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Фридрих Вильгельм Ницше
Beyond Good and Evil

253. There are truths which are best recognized by mediocre minds, because they are best adapted for them, there are truths which only possess charms and seductive power for mediocre spirits: – one is pushed to this probably unpleasant conclusion, now that the influence of respectable but mediocre Englishmen – I may mention Darwin, John Stuart Mill, and Herbert Spencer – begins to gain the ascendancy in the middle-class region of European taste. Indeed, who could doubt that it is a useful thing for SUCH minds to have the ascendancy for a time? It would be an error to consider the highly developed and independently soaring minds as specially qualified for determining and collecting many little common facts, and deducing conclusions from them; as exceptions, they are rather from the first in no very favourable position towards those who are "the rules." After all, they have more to do than merely to perceive: – in effect, they have to BE something new, they have to SIGNIFY something new, they have to REPRESENT new values! The gulf between knowledge and capacity is perhaps greater, and also more mysterious, than one thinks: the capable man in the grand style, the creator, will possibly have to be an ignorant person; – while on the other hand, for scientific discoveries like those of Darwin, a certain narrowness, aridity, and industrious carefulness (in short, something English) may not be unfavourable for arriving at them. – Finally, let it not be forgotten that the English, with their profound mediocrity, brought about once before a general depression of European intelligence.

What is called "modern ideas," or "the ideas of the eighteenth century," or "French ideas" – that, consequently, against which the GERMAN mind rose up with profound disgust – is of English origin, there is no doubt about it. The French were only the apes and actors of these ideas, their best soldiers, and likewise, alas! their first and profoundest VICTIMS; for owing to the diabolical Anglomania of "modern ideas," the AME FRANCAIS has in the end become so thin and emaciated, that at present one recalls its sixteenth and seventeenth centuries, its profound, passionate strength, its inventive excellency, almost with disbelief. One must, however, maintain this verdict of historical justice in a determined manner, and defend it against present prejudices and appearances: the European NOBLESSE – of sentiment, taste, and manners, taking the word in every high sense – is the work and invention of FRANCE; the European ignobleness, the plebeianism of modern ideas – is ENGLAND'S work and invention.

254. Even at present France is still the seat of the most intellectual and refined culture of Europe, it is still the high school of taste; but one must know how to find this "France of taste." He who belongs to it keeps himself well concealed: – they may be a small number in whom it lives and is embodied, besides perhaps being men who do not stand upon the strongest legs, in part fatalists, hypochondriacs, invalids, in part persons over-indulged, over-refined, such as have the AMBITION to conceal themselves.

They have all something in common: they keep their ears closed in presence of the delirious folly and noisy spouting of the democratic BOURGEOIS. In fact, a besotted and brutalized France at present sprawls in the foreground – it recently celebrated a veritable orgy of bad taste, and at the same time of self-admiration, at the funeral of Victor Hugo. There is also something else common to them: a predilection to resist intellectual Germanizing – and a still greater inability to do so! In this France of intellect, which is also a France of pessimism, Schopenhauer has perhaps become more at home, and more indigenous than he has ever been in Germany; not to speak of Heinrich Heine, who has long ago been re-incarnated in the more refined and fastidious lyrists of Paris; or of Hegel, who at present, in the form of Taine – the FIRST of living historians – exercises an almost tyrannical influence. As regards Richard Wagner, however, the more French music learns to adapt itself to the actual needs of the AME MODERNE, the more will it "Wagnerite"; one can safely predict that beforehand, – it is already taking place sufficiently! There are, however, three things which the French can still boast of with pride as their heritage and possession, and as indelible tokens of their ancient intellectual superiority in Europe, in spite of all voluntary or involuntary Germanizing and vulgarizing of taste. FIRSTLY, the capacity for artistic emotion, for devotion to "form," for which the expression, L'ART POUR L'ART, along with numerous others, has been invented: – such capacity has not been lacking in France for three centuries; and owing to its reverence for the "small number," it has again and again made a sort of chamber music of literature possible, which is sought for in vain elsewhere in Europe. – The SECOND thing whereby the French can lay claim to a superiority over Europe is their ancient, many-sided, MORALISTIC culture, owing to which one finds on an average, even in the petty ROMANCIERS of the newspapers and chance BOULEVARDIERS DE PARIS, a psychological sensitiveness and curiosity, of which, for example, one has no conception (to say nothing of the thing itself!) in Germany. The Germans lack a couple of centuries of the moralistic work requisite thereto, which, as we have said, France has not grudged: those who call the Germans "naive" on that account give them commendation for a defect. (As the opposite of the German inexperience and innocence IN VOLUPTATE PSYCHOLOGICA, which is not too remotely associated with the tediousness of German intercourse, – and as the most successful expression of genuine French curiosity and inventive talent in this domain of delicate thrills, Henri Beyle may be noted; that remarkable anticipatory and forerunning man, who, with a Napoleonic TEMPO, traversed HIS Europe, in fact, several centuries of the European soul, as a surveyor and discoverer thereof: – it has required two generations to OVERTAKE him one way or other, to divine long afterwards some of the riddles that perplexed and enraptured him – this strange Epicurean and man of interrogation, the last great psychologist of France). – There is yet a THIRD claim to superiority: in the French character there is a successful half-way synthesis of the North and South, which makes them comprehend many things, and enjoins upon them other things, which an Englishman can never comprehend. Their temperament, turned alternately to and from the South, in which from time to time the Provencal and Ligurian blood froths over, preserves them from the dreadful, northern grey-in-grey, from sunless conceptual-spectrism and from poverty of blood – our GERMAN infirmity of taste, for the excessive prevalence of which at the present moment, blood and iron, that is to say "high politics," has with great resolution been prescribed (according to a dangerous healing art, which bids me wait and wait, but not yet hope). – There is also still in France a pre-understanding and ready welcome for those rarer and rarely gratified men, who are too comprehensive to find satisfaction in any kind of fatherlandism, and know how to love the South when in the North and the North when in the South – the born Midlanders, the "good Europeans." For them BIZET has made music, this latest genius, who has seen a new beauty and seduction, – who has discovered a piece of the SOUTH IN MUSIC.

