Фридрих Вильгельм Ницше
Early Greek Philosophy & Other Essays
ON TRUTH AND FALSITY IN THEIR ULTRAMORAL SENSE
(1873)
1
In some remote corner of the universe, effused into innumerable solar-systems, there was once a star upon which clever animals invented cognition. It was the haughtiest, most mendacious moment in the history of this world, but yet only a moment. After Nature had taken breath awhile the star congealed and the clever animals had to die. – Someone might write a fable after this style, and yet he would not have illustrated sufficiently, how wretched,; shadow-like, transitory, purposeless and fanciful the human intellect appears in Nature. There were eternities during which this intellect did not exist, and when it has once more passed away there will be nothing to show that it has existed. For this intellect is not concerned with any further mission transcending the sphere of human life. No, it is purely human and none but its owner and procreator regards it so pathetically as to suppose that the world revolves around it. If, however, we and the gnat could understand each other we should learn that even the gnat swims through the air with the same pathos, and feels within itself the flying centre of the world. Nothing in Nature is so bad or so insignificant that it will not, at the smallest puff of that force cognition, immediately swell up like a balloon, and just as a mere porter wants to have his admirer, so the very proudest man, the philosopher, imagines he sees from all sides the eyes of the universe telescopically directed upon his actions and thoughts.
It is remarkable that this is accomplished by the intellect, which after all has been given to the most unfortunate, the most delicate, the most transient beings only as an expedient, in order to detain them for a moment in existence, from which without that extra-gift they would have every cause to flee as swiftly as Lessing's son.5 That haughtiness connected with cognition and sensation, spreading blinding fogs before the eyes and over the senses of men, deceives itself therefore as to the value of existence owing to the fact that it bears within itself the most flattering evaluation of cognition. Its most general effect is deception; but even its most particular effects have something of deception in their nature.
The intellect, as a means for the preservation of the individual, develops its chief power in dissimulation; for it is by dissimulation that the feebler, and less robust individuals preserve themselves, since it has been denied them to fight the battle of existence with horns or the sharp teeth of beasts of prey. In man this art of dissimulation reaches its acme of perfection: in him deception, flattery, falsehood and fraud, slander, display, pretentiousness, disguise, cloaking convention, and acting to others and to himself in short, the continual fluttering to and fro around the one flame – Vanity: all these things are so much the rule, and the law, that few things are more incomprehensible than the way in which an honest and pure impulse to truth could have arisen among men. They are deeply immersed in illusions and dream-fancies; their eyes glance only over the surface of things and see "forms"; their sensation nowhere leads to truth, but contents itself with receiving stimuli and, so to say, with playing hide-and-seek on the back of things. In addition to that, at night man allows his dreams to lie to him a whole life-time long, without his moral sense ever trying to prevent them; whereas men are said to exist who by the exercise of a strong will have overcome the habit of snoring. What indeed does man know about himself? Oh! that he could but once see himself complete, placed as it were in an illuminated glass-case! Does not nature keep secret from him most things, even about his body, e. g., the convolutions of the intestines, the quick flow of the blood-currents, the intricate vibrations of the fibres, so as to banish and lock him up in proud, delusive knowledge? Nature threw away the key; and woe co the fateful curiosity which might be able for a moment to look out and down through a crevice in the chamber of consciousness, and discover that man, indifferent to his own ignorance, is resting on the pitiless, the greedy, the insatiable, the murderous, and, as it were, hanging in dreams on the back of a tiger. Whence, in the wide world, with this state of affairs, arises the impulse to truth?
