FRIEDRICH NIETZSCHE (continued 2)

5.

The realisation of these contractual relations excites, of course (as would be already expected from our previous observations), a great deal of suspicion and opposition towards the primitive society which made or sanctioned them. In this society promises will be made; in this society the object is to provide the promiser with a memory; in this society, so may we suspect, there will be full scope for hardness, cruelty, and pain: the "ower," in order to induce credit in his promise of repayment, in order to give a guarantee of the earnestness and sanctity of his promise, in order to drill into his own conscience the duty, the solemn duty, of repayment, will, by virtue of a contract with his creditor to meet the contingency of his not paying, pledge something that he still possesses, something that he still has in his power, for instance, his life or his wife, or his freedom or his body (or under certain religious conditions even his salvation, his soul's welfare, even his peace in the grave; so in Egypt, where the corpse of the ower found even in the grave no rest from the creditor—of course, from the Egyptian standpoint, this peace was a matter of particular importance). But especially has the creditor the power of inflicting on the body of the ower all kinds of pain and torture—the power, for instance, of cutting off from it an amount that appeared proportionate to the greatness of the debt;—this point of view resulted in the universal prevalence at an early date of precise schemes of valuation, frequently horrible in the minuteness and meticulosity of their application, legally sanctioned schemes of valuation for individual limbs and parts of the body. I consider it as already a progress, as a proof of a freer, less petty, and more Roman conception of law, when the Roman Code of the Twelve Tables decreed that it was immaterial how much or how little the creditors in such a contingency cut off, "si plus minusve secuerunt, ne fraude esto." Let us make the logic of the whole of this equalisation process clear; it is strange enough. The equivalence consists in this: instead of an advantage directly compensatory of his injury (that is, instead of an equalisation in money, lands, or some kind of chattel), the creditor is granted by way of repayment and compensation a certain sensation of satisfaction—the satisfaction of being able to vent, without any trouble, his power on one who is powerless, the delight "de faire le mal pour le plaisir de le faire," the joy in sheer violence: and this joy will be relished in proportion to the lowness and humbleness of the creditor in the social scale, and is quite apt to have the effect of the most delicious dainty, and even seem the foretaste of a higher social position. Thanks to the punishment of the "ower," the creditor participates in the rights of the masters. At last he too, for once in a way, attains the edifying consciousness of being able to despise and ill-treat a creature—as an "inferior"—or at any rate of seeing him being despised and ill-treated, in case the actual power of punishment, the administration of punishment, has already become transferred to the "authorities." The compensation consequently consists in a claim on cruelty and a right to draw thereon.

6.

It is then in this sphere of the law of contract that we find the cradle of the whole moral world of the ideas of "guilt," "conscience," "duty," the "sacredness of duty,"—their commencement, like the commencement of all great things in the world, is thoroughly and continuously saturated with blood. And should we not add that this world has never really lost a certain savour of blood and torture (not even in old Kant; the categorical imperative reeks of cruelty). It was in this sphere likewise that there first became formed that sinister and perhaps now indissoluble association of the ideas of "guilt" and "suffering." To put the question yet again, why can suffering be a compensation for "owing"?—Because the infliction of suffering produces the highest degree of happiness, because the injured party will get in exchange for his loss (including his vexation at his loss) an extraordinary counter-pleasure: the infliction of suffering—a real feast, something that, as I have said, was all the more appreciated the greater the paradox created by the rank and social status of the creditor. These observations are purely conjectural; for, apart from the painful nature of the task, it is hard to plumb such profound depths: the clumsy introduction of the idea of "revenge" as a connecting-link simply hides and obscures the view instead of rendering it clearer (revenge itself simply leads back again to the identical problem—"How can the infliction of suffering be a satisfaction?"). In my opinion it is repugnant to the delicacy, and still more to the hypocrisy of tame domestic animals (that is, modern men; that is, ourselves), to realise with all their energy the extent to which cruelty constituted the great joy and delight of ancient man, was an ingredient which seasoned nearly all his pleasures, and conversely the extent of the naïveté and innocence with which he manifested his need for cruelty, when he actually made as a matter of principle "disinterested malice" (or, to use Spinoza's expression, the sympathia malevolens) into a normal characteristic of man—as consequently something to which the conscience says a hearty yes. The more profound observer has perhaps already had sufficient opportunity for noticing this most ancient and radical joy and delight of mankind; in Beyond Good and Evil, Aph. 188 (and even earlier, in The Dawn of Day, Aphs. 18, 77, 113), I have cautiously indicated the continually growing spiritualisation and "deification" of cruelty, which pervades the whole history of the higher civilisation (and in the larger sense even constitutes it). At any rate the time is not so long past when it was impossible to conceive of royal weddings and national festivals on a grand scale, without executions, tortures, or perhaps an auto-da-fé", or similarly to conceive of an aristocratic household, without a creature to serve as a butt for the cruel and malicious baiting of the inmates. (The reader will perhaps remember Don Quixote at the court of the Duchess: we read nowadays the whole of Don Quixote with a bitter taste in the mouth, almost with a sensation of torture, a fact which would appear very strange and very incomprehensible to the author and his contemporaries—they read it with the best conscience in the world as the gayest of books; they almost died with laughing at it.) The sight of suffering does one good, the infliction of suffering does one more good—this is a hard maxim, but none the less a fundamental maxim, old, powerful, and "human, all-too-human"; one, moreover, to which perhaps even the apes as well would subscribe: for it is said that in inventing bizarre cruelties they are giving abundant proof of their future humanity, to which, as it were, they are playing the prelude. Without cruelty, no feast: so teaches the oldest and longest history of man—and in punishment too is there so much of the festive.

7.

Entertaining, as I do, these thoughts, I am, let me say in parenthesis, fundamentally opposed to helping our pessimists to new water for the discordant and groaning mills of their disgust with life; on the contrary, it should be shown specifically that, at the time when mankind was not yet ashamed of its cruelty, life in the world was brighter than it is nowadays when there are pessimists. The darkening of the heavens over man has always increased in proportion to the growth of man's shame before man. The tired pessimistic outlook, the mistrust of the riddle of life, the icy negation of disgusted ennui, all those are not the signs of the most evil age of the human race: much rather do they come first to the light of day, as the swamp-flowers, which they are, when the swamp to which they belong, comes into existence—I mean the diseased refinement and moralisation, thanks to which the "animal man" has at last learnt to be ashamed of all his instincts. On the road to angelhood (not to use in this context a harder word) man has developed that dyspeptic stomach and coated tongue, which have made not only the joy and innocence of the animal repulsive to him, but also life itself:—so that sometimes he stands with stopped nostrils before his own self, and, like Pope Innocent the Third, makes a black list of his own horrors ("unclean generation, loathsome nutrition when in the maternal body, badness of the matter out of which man develops, awful stench, secretion of saliva, urine, and excrement"). Nowadays, when suffering is always trotted out as the first argument against existence, as its most sinister query, it is well to remember the times when men judged on converse principles because they could not dispense with the infliction of suffering, and saw therein a magic of the first order, a veritable bait of seduction to life.

Perhaps in those days (this is to solace the weaklings) pain did not hurt so much as it does nowadays: any physician who has treated negroes (granted that these are taken as representative of the prehistoric man) suffering from severe internal inflammations which would bring a European, even though he had the soundest constitution, almost to despair, would be in a position to come to this conclusion. Pain has not the same effect with negroes. (The curve of human sensibilities to pain seems indeed to sink in an extraordinary and almost sudden fashion, as soon as one has passed the upper ten thousand or ten millions of over-civilised humanity, and I personally have no doubt that, by comparison with one painful night passed by one single hysterical chit of a cultured woman, the suffering of all the animals taken together who have been put to the question of the knife, so as to give scientific answers, are simply negligible.) We may perhaps be allowed to admit the possibility of the craving for cruelty not necessarily having become really extinct: it only requires, in view of the fact that pain hurts more nowadays, a certain sublimation and subtilisation, it must especially be translated to the imaginative and psychic plane, and be adorned with such smug euphemisms, that even the most fastidious and hypocritical conscience could never grow suspicious of their real nature ("Tragic pity" is one of these euphemisms: another is "les nostalgies de la croix"). What really raises one's indignation against suffering is not suffering intrinsically, but the senselessness of suffering; such a senselessness, however, existed neither in Christianity, which interpreted suffering into a whole mysterious salvation-apparatus, nor in the beliefs of the naive ancient man, who only knew how to find a meaning in suffering from the standpoint of the spectator, or the inflictor of the suffering. In order to get the secret, undiscovered, and unwitnessed suffering out of the world it was almost compulsory to invent gods and a hierarchy of intermediate beings, in short, something which wanders even among secret places, sees even in the dark, and makes a point of never missing an interesting and painful spectacle. It was with the help of such inventions that life got to learn the tour de force, which has become part of its stock-in-trade, the tour de force of self-justification, of the justification of evil; nowadays this would perhaps require other auxiliary devices (for instance, life as a riddle, life as a problem of knowledge). "Every evil is justified in the sight of which a god finds edification," so rang the logic of primitive sentiment—and, indeed, was it only of primitive? The gods conceived as friends of spectacles of cruelty—oh how far does this primeval conception extend even nowadays into our European civilisation! One would perhaps like in this context to consult Luther and Calvin. It is at any rate certain that even the Greeks knew no more piquant seasoning for the happiness of their gods than the joys of cruelty. What, do you think, was the mood with which Homer makes his gods look down upon the fates of men? What final meaning have at bottom the Trojan War and similar tragic horrors? It is impossible to entertain any doubt on the point: they were intended as festival games for the gods, and, in so far as the poet is of a more godlike breed than other men, as festival games also for the poets. It was in just this spirit and no other, that at a later date the moral philosophers of Greece conceived the eyes of God as still looking down on the moral struggle, the heroism, and the self-torture of the virtuous; the Heracles of duty was on a stage, and was conscious of the fact; virtue without witnesses was something quite unthinkable for this nation of actors. Must not that philosophic invention, so audacious and so fatal, which was then absolutely new to Europe, the invention of "free will," of the absolute spontaneity of man in good and evil, simply have been made for the specific purpose of justifying the idea, that the interest of the gods in humanity and human virtue was inexhaustible?

