had adopted Music, also, for his own.” [723W-{9-12/65} What is German?: PW Vol. IV, p. 161-162]
[724W-{9-12/65} What is German?: PW Vol. IV, p. 163]
[P. 163] {FEUER} “Yet Bach’s spirit, the German spirit, stepped forth from the sanctuary of divinest Music, the place of its new-birth. When Goethe’s ‘Gotz’ appeared, its joyous cry went up: ‘that’s German!’ And, beholding his likeness, the German also knew to show himself, to show the world, what Shakespeare is, whom his own people did not understand. These deeds the German spirit brought forth of itself, from its inmost longing to grow conscious of itself. And this consciousness told it – what it was the first to publish to the world – that the Beautiful and Noble came not into the world for sake of profit, nay, not for sake of even fame and recognition. And everything done in the sense of this teaching is ‘deutsch’; and therefore is the German great; and only what is done in that sense, can lead Germany to greatness.” [724W-{9-12/65} What is German?: PW Vol. IV, p. 163]
[725W-{9-12/65} What is German?: PW Vol. IV, p. 166]
[P. 166] {anti-FEUER} “I have no hesitation about styling the subsequent revolutions in Germany entirely un-German. ‘Democracy’ in Germany is purely a translated thing. [It is a:] … Franco-Judaico-German Democracy … . (…) The astounding unsuccessfulness of the so loud-mouthed movement of 1848 is easily explained by the curious circumstance that the genuine German found himself, and found his name, so suddenly represented by a race of men quite alien to him.” [725W-{9-12/65} What is German?: PW Vol. IV, p. 166]
[726W-{?/67} BB - from a previously unpublished note stuck to p. 134; p. 124]
[P. 124] {anti-FEUER} “Progress through railway ,etc. – Materialism, - Godlessnessacceptance of decline of man to point of reversion to animal – even total destruction of globe can leave belief in moral significance of world unshaken:‘God’ is outside time and space.” [726W-{?/67} BB - from a previously unpublished note stuck to p. 134; p. 124]
[727W-{9-12/67} German Art and German Policy: PW Vol. IV, p. 70-71; p. 75]
[P. 70] {FEUER} “… here in the Theatre the whole man, with his lowest and his highest passions, is placed in terrifying nakedness before himself, and by himself is driven to quivering joy, to surging sorrow, to hell and heaven. What lies beyond all possibility of the ordinary man’s experiencing in his own life, he lives it here; and lives it in himself, in his sympathy deep-harrowed by the wondrous duping. (…) … from out its depths, stupendous Shakespeare [P. 71] conjured up the demon’s self, to set it plainly, fettered by his giant force, before the astonished world as its own essence, alike to be subdued; upon its wisely measured, calmly trodden verge, did Goethe build the temple of his Iphigenia, did Schiller plant the passion-flower [“God’s wonder-tree”] of his Jungfrau von Orleans. To this abyss have fared the wizards of the art of Tone, and shed the balm of heaven’s melody into the gaping wounds of man … .
(…)