255. I hold that many precautions should be taken against German music. Suppose a person loves the South as I love it – as a great school of recovery for the most spiritual and the most sensuous ills, as a boundless solar profusion and effulgence which o'erspreads a sovereign existence believing in itself – well, such a person will learn to be somewhat on his guard against German music, because, in injuring his taste anew, it will also injure his health anew. Such a Southerner, a Southerner not by origin but by BELIEF, if he should dream of the future of music, must also dream of it being freed from the influence of the North; and must have in his ears the prelude to a deeper, mightier, and perhaps more perverse and mysterious music, a super-German music, which does not fade, pale, and die away, as all German music does, at the sight of the blue, wanton sea and the Mediterranean clearness of sky – a super-European music, which holds its own even in presence of the brown sunsets of the desert, whose soul is akin to the palm-tree, and can be at home and can roam with big, beautiful, lonely beasts of prey… I could imagine a music of which the rarest charm would be that it knew nothing more of good and evil; only that here and there perhaps some sailor's home-sickness, some golden shadows and tender weaknesses might sweep lightly over it; an art which, from the far distance, would see the colours of a sinking and almost incomprehensible MORAL world fleeing towards it, and would be hospitable enough and profound enough to receive such belated fugitives.

256. Owing to the morbid estrangement which the nationality-craze has induced and still induces among the nations of Europe, owing also to the short-sighted and hasty-handed politicians, who with the help of this craze, are at present in power, and do not suspect to what extent the disintegrating policy they pursue must necessarily be only an interlude policy – owing to all this and much else that is altogether unmentionable at present, the most unmistakable signs that EUROPE WISHES TO BE ONE, are now overlooked, or arbitrarily and falsely misinterpreted. With all the more profound and large-minded men of this century, the real general tendency of the mysterious labour of their souls was to prepare the way for that new SYNTHESIS, and tentatively to anticipate the European of the future; only in their simulations, or in their weaker moments, in old age perhaps, did they belong to the "fatherlands" – they only rested from themselves when they became "patriots." I think of such men as Napoleon, Goethe, Beethoven, Stendhal, Heinrich Heine, Schopenhauer: it must not be taken amiss if I also count Richard Wagner among them, about whom one must not let oneself be deceived by his own misunderstandings (geniuses like him have seldom the right to understand themselves), still less, of course, by the unseemly noise with which he is now resisted and opposed in France: the fact remains, nevertheless, that Richard Wagner and the LATER FRENCH ROMANTICISM of the forties, are most closely and intimately related to one another. They are akin, fundamentally akin, in all the heights and depths of their requirements; it is Europe, the ONE Europe, whose soul presses urgently and longingly, outwards and upwards, in their multifarious and boisterous art – whither? into a new light? towards a new sun? But who would attempt to express accurately what all these masters of new modes of speech could not express distinctly? It is certain that the same storm and stress tormented them, that they SOUGHT in the same manner, these last great seekers! All of them steeped in literature to their eyes and ears – the first artists of universal literary culture – for the most part even themselves writers, poets, intermediaries and blenders of the arts and the senses (Wagner, as musician is reckoned among painters, as poet among musicians, as artist generally among actors); all of them fanatics for EXPRESSION "at any cost" – I specially mention Delacroix, the nearest related to Wagner; all of them great discoverers in the realm of the sublime, also of the loathsome and dreadful, still greater discoverers in effect, in display, in the art of the show-shop; all of them talented far beyond their genius, out and out VIRTUOSI, with mysterious accesses to all that seduces, allures, constrains, and upsets; born enemies of logic and of the straight line, hankering after the strange, the exotic, the monstrous, the crooked, and the self-contradictory; as men, Tantaluses of the will, plebeian parvenus, who knew themselves to be incapable of a noble TEMPO or of a LENTO in life and action – think of Balzac, for instance, – unrestrained workers, almost destroying themselves by work; antinomians and rebels in manners, ambitious and insatiable, without equilibrium and enjoyment; all of them finally shattering and sinking down at the Christian cross (and with right and reason, for who of them would have been sufficiently profound and sufficiently original for an ANTI-CHRISTIAN philosophy?); – on the whole, a boldly daring, splendidly overbearing, high-flying, and aloft-up-dragging class of higher men, who had first to teach their century – and it is the century of the MASSES – the conception "higher man."… Let the German friends of Richard Wagner advise together as to whether there is anything purely German in the Wagnerian art, or whether its distinction does not consist precisely in coming from SUPER-GERMAN sources and impulses: in which connection it may not be underrated how indispensable Paris was to the development of his type, which the strength of his instincts made him long to visit at the most decisive time – and how the whole style of his proceedings, of his self-apostolate, could only perfect itself in sight of the French socialistic original. On a more subtle comparison it will perhaps be found, to the honour of Richard Wagner's German nature, that he has acted in everything with more strength, daring, severity, and elevation than a nineteenth-century Frenchman could have done – owing to the circumstance that we Germans are as yet nearer to barbarism than the French; – perhaps even the most remarkable creation of Richard Wagner is not only at present, but for ever inaccessible, incomprehensible, and inimitable to the whole latter-day Latin race: the figure of Siegfried, that VERY FREE man, who is probably far too free, too hard, too cheerful, too healthy, too ANTI-CATHOLIC for the taste of old and mellow civilized nations. He may even have been a sin against Romanticism, this anti-Latin Siegfried: well, Wagner atoned amply for this sin in his old sad days, when – anticipating a taste which has meanwhile passed into politics – he began, with the religious vehemence peculiar to him, to preach, at least, THE WAY TO ROME, if not to walk therein. – That these last words may not be misunderstood, I will call to my aid a few powerful rhymes, which will even betray to less delicate ears what I mean – what I mean COUNTER TO the "last Wagner" and his Parsifal music: —

– Is this our mode? – From German heart came this vexed ululating? From German body, this self-lacerating? Is ours this priestly hand-dilation, This incense-fuming exaltation? Is ours this faltering, falling, shambling, This quite uncertain ding-dong-dangling? This sly nun-ogling, Ave-hour-bell ringing, This wholly false enraptured heaven-o'erspringing? – Is this our mode? – Think well! – ye still wait for admission – For what ye hear is ROME – ROME'S FAITH BY INTUITION!

CHAPTER IX. WHAT IS NOBLE?