There would never on the stage of this free-will world be a dearth of really new, really novel and exciting situations, plots, catastrophes. A world thought out on completely deterministic lines would be easily guessed by the gods, and would consequently soon bore them—sufficient reason for these friends of the gods, the philosophers, not to ascribe to their gods such a deterministic world. The whole of ancient humanity is full of delicate consideration for the spectator, being as it is a world of thorough publicity and theatricality, which could not conceive of happiness without spectacles and festivals.—And, as has already been said, even in great punishment there is so much which is festive.

8.

The feeling of "ought," of personal obligation (to take up again the train of our inquiry), has had, as we saw, its origin in the oldest and most original personal relationship that there is, the relationship between buyer and seller, creditor and ower: here it was that individual confronted individual, and that individual matched himself against individual. There has not yet been found a grade of civilisation so low, as not to manifest some trace of this relationship. Making prices, assessing values, thinking out equivalents, exchanging—all this preoccupied the primal thoughts of man to such an extent that in a certain sense it constituted thinking itself: it was here that was trained the oldest form of sagacity, it was here in this sphere that we can perhaps trace the first commencement of man's pride, of his feeling of superiority over other animals. Perhaps our word "Mensch" (manas) still expresses just something of this self-pride: man denoted himself as the being who measures values, who values and measures, as the "assessing" animal par excellence. Sale and purchase, together with their psychological concomitants, are older than the origins of any form of social organisation and union: it is rather from the most rudimentary form of individual right that the budding consciousness of exchange, commerce, debt, right, obligation, compensation was first transferred to the rudest and most elementary of the social complexes (in their relation to similar complexes), the habit of comparing force with force, together with that of measuring, of calculating. His eye was now focussed to this perspective; and with that ponderous consistency characteristic of ancient thought, which, though set in motion with difficulty, yet proceeds inflexibly along the line on which it has started, man soon arrived at the great generalisation, "everything has its price, all can be paid for," the oldest and most naive moral canon of justice, the beginning of all "kindness," of all "equity," of all "goodwill," of all "objectivity" in the world. Justice in this initial phase is the goodwill among people of about equal power to come to terms with each other, to come to an understanding again by means of a settlement, and with regard to the less powerful, to compel them to agree among themselves to a settlement.

9.

Measured always by the standard of antiquity (this antiquity, moreover, is present or again possible at all periods), the community stands to its members in that important and radical relationship of creditor to his "owers." Man lives in a community, man enjoys the advantages of a community (and what advantages! we occasionally underestimate them nowadays), man lives protected, spared, in peace and trust, secure from certain injuries and enmities, to which the man outside the community, the "peaceless" man, is exposed,—a German understands the original meaning of "Elend" (êlend),—secure because he has entered into pledges and obligations to the community in respect of these very injuries and enmities. What happens when this is not the case? The community, the defrauded creditor, will get itself paid, as well as it can, one can reckon on that. In this case the question of the direct damage done by the offender is quite subsidiary: quite apart from this the criminal[3] is above all a breaker, a breaker of word and covenant to the whole, as regards all the advantages and amenities of the communal life in which up to that time he had participated. The criminal is an "ower" who not only fails to repay the advances and advantages that have been given to him, but even sets out to attack his creditor: consequently he is in the future not only, as is fair, deprived of all these advantages and amenities—he is in addition reminded of the importance of those advantages. The wrath of the injured creditor, of the community, puts him back in the wild and outlawed status from which he was previously protected: the community repudiates him—and now every kind of enmity can vent itself on him. Punishment is in this stage of civilisation simply the copy, the mimic, of the normal treatment of the hated, disdained, and conquered enemy, who is not only deprived of every right and protection but of every mercy; so we have the martial law and triumphant festival of the væ victis! in all its mercilessness and cruelty. This shows why war itself (counting the sacrificial cult of war) has produced all the forms under which punishment has manifested itself in history.

10.

As it grows more powerful, the community tends to take the offences of the individual less seriously, because they are now regarded as being much less revolutionary and dangerous to the corporate existence: the evil-doer is no more outlawed and put outside the pale, the common wrath can no longer vent itself upon him with its old licence,—on the contrary, from this very time it is against this wrath, and particularly against the wrath of those directly injured, that the evil-doer is carefully shielded and protected by the community. As, in fact, the penal law develops, the following characteristics become more and more clearly marked: compromise with the wrath of those directly affected by the misdeed; a consequent endeavour to localise the matter and to prevent a further, or indeed a general spread of the disturbance; attempts to find equivalents and to settle the whole matter (compositio); above all, the will, which manifests itself with increasing definiteness, to treat every offence as in a certain degree capable of being paid off, and consequently, at any rate up to a certain point, to isolate the offender from his act. As the power and the self-consciousness of a community increases, so proportionately does the penal law become mitigated; conversely every weakening and jeopardising of the community revives the harshest forms of that law. The creditor has always grown more humane proportionately as he has grown more rich; finally the amount of injury he can endure without really suffering becomes the criterion of his wealth. It is possible to conceive of a society blessed with so great a consciousness of its own power as to indulge in the most aristocratic luxury of letting its wrong-doers go scot-free.—"What do my parasites matter to me?" might society say. "Let them live and flourish! I am strong enough for it."—The justice which began with the maxim, "Everything can be paid off, everything must be paid off," ends with connivance at the escape of those who cannot pay to escape—it ends, like every good thing on earth, by destroying itself.—The self-destruction of Justice! we know the pretty name it calls itself—Grace! it remains, as is obvious, the privilege of the strongest, better still, their super-law.

11.

A deprecatory word here against the attempts, that have lately been made, to find the origin of justice on quite another basis—namely, on that of resentment. Let me whisper a word in the ear of the psychologists, if they would fain study revenge itself at close quarters: this plant blooms its prettiest at present among Anarchists and anti-Semites, a hidden flower, as it has ever been, like the violet, though, forsooth, with another perfume. And as like must necessarily emanate from like, it will not be a matter for surprise that it is just in such circles that we see the birth of endeavours (it is their old birthplace—compare above, First Essay, paragraph 14), to sanctify revenge under the name of justice (as though Justice were at bottom merely a development of the consciousness of injury), and thus with the rehabilitation of revenge to reinstate generally and collectively all the reactive emotions. I object to this last point least of all. It even seems meritorious when regarded from the standpoint of the whole problem of biology (from which standpoint the value of these emotions has up to the present been underestimated). And that to which I alone call attention, is the circumstance that it is the spirit of revenge itself, from which develops this new nuance of scientific equity (for the benefit of hate, envy, mistrust, jealousy, suspicion, rancour, revenge). This scientific "equity" stops immediately and makes way for the accents of deadly enmity and prejudice, so soon as another group of emotions comes on the scene, which in my opinion are of a much higher biological value than these reactions, and consequently have a paramount claim to the valuation and appreciation of science: I mean the really active emotions, such as personal and material ambition, and so forth. (E. Dühring, Value of Life; Course of Philosophy, and passim.) So much against this tendency in general: but as for the particular maxim of Dühring's, that the home of Justice is to be found in the sphere of the reactive feelings, our love of truth compels us drastically to invert his own proposition and to oppose to him this other maxim: the last sphere conquered by the spirit of justice is the sphere of the feeling of reaction! When it really comes about that the just man remains just even as regards his injurer (and not merely cold, moderate, reserved, indifferent: being just is always a positive state); when, in spite of the strong provocation of personal insult, contempt, and calumny, the lofty and clear objectivity of the just and judging eye (whose glance is as profound as it is gentle) is untroubled, why then we have a piece of perfection, a past master of the world—something, in fact, which it would not be wise to expect, and which should not at any rate be too easily believed. Speaking generally, there is no doubt but that even the justest individual only requires a little dose of hostility, malice, or innuendo to drive the blood into his brain and the fairness from it. The active man, the attacking, aggressive man is always a hundred degrees nearer to justice than the man who merely reacts; he certainly has no need to adopt the tactics, necessary in the case of the reacting man, of making false and biassed valuations of his object. It is, in point of fact, for this reason that the aggressive man has at all times enjoyed the stronger, bolder, more aristocratic, and also freer outlook, the better conscience. On the other hand, we already surmise who it really is that has on his conscience the invention of the "bad conscience,"—the resentful man! Finally, let man look at himself in history. In what sphere up to the present has the whole administration of law, the actual need of law, found its earthly home? Perchance in the sphere of the reacting man? Not for a minute: rather in that of the active, strong, spontaneous, aggressive man? I deliberately defy the above-mentioned agitator (who himself makes this self-confession, "the creed of revenge has run through all my works and endeavours like the red thread of Justice"), and say, that judged historically law in the world represents the very war against the reactive feelings, the very war waged on those feelings by the powers of activity and aggression, which devote some of their strength to damming and keeping within bounds this effervescence of hysterical reactivity, and to forcing it to some compromise. Everywhere where justice is practised and justice is maintained, it is to be observed that the stronger power, when confronted with the weaker powers which are inferior to it (whether they be groups, or individuals), searches for weapons to put an end to the senseless fury of resentment, while it carries on its object, partly by taking the victim of resentment out of the clutches of revenge, partly by substituting for revenge a campaign of its own against the enemies of peace and order, partly by finding, suggesting, and occasionally enforcing settlements, partly by standardising certain equivalents for injuries, to which equivalents the element of resentment is henceforth finally referred. The most drastic measure, however, taken and effectuated by the supreme power, to combat the preponderance of the feelings of spite and vindictiveness—it takes this measure as soon as it is at all strong enough to do so—is the foundation of law, the imperative declaration of what in its eyes is to be regarded as just and lawful, and what unjust and unlawful: and while, after the foundation of law, the supreme power treats the aggressive and arbitrary acts of individuals, or of whole groups, as a violation of law, and a revolt against itself, it distracts the feelings of its subjects from the immediate injury inflicted by such a violation, and thus eventually attains the very opposite result to that always desired by revenge, which sees and recognises nothing but the standpoint of the injured party. From henceforth the eye becomes trained to a more and more impersonal valuation of the deed, even the eye of the injured party himself (though this is in the final stage of all, as has been previously remarked)—on this principle "right" and "wrong" first manifest themselves after the foundation of law (and not, as Dühring maintains, only after the act of violation). To talk of intrinsic right and intrinsic wrong is absolutely non-sensical; intrinsically, an injury, an oppression, an exploitation, an annihilation can be nothing wrong, inasmuch as life is essentially (that is, in its cardinal functions) something which functions by injuring, oppressing, exploiting, and annihilating, and is absolutely inconceivable without such a character. It is necessary to make an even more serious confession:—viewed from the most advanced biological standpoint, conditions of legality can be only exceptional conditions, in that they are partial restrictions of the real life-will, which makes for power, and in that they are subordinated to the life-will's general end as particular means, that is, as means to create larger units of strength. A legal organisation, conceived of as sovereign and universal, not as a weapon in a fight of complexes of power, but as a weapon against fighting, generally something after the style of Dühring's communistic model of treating every will as equal with every other will, would be a principle hostile to life, a destroyer and dissolver of man, an outrage on the future of man, a symptom of fatigue, a secret cut to Nothingness.—