As far as the individual tries to preserve himself against other individuals, in the natural state of things he uses the intellect in most cases only for dissimulation; since, however, man both from necessity and boredom wants to exist socially and gregariously, he must needs make peace and at least endeavour to cause the greatest bellum omnium contra omnes to disappear from his world. This first conclusion of peace brings with it a something which looks like the first step towards the attainment of that enigmatical bent for truth. For that which henceforth is to be "truth" is now fixed; that is to say, a uniformly valid and binding designation of things is invented and the legislature of language also gives the first laws of truth: since here, for the first time, originates the contrast between truth and falsity. The liar uses the valid designations, the words, in order to make the unreal appear as real; e. g., he says, "I am rich," whereas the right designation for his state would be "poor." He abuses the fixed conventions by convenient substitution or even inversion of terms. If he does this in a selfish and moreover harmful fashion, society will no longer trust him but will even exclude him. In this way men avoid not so much being defrauded, but being injured by fraud. At bottom, at this juncture too, they hate not deception, but the evil, hostile consequences of certain species of deception. And it is in a similarly limited sense only that man desires truth: he covets the agreeable, life-preserving consequences of truth; he is indifferent towards pure, ineffective knowledge; he is even inimical towards truths which possibly might prove harmful or destroying. And, moreover, what after all are those conventions op language? Are they possibly products of knowledge, of the love of truth; do the designations and the things coincide? Is language the adequate expression of all realities?
Only by means of forgetfulness can man ever arrive at imagining that he possesses "truth" in that degree just indicated. If he does not mean to content himself with truth in the shape of tautology, that is, with empty husks, he will always obtain illusions instead of truth. What is a word? The expression of a nerve-stimulus in sounds. But to infer a cause outside us from the nerve-stimulus is already the result of a wrong and unjustifiable application of the proposition of causality. How should we dare, if truth with the genesis of language, if the point of view of certainty with the designations had alone been decisive; how indeed should we dare to say: the stone is hard; as if "hard" was known to us otherwise; and not merely as an entirely subjective stimulus! We divide things according to genders; we designate the tree as masculine,6 the plant as feminine:7 what arbitrary metaphors! How far flown beyond the canon of certainty! We speak of a "serpent";8 the designation fits nothing but the sinuosity, and could therefore also appertain to the worm. What arbitrary demarcations! what one-sided preferences given sometimes to this, sometimes to that quality of a thing! The different languages placed side by side show that with words truth or adequate expression matters little: for otherwise there would not be so many languages. The "Thing-in-itself" (it is just this which would be the pure ineffective truth) is also quite incomprehensible to the creator of language and not worth making any great endeavour to obtain. He designates only the relations of things to men and for their expression he calls to his help the most daring metaphors. A nerve-stimulus, first transformed into a percept! First metaphor! The percept again copied into a sound! Second metaphor! And each time he leaps completely out of one sphere right into the midst of an entirely different one. One can imagine a man who is quite deaf and has never had a sensation of tone and of music; just as this man will possibly marvel at Chladni's sound figures in the sand, will discover their cause in the vibrations of the string, and will then proclaim that now he knows what man calls "tone"; even so does it happen to us all with language. When we talk about trees, colours, snow and flowers, we believe we know something about the things themselves, and yet we only possess metaphors of the things, and these metaphors do not in the least correspond to the original essentials. Just as the sound shows itself as a sand-figure, in the same way the enigmatical x of the Thing-in-itself is seen first as nerve-stimulus, then as percept, and finally as sound. At any rate the genesis of language did not therefore proceed on logical lines, and the whole material in which and with which the man of truth, the investigator, the philosopher works and builds, originates, if not from Nephelococcygia, cloud-land, at any rate not from the essence of things.
