Beyond Good and Evil

Suppose the truth were harmful, and your comfort a measure of your weakness.

Nobody will very readily regard a doctrine as true merely because it makes people happy or virtuous—excepting, perhaps, the amiable “Idealists,” who are enthusiastic about the good, true, and beautiful, and let all kinds of motley, coarse, and good-natured desirabilities swim about promiscuously in their pond. Happiness and virtue are no arguments. It is willingly forgotten, however, even on the part of thoughtful minds, that to make unhappy and to make bad are just as little counter-arguments. A thing could be TRUE, although it were in the highest degree injurious and dangerous; indeed, the fundamental constitution of existence might be such that one succumbed by a full knowledge of it—so that the strength of a mind might be measured by the amount of “truth” it could endure—or to speak more plainly, by the extent to which it REQUIRED truth attenuated, veiled, sweetened, damped, and falsified.

Small aphorisms on shame, maturity and the vanity of a good name.

Who has not, at one time or another—sacrificed himself for the sakeof his good name?93. In affability there is no hatred of men, but precisely on thataccount a great deal too much contempt of men.94. The maturity of man—that means, to have reacquired the seriousnessthat one had as a child at play.95. To be ashamed of one’s immorality is a step on the ladder at the endof which one is ashamed also of one’s morality.

A writer watches his sharpest thoughts go soft and respectable.

Alas! what are you, after all, my written and painted thoughts! Not long ago you were so variegated, young and malicious, so full of thorns and secret spices, that you made me sneeze and laugh—and now? You have already doffed your novelty, and some of you, I fear, are ready to become truths, so immortal do they look, so pathetically honest, so tedious! And was it ever otherwise? What then do we write and paint, we mandarins with Chinese brush, we immortalisers of things which LEND themselves to writing, what are we alone capable of painting? Alas, only that which is just about to fade and begins to lose its odour! Alas, only exhausted and departing storms and belated yellow sentiments! Alas, only birds strayed and fatigued by flight, which now let themselves be captured with the hand—with OUR hand!