12.

A word more on the origin and end of punishment—two problems which are or ought to be kept distinct, but which unfortunately are usually lumped into one. And what tactics have our moral genealogists employed up to the present in these cases? Their inveterate naïveté. They find out some "end" in the punishment, for instance, revenge and deterrence, and then in all their innocence set this end at the beginning, as the causa fiendi of the punishment, and—they have done the trick. But the patching up of a history of the origin of law is the last use to which the "End in Law"[4] ought to be put. Perhaps there is no more pregnant principle for any kind of history than the following, which, difficult though it is to master, should none the less be mastered in every detail.—The origin of the existence of a thing and its final utility, its practical application and incorporation in a system of ends, are toto cœlo opposed to each other—everything, anything, which exists and which prevails anywhere, will always be put to new purposes by a force superior to itself, will be commandeered afresh, will be turned and transformed to new uses; all "happening" in the organic world consists of overpowering and dominating, and again all overpowering and domination is a new interpretation and adjustment, which must necessarily obscure or absolutely extinguish the subsisting "meaning" and "end." The most perfect comprehension of the utility of any physiological organ (or also of a legal institution, social custom, political habit, form in art or in religious worship) does not for a minute imply any simultaneous comprehension of its origin: this may seem uncomfortable and unpalatable to the older men,—for it has been the immemorial belief that understanding the final cause or the utility of a thing, a form, an institution, means also understanding the reason for its origin: to give an example of this logic, the eye was made to see, the hand was made to grasp. So even punishment was conceived as invented with a view to punishing. But all ends and all utilities are only signs that a Will to Power has mastered a less powerful force, has impressed thereon out of its own self the meaning of a function; and the whole history of a "Thing," an organ, a custom, can on the same principle be regarded as a continuous "sign-chain" of perpetually new interpretations and adjustments, whose causes, so far from needing to have even a mutual connection, sometimes follow and alternate with each other absolutely haphazard. Similarly, the evolution of a "thing," of a custom, is anything but its progressus to an end, still less a logical and direct progressus attained with the minimum expenditure of energy and cost: it is rather the succession of processes of subjugation, more or less profound, more or less mutually independent, which operate on the thing itself; it is, further, the resistance which in each case invariably displayed this subjugation, the Protean wriggles by way of defence and reaction, and, further, the results of successful counter-efforts. The form is fluid, but the meaning is even more so—even inside every individual organism the case is the same: with every genuine growth of the whole, the "function" of the individual organs becomes shifted,—in certain cases a partial perishing of these organs, a diminution of their numbers (for instance, through annihilation of the connecting members), can be a symptom of growing strength and perfection. What I mean is this: even partial loss of utility, decay, and degeneration, loss of function and purpose, in a word, death, appertain to the conditions of the genuine progressus; which always appears in the shape of a will and way to greater power, and is always realised at the expense of innumerable smaller powers. The magnitude of a "progress" is gauged by the greatness of the sacrifice that it requires: humanity as a mass sacrificed to the prosperity of the one stronger species of Man—that would be a progress. I emphasise all the more this cardinal characteristic of the historic method, for the reason that in its essence it runs counter to predominant instincts and prevailing taste, which much prefer to put up with absolute casualness, even with the mechanical senselessness of all phenomena, than with the theory of a power-will, in exhaustive play throughout all phenomena. The democratic idiosyncrasy against everything which rules and wishes to rule, the modern misarchism (to coin a bad word for a bad thing), has gradually but so thoroughly transformed itself into the guise of intellectualism, the most abstract intellectualism, that even nowadays it penetrates and has the right to penetrate step by step into the most exact and apparently the most objective sciences: this tendency has, in fact, in my view already dominated the whole of physiology and biology, and to their detriment, as is obvious, in so far as it has spirited away a radical idea, the idea of true activity. The tyranny of this idiosyncrasy, however, results in the theory of "adaptation" being pushed forward into the van of the argument, exploited; adaptation—that means to say, a second-class activity, a mere capacity for "reacting"; in fact, life itself has been defined (by Herbert Spencer) as an increasingly effective internal adaptation to external circumstances. This definition, however, fails to realise the real essence of life, its will to power. It fails to appreciate the paramount superiority enjoyed by those plastic forces of spontaneity, aggression, and encroachment with their new interpretations and tendencies, to the operation of which adaptation is only a natural corollary: consequently the sovereign office of the highest functionaries in the organism itself (among which the life-will appears as an active and formative principle) is repudiated. One remembers Huxley's reproach to Spencer of his "administrative Nihilism": but it is a case of something much more than "administration."

13.

To return to our subject, namely punishment, we must make consequently a double distinction: first, the relatively permanent element, the custom, the act, the "drama," a certain rigid sequence of methods of procedure; on the other hand, the fluid element, the meaning, the end, the expectation which is attached to the operation of such procedure. At this point we immediately assume, per analogiam (in accordance with the theory of the historic method, which we have elaborated above), that the procedure itself is something older and earlier than its utilisation in punishment, that this utilisation was introduced and interpreted into the procedure (which had existed for a long time, but whose employment had another meaning), in short, that the case is different from that hitherto supposed by our naïf genealogists of morals and of law, who thought that the procedure was invented for the purpose of punishment, in the same way that the hand had been previously thought to have been invented for the purpose of grasping. With regard to the other element in punishment, its fluid element, its meaning, the idea of punishment in a very late stage of civilisation (for instance, contemporary Europe) is not content with manifesting merely one meaning, but manifests a whole synthesis "of meanings." The past general history of punishment, the history of its employment for the most diverse ends, crystallises eventually into a kind of unity, which is difficult to analyse into its parts, and which, it is necessary to emphasise, absolutely defies definition. (It is nowadays impossible to say definitely the precise reason for punishment: all ideas, in which a whole process is promiscuously comprehended, elude definition; it is only that which has no history, which can be defined.) At an earlier stage, on the contrary, that synthesis of meanings appears much less rigid and much more elastic; we can realise how in each individual case the elements of the synthesis change their value and their position, so that now one element and now another stands out and predominates over the others, nay, in certain cases one element (perhaps the end of deterrence) seems to eliminate all the rest. At any rate, so as to give some idea of the uncertain, supplementary, and accidental nature of the meaning of punishment and of the manner in which one identical procedure can be employed and adapted for the most diametrically opposed objects, I will at this point give a scheme that has suggested itself to me, a scheme itself based on comparatively small and accidental material.—Punishment, as rendering the criminal harmless and incapable of further injury.—Punishment, as compensation for the injury sustained by the injured party, in any form whatsoever (including the form of sentimental compensation).—Punishment, as an isolation of that which disturbs the equilibrium, so as to prevent the further spreading of the disturbance.—Punishment as a means of inspiring fear of those who determine and execute the punishment.—Punishment as a kind of compensation for advantages which the wrong-doer has up to that time enjoyed (for example, when he is utilised as a slave in the mines).—Punishment, as the elimination of an element of decay (sometimes of a whole branch, as according to the Chinese laws, consequently as a means to the purification of the race, or the preservation of a social type).—-Punishment as a festival, as the violent oppression and humiliation of an enemy that has at last been subdued.—Punishment as a mnemonic, whether for him who suffers the punishment—the so-called "correction," or for the witnesses of its administration. Punishment, as the payment of a fee stipulated for by the power which protects the evil-doer from the excesses of revenge.—Punishment, as a compromise with the natural phenomenon of revenge, in so far as revenge is still maintained and claimed as a privilege by the stronger races.—Punishment as a declaration and measure of war against an enemy of peace, of law, of order, of authority, who is fought by society with the weapons which war provides, as a spirit dangerous to the community, as a breaker of the contract on which the community is based, as a rebel, a traitor, and a breaker of the peace.