257. EVERY elevation of the type "man," has hitherto been the work of an aristocratic society and so it will always be – a society believing in a long scale of gradations of rank and differences of worth among human beings, and requiring slavery in some form or other. Without the PATHOS OF DISTANCE, such as grows out of the incarnated difference of classes, out of the constant out-looking and down-looking of the ruling caste on subordinates and instruments, and out of their equally constant practice of obeying and commanding, of keeping down and keeping at a distance – that other more mysterious pathos could never have arisen, the longing for an ever new widening of distance within the soul itself, the formation of ever higher, rarer, further, more extended, more comprehensive states, in short, just the elevation of the type "man," the continued "self-surmounting of man," to use a moral formula in a supermoral sense. To be sure, one must not resign oneself to any humanitarian illusions about the history of the origin of an aristocratic society (that is to say, of the preliminary condition for the elevation of the type "man"): the truth is hard. Let us acknowledge unprejudicedly how every higher civilization hitherto has ORIGINATED! Men with a still natural nature, barbarians in every terrible sense of the word, men of prey, still in possession of unbroken strength of will and desire for power, threw themselves upon weaker, more moral, more peaceful races (perhaps trading or cattle-rearing communities), or upon old mellow civilizations in which the final vital force was flickering out in brilliant fireworks of wit and depravity. At the commencement, the noble caste was always the barbarian caste: their superiority did not consist first of all in their physical, but in their psychical power – they were more COMPLETE men (which at every point also implies the same as "more complete beasts").

258. Corruption – as the indication that anarchy threatens to break out among the instincts, and that the foundation of the emotions, called "life," is convulsed – is something radically different according to the organization in which it manifests itself. When, for instance, an aristocracy like that of France at the beginning of the Revolution, flung away its privileges with sublime disgust and sacrificed itself to an excess of its moral sentiments, it was corruption: – it was really only the closing act of the corruption which had existed for centuries, by virtue of which that aristocracy had abdicated step by step its lordly prerogatives and lowered itself to a FUNCTION of royalty (in the end even to its decoration and parade-dress). The essential thing, however, in a good and healthy aristocracy is that it should not regard itself as a function either of the kingship or the commonwealth, but as the SIGNIFICANCE and highest justification thereof – that it should therefore accept with a good conscience the sacrifice of a legion of individuals, who, FOR ITS SAKE, must be suppressed and reduced to imperfect men, to slaves and instruments. Its fundamental belief must be precisely that society is NOT allowed to exist for its own sake, but only as a foundation and scaffolding, by means of which a select class of beings may be able to elevate themselves to their higher duties, and in general to a higher EXISTENCE: like those sun-seeking climbing plants in Java – they are called Sipo Matador, – which encircle an oak so long and so often with their arms, until at last, high above it, but supported by it, they can unfold their tops in the open light, and exhibit their happiness.

259. To refrain mutually from injury, from violence, from exploitation, and put one's will on a par with that of others: this may result in a certain rough sense in good conduct among individuals when the necessary conditions are given (namely, the actual similarity of the individuals in amount of force and degree of worth, and their co-relation within one organization). As soon, however, as one wished to take this principle more generally, and if possible even as the FUNDAMENTAL PRINCIPLE OF SOCIETY, it would immediately disclose what it really is – namely, a Will to the DENIAL of life, a principle of dissolution and decay. Here one must think profoundly to the very basis and resist all sentimental weakness: life itself is ESSENTIALLY appropriation, injury, conquest of the strange and weak, suppression, severity, obtrusion of peculiar forms, incorporation, and at the least, putting it mildest, exploitation; – but why should one for ever use precisely these words on which for ages a disparaging purpose has been stamped? Even the organization within which, as was previously supposed, the individuals treat each other as equal – it takes place in every healthy aristocracy – must itself, if it be a living and not a dying organization, do all that towards other bodies, which the individuals within it refrain from doing to each other it will have to be the incarnated Will to Power, it will endeavour to grow, to gain ground, attract to itself and acquire ascendancy – not owing to any morality or immorality, but because it LIVES, and because life IS precisely Will to Power. On no point, however, is the ordinary consciousness of Europeans more unwilling to be corrected than on this matter, people now rave everywhere, even under the guise of science, about coming conditions of society in which "the exploiting character" is to be absent – that sounds to my ears as if they promised to invent a mode of life which should refrain from all organic functions. "Exploitation" does not belong to a depraved, or imperfect and primitive society it belongs to the nature of the living being as a primary organic function, it is a consequence of the intrinsic Will to Power, which is precisely the Will to Life – Granting that as a theory this is a novelty – as a reality it is the FUNDAMENTAL FACT of all history let us be so far honest towards ourselves!

