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7/7/2025, 10:09:04 AM
>>509723289
>existence isn't that harsh, you're just that weak.
What do you know of existence, Herr Nietzsche?
>existence isn't that harsh, you're just that weak.
What do you know of existence, Herr Nietzsche?
6/28/2025, 4:48:48 PM
>The Greeks! The Romans! Instinctive nobility, taste, methodical inquiry, genius for organization and administration, faith in and the will to secure the future of man, a great yes to everything entering into the imperium Romanum and palpable to all the senses, a grand style that was beyond mere art, but had become reality, truth, life....—All overwhelmed in a night, but not by a convulsion of nature! Not trampled to death by Teutons and others of heavy hoof! But brought to shame by crafty, sneaking, invisible, anæmic vampires! Not conquered,—only sucked dry!... Hidden vengefulness, petty envy, became master! Everything wretched, intrinsically ailing, and invaded by bad feelings, the whole ghetto-world of the soul, was at once on top!—One needs but read any of the Christian agitators, for example, St. Augustine, in order to realize, in order to smell, what filthy fellows came to the top. It would be an error, however, to assume that there was any lack of understanding in the leaders of the Christian movement:—ah, but they were clever, clever to the point of holiness, these fathers of the church! What they lacked was something quite different. Nature neglected—perhaps forgot—to give them even the most modest endowment of respectable, of upright, of cleanly instincts.... Between ourselves, they are not even men.... If Islam despises Christianity, it has a thousandfold right to do so: Islam at least assumes that it is dealing with men....
6/24/2025, 6:42:33 AM
1. Of prime necessity is life: a style should live.
2. Style should be suited to the specific person with whom you wish to communicate. (The law of mutual relation.)
3. First, one must determine precisely “what-and-what do I wish to say and present,” before you may write. Writing must be mimicry.
4. Since the writer lacks many of the speaker’s means, he must in general have for his model a very expressive kind of presentation of necessity, the written copy will appear much paler.
5. The richness of life reveals itself through a richness of gestures. One must learn to feel everything — the length and retarding of sentences, interpunctuations, the choice of words, the pausing, the sequence of arguments — like gestures.
6. Be careful with periods! Only those people who also have long duration of breath while speaking are entitled to periods. With most people, the period is a matter of affectation.
7. Style ought to prove that one believes in an idea; not only that one thinks it but also feels it.
8. The more abstract a truth which one wishes to teach, the more one must first entice the senses.
9. Strategy on the part of the good writer of prose consists of choosing his means for stepping close to poetry but never stepping into it.
10. It is not good manners or clever to deprive one’s reader of the most obvious objections. It is very good manners and very clever to leave it to one’s reader alone to pronounce the ultimate quintessence of our wisdom.
2. Style should be suited to the specific person with whom you wish to communicate. (The law of mutual relation.)
3. First, one must determine precisely “what-and-what do I wish to say and present,” before you may write. Writing must be mimicry.
4. Since the writer lacks many of the speaker’s means, he must in general have for his model a very expressive kind of presentation of necessity, the written copy will appear much paler.
5. The richness of life reveals itself through a richness of gestures. One must learn to feel everything — the length and retarding of sentences, interpunctuations, the choice of words, the pausing, the sequence of arguments — like gestures.
6. Be careful with periods! Only those people who also have long duration of breath while speaking are entitled to periods. With most people, the period is a matter of affectation.
7. Style ought to prove that one believes in an idea; not only that one thinks it but also feels it.
8. The more abstract a truth which one wishes to teach, the more one must first entice the senses.
9. Strategy on the part of the good writer of prose consists of choosing his means for stepping close to poetry but never stepping into it.
10. It is not good manners or clever to deprive one’s reader of the most obvious objections. It is very good manners and very clever to leave it to one’s reader alone to pronounce the ultimate quintessence of our wisdom.
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