14.

This list is certainly not complete; it is obvious that punishment is overloaded with utilities of all kinds. This makes it all the more permissible to eliminate one supposed utility, which passes, at any rate in the popular mind, for its most essential utility, and which is just what even now provides the strongest support for that faith in punishment which is nowadays for many reasons tottering. Punishment is supposed to have the value of exciting in the guilty the consciousness of guilt; in punishment is sought the proper instrumentum of that psychic reaction which becomes known as a "bad conscience," "remorse." But this theory is even, from the point of view of the present, a violation of reality and psychology: and how much more so is the case when we have to deal with the longest period of man's history, his primitive history! Genuine remorse is certainly extremely rare among wrong-doers and the victims of punishment; prisons and houses of correction are not the soil on which this worm of remorse pullulates for choice—this is the unanimous opinion of all conscientious observers, who in many cases arrive at such a judgment with enough reluctance and against their own personal wishes. Speaking generally, punishment hardens and numbs, it produces concentration, it sharpens the consciousness of alienation, it strengthens the power of resistance. When it happens that it breaks the man's energy and brings about a piteous prostration and abjectness, such a result is certainly even less salutary than the average effect of punishment, which is characterised by a harsh and sinister doggedness. The thought of those prehistoric millennia brings us to the unhesitating conclusion, that it was simply through punishment that the evolution of the consciousness of guilt was most forcibly retarded—at any rate in the victims of the punishing power. In particular, let us not underestimate the extent to which, by the very sight of the judicial and executive procedure, the wrong-doer is himself prevented from feeling that his deed, the character of his act, is intrinsically reprehensible: for he sees clearly the same kind of acts practised in the service of justice, and then called good, and practised with a good conscience; acts such as espionage, trickery, bribery, trapping, the whole intriguing and insidious art of the policeman and the informer—the whole system, in fact, manifested in the different kinds of punishment (a system not excused by passion, but based on principle), of robbing, oppressing, insulting, imprisoning, racking, murdering.—All this he sees treated by his judges, not as acts meriting censure and condemnation in themselves, but only in a particular context and application. It was not on this soil that grew the "bad conscience," that most sinister and interesting plant of our earthly vegetation— in point of fact, throughout a most lengthy period, no suggestion of having to do with a "guilty man" manifested itself in the consciousness of the man who judged and punished. One had merely to deal with an author of an injury, an irresponsible piece of fate. And the man himself, on whom the punishment subsequently fell like a piece of fate, was occasioned no more of an "inner pain" than would be occasioned by the sudden approach of some uncalculated event, some terrible natural catastrophe, a rushing, crushing avalanche against which there is no resistance.

15.

This truth came insidiously enough to the consciousness of Spinoza (to the disgust of his commentators, who (like Kuno Fischer, for instance) give themselves no end of trouble to misunderstand him on this point), when one afternoon (as he sat raking up who knows what memory) he indulged in the question of what was really left for him personally of the celebrated morsus conscientiæ—Spinoza, who had relegated "good and evil" to the sphere of human imagination, and indignantly defended the honour of his "free" God against those blasphemers who affirmed that God did everything sub ratione boni ("but this was tantamount to subordinating God to fate, and would really be the greatest of all absurdities"). For Spinoza the world had returned again to that innocence in which it lay before the discovery of the bad conscience: what, then, had happened to the morsus conscientiæ? "The antithesis of gaudium," said he at last to himself,—"A sadness accompanied by the recollection of a past event which has turned out contrary to all expectation" (Eth. III., Propos. XVIII. Schol. i. ii.). Evil-doers have throughout thousands of years felt when overtaken by punishment exactly like Spinoza, on the subject of their "offence": "here is something which went wrong contrary to my anticipation," not "I ought not to have done this."—They submitted themselves to punishment, just as one submits one's self to a disease, to a misfortune, or to death, with that stubborn and resigned fatalism which gives the Russians, for instance, even nowadays, the advantage over us Westerners, in the handling of life. If at that period there was a critique of action, the criterion was prudence: the real effect of punishment is unquestionably chiefly to be found in a sharpening of the sense of prudence, in a lengthening of the memory, in a will to adopt more of a policy of caution, suspicion, and secrecy; in the recognition that there are many things which are unquestionably beyond one's capacity; in a kind of improvement in self-criticism. The broad effects which can be obtained by punishment in man and beast, are the increase of fear, the sharpening of the sense of cunning, the mastery of the desires: so it is that punishment tames man, but does not make him "better"—it would be more correct even to go so far as to assert the contrary ("Injury makes a man cunning," says a popular proverb: so far as it makes him cunning, it makes him also bad. Fortunately, it often enough makes him stupid).

16.

At this juncture I cannot avoid trying to give a tentative and provisional expression to my own hypothesis concerning the origin of the bad conscience: it is difficult to make it fully appreciated, and it requires continuous meditation, attention, and digestion. I regard the bad conscience as the serious illness which man was bound to contract under the stress of the most radical change which he has ever experienced—that change, when he found himself finally imprisoned within the pale of society and of peace.

Just like the plight of the water-animals, when they were compelled either to become land-animals or to perish, so was the plight of these half-animals, perfectly adapted as they were to the savage life of war, prowling, and adventure—suddenly all their instincts were rendered worthless and "switched off." Henceforward they had to walk on their feet—"carry themselves," whereas heretofore they had been carried by the water: a terrible heaviness oppressed them. They found themselves clumsy in obeying the simplest directions, confronted with this new and unknown world they had no longer their old guides—the regulative instincts that had led them unconsciously to safety—they were reduced, were those unhappy creatures, to thinking, inferring, calculating, putting together causes and results, reduced to that poorest and most erratic organ of theirs, their "consciousness." I do not believe there was ever in the world such a feeling of misery, such a leaden discomfort—further, those old instincts had not immediately ceased their demands! Only it was difficult and rarely possible to gratify them: speaking broadly, they were compelled to satisfy themselves by new and, as it were, hole-and-corner methods. All instincts which do not find a vent without, turn inwards—this is what I mean by the growing "internalisation" of man: consequently we have the first growth in man, of what subsequently was called his soul. The whole inner world, originally as thin as if it had been stretched between two layers of skin, burst apart and expanded proportionately, and obtained depth, breadth, and height, when man's external outlet became obstructed. These terrible bulwarks, with which the social organisation protected itself against the old instincts of freedom (punishments belong pre-eminently to these bulwarks), brought it about that all those instincts of wild, free, prowling man became turned backwards against man himself. Enmity, cruelty, the delight in persecution, in surprises, change, destruction—the turning all these instincts against their own possessors: this is the origin of the "bad conscience." It was man, who, lacking external enemies and obstacles, and imprisoned as he was in the oppressive narrowness and monotony of custom, in his own impatience lacerated, persecuted, gnawed, frightened, and ill-treated himself; it was this animal in the hands of the tamer, which beat itself against the bars of its cage; it was this being who, pining and yearning for that desert home of which it had been deprived, was compelled to create out of its own self, an adventure, a torture-chamber, a hazardous and perilous desert—it was this fool, this homesick and desperate prisoner—who invented the "bad conscience." But thereby he introduced that most grave and sinister illness, from which mankind has not yet recovered, the suffering of man from the disease called man, as the result of a violent breaking from his animal past, the result, as it were, of a spasmodic plunge into a new environment and new conditions of existence, the result of a declaration of war against the old instincts, which up to that time had been the staple of his power, his joy, his formidableness. Let us immediately add that this fact of an animal ego turning against itself, taking part against itself, produced in the world so novel, profound, unheard-of, problematic, inconsistent, and pregnant a phenomenon, that the aspect of the world was radically altered thereby. In sooth, only divine spectators could have appreciated the drama that then began, and whose end baffles conjecture as yet—a drama too subtle, too wonderful, too paradoxical to warrant its undergoing a non-sensical and unheeded performance on some random grotesque planet! Henceforth man is to be counted as one of the most unexpected and sensational lucky shots in the game of the "big baby" of Heracleitus, whether he be called Zeus or Chance—he awakens on his behalf the interest, excitement, hope, almost the confidence, of his being the harbinger and forerunner of something, of man being no end, but only a stage, an interlude, a bridge, a great promise.