260. In a tour through the many finer and coarser moralities which have hitherto prevailed or still prevail on the earth, I found certain traits recurring regularly together, and connected with one another, until finally two primary types revealed themselves to me, and a radical distinction was brought to light. There is MASTER-MORALITY and SLAVE-MORALITY, – I would at once add, however, that in all higher and mixed civilizations, there are also attempts at the reconciliation of the two moralities, but one finds still oftener the confusion and mutual misunderstanding of them, indeed sometimes their close juxtaposition – even in the same man, within one soul. The distinctions of moral values have either originated in a ruling caste, pleasantly conscious of being different from the ruled – or among the ruled class, the slaves and dependents of all sorts. In the first case, when it is the rulers who determine the conception "good," it is the exalted, proud disposition which is regarded as the distinguishing feature, and that which determines the order of rank. The noble type of man separates from himself the beings in whom the opposite of this exalted, proud disposition displays itself he despises them. Let it at once be noted that in this first kind of morality the antithesis "good" and "bad" means practically the same as "noble" and "despicable", – the antithesis "good" and "EVIL" is of a different origin. The cowardly, the timid, the insignificant, and those thinking merely of narrow utility are despised; moreover, also, the distrustful, with their constrained glances, the self-abasing, the dog-like kind of men who let themselves be abused, the mendicant flatterers, and above all the liars: – it is a fundamental belief of all aristocrats that the common people are untruthful. "We truthful ones" – the nobility in ancient Greece called themselves. It is obvious that everywhere the designations of moral value were at first applied to MEN; and were only derivatively and at a later period applied to ACTIONS; it is a gross mistake, therefore, when historians of morals start with questions like, "Why have sympathetic actions been praised?" The noble type of man regards HIMSELF as a determiner of values; he does not require to be approved of; he passes the judgment: "What is injurious to me is injurious in itself;" he knows that it is he himself only who confers honour on things; he is a CREATOR OF VALUES. He honours whatever he recognizes in himself: such morality equals self-glorification. In the foreground there is the feeling of plenitude, of power, which seeks to overflow, the happiness of high tension, the consciousness of a wealth which would fain give and bestow: – the noble man also helps the unfortunate, but not – or scarcely – out of pity, but rather from an impulse generated by the super-abundance of power. The noble man honours in himself the powerful one, him also who has power over himself, who knows how to speak and how to keep silence, who takes pleasure in subjecting himself to severity and hardness, and has reverence for all that is severe and hard. "Wotan placed a hard heart in my breast," says an old Scandinavian Saga: it is thus rightly expressed from the soul of a proud Viking. Such a type of man is even proud of not being made for sympathy; the hero of the Saga therefore adds warningly: "He who has not a hard heart when young, will never have one." The noble and brave who think thus are the furthest removed from the morality which sees precisely in sympathy, or in acting for the good of others, or in DESINTERESSEMENT, the characteristic of the moral; faith in oneself, pride in oneself, a radical enmity and irony towards "selflessness," belong as definitely to noble morality, as do a careless scorn and precaution in presence of sympathy and the "warm heart." – It is the powerful who KNOW how to honour, it is their art, their domain for invention. The profound reverence for age and for tradition – all law rests on this double reverence, – the belief and