302 definitions
The book's index
On the Genealogy of Morals
213 concepts · 302 definitions
- adaptation1
- aesthetic contemplation1
- aesthetic state1
- agent1
- aggression1
- agitator1
- agnosticism1
- ancestor1
- angel1
- aphorism1
- art1
- artist5
- ascetic ideal7
- ascetic priest5
- asceticism2
- atheism2
- atheist1
- bad1
- bad conscience7
- barbarian1
- beautiful1
- beautiful soul1
- beauty1
- beyond good and evil1
- biography1
- blame1
- bliss2
- blond beast1
- Book of Revelation1
- calculation1
- categorical imperative1
- chastity2
- cheerfulness1
- Christianity1
- church1
- cleverness1
- comedian1
- compensation1
- conscience1
- consciousness1
- contemplative1
- contempt1
- contradiction1
- creditor1
- criminal1
- cross1
- cruelty1
- culture1
- definition1
- democracy1
- desert1
- disinterestedness1
- distress1
- Don Quixote1
- doubt1
- dyspeptic1
Bad conscience (n.) is the illness man contracted when he was shut inside the walls of society and peace — like sea animals forced onto land, suddenly having to carry their own weight.
Bad conscience (n.) is an illness — but an illness as pregnancy is an illness.
Bad conscience (n.) drives guilt before God as self-torture to its most gruesome pitch, and the caged animal reinterprets his own instincts as rebellion and projects his self-denial outward as God the Judge, God the Hangman, and hell.
Bad conscience (n.) is hostility, cruelty and the joy of destruction turned back against their owner: the caged animal rubbing itself raw against the bars, turning itself into a torture chamber and a wilderness.
The Ascetic ideal (n.) is the opposite of what its worshippers believe: not life against life but an artifice for the preservation of life — a degenerating life fighting with death and against death.
The Ascetic ideal (n.) is a discord that wants to be discordant — growing more triumphant the more its own capacity for life declines: 'triumph in the ultimate agony'.
The Ascetic ideal (n.) is the most thoroughly thought-through system of interpretation ever: it permits no other goal and believes no power on earth may exist without first receiving its meaning from it. Where is its match?
The Ascetic ideal (n.) to the philosopher is not a denial of existence but the optimum condition for his boldest spirituality, and he affirms his own existence to the point of the impious wish, let the world perish, but let there be philosophy, the philosopher, me.
Punishment (n.) tames men but does not make them better; it makes them prudent — and insofar as injury makes one prudent, it makes one bad. Fortunately it often makes people stupid.
Punishment (n.) makes men hard and cold; it sharpens the feeling of alienation — the sting of conscience is rarest of all among convicts.
Punishment (n.) in its severity measures how bad a people's memory was, and the harsher the penal code the harder it was to make slaves of the moment remember.
Punishment (n.) hinders guilt: the criminal watches justice practice spying, deception, traps, violence and murder with a good conscience, and concludes his deed was not wrong in kind.
God (n.) may turn out to be our longest lie — yet even we godless men of knowledge still take our flame from the Christian and Platonic faith that God is truth.
God (n.) among the Greeks took upon himself not the punishment but — what is nobler — the guilt.
God (n.) was invented so that no suffering would go unwitnessed: something that sees even in the dark and will not let an interesting painful spectacle pass unnoticed.
God (n.) may have originated out of fear — not piety — of the ever-growing debt owed to the tribe's founding ancestor.
An Artist (n.) is never what he represents: Homer would not have created an Achilles, nor Goethe a Faust, had Homer been an Achilles or Goethe a Faust.
An Artist (n.) wearied to desperation by the eternal unreality of his existence may attempt what is most forbidden him, for once actually to be, and the success of that is easy to guess.
An Artist (n.) of the most involuntary, unconscious kind is the founder of states: his egoism has the look of bronze and knows itself justified in its work, like a mother in her child.
An Artist (n.) has always been the valet of some morality, philosophy or religion: he never stands alone — standing alone is contrary to his deepest instincts.
The Ascetic priest (n.) treats life as a wrong road one must walk back along to where it began — and compels others to agree.
The Ascetic priest (n.) is the sick doctor of the sick herd: he must first wound before he can heal, and when he stills the pain he infects the wound — in his presence everything healthy grows sick, and everything sick tame.
The Ascetic priest (n.) prescribes the orgy of feeling as his 'guilty' medicine: let loose the savage hounds in man — anger, fear, hope, cruelty — to blast away a dull, lingering pain, and make the sick sicker.
The Ascetic priest (n.) is the incarnate desire to be elsewhere — and that very desire is the chain that makes him persuade the whole herd of sufferers to go on existing: the apparent enemy of life is among its greatest yes-creating forces.
Man (n.) is not a goal but a way, an episode, a bridge, a great promise — one of the luckiest throws in Heraclitus' dice game.
Man (n.) became an interesting animal only on priestly soil: there his soul first acquired depth — and became evil.
Man (n.) is the sick animal — because he has dared more than all the other animals together: the great experimenter whose future digs like a spur into the flesh of every present.
Man (n.) named himself the creature that measures: setting prices, contriving equivalences, exchanging — this, in a sense, is thinking as such.
A Philosopher (n.) married belongs in comedy: Heraclitus, Plato, Descartes, Spinoza, Leibniz, Kant, Schopenhauer were not — and Socrates married ironically, just to prove the point.
A Philosopher (n.) avoids three glittering, loud things — fame, princes and women — and is like a shadow: the lower his sun sinks, the bigger he becomes.
A Philosopher (n.) could for the longest time live only inside the ascetic priest — the repulsive, gloomy caterpillar form in which alone he could creep about.
A Philosopher (n.) of the future has one task: to solve the problem of value — to determine the order of rank among values.
Ressentiment (n.) turns creative when those denied the true reaction — the deed — compensate themselves with an imaginary revenge, and give birth to values.
Ressentiment (n.) blooms best today among anarchists and anti-Semites — in hidden places, like the violet, though with a different odor.
Ressentiment (n.) is, physiologically, a desire to deaden pain by means of affects: every sufferer seeks a guilty agent to vent upon, as a narcotic.
The Ressentiment (n.) has a soul that squints: he loves hiding places and back doors, knows how to keep silent, not to forget, to wait — and so becomes cleverer than any noble race.
Science (n.) is not the opposite of the ascetic ideal; where it still inspires passion, love and suffering, it is its latest and noblest form.
Science (n.) never creates values; it fights only the ascetic ideal's guise and masquerade, not the ideal — both rest on the same overestimation of truth, so they can only be fought together.
Science (n.) 'without presuppositions' does not exist: a philosophy, a faith, must always be there first, to give it a direction, a meaning, a limit, a right to exist.
Science (n.) today is a hiding place for every discontent and bad conscience — a means of self-narcosis for drugged men who fear only one thing: regaining consciousness.