17.

It is primarily involved in this hypothesis of the origin of the bad conscience, that that alteration was no gradual and no voluntary alteration, and that it did not manifest itself as an organic adaptation to new conditions, but as a break, a jump, a necessity, an inevitable fate, against which there was no resistance and never a spark of resentment. And secondarily, that the fitting of a hitherto unchecked and amorphous population into a fixed form, starting as it had done in an act of violence, could only be accomplished by acts of violence and nothing else—that the oldest "State" appeared consequently as a ghastly tyranny, a grinding ruthless piece of machinery, which went on working, till this raw material of a semi-animal populace was not only thoroughly kneaded and elastic, but also moulded. I used the word "State": my meaning is self-evident, namely, a herd of blonde beasts of prey, a race of conquerors and masters, which with all its warlike organisation and all its organising power pounces with its terrible claws on a population, in numbers possibly tremendously superior, but as yet formless, as yet nomad. Such is the origin of the "State." That fantastic theory that makes it begin with a contract is, I think, disposed of. He who can command, he who is a master by "nature," he who comes on the scene forceful in deed and gesture—what has he to do with contracts? Such beings defy calculation, they come like fate, without cause, reason, notice, excuse, they are there like the lightning is there, too terrible, too sudden, too convincing, too "different," to be personally even hated. Their work is an instinctive creating and impressing of forms, they are the most involuntary, unconscious artists that there are:—their appearance produces instantaneously a scheme of sovereignty which is live, in which the functions are partitioned and apportioned, in which above all no part is received or finds a place, until pregnant with a "meaning" in regard to the whole. They are ignorant of the meaning of guilt, responsibility, consideration, are these born organisers; in them predominates that terrible artist-egoism, that gleams like brass, and that knows itself justified to all eternity, in its work, even as a mother in her child. It is not in them that there grew the bad conscience, that is elementary—but it would not have grown without them, repulsive growth as it was, it would be missing, had not a tremendous quantity of freedom been expelled from the world by the stress of their hammer-strokes, their artist violence, or been at any rate made invisible and, as it were, latent. This instinct of freedom forced into being latent—it is already clear—this instinct of freedom forced back, trodden back, imprisoned within itself, and finally only able to find vent and relief in itself; this, only this, is the beginning of the "bad conscience."

18.

Beware of thinking lightly of this phenomenon, by reason of its initial painful ugliness. At bottom it is the same active force which is at work on a more grandiose scale in those potent artists and organisers, and builds states, which here, internally, on a smaller and pettier scale and with a retrogressive tendency, makes itself a bad science in the "labyrinth of the breast," to use Goethe's phrase, and which builds negative ideals; it is, I repeat, that identical instinct of freedom (to use my own language, the will to power): only the material, on which this force with all its constructive and tyrannous nature is let loose, is here man himself, his whole old animal self—and not as in the case of that more grandiose and sensational phenomenon, the other man, other men. This secret self-tyranny, this cruelty of the artist, this delight in giving a form to one's self as a piece of difficult, refractory, and suffering material, in burning in a will, a critique, a contradiction, a contempt, a negation; this sinister and ghastly labour of love on the part of a soul, whose will is cloven in two within itself, which makes itself suffer from delight in the infliction of suffering; this wholly active bad conscience has finally (as one already anticipates)—true fountainhead as it is of idealism and imagination—produced an abundance of novel and amazing beauty and affirmation, and perhaps has really been the first to give birth to beauty at all. What would beauty be, forsooth, if its contradiction had not first been presented to consciousness, if the ugly had not first said to itself, "I am ugly"? At any rate, after this hint the problem of how far idealism and beauty can be traced in such opposite ideas as "selflessness," self-denial, self-sacrifice, becomes less problematical; and indubitably in future we shall certainly know the real and original character of the delight experienced by the self-less, the self-denying, the self-sacrificing: this delight is a phase of cruelty.—So much provisionally for the origin of "altruism" as a moral value, and the marking out the ground from which this value has grown: it is only the bad conscience, only the will for self-abuse, that provides the necessary conditions for the existence of altruism as a value.

19.

Undoubtedly the bad conscience is an illness, but an illness like pregnancy is an illness. If we search out the conditions under which this illness reaches its most terrible and sublime zenith, we shall see what really first brought about its entry into the world. But to do this we must take a long breath, and we must first of all go back once again to an earlier point of view. The relation at civil law of the ower to his creditor (which has already been discussed in detail), has been interpreted once again (and indeed in a manner which historically is exceedingly remarkable and suspicious) into a relationship, which is perhaps more incomprehensible to us moderns than to any other era; that is, into the relationship of the existing generation to its ancestors. Within the original tribal association—we are talking of primitive times—each living generation recognises a legal obligation towards the earlier generation, and particularly towards the earliest, which founded the family (and this is something much more than a mere sentimental obligation, the existence of which, during the longest period of man's history, is by no means indisputable). There prevails in them the conviction that it is only thanks to sacrifices and efforts of their ancestors, that the race persists at all—and that this has to be paid back to them by sacrifices and services. Thus is recognised the owing of a debt, which accumulates continually by reason of these ancestors never ceasing in their subsequent life as potent spirits to secure by their power new privileges and advantages to the race. Gratis, perchance? But there is no gratis for that raw and "mean-souled" age. What return can be made?—Sacrifice (at first, nourishment, in its crudest sense), festivals, temples, tributes of veneration, above all, obedience—since all customs are, quâ works of the ancestors, equally their precepts and commands—are the ancestors ever given enough? This suspicion remains and grows: from time to time it extorts a great wholesale ransom, something monstrous in the way of repayment of the creditor (the notorious sacrifice of the first-born, for example, blood, human blood in any case). The fear of ancestors and their power, the consciousness of owing debts to them, necessarily increases, according to this kind of logic, in the exact proportion that the race itself increases, that the race itself becomes more victorious, more independent, more honoured, more feared. This, and not the contrary, is the fact. Each step towards race decay, all disastrous events, all symptoms of degeneration, of approaching disintegration, always diminish the fear of the founders' spirit, and whittle away the idea of his sagacity, providence, and potent presence. Conceive this crude kind of logic carried to its climax: it follows that the ancestors of the most powerful races must, through the growing fear that they exercise on the imaginations, grow themselves into monstrous dimensions, and become relegated to the gloom of a divine mystery that transcends imagination—the ancestor becomes at last necessarily transfigured into a god. Perhaps this is the very origin of the gods, that is, an origin from fear! And those who feel bound to add, "but from piety also," will have difficulty in maintaining this theory, with regard to the primeval and longest period of the human race. And of course this is even more the case as regards the middle period, the formative period of the aristocratic races—the aristocratic races which have given back with interest to their founders, the ancestors (heroes, gods), all those qualities which in the meanwhile have appeared in themselves, that is, the aristocratic qualities. We will later on glance again at the ennobling and promotion of the gods (which of course is totally distinct from their "sanctification"): let us now provisionally follow to its end the course of the whole of this development of the consciousness of "owing."

20.

According to the teaching of history, the consciousness of owing debts to the deity by no means came to an end with the decay of the clan organisation of society; just as mankind has inherited the ideas of "good" and "bad" from the race-nobility (together with its fundamental tendency towards establishing social distinctions), so with the heritage of the racial and tribal gods it has also inherited the incubus of debts as yet unpaid and the desire to discharge them. The transition is effected by those large populations of slaves and bondsmen, who, whether through compulsion or through submission and "mimicry," have accommodated themselves to the religion of their masters; through this channel these inherited tendencies inundate the world. The feeling of owing a debt to the deity has grown continuously for several centuries, always in the same proportion in which the idea of God and the consciousness of God have grown and become exalted among mankind. (The whole history of ethnic fights, victories, reconciliations, amalgamations, everything, in fact, which precedes the eventual classing of all the social elements in each great race-synthesis, are mirrored in the hotch-potch genealogy of their gods, in the legends of their fights, victories, and reconciliations. Progress towards universal empires invariably means progress towards universal deities; despotism, with its subjugation of the independent nobility, always paves the way for some system or other of monotheism.) The appearance of the Christian god, as the record god up to this time, has for that very reason brought equally into the world the record amount of guilt consciousness. Granted that we have gradually started on the reverse movement, there is no little probability in the deduction, based on the continuous decay in the belief in the Christian god, to the effect that there also already exists a considerable decay in the human consciousness of owing (ought); in fact, we cannot shut our eyes to the prospect of the complete and eventual triumph of atheism freeing mankind from all this feeling of obligation to their origin, their causa prima. Atheism and a kind of second innocence complement and supplement each other.

21.

