But that is my point. By this means I am making clear the sense in which perspective is essential for any judgement about what exists — — Wayfarer
There is only one emergency exit—to make sense of this suffering and make it bearable, the Jew must believe that his fate has within it a particular purpose: “God disciplines those he loves.” — Theodore Lessing, in Jewish Self-Hate.
On the other hand, imagine the "enemy" as the resentful man conceives him—and it is here exactly that we see his work, his creativeness; he has conceived "the evil enemy," the "evil one," and indeed that is the root idea from which he now evolves as a contrasting and corresponding figure a "good one," himself—his very self!
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The method of this man is quite contrary to that of the aristocratic man, who conceives the root idea "good" spontaneously and straight away, that is to say, out of himself, and from that material then creates for himself a concept of "bad"! This "bad" of aristocratic origin and that "evil" out of the cauldron of unsatisfied hatred—the former an imitation, an "extra," an additional nuance; the latter, on the other hand, the original, the beginning, the essential act in the conception of a slave-morality—these two words "bad" and "evil," how great a difference do they mark, in spite of the fact that they have an identical contrary in the idea "good." But the idea "good" is not the same: much rather let the question be asked, "Who is really evil according to the meaning of the morality of resentment?" In all sternness let it be answered thus:—just the good man of the other morality, just the aristocrat, the powerful one, the one who rules, but who is distorted by the venomous eye of resentfulness, into a new colour, a new signification, a new appearance. — Genealogy of Morals 10/11
Aristotle seems to be regarding the mind (viz., the thinking aspect of the soul) as 'unmixed' with the matter and that, for some reason, this mind is not real prior to knowing something. — Bob Ross
Do you think someone without a natural penis can rape a woman? — Leontiskos
Prose, poetry, theater all have music as their model and origin. That is the point upon which The Birth of Tragedy insists notably in the 5th and 6th aphorisms....
Among all experiences musical jubilation is obviously privileged, not because this jubilation privileges and distinguishes musical reality among all other realities, but because it has as its effect, in Nietzsche’s opinion, to arouse the approbation of all things indifferently. — Clément Rosset, Joyful Cruelty, pg 36&37
Not sure why you imply that 'metanoia' must involve only positive emotions. — boundless
I believe that repentance is also a process of healing and such a healing might involve potentially suffering — boundless
In my lifework, my Zarathustra holds a place apart. With it, I gave my fellow-men the greatest gift that has ever been bestowed upon them. This book, the voice of which speaks out across the ages, is not only the loftiest book on earth, literally the book of mountain air — Ecce Homo
Already in the foreword to Richard Wagner, art—-and not morality—is set down as the properly metaphysical activity of man; in the book itself the piquant proposition recurs time and again, that the existence of the world is justified only as an æsthetic phenomenon. Indeed, the entire book recognises only an artist-thought and artist-after-thought behind all occurrences,—a "God," if you will, but certainly only an altogether thoughtless and unmoral artist-God, who, in construction as in destruction, in good as in evil, desires to become conscious of his own equable joy and sovereign glory; who, in creating worlds, frees himself from the anguish of fullness and overfullness, from the suffering of the contradictions concentrated within him...
I am convinced that art is the highest task and the properly metaphysical activity of this life, as it is understood by the man, to whom, as my sublime protagonist on this path, I would now dedicate this essay....
But, my dear Sir, if your book is not Romanticism, what in the world is? Can the deep hatred of the present, of "reality" and "modern ideas" be pushed farther than has been done in your artist-metaphysics? — Birth of Tragedy
The Dionyso-musical enchantment of the sleeper now emits, as it were, picture sparks, lyrical poems, which in their highest development are called tragedies and dramatic dithyrambs... — Birth of Tragedy
What language will such a spirit speak, when he speaks unto his soul? The language of the dithyramb. I am the inventor of the dithyramb...
The whole of my Zarathustra is a dithyramb in honour of solitude...
Before Zarathustra there was no wisdom, no probing of the soul, no art of speech: in his book, the most familiar and most vulgar thing utters unheard-of words. The sentence quivers with passion. Eloquence has become music. Forks of lightning are hurled towards futures of which no one has ever dreamed before. The most powerful use of parables that has yet existed is poor beside it, and mere child's-play compared with this return of language to the nature of imagery...
The loathing of mankind, of the rabble, was always my greatest danger.... Would you hearken to the words spoken by Zarathustra concerning deliverance from loathing? — Ecce Homo
