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Ecce Homo Complete Works, Volume Seventeen

WHY I AM SO CLEVER

Project Gutenberg EPUB3 edition Nietzsche, Friedrich Wilhelm, Levy, Oscar, Cohn, Paul V. (Paul Victor), and Ludovici, Anthony M. (Anthony Mario)
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I do not reckon the so-called "first" men even as human beings—for me they are the excrements of mankind, the products of disease and of the instinct of revenge: they are so many monsters laden with rottenness, so many hopeless incurables, who avenge themselves on life.... I wish to be the opposite of these people: it is my privilege to have the very sharpest discernment for every sign of healthy instincts. There is no such thing as a morbid trait in me; even in times of serious illness I have never grown morbid, and you might seek in vain for a trace of fanaticism in my nature. No one can point to any moment of my life in which I have assumed either an arrogant or a pathetic attitude. Pathetic attitudes are not in keeping with greatness; he who needs attitudes is false.... Beware of all picturesque men! Life was easy—in fact easiest—to me, in those periods when it exacted the heaviest duties from me. Whoever could have seen me during the seventy days of this autumn, when, without interruption, I did a host of things of the highest rank—things that no man can do nowadays—with a sense of responsibility for all the ages yet to come, would have noticed no sign of tension in my condition, but rather a state of overflowing freshness and good cheer. Never have I eaten with more pleasant sensations, never has my sleep been better. I know of no other manner of dealing with great tasks, than as play: this, as a sign of greatness, is an essential prerequisite.
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The slightest constraint, a sombre mien, any hard accent in the voice—all these things are objections to a man, but how much more to his work!... One must not have nerves.... Even to suffer from solitude is an objection—the only thing I have always suffered from is "multitude."[5] At an absurdly tender age, in fact when I was seven years old, I already knew that no human speech would ever reach me: did any one ever see me sad on that account? At present I still possess the same affability towards everybody, I am even full of consideration for the lowest: in all this there is not an atom of haughtiness or of secret contempt. He whom I despise soon guesses that he is despised by me: the very fact of my existence is enough to rouse indignation in all those who have polluted blood in their veins. My formula for greatness in man is! amor fati: the fact that a man wishes nothing to be different, either in front of him or behind him, or for all eternity. Not only must the necessary be borne, and on no account concealed,—all idealism is falsehood in the face of necessity,—but it must also be loved....

Source notes

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[1] Nietzsche, as is well known, devoted much time when a student at Leipzig to the study of three Greek philosophers, Theognis, Diogenes Laertius, and Democritus. This study first bore fruit in the case of a paper, Zur Geschichte der Theognideischen Spruchsammlung, which was subsequently published by the most influential journal of classical philology in Germany. Later, however, it enabled Nietzsche to enter for the prize offered by the University of Leipzig for an essay, De fontibus Diogenis Laertii. He was successful in gaining the prize, and the treatise was afterwards published in the Rheinisches Museum, and is still quoted as an authority. It is to this essay, written when he was twenty-three years of age, that he here refers.—TR.
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[2] The favourite uniform of the German Emperor, William II.—TR.
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[3] In the latter years of his life, Nietzsche practically made Italy his home.—TR.
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[5] The German words are, Einsamkeit and Vielsamkeit. The latter was coined by Nietzsche. The English word "multitude" should, therefore, be understood as signifying multifarious instincts and gifts, which in Nietzsche strove for ascendancy and caused him more suffering than any solitude. Complexity of this sort, held in check by a dominant instinct, as in Nietzsche's case, is of course the only possible basis of an artistic nature.—TR.

Source attribution

Ecce Homo Complete Works, Volume Seventeen, Project Gutenberg eBook #52190

WHY I AM SO WISE WHY I WRITE SUCH EXCELLENT BOOKS