So much for my rough and preliminary sketch of the interrelation of the ideas "ought" (owe) and "duty" with the postulates of religion. I have intentionally shelved up to the present the actual moralisation of these ideas (their being pushed back into the conscience, or more precisely the interweaving of the bad conscience with the idea of God), and at the end of the last paragraph used language to the effect that this moralisation did not exist, and that consequently these ideas had necessarily come to an end, by reason of what had happened to their hypothesis, the credence in our "creditor," in God. The actual facts differ terribly from this theory. It is with the moralisation of the ideas "ought" and "duty," and with their being pushed back into the bad conscience, that comes the first actual attempt to reverse the direction of the development we have just described, or at any rate to arrest its evolution; it is just at this juncture that the very hope of an eventual redemption has to put itself once for all into the prison of pessimism, it is at this juncture that the eye has to recoil and rebound in despair from off an adamantine impossibility, it is at this juncture that the ideas "guilt" and "duty" have to turn backwards—turn backwards against whom? There is no doubt about it; primarily against the "ower," in whom the bad conscience now establishes itself, eats, extends, and grows like a polypus throughout its length and breadth, all with such virulence, that at last, with the impossibility of paying the debt, there becomes conceived the idea of the impossibility of paying the penalty, the thought of its inexpiability (the idea of "eternal punishment")—finally, too, it turns against the "creditor," whether found in the causa prima of man, the origin of the human race, its sire, who henceforth becomes burdened with a curse ("Adam," "original sin," "determination of the will"), or in Nature from whose womb man springs, and on whom the responsibility for the principle of evil is now cast ("Diabolisation of Nature"), or in existence generally, on this logic an absolute white elephant, with which mankind is landed (the Nihilistic flight from life, the demand for Nothingness, or for the opposite of existence, for some other existence, Buddhism and the like)—till suddenly we stand before that paradoxical and awful expedient, through which a tortured humanity has found a temporary alleviation, that stroke of genius called Christianity:—God personally immolating himself for the debt of man, God paying himself personally out of a pound of his own flesh, God as the one being who can deliver man from what man had become unable to deliver himself—the creditor playing scapegoat for his debtor, from love (can you believe it?), from love of his debtor!...

22.

The reader will already have conjectured what took place on the stage and behind the scenes of this drama. That will for self-torture, that inverted cruelty of the animal man, who, turned subjective and scared into introspection (encaged as he was in "the State," as part of his taming process), invented the bad conscience so as to hurt himself, after the natural outlet for this will to hurt, became blocked—in other words, this man of the bad conscience exploited the religious hypothesis so as to carry his martyrdom to the ghastliest pitch of agonised intensity. Owing something to God: this thought becomes his instrument of torture. He apprehends in God the most extreme antitheses that he can find to his own characteristic and ineradicable animal instincts, he himself gives a new interpretation to these animal instincts as being against what he "owes" to God (as enmity, rebellion, and revolt against the "Lord," the "Father," the "Sire," the "Beginning of the world"), he places himself between the horns of the dilemma, "God" and "Devil." Every negation which he is inclined to utter to himself, to the nature, naturalness, and reality of his being, he whips into an ejaculation of "yes," uttering it as something existing, living, efficient, as being God, as the holiness of God, the judgment of God, as the hangmanship of God, as transcendence, as eternity, as unending torment, as hell, as infinity of punishment and guilt. This is a kind of madness of the will in the sphere of psychological cruelty which is absolutely unparalleled:—man's will to find himself guilty and blameworthy to the point of inexpiability, his will to think of himself as punished, without the punishment ever being able to balance the guilt, his will to infect and to poison the fundamental basis of the universe with the problem of punishment and guilt, in order to cut off once and for all any escape out of this labyrinth of "fixed ideas," his will for rearing an ideal—that of the "holy God"—face to face with which he can have tangible proof of his own un-worthiness. Alas for this mad melancholy beast man! What phantasies invade it, what paroxysms of perversity, hysterical senselessness, and mental bestiality break out immediately, at the very slightest check on its being the beast of action. All this is excessively interesting, but at the same time tainted with a black, gloomy, enervating melancholy, so that a forcible veto must be invoked against looking too long into these abysses. Here is disease, undubitably, the most ghastly disease that has as yet played havoc among men: and he who can still hear (but man turns now deaf ears to such sounds), how in this night of torment and nonsense there has rung out the cry of love, the cry of the most passionate ecstasy, of redemption in love, he turns away gripped by an invincible horror—in man there is so much that is ghastly—too long has the world been a mad-house.

23.

Let this suffice once for all concerning the origin of the "holy God." The fact that in itself the conception of gods is not bound to lead necessarily to this degradation of the imagination (a temporary representation of whose vagaries we felt bound give), the fact that there exist nobler methods of utilising the invention of gods than in this self-crucifixion and self-degradation of man, in which the last two thousand years of Europe have been past masters—these facts can fortunately be still perceived from every glance that we cast at the Grecian gods, these mirrors of noble and grandiose men, in which the animal in man felt itself deified, and did not devour itself in subjective frenzy. These Greeks long utilised their gods as simple buffers against the "bad conscience"—so that they could continue to enjoy their freedom of soul: this, of course, is diametrically opposed to Christianity's theory of its god. They went very far on this principle, did these splendid and lion-hearted children; and there is no lesser authority than that of the Homeric Zeus for making them realise occasionally that they are taking life too casually. "Wonderful," says he on one occasion—it has to do with the case of Ægistheus, a very bad case indeed—

"Wonderful how they grumble, the mortals against the immortals, Only from us, they presume, comes evil, but in their folly, Fashion they, spite of fate, the doom of their own disaster."

Yet the reader will note and observe that this Olympian spectator and judge is far from being angry with them and thinking evil of them on this score. "How foolish they are," so thinks he of the misdeeds of mortals—and "folly," "imprudence," "a little brain disturbance," and nothing more, are what the Greeks, even of the strongest, bravest period, have admitted to be the ground of much that is evil and fatal.—Folly, not sin, do you understand?... But even this brain disturbance was a problem—"Come, how is it even possible? How could it have really got in brains like ours, the brains of men of aristocratic ancestry, of men of fortune, of men of good natural endowments, of men of the best society, of men of nobility and virtue?" This was the question that for century on century the aristocratic Greek put to himself when confronted with every (to him incomprehensible) outrage and sacrilege with which one of his peers had polluted himself. "It must be that a god had infatuated him," he would say at last, nodding his head.—This solution is typical of the Greeks, ... accordingly the gods in those times subserved the functions of justifying man to a certain extent even in evil—in those days they took upon themselves not the punishment, but, what is more noble, the guilt.

24.

I conclude with three queries, as you will see. "Is an ideal actually set up here, or is one pulled down?" I am perhaps asked.... But have ye sufficiently asked yourselves how dear a payment has the setting up of every ideal in the world exacted? To achieve that consummation how much truth must always be traduced and misunderstood, how many lies must be sanctified, how much conscience has got to be disturbed, how many pounds of "God" have got to be sacrificed every time? To enable a sanctuary to be set up a sanctuary has got to be destroyed: that is a law—show me an instance where it has not been fulfilled!... We modern men, we inherit the immemorial tradition of vivisecting the conscience, and practising cruelty to our animal selves. That is the sphere of our most protracted training, perhaps of our artistic prowess, at any rate of our dilettantism and our perverted taste. Man has for too long regarded his natural proclivities with an "evil eye," so that eventually they have become in his system affiliated to a bad conscience. A converse endeavour would be intrinsically feasible—but who is strong enough to attempt it?—namely, to affiliate to the "bad conscience" all those unnatural proclivities, all those transcendental aspirations, contrary to sense, instinct, nature, and animalism—in short, all past and present ideals, which are all ideals opposed to life, and traducing the world. To whom is one to turn nowadays with such hopes and pretensions?—It is just the good men that we should thus bring about our ears; and in addition, as stands to reason, the indolent, the hedgers, the vain, the hysterical, the tired.... What is more offensive or more thoroughly calculated to alienate, than giving any hint of the exalted severity with which we treat ourselves? And again how conciliatory, how full of love does all the world show itself towards us so soon as we do as all the world docs, and "let ourselves go" like all the world. For such a consummation we need spirits of different calibre than seems really feasible in this age; spirits rendered potent through wars and victories, to whom conquest, adventure, danger, even pain, have become a need; for such a consummation we need habituation to sharp, rare air, to winter wanderings, to literal and metaphorical ice and mountains; we even need a kind of sublime malice, a supreme and most self-conscious insolence of knowledge, which is the appanage of great health; we need (to summarise the awful truth) just this great health!

Is this even feasible to-day?... But some day, in a stronger age than this rotting and introspective present, must he in sooth come to us, even the redeemer of great love and scorn, the creative spirit, rebounding by the impetus of his own force back again away from every transcendental plane and dimension, he whose solitude is misunderstanded (sic) of the people, as though it were a flight from reality;—while actually it is only his diving, burrowing, and penetrating into reality, so that when he comes again to the light he can at once bring about by these means the redemption of this reality; its redemption from the curse which the old ideal has laid upon it. This man of the future, who in this wise will redeem us from the old ideal, as he will from that ideal's necessary corollary of great nausea, will to nothingness, and Nihilism; this tocsin of noon and of the great verdict, which renders the will again free, who gives back to the world its goal and to man his hope, this Antichrist and Antinihilist, this conqueror of God and of Nothingness—he must one day come.

25.

But what am I talking of? Enough! Enough? At this juncture I have only one proper course, silence: otherwise tresspass on a domain open alone to one who is younger than I, one stronger, more "future" than I—open alone to Zarathustra, Zarathustra the godless.

THIRD ESSAY.

WHAT IS THE MEANING OF ASCETIC IDEALS?

"Careless, mocking, forceful—so does wisdom wish us: she is a woman, and never loves any one but a warrior." Thus Spake Zarathustra.

1.