Let us especially think about the formation of ideas. Every word becomes at once an idea not by having, as one might presume, to serve as a reminder for the original experience happening but once and absolutely individualised, to which experience such word owes its origin, no, but by having simultaneously to fit innumerable, more or less similar (which really means never equal, therefore altogether unequal) cases. Every idea originates through equating the unequal. As certainly as no one leaf is exactly similar to any other, so certain is it that the idea "leaf" has been formed through an arbitrary omission of these individual differences, through a forgetting of the differentiating qualities, and this idea now awakens the notion that in nature there is, besides the leaves, a something called the "leaf," perhaps a primal form according to which all leaves were woven, drawn, accurately measured, coloured, crinkled, painted, but by unskilled hands, so that no copy had turned out correct and trustworthy as a true copy of the primal form. We call a man "honest"; we ask, why has he acted so honestly to-day? Our customary answer runs, "On account of his honesty." The Honesty! That means again: the "leaf" is the cause of the leaves. We really and truly do not know anything at all about an essential quality which might be called the honesty, but we do know about numerous individualised, and therefore unequal actions, which we equate by omission of the unequal, and now designate as honest actions; finally out of them we formulate a qualitas occulta with the name "Honesty." The disregarding of the individual and real furnishes us with the idea, as it likewise also gives us the form; whereas nature knows of no forms and ideas, and therefore knows no species but only an x, to us inaccessible and indefinable. For our antithesis of individual and species is anthropomorphic too and does not come from the essence of things, although on the other hand we do not dare to say that it does not correspond to it; for that would be a dogmatic assertion and as such just as undemonstrable as its contrary.
What therefore is truth? A mobile army of metaphors, metonymies, anthropomorphisms: in short a sum of human relations which became poetically and rhetorically intensified, metamorphosed, adorned, and after long usage seem to a nation fixed, canonic and binding; truths are illusions of which one has forgotten that they are illusions; worn-out metaphors which have become powerless to affect the senses; coins which have their obverse effaced and now are no longer of account as coins but merely as metal.
Still we do not yet know whence the impulse to truth comes, for up to now we have heard only about the obligation which society imposes in order to exist: to be truthful, that is, to use the usual metaphors, therefore expressed morally: we have heard only about the obligation to lie according to a fixed convention, to lie gregariously in a style binding for all. Now man of course forgets that matters are going thus with him; he therefore lies in that fashion pointed out unconsciously and according to habits of centuries' standing – and by this very unconsciousness, by this very forgetting, he arrives at a sense for truth. Through this feeling of being obliged to designate one thing as "red," another as "cold," a third one as "dumb," awakes a moral emotion relating to truth. Out of the antithesis "liar" whom nobody trusts, whom all exclude, man demonstrates to himself the venerableness, reliability, usefulness of truth. Now as a "rational" being he submits his actions to the sway of abstractions; he no longer suffers himself to be carried away by sudden impressions, by sensations, he first generalises all these impressions into paler, cooler ideas, in order to attach to them the ship of his life and actions. Everything which makes man stand out in bold relief against the animal depends on this faculty of volatilising the concrete metaphors into a schema, and therefore resolving a perception into an idea. For within the range of those schemata a something becomes possible that never could succeed under the first perceptual impressions: to build up a pyramidal order with castes and grades, to create a new world of laws, privileges, sub-orders, delimitations, which now stands opposite the other perceptual world of first impressions and assumes the appearance of being the more fixed, general, known, human of the two and therefore the regulating and imperative one. Whereas every metaphor of perception is individual and without its equal and therefore knows how to escape all attempts to classify it, the great "edifice of ideas shows the rigid regularity of a Roman Columbarium and in logic breathes forth the sternness and coolness which we find in mathematics. He who has been breathed upon by this coolness will scarcely believe, that the idea too, bony and hexa-hedral, and permutable as a die, remains however only as the residuum of a metaphor, and that the illusion of the artistic metamorphosis of a nerve-stimulus into percepts is, if not the mother, then the grand-mother of every idea. Now in this game of dice, "Truth" means to use every die as it is designated, to count its points carefully, to form exact classifications, and never lo violate the order