prejudice in favour of ancestors and unfavourable to newcomers, is typical in the morality of the powerful; and if, reversely, men of "modern ideas" believe almost instinctively in "progress" and the "future," and are more and more lacking in respect for old age, the ignoble origin of these "ideas" has complacently betrayed itself thereby. A morality of the ruling class, however, is more especially foreign and irritating to present-day taste in the sternness of its principle that one has duties only to one's equals; that one may act towards beings of a lower rank, towards all that is foreign, just as seems good to one, or "as the heart desires," and in any case "beyond good and evil": it is here that sympathy and similar sentiments can have a place. The ability and obligation to exercise prolonged gratitude and prolonged revenge – both only within the circle of equals, – artfulness in retaliation, RAFFINEMENT of the idea in friendship, a certain necessity to have enemies (as outlets for the emotions of envy, quarrelsomeness, arrogance – in fact, in order to be a good FRIEND): all these are typical characteristics of the noble morality, which, as has been pointed out, is not the morality of "modern ideas," and is therefore at present difficult to realize, and also to unearth and disclose. – It is otherwise with the second type of morality, SLAVE-MORALITY. Supposing that the abused, the oppressed, the suffering, the unemancipated, the weary, and those uncertain of themselves should moralize, what will be the common element in their moral estimates? Probably a pessimistic suspicion with regard to the entire situation of man will find expression, perhaps a condemnation of man, together with his situation. The slave has an unfavourable eye for the virtues of the powerful; he has a skepticism and distrust, a REFINEMENT of distrust of everything "good" that is there honoured – he would fain persuade himself that the very happiness there is not genuine. On the other hand, THOSE qualities which serve to alleviate the existence of sufferers are brought into prominence and flooded with light; it is here that sympathy, the kind, helping hand, the warm heart, patience, diligence, humility, and friendliness attain to honour; for here these are the most useful qualities, and almost the only means of supporting the burden of existence. Slave-morality is essentially the morality of utility. Here is the seat of the origin of the famous antithesis "good" and "evil": – power and dangerousness are assumed to reside in the evil, a certain dreadfulness, subtlety, and strength, which do not admit of being despised. According to slave-morality, therefore, the "evil" man arouses fear; according to master-morality, it is precisely the "good" man who arouses fear and seeks to arouse it, while the bad man is regarded as the despicable being. The contrast attains its maximum when, in accordance with the logical consequences of slave-morality, a shade of depreciation – it may be slight and well-intentioned – at last attaches itself to the "good" man of this morality; because, according to the servile mode of thought, the good man must in any case be the SAFE man: he is good-natured, easily deceived, perhaps a little stupid, un bonhomme. Everywhere that slave-morality gains the ascendancy, language shows a tendency to approximate the significations of the words "good" and "stupid." – A last fundamental difference: the desire for FREEDOM, the instinct for happiness and the refinements of the feeling of liberty belong as necessarily to slave-morals and morality, as artifice and enthusiasm in reverence and devotion are the regular symptoms of an aristocratic mode of thinking and estimating. – Hence we can understand without further detail why love AS A PASSION – it is our European specialty – must absolutely be of noble origin; as is well known, its invention is due to the Provencal poet-cavaliers, those brilliant, ingenious men of the "gai saber," to whom Europe owes so much, and almost owes itself.