What is the meaning of ascetic ideals? In artists, nothing, or too much; in philosophers and scholars, a kind of "flair" and instinct for the conditions most favourable to advanced intellectualism; in women, at best an additional seductive fascination, a little morbidezza on a fine piece of flesh, the angelhood of a fat, pretty animal; in physiological failures and whiners (in the majority of mortals), an attempt to pose as "too good" for this world, a holy form of debauchery, their chief weapon in the battle with lingering pain and ennui; in priests, the actual priestly faith, their best engine of power, and also the supreme authority for power; in saints, finally a pretext for hibernation, their novissima gloriæ cupido, their peace in nothingness ("God"), their form of madness.

But in the very fact that the ascetic ideal has meant so much to man, lies expressed the fundamental feature of man's will, his horror vacui: he needs a goal—and he will sooner will nothingness than not will at all.—Am I not understood?—Have I not been understood?—"Certainly not, sir?"—Well, let us begin at the beginning.

2.

What is the meaning of ascetic ideals? Or, to take an individual case in regard to which I have often been consulted, what is the meaning, for example, of an artist like Richard Wagner paying homage to chastity in his old age? He had always done so, of course, in a certain sense, but it was not till quite the end, that he did so in an ascetic sense. What is the meaning of this "change of attitude," this radical revolution in his attitude—for that was what it was? Wagner veered thereby straight round into his own opposite. What is the meaning of an artist veering round into his own opposite? At this point (granted that we do not mind stopping a little over this question), we immediately call to mind the best, strongest, gayest, and boldest period, that there perhaps ever was in Wagner's life: that was the period, when he was genuinely and deeply occupied with the idea of "Luther's Wedding." Who knows what chance is responsible for our now having the Meistersingers instead of this wedding music? And how much in the latter is perhaps just an echo of the former? But there is no doubt but that the theme would have dealt with the praise of chastity. And certainly it would also have dealt with the praise of sensuality, and even so, it would seem quite in order, and even so, it would have been equally Wagnerian. For there is no necessary antithesis between chastity and sensuality: every good marriage, every authentic heart-felt love transcends this antithesis. Wagner would, it seems to me, have done well to have brought this pleasing reality home once again to his Germans, by means of a bold and graceful "Luther Comedy," for there were and are among the Germans many revilers of sensuality; and perhaps Luther's greatest merit lies just in the fact of his having had the courage of his sensuality (it used to be called, prettily enough, "evangelistic freedom "). But even in those cases where that antithesis between chastity and sensuality does exist, there has fortunately been for some time no necessity for it to be in any way a tragic antithesis. This should, at any rate, be the case with all beings who are sound in mind and body, who are far from reckoning their delicate balance between "animal" and "angel," as being on the face of it one of the principles opposed to existence—the most subtle and brilliant spirits, such as Goethe, such as Hafiz, have even seen in this a further charm of life. Such "conflicts" actually allure one to life. On the other hand, it is only too clear that when once these ruined swine are reduced to worshipping chastity—and there are such swine—they only see and worship in it the antithesis to themselves, the antithesis to ruined swine. Oh what a tragic grunting and eagerness! You can just think of it—they worship that painful and superfluous contrast, which Richard Wagner in his latter days undoubtedly wished to set to music, and to place on the stage! "For what purpose, forsooth?" as we may reasonably ask. What did the swine matter to him; what do they matter to us?

3.

At this point it is impossible to beg the further question of what he really had to do with that manly (ah, so unmanly) country bumpkin, that poor devil and natural, Parsifal, whom he eventually made a Catholic by such fraudulent devices. What? Was this Parsifal really meant seriously? One might be tempted to suppose the contrary, even to wish it—that the Wagnerian Parsifal was meant joyously, like a concluding play of a trilogy or satyric drama, in which Wagner the tragedian wished to take farewell of us, of himself, above all of tragedy, and to do so in a manner that should be quite fitting and worthy, that is, with an excess of the most extreme and flippant parody of the tragic itself, of the ghastly earthly seriousness and earthly woe of old—a parody of that most crude phase in the unnaturalness of the ascetic ideal, that had at length been overcome. That, as I have said, would have been quite worthy of a great tragedian; who like every artist first attains the supreme pinnacle of his greatness when he can look down into himself and his art, when he can laugh at himself. Is Wagner's Parsifal his secret laugh of superiority over himself, the triumph of that supreme artistic freedom and artistic transcendency which he has at length attained. We might, I repeat, wish it were so, for what can Parsifal, taken seriously, amount to? Is it really necessary to see in it (according to an expression once used against me) the product of an insane hate of knowledge, mind, and flesh? A curse on flesh and spirit in one breath of hate? An apostasy and reversion to the morbid Christian and obscurantist ideals? And finally a self-negation and self-elimination on the part of an artist, who till then had devoted all the strength of his will to the contrary, namely, the highest artistic expression of soul and body. And not only of his art; of his life as well. Just remember with what enthusiasm Wagner followed in the footsteps of Feuerbach. Feuerbach's motto of "healthy sensuality" rang in the ears of Wagner during the thirties and forties of the century, as it did in the ears of many Germans (they dubbed themselves "Young Germans"), like the word of redemption. Did he eventually change his mind on the subject? For it seems at any rate that he eventually wished to change his teaching on that subject ... and not only is that the case with the Parsifal trumpets on the stage: in the melancholy, cramped, and embarrassed lucubrations of his later years, there are a hundred places in which there are manifestations of a secret wish and will, a despondent, uncertain, unavowed will to preach actual retrogression, conversion, Christianity, mediævalism, and to say to his disciples, "All is vanity! Seek salvation elsewhere!" Even the "blood of the Redeemer" is once invoked.

4.

Let me speak out my mind in a case like this, which has many painful elements—and it is a typical case: it is certainly best to separate an artist from his work so completely that he cannot be taken as seriously as his work. He is after all merely the presupposition of his work, the womb, the soil, in certain cases the dung and manure, on which and out of which it grows—and consequently, in most cases, something that must be forgotten if the work itself is to be enjoyed. The insight into the origin of a work is a matter for psychologists and vivisectors, but never either in the present or the future for the æsthetes, the artists. The author and creator of Parsifal was as little spared the necessity of sinking and living himself into the terrible depths and foundations of mediæval soul-contrasts, the necessity of a malignant abstraction from all intellectual elevation, severity, and discipline, the necessity of a kind of mental perversity (if the reader will pardon me such a word), as little as a pregnant woman is spared the horrors and marvels of pregnancy, which, as I have said, must be forgotten if the child is to be enjoyed. We must guard ourselves against the confusion, into which an artist himself would fall only too easily (to employ the English terminology) out of psychological "contiguity"; as though the artist himself actually were the object which he is able to represent, imagine, and express. In point of fact, the position is that even if he conceived he were such an object, he would certainly not represent, conceive, express it. Homer would not have created an Achilles, nor Goethe a Faust, if Homer had been an Achilles or if Goethe had been a Faust. A complete and perfect artist is to all eternity separated from the "real," from the actual; on the other hand, it will be appreciated that he can at times get tired to the point of despair of this eternal "unreality" and falseness of his innermost being—and that he then sometimes attempts to trespass on to the most forbidden ground, on reality, and attempts to have real existence. With what success? The success will be guessed—it is the typical velleity of the artist; the same velleity to which Wagner fell a victim in his old age, and for which he had to pay so dearly and so fatally (he lost thereby his most valuable friends). But after all, quite apart from this velleity, who would not wish emphatically for Wagner's own sake that he had taken farewell of us and of his art in a different manner, not with a Parsifal, but in more victorious, more self-confident, more Wagnerian style—a style less misleading, a style less ambiguous with regard to his whole meaning, less Schopenhauerian, less Nihilistic?...

5.

What, then, is the meaning of ascetic ideals? In the case of an artist we are getting to understand their meaning: Nothing at all ... or so much that it is as good as nothing at all. Indeed, what is the use of them? Our artists have for a long time past not taken up a sufficiently independent attitude, either in the world or against it, to warrant their valuations and the changes in these valuations exciting interest. At all times they have played the valet of some morality, philosophy, or religion, quite apart from the fact that unfortunately they have often enough been the inordinately supple courtiers of their clients and patrons, and the inquisitive toadies of the powers that are existing, or even of the new powers to come. To put it at the lowest, they always need a rampart, a support, an already constituted authority: artists never stand by themselves, standing alone is opposed to their deepest instincts. So, for example, did Richard Wagner take, "when the time had come," the philosopher Schopenhauer for his covering man in front, for his rampart. Who would consider it even thinkable, that he would have had the courage for an ascetic ideal, without the support afforded him by the philosophy of Schopenhauer, without the authority of Schopenhauer, which dominated Europe in the seventies? (This is without consideration of the question whether an artist without the milk[1] of an orthodoxy would have been possible at all.) This brings us to the more serious question: What is the meaning of a real philosopher paying homage to the ascetic ideal, a really self-dependent intellect like Schopenhauer, a man and knight with a glance of bronze, who has the courage to be himself, who knows how to stand alone without first waiting for men who cover him in front, and the nods of his superiors? Let us now consider at once the remarkable attitude of Schopenhauer towards art, an attitude which has even a fascination for certain types. For that is obviously the reason why Richard Wagner all at once went over to Schopenhauer (persuaded thereto, as one knows, by a poet, Herwegh), went over so completely that there ensued the cleavage of a complete theoretic contradiction between his earlier and his later æsthetic faiths—the earlier, for example, being expressed in Opera and Drama, the later in the writings which he published from 1870 onwards. In particular, Wagner from that time onwards (and this is the volte-face which alienates us the most) had no scruples about changing his judgment concerning the value and position of music itself. What did he care if up to that time he had made of music a means, a medium, a "woman," that in order to thrive needed an end, a man—that is, the drama? He suddenly realised that more could be effected by the novelty of the Schopenhauerian theory in majorem musicæ gloriam—that is to say, by means of the sovereignty of music, as Schopenhauer understood it; music abstracted from and opposed to all the other arts, music as the independent art-in-itself, not like the other arts, affording reflections of the phenomenal world, but rather the language of the will itself, speaking straight out of the "abyss" as its most personal, original, and direct manifestation. This extraordinary rise in the value of music (a rise which seemed to grow out of the Schopenhauerian philosophy) was at once accompanied by an unprecedented rise in the estimation in which the musician himself was held: he became now an oracle, a priest, nay, more than a priest, a kind of mouthpiece for the "intrinsic essence of things," a telephone from the other world—from henceforward he talked not only music, did this ventriloquist of God, he talked metaphysic; what wonder that one day he eventually talked ascetic ideals.