of castes and the sequences of rank. Just as the Romans and Etruscans for their benefit cut up the sky by means of strong mathematical lines and banned a god as it were into a templum, into a space limited in this fashion, so every nation has above its head such a sky of ideas divided up mathematically, and it understands the demand for truth to mean that every conceptual god is to be looked for only in his own sphere. One may here well admire man, who succeeded in piling up an infinitely complex dome of ideas on a movable foundation and as it were on running water, as a powerful genius of architecture. Of course in order to obtain hold on such a foundation it must be as an edifice piled up out of cobwebs, so fragile, as to be carried away by the waves: so firm, as not to be blown asunder by every wind. In this way man as an architectural genius rises high above the bee; she builds with wax, which she brings together out of nature; he with the much more delicate material of ideas, which he must first manufacture within himself. He is very much to be admired here – but not on account of his impulse for truth, his bent for pure cognition of things. If somebody hides a thing behind a bush, seeks it again and finds it in the self-same place, then there is not much to boast of, respecting this seeking and finding; thus, however, matters stand with the seeking and finding of "truth" within the realm of reason. If I make the definition of the mammal and then declare after inspecting a camel, "Behold a mammal," then no doubt a truth is brought to light thereby, but it is of very limited value, I mean it is anthropomorphic through and through, and does not contain one single point which is "true-in-itself," real and universally valid, apart from man. The seeker after such truths seeks at the bottom only the metamorphosis of the world in man, he strives for an understanding of the world as a human-like thing and by his battling gains at best the feeling of an assimilation. Similarly, as the astrologer contemplated the stars in the service of man and in connection with their happiness and unhappiness, such a seeker contemplates the whole world as related to man, as the infinitely protracted echo of an original sound: man; as the multiplied copy of the one arch-type: man. His procedure is to apply man as the measure of all things, whereby he starts from the error of believing that he has these things immediately before him as pure objects. He therefore forgets that the original metaphors of perception are metaphors, and takes them for the things themselves.
Only by forgetting that primitive world of metaphors, only by the congelation and coagulation of an original mass of similes and percepts pouring forth as a fiery liquid out of the primal faculty of human fancy, only by the invincible faith, that this sun, this window, this table is a truth in itself: in short only by the fact that man forgets himself as subject, and what is more as an artistically creating subject: only by all this does he live with some repose, safety and consequence. If he were able to get out of the prison walls of this faith, even for an instant only, his "self-consciousness would be destroyed at once. Already it costs him some trouble to admit to himself that the insect and the bird perceive a world different from his own, and that the question, which of the two world-perceptions is more accurate, is quite a senseless one, since to decide this question it would be necessary to apply the standard of right perception, i.e., to apply a standard which does not exist. On the whole it seems to me that the "right perception" – which would mean the adequate expression of an object in the subject – is a nonentity full of contradictions: for between two utterly different spheres, as between subject and object, there is no causality, no accuracy, no expression, but at the utmost an æsthetical relation, I mean a suggestive metamorphosis, a stammering translation into quite a distinct foreign language, for which purpose however there is needed at any rate an intermediate sphere, an intermediate force, freely composing and freely inventing. The word "phenomenon" contains many seductions, and on that account I avoid it as much as possible, for it is not true that the essence of things appears in the empiric world. A painter who had no hands and wanted to express the picture distinctly present to his mind by the agency of song, would still reveal much more with this permutation of spheres, than the empiric world reveals about the essence of things. The very relation of a nerve-stimulus to the produced percept is in itself no necessary one; but if the same percept has been reproduced millions of times and has been the inheritance of many successive generations of man, and in the end appears each time to all mankind as the result of the same cause, then it attains finally for man the same importance as if it were the unique, necessary percept and as if that relation between the original nerve-stimulus and the percept produced were a close relation of causality: just as a dream eternally repeated, would be perceived and judged as though real. But the congelation and coagulation of a metaphor does not at all guarantee the necessity and exclusive justification of that metaphor.
