is an example of a backward movement when compared with that of 1788.... Mankind does not advance, it does not even exist. The aspect of the whole is much more like that of a huge experimenting workshop where some things in all ages succeed, while an incalculable number of things fail; where all order, logic, co-ordination, and responsibility is lacking. How dare we blink the fact that the rise of Christianity is a decadent movement?—that the German Reformation was a recrudescence of Christian barbarism?—that the Revolution destroyed the instinct for an organisation of society on a large scale?... Man is not an example of progress as compared with animals: the tender son of culture is an abortion compared with the Arab or the Corsican; the Chinaman is a more successful type—that is to say, richer in sustaining power than the European.
(b) The Last Centuries
91.
Gloominess and pessimistic influence necessarily follow in the wake of enlightenment. Towards 1770 a falling-off in cheerfulness was already noticeable; women, with that very feminine instinct which always defends virtue, believed that immorality was the cause of it. Galiani hit the bull's eye: he quotes Voltaire's verse:
"Un monstre gai vaut mieux
Qu'un sentimental ennuyeux."
If now I maintain that I am ahead, by a century or two of enlightenment, of Voltaire and Galiani—who was much more profound, how deeply must I have sunk into gloominess! This is also true, and betimes I somewhat reluctantly manifested some caution in regard to the German and Christian narrowness and inconsistency of Schopenhauerian or, worse still, Leopardian Pessimism, and sought the most characteristic form (Asia). But, in order to endure that extreme Pessimism (which here and there peeps out of my Birth of Tragedy), to live alone "without God or morality," I was compelled to invent a counter-prop for myself. Perhaps I know best why man is the only animal that laughs: he alone surfers so excruciatingly that he was compelled to invent laughter. The unhappiest and most melancholy animal is, as might have been expected, the most cheerful.
92.
In regard to German culture, I have always had a feeling as of decline. The fact that I learned to know a declining form of culture has often made me unfair towards the whole phenomenon of European culture. The Germans always follow at some distance behind: they always go to the root of things, for instance:—
Dependance upon foreigners;