6.

Schopenhauer has made use of the Kantian treatment of the æsthetic problem—though he certainly did not regard it with the Kantian eyes. Kant thought that he showed honour to art when he favoured and placed in the foreground those of the predicates of the beautiful, which constitute the honour of knowledge: impersonality and universality. This is not the place to discuss whether this was not a complete mistake; all that I wish to emphasise is that Kant, just like other philosophers, instead of envisaging the æsthetic problem from the standpoint of the experiences of the artist (the creator), has only considered art and beauty from the standpoint of the spectator, and has thereby imperceptibly imported the spectator himself into the idea of the "beautiful"! But if only the philosophers of the beautiful had sufficient knowledge of this "spectator"!—Knowledge of him as a great fact of personality, as a great experience, as a wealth of strong and most individual events, desires, surprises, and raptures in the sphere of beauty! But, as I feared, the contrary was always the case. And so we get from our philosophers, from the very beginning, definitions on which the lack of a subtler personal experience squats like a fat worm of crass error, as it does on Kant's famous definition of the beautiful. "That is beautiful," says Kant, "which pleases without interesting." Without interesting! Compare this definition with this other one, made by a real "spectator" and "artist"—by Stendhal, who once called the beautiful une promesse de bonheur. Here, at any rate, the one point which Kant makes prominent in the æsthetic position is repudiated and eliminated—le désintéressement. Who is right, Kant or Stendhal? When, forsooth, our æsthetes never get tired of throwing into the scales in Kant's favour the fact that under the magic of beauty men can look at even naked female statues "without interest," we can certainly laugh a little at their expense:—in regard to this ticklish point the experiences of artists are more "interesting," and at any rate Pygmalion was not necessarily an "unæsthetic man." Let us think all the better of the innocence of our æsthetes, reflected as it is in such arguments; let us, for instance, count to Kant's honour the country-parson naïveté of his doctrine concerning the peculiar character of the sense of touch! And here we come back to Schopenhauer, who stood in much closer neighbourhood to the arts than did Kant, and yet never escaped outside the pale of the Kantian definition; how was that? The circumstance is marvellous enough: he interprets the expression, "without interest," in the most personal fashion, out of an experience which must in his case have been part and parcel of his regular routine. On few subjects does Schopenhauer speak with such certainty as on the working of æsthetic contemplation: he says of it that it simply counteracts sexual interest, like lupulin and camphor; he never gets tired of glorifying this escape from the "Life-will" as the great advantage and utility of the æsthetic state. In fact, one is tempted to ask if his fundamental conception of Will and Idea, the thought that there can only exist freedom from the "will" by means of "idea," did not originate in a generalisation from this sexual experience. (In all questions concerning the Schopenhauerian philosophy, one should, by the bye, never lose sight of the consideration that it is the conception of a youth of twenty-six, so that it participates not only in what is peculiar to Schopenhauer's life, but in what is peculiar to that special period of his life.) Let us listen, for instance, to one of the most expressive among the countless passages which he has written in honour of the æsthetic state (World as Will and Idea, i. 231); let us listen to the tone, the suffering, the happiness, the gratitude, with which such words are uttered: "This is the painless state which Epicurus praised as the highest good and as the state of the gods; we are during that moment freed from the vile pressure of the will, we celebrate the Sabbath of the will's hard labour, the wheel of Ixion stands still." What vehemence of language! What images of anguish and protracted revulsion! How almost pathological is that temporal antithesis between "that moment" and everything else, the "wheel of Ixion," "the hard labour of the will," "the vile pressure of the will." But granted that Schopenhauer was a hundred times right for himself personally, how does that help our insight into the nature of the beautiful? Schopenhauer has described one effect of the beautiful,—the calming of the will,—but is this effect really normal? As has been mentioned, Stendhal, an equally sensual but more happily constituted nature than Schopenhauer, gives prominence to another effect of the "beautiful." "The beautiful promises happiness." To him it is just the excitement of the "will" (the "interest") by the beauty that seems the essential fact. And does not Schopenhauer ultimately lay himself open to the objection, that he is quite wrong in regarding himself as a Kantian on this point, that he has absolutely failed to understand in a Kantian sense the Kantian definition of the beautiful—;that the beautiful pleased him as well by means of an interest, by means, in fact, of the strongest and most personal interest of all, that: of the victim of torture who escapes from his torture?—And to come back again to our first question, "What is the meaning of a philosopher paying homage to ascetic ideals?" We get now, at any rate, a first hint; he wishes to escape from a torture.

7.

Let us beware of making dismal faces at the word "torture"—there is certainly in this case enough to deduct, enough to discount—there is even something to laugh at. For we must certainly not underestimate the fact that Schopenhauer, who in practice treated sexuality as a personal enemy (including its tool, woman, that "instrumentum diaboli"), needed enemies to keep him in a good humour; that he loved grim, bitter, blackish-green words; that he raged for the sake of raging, out of passion; that he would have grown ill, would have become a pessimist (for he was not a pessimist, however much he wished to be), without his enemies, without Hegel, woman, sensuality, and the whole "will for existence" "keeping on." Without them Schopenhauer would not have "kept on," that is a safe wager; he would have run away: but his enemies held him fast, his enemies always enticed him back again to existence, his wrath was just as theirs' was to the ancient Cynics, his balm, his recreation, his recompense, his remedium against disgust, his happiness. So much with regard to what is most personal in the case of Schopenhauer; on the other hand, there is still much which is typical in him—and only now we come back to our problem. It is an accepted and indisputable fact, so long as there are philosophers in the world and wherever philosophers have existed (from India to England, to take the opposite poles of philosophic ability), that there exists a real irritation and rancour on the part of philosophers towards sensuality. Schopenhauer is merely the most eloquent, and if one has the ear for it, also the most fascinating and enchanting outburst. There similarly exists a real philosophic bias and affection for the whole ascetic ideal; there should be no illusions on this score. Both these feelings, as has been said, belong to the type; if a philosopher lacks both of them, then he is—you may be certain of it—never anything but a "pseudo." What does this mean? For this state of affairs must first be, interpreted: in itself it stands there stupid, to all eternity, like any "Thing-in-itself." Every animal, including la bête philosophe, strives instinctively after an optimum of favourable conditions, under which he can let his whole strength have play, and achieves his maximum consciousness of power; with equal instinctiveness, and with a fine perceptive flair which is superior to any reason, every animal shudders mortally at every kind of disturbance and hindrance which obstructs or could obstruct his way to that optimum (it is not his way to happiness of which I am talking, but his way to power, to action, the most powerful action, and in point of fact in many cases his way to unhappiness). Similarly, the philosopher shudders mortally at marriage, together with all that could persuade him to it—marriage as a fatal hindrance on the way to the optimum. Up to the present what great philosophers have been married? Heracleitus, Plato, Descartes, Spinoza, Leibnitz, Kant, Schopenhauer—they were not married, and, further, one cannot imagine them as married. A married philosopher belongs to comedy, that is my rule; as for that exception of a Socrates—the malicious Socrates married himself, it seems, ironice, just to prove this very rule. Every philosopher would say, as Buddha said, when the birth of a son was announced to him: "Râhoula has been born to me, a fetter has been forged for me" (Râhoula means here "a little demon"); there must come an hour of reflection to every "free spirit" (granted that he has had previously an hour of thoughtlessness), just as one came once to the same Buddha: "Narrowly cramped," he reflected, "is life in the house; it is a place of uncleanness; freedom is found in leaving the house." Because he thought like this, he left the house. So many bridges to independence are shown in the ascetic idea], that the philosopher cannot refrain from exultation and clapping of hands when he hears the history of all those resolute ones, who on one day uttered a nay to all servitude and went into some desert; even granting that they were only strong asses, and the absolute opposite of strong minds. What, then, does the ascetic ideal mean in a philosopher? This is my answer—it will have been guessed long ago: when he sees this ideal the philosopher smiles because he sees therein an optimum of the conditions of the highest and boldest intellectuality; he does not thereby deny "existence," he rather affirms thereby his existence and only his existence, and this perhaps to the point of not being far off the blasphemous wish, pereat mundus, fiat philosophia, fiat philosophus, fiam!