Thoughts Out of Season, Part II

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Фридрих Вильгельм Ницше. Thoughts Out of Season, Part II

INTRODUCTION

THE USE AND ABUSE OF HISTORY

PREFACE

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SCHOPENHAUER AS EDUCATOR

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“I hate everything that merely instructs me without increasing or directly quickening my activity.” These words of Goethe, like a sincere ceterum censeo, may well stand at the head of my thoughts on the worth and the worthlessness of history. I will show in them why instruction that does not “quicken,” knowledge that slackens the rein of activity, why in fact history, in Goethe's phrase, must be seriously “hated,” as a costly and superfluous luxury of the understanding: for we are still in want of the necessaries of life, and the superfluous is an enemy to the necessary. We do need history, but quite differently from the jaded idlers in the garden of knowledge, however grandly they may look down on our rude and unpicturesque requirements. In other words, we need it for life and action, not as a convenient way to avoid life and action, or to excuse a selfish life and a cowardly or base action. We would serve history only so far as it serves life; but to value its study beyond a certain point mutilates and degrades life: and this is a fact that certain marked symptoms of our time make it as necessary as it may be painful to bring to the test of experience.

I have tried to describe a feeling that has often troubled me: I revenge myself on it by giving it publicity. This may lead some one to explain to me that he has also had the feeling, but that I do not feel it purely and elementally enough, and cannot express it with the ripe certainty of experience. A few may say so; but most people will tell me that it is a perverted, unnatural, horrible, and altogether unlawful feeling to have, and that I show myself unworthy of the great historical movement which is especially strong among the German people for the last two generations.

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As long as the soul of history is found in the great impulse that it gives to a powerful spirit, as long as the past is principally used as a model for imitation, it is always in danger of being a little altered and touched up, and brought nearer to fiction. Sometimes there is no possible distinction between a “monumental” past and a mythical romance, as the same motives for action can be gathered from the one world as the other. If this monumental method of surveying the past dominate the others, – the antiquarian and the critical, – the past itself suffers wrong. Whole tracts of it are forgotten and despised; they flow away like a dark unbroken river, with only a few gaily coloured islands of fact rising above it. There is something beyond nature in the rare figures that become visible, like the golden hips that his disciples attributed to Pythagoras. Monumental history lives by false analogy; it entices the brave to rashness, and the enthusiastic to fanaticism by its tempting comparisons. Imagine this history in the hands – and the head – of a gifted egoist or an inspired scoundrel; kingdoms will be overthrown, princes murdered, war and revolution let loose, and the number of “effects in themselves” – in other words, effects without sufficient cause – increased. So much for the harm done by monumental history to the powerful men of action, be they good or bad; but what if the weak and the inactive take it as their servant – or their master!

Consider the simplest and commonest example, the inartistic or half artistic natures whom a monumental history provides with sword and buckler. They will use the weapons against their hereditary enemies, the great artistic spirits, who alone can learn from that history the one real lesson, how to live, and embody what they have learnt in noble action. Their way is obstructed, their free air darkened by the idolatrous – and conscientious – dance round the half understood monument of a great past. “See, that is the true and real art,” we seem to hear: “of what use are these aspiring little people of to-day?” The dancing crowd has apparently the monopoly of “good taste”: for the creator is always at a disadvantage compared with the mere looker-on, who never put a hand to the work; just as the arm-chair politician has ever had more wisdom and foresight than the actual statesman. But if the custom of democratic suffrage and numerical majorities be transferred to the realm of art, and the artist put on his defence before the court of æsthetic dilettanti, you may take your oath on his condemnation; although, or rather because, his judges had proclaimed solemnly the canon of “monumental art,” the art that has “had an effect on all ages,” according to the official definition. In their eyes no need nor inclination nor historical authority is in favour of the art which is not yet “monumental” because it is contemporary. Their instinct tells them that art can be slain by art: the monumental will never be reproduced, and the weight of its authority is invoked from the past to make it sure. They are connoisseurs of art, primarily because they wish to kill art; they pretend to be physicians, when their real idea is to dabble in poisons. They develop their tastes to a point of perversion, that they may be able to show a reason for continually rejecting all the nourishing artistic fare that is offered them. For they do not want greatness, to arise: their method is to say, “See, the great thing is already here!” In reality they care as little about the great thing that is already here, as that which is about to arise: their lives are evidence of that. Monumental history is the cloak under which their hatred of present power and greatness masquerades as an extreme admiration of the past: the real meaning of this way of viewing history is disguised as its opposite; whether they wish it or no, they are acting as though their motto were, “let the dead bury the – living.”

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