Surely every human being who is at home with such contemplations has felt a deep distrust against any idealism of that kind, as often as he has distinctly convinced himself of the eternal rigidity, omni-presence, and infallibility of nature's laws: he has arrived at the conclusion that as far as we can penetrate the heights of the telescopic and the depths of the microscopic world, everything is quite secure, complete, infinite, determined, and continuous. Science will have to dig in these shafts eternally and successfully and all things found are sure to have to harmonise and not to contradict one another. How little does this resemble a product of fancy, for if it were one it would necessarily betray somewhere its nature of appearance and unreality. Against this it may be objected in the first place that if each of us had for himself a different sensibility, if we ourselves were only able to perceive sometimes as a bird, sometimes as a worm, sometimes as a plant, or if one of us saw the same stimulus as red, another as blue, if a third person even perceived it as a tone, then nobody would talk of such an orderliness of nature, but would conceive of her only as an extremely subjective structure. Secondly, what is, for us in general, a law of nature? It is not known in itself but only in its effects, that is to say in its relations to other laws of nature, which again are known to us only as sums of relations. Therefore all these relations refer only one to another and are absolutely incomprehensible to us in their essence; only that which we add: time, space, i. e., relations of sequence and numbers, are really known to us in them. Everything wonderful, however, that we marvel at in the laws of nature, everything that demands an explanation and might seduce us into distrusting idealism, lies really and solely in the mathematical rigour and inviolability of the conceptions of time and space. These however we produce within ourselves and throw them forth with that necessity with which the spider spins; since we are compelled to conceive all things under these forms only, then it is no longer wonderful that in all things we actually conceive none but these forms: for they all must bear within themselves the laws of number, and this very idea of number is the most marvellous in all things. All obedience to law which impresses us so forcibly in the orbits of stars and in chemical processes coincides at the bottom with those qualities which we ourselves attach to those things, so that it is we who thereby make the impression upon ourselves. Whence it clearly follows that that artistic formation of metaphors, with which every sensation in us begins, already presupposes those forms, and is therefore only consummated within them; only out of the persistency of these primal forms the possibility explains itself, how afterwards – out of the metaphors themselves a structure of ideas, could again be compiled. For the latter is an imitation of the relations of time, space and number in the realm of metaphors.
2
As we saw, it is language which has worked originally at the construction of ideas; in later times it is science. Just as the bee works at the same time at the cells and fills them with honey, thus science works irresistibly at that great columbarium of ideas, the cemetery of perceptions, builds ever newer and higher storeys; supports, purifies, renews the old cells, and endeavours above all to fill that gigantic framework and to arrange within it the whole of the empiric world, i. e., the anthropomorphic world. And as the man of action binds his life to reason and its ideas, in order to avoid being swept away and losing himself, so the seeker after truth builds his hut close to the towering edifice of science in order to collaborate with it and to find protection. And he needs protection. For there are awful powers which continually press upon him, and which hold out against the "truth" of science "truths" fashioned in quite another way, bearing devices of the most heterogeneous character.
That impulse towards the formation of metaphors, mat fundamental impulse of man, which we cannot reason away for one moment – for thereby we should reason away man himself – is in truth not defeated nor even subdued by the fact that out of its evaporated products, the ideas, a regular and rigid new world has been built as a stronghold for it. This impulse seeks for itself a new realm of action and another river-bed, and finds it in Mythos and more generally in Art. This impulse constantly confuses the rubrics and cells of the ideas, by putting up new figures of speech, metaphors, metonymies; it constantly shows its passionate longing for shaping the existing world of waking man as motley, irregular, inconsequentially incoherent, attractive, and eternally new as the world of dreams is. For indeed, waking man per se is only clear about his being awake through the rigid and orderly woof of ideas, and it is for this very reason that he sometimes comes to believe that he was dreaming when that woof of ideas has for a moment been torn by Art. Pascal is quite right, when he asserts, that if the same dream came to us every night we should be just as much occupied by it as by the things which we see every day; to quote his words, "If an artisan were certain that he would dream every night for fully twelve hours that he was a king, I believe that he would be just as happy as a king who dreams every night for twelve hours that he is an artisan." The wide-awake day of a people mystically excitable, let us say of the earlier Greeks, is in fact through the continually-working wonder, which the mythos presupposes, more akin to the dream than to the day of the thinker sobered by science. If every tree may at some time talk as a nymph, or a god under the disguise of a bull, carry away virgins, if the goddess Athene herself be suddenly seen as, with a beautiful team, she drives, accompanied by Pisistratus, through the markets of Athens – and every honest Athenian did believe this – at any moment, as in a dream, everything is possible; and all nature swarms around man as if she were nothing but the masquerade of the gods, who found it a huge joke to deceive man by assuming all possible forms.
