[240] Nietzsche offers criticism of Richard Wagner noting that his overture to the master singer is symptomatic of what is wrong with the German people. That it represents the refinement of moral decadence and consequencently the problem that the German people are stuck in the day before yesterday and as such have no today.
[241] Nietzsche highlights the dangers of the allure of patriotism and nationalism that occupy a considerable portion of the day. Nietzsche asserts that soon a stronger man will emerge and become master of the strong and the compensation for making a nation superfluous is the emergence of a new nation.
[242] Behind the great moral and political foreground of the democratic movement can be found a physiological process of the evolution of the European. Whilst this might be retarded by national sentiment or "soil-attachment" it will give rise to the leveled mediocre man. An industrious, clever and gregarious man. Such ground however is fertile ground for a few exceptional men of the most dangerous quality. Whilst the capacity for adaptation makes the powerfulness of the type impossible Europeans will likely remain numerous, talkative workmen in need of a master. Whilst democracy prepares workers for slavery the strong man will become richer and more powerful than he ever has. The democratising of Europe provides a fertile ground for the rearing of tyrants.
[243] Nietzsche notes the sun is moving towards the constellation hercules and hopes that men will do likewise.
[244] Nietzsche explains that it is accepted that German "deepness" is something desirable but perhaps it is not. To pin down what is German is difficult given the manifold expressions that exist; They are beyond definition diverse in blood and custom. The question cannot be settled internally nor externally with appeals to the perceptions of other nations. The German doesn't exist he is becoming "developing" himself an attractive notion among philosophers, exemplified by Hegel and Wagner. This juxtaposition between the good natured and spiteful; the convenient and the honest.
[245] The "good old time" has past with Mozart and how much sooner will it be with Beethoven? Given the latter was an echo of transition and the former the last echo of a great European tradition? Beethoven represents the twilight of loss and the dawning of a new hope. How different now is event the apprehension of such a sentiment? How strange the sounds of our forbears sound to us. Such sounds were not noble enough not musical enough to be for anything but the entertainment of the herd; Second rate music. Yet our tastes have progressed that even that which was palatible for musicians we move on from, a petty taste. Such music is at risk of losing the voice for the whole of Europe and becoming nothing more than a national affair.
[246] Nietzsche asserts that likewise German literature has lost the nuance and timbre of language. Yet Nietzsche notes that few actually have an ear for such language and to engage in such literary feats would be to squander upon the deaf. These were Nietzsches thoughts as he read two apparent masters in literary achievement.
[247] Nietzsche again criticises German literary style noting it is written for the eyes not the ear, and is left wanting. The preacher is the only orator who appears to truly grasp the weight of his words and syllables. As such the Bible may well be the greatest attainment given its masterpiece in the form of the preacher.
[248] Nietzsche asserts there are two kinds of genius the first that seeks to give rise to a kind of feeling, that tortures and enraptures into realisation. The later which wills to make itself productive, brings about new modes of life. Both seek each other out and both misunderstand each other.
[249] Nietzsche asserts that every nation has its religiousity and calls that its virtue and height. Yet man is not able to perceive this which is his greatest attainment.
[250] Nietzsche asserts that the best and worst elements within a culture are a gift from the Jews. The heights of morality and the fear of infinite demands and all that allures man to life.
[251] Nietzsche asserts that there are cultural fads and dislikes for particular groups and what each contributes to that culture. Nietzsche asserts that there are sufficient Jews in Germany and the popular sentiment might be to prevent more from entering Germany. Yet this the the cry of a feeble race [Germans] in light of one that is far stronger, tougher and purest race able to succeed in the most unfavourable conditions. This arose because of virtues that some might consider now vices and a resolute faith. Yet this faith need not be embarrassed in the light of "modern ideas" it simply requires alteration. A thinker that is concerned for the future will wager upon the Jews. The Jews could have supremacy over Europe but it is certain they are not working to that end given there efforts are focused elsewhere to abolish the "wandering jew". One should advance towards this instinct given it is possible that the genius for money and patience could not be appropriated for command. Thus is the problem as Nietzsche sees it that of the rearing of a new ruling caste for Europe.
[252] the English have never been philosophical race. Their ancestry set them against the philosophical spirit and represent a degradation. What is lacking in the English both the power and depth of intellect; in short philosophy. Christianity remains necessary for such a race for moralising and humanising. This pennative moralising may be the heights to which the English may attain.
[253] There are some truths only recognised by mediocre minds because they are best adapted to them. It is useful for these mediocre English minds to gain accendency in Europe for a time. Given free spirits would not be best placed to find and evaluate basic facts. Free spirits have to be and represent some new values. There is a yawning void between knowledge and such capacity. The creator may need to be ignorant whereas the scientist requires a certain narrowness. Let it not be forgotten that the English brought about a general depreciation in European thought given these modern ideas are undoubtedly English in origin. The noble sentiment of Europe is French in origin and the ignoble is English work and invention.
[254] Nietzsche asserts France remains the seat of refined intellectual culture. Yet he who belongs to it keeps himself concealed and has the ambition to do so sharing the common dislike for the democratic bourgeois, the dislike for intelectual Germanising, and the inability to avoid it. There are however three things that remain uniquely French for which some credit is due. Firstly artistic emotion in relation to form, secondly their ancient moralistic culture, and thirdly the synthesis between North and South that one might enjoy the former when in the later and visa versa.
[255] Nietzsche maintains that should an individual love a particular form of music he will take precautions against the alternatives, because in injuring his taste he injures his health. His belief about it is that it must in someway "free itself" from the trappings of the other. Nietzsche asserts that he can perceive a music towards which people flee the remnants of a dying moral world. A music profound enough to recieve such belated fugitives.
[256] Nietzsche asserts that despite the nationalist craze perpetuated by shortsighted politicians there is an unmistakable desire that Europe becomes one. Great men of this age worked towards this synthesis and the production of the new European man that the idea of a "fatherland" might become a thing of the past. All the great artists of the 1940s anticipate this one great Europe. They undoubtedly sought to begat this new creation using all that was alluring and at their disposal to aim for some higher refinement of man.
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