261. Vanity is one of the things which are perhaps most difficult for a noble man to understand: he will be tempted to deny it, where another kind of man thinks he sees it self-evidently. The problem for him is to represent to his mind beings who seek to arouse a good opinion of themselves which they themselves do not possess – and consequently also do not "deserve," – and who yet BELIEVE in this good opinion afterwards. This seems to him on the one hand such bad taste and so self-disrespectful, and on the other hand so grotesquely unreasonable, that he would like to consider vanity an exception, and is doubtful about it in most cases when it is spoken of. He will say, for instance: "I may be mistaken about my value, and on the other hand may nevertheless demand that my value should be acknowledged by others precisely as I rate it: – that, however, is not vanity (but self-conceit, or, in most cases, that which is called 'humility,' and also 'modesty')." Or he will even say: "For many reasons I can delight in the good opinion of others, perhaps because I love and honour them, and rejoice in all their joys, perhaps also because their good opinion endorses and strengthens my belief in my own good opinion, perhaps because the good opinion of others, even in cases where I do not share it, is useful to me, or gives promise of usefulness: – all this, however, is not vanity." The man of noble character must first bring it home forcibly to his mind, especially with the aid of history, that, from time immemorial, in all social strata in any way dependent, the ordinary man WAS only that which he PASSED FOR: – not being at all accustomed to fix values, he did not assign even to himself any other value than that which his master assigned to him (it is the peculiar RIGHT OF MASTERS to create values). It may be looked upon as the result of an extraordinary atavism, that the ordinary man, even at present, is still always WAITING for an opinion about himself, and then instinctively submitting himself to it; yet by no means only to a "good" opinion, but also to a bad and unjust one (think, for instance, of the greater part of the self-appreciations and self-depreciations which believing women learn from their confessors, and which in general the believing Christian learns from his Church). In fact, conformably to the slow rise of the democratic social order (and its cause, the blending of the blood of masters and slaves), the originally noble and rare impulse of the masters to assign a value to themselves and to "think well" of themselves, will now be more and more encouraged and extended; but it has at all times an older, ampler, and more radically ingrained propensity opposed to it – and in the phenomenon of "vanity" this older propensity overmasters the younger. The vain person rejoices over EVERY good opinion which he hears about himself (quite apart from the point of view of its usefulness, and equally regardless of its truth or falsehood), just as he suffers from every bad opinion: for he subjects himself to both, he feels himself subjected to both, by that oldest instinct of subjection which breaks forth in him. – It is "the slave" in the vain man's blood, the remains of the slave's craftiness – and how much of the "slave" is still left in woman, for instance! – which seeks to SEDUCE to good opinions of itself; it is the slave, too, who immediately afterwards falls prostrate himself before these opinions, as though he had not called them forth. – And to repeat it again: vanity is an atavism.