Man himself, however, has an invincible tendency to let himself be deceived, and he is like one enchanted with happiness when the rhapsodist narrates to him epic romances in such a way that they appear real or when the actor on the stage makes the king appear more kingly than reality shows him. Intellect, that master of dissimulation, is free and dismissed from his service as slave, so long as It is able to deceive without injuring, and then It celebrates Its Saturnalia. Never is It richer, prouder, more luxuriant, more skilful and daring; with a creator's delight It throws metaphors into confusion, shifts the boundary-stones of the abstractions, so that for instance It designates the stream as the mobile way which carries man to that place whither he would otherwise go. Now It has thrown off Its shoulders the emblem of servitude. Usually with gloomy officiousness It endeavours to point out the way to a poor individual coveting existence, and It fares forth for plunder and booty like a servant for his master, but now It Itself has become a master and may wipe from Its countenance the expression of indigence. Whatever It now does, compared with Its former doings, bears within itself dissimulation, just as Its former doings bore the character of distortion. It copies human life, but takes it for a good thing and seems to rest quite satisfied with it. That enormous framework and hoarding of ideas, by clinging to which needy man saves himself through life, is to the freed intellect only a scaffolding and a toy for Its most daring feats, and when It smashes it to pieces, throws it into confusion, and then puts it together ironically, pairing the strangest, separating the nearest items, then It manifests that It has no use for those makeshifts of misery, and that It is now no longer led by ideas but by intuitions. From these intuitions no regular road leads into the land of the spectral schemata, the abstractions; for them the word is not made, when man sees them he is dumb, or speaks in forbidden metaphors and in unheard-of combinations of ideas, in order to correspond creatively with the impression of the powerful present intuition at least by destroying and jeering at the old barriers of ideas.
There are ages, when the rational and the intuitive man stand side by side, the one full of fear of the intuition, the other full of scorn for the abstraction; the latter just as irrational as the former is inartistic. Both desire to rule over life; the one by knowing how to meet the most important needs with foresight, prudence, regularity; the other as an "over-joyous" hero by ignoring those needs and taking that life only as real which simulates appearance and beauty. Wherever intuitive man, as for instance in the earlier history of Greece, brandishes his weapons more powerfully and victoriously than his opponent, there under favourable conditions, a culture can develop and art can establish her rule over life. That dissembling, that denying of neediness, that splendour of metaphorical notions and especially that directness of dissimulation accompany all utterances of such a life. Neither the house of man, nor his way of walking, nor his clothing, nor his earthen jug suggest that necessity invented them; it seems as if they all were intended as the expressions of a sublime happiness, an Olympic cloudlessness, and as it were a playing at seriousness. Whereas the man guided by ideas and abstractions only wards off misfortune by means of them, without even enforcing for himself happiness out of the abstractions; whereas he strives after the greatest possible freedom from pains, the intuitive man dwelling in the midst of culture has from his intuitions a harvest: besides the warding off of evil, he attains a continuous in-pouring of enlightenment, enlivenment and redemption. Of course when he does suffer, he suffers more: and he even suffers more frequently since he cannot learn from experience, but again and again falls into the same ditch into which he has fallen before. In suffering he is just as irrational as in happiness; he cries aloud and finds no consolation. How different matters are in the same misfortune with the Stoic, taught by experience and ruling himself by ideas! He who otherwise only looks for uprightness, truth, freedom from deceptions and shelter from ensnaring and sudden attack, in his misfortune performs the masterpiece of dissimulation, just as the other did in his happiness; he shows no twitching mobile human face but as it were a mask with dignified, harmonious features; he does not cry out and does not even alter his voice; when a heavy thundercloud bursts upon him, he wraps himself up in his cloak and with slow and measured step walks away from beneath it.
