*This is a personal project, born from a book club and carried on into the infinite.* *Thank you for visiting and please don't hesitate to notify me of any flaws, typos, or errors - there are bound to be plenty.* *Thanks,* *Hamp* --- ##### Absolution - The coming of this specific [[#"I"]] is the first dawning of that [[#Personality-Idea]] which was so much later to create the sacrament of [[#Contrition]] and _personal_ [[#Absolution]]. (I, 346) ##### Action - That which we call not merely [[#Activity]] but [[#Action]] is a historical conception through and through, saturated with [[#Directional Energy]]. - It is the proof of being, the dedication of being, in that sort of man whose [[#Ego]] possesses the tendency to [[#Future]], who feels the momentary present not as saturated being but as [[#Epoch]], as turning-point, in a great complex of [[#Becoming]] - and, moreover, feels it so of both his personal life and of the life of history as a whole (I, 449) ##### Activity ###### Modes of Activity - Systems of [[#Expression-Forms]] (conceived as a [[#Power-Unit]]) only exist in the human [[#Waking-Consciousness]], and they exist as [[#Modes of Activity]]. - Religion, science, art, are activities of [[#Waking-Consciousness]] that are based on a [[#Being]] (II, 67) ##### Actuality - The world in relation to a [[#Soul]] (I, 216) - An actuality is [[#Nature]] in so far as it assigns the [[#Thing-Becoming]] its place as [[#Thing-Become]], and [[#History]] in so far as it orders the [[#Thing-Become]] with reference to their becoming. - It is for every individual the projection of [[#The Directed]] upon the domain of [[#The Extended]] - the [[#Proper]] mirroring itself on the [[#Alien]] - One's actuality then signifies oneself (I, 217) - It is not "I" who actualize the possible but "it" actualizes itself through me - There is a dualizing of [[#Soul]] and [[#World]] as poles of Actuality (I, 216) - For the [[#Apollonian Soul]], every product of the [[#Waking-Consciousness]] is elevated to the rank of Actuality by way of sculptural definition. - A history of Western [[#Thought]] may not contain the name of Napoleon, but in the history of [[#Actuality]] Archimedes, for all his scientific discoveries, was possibly less effective than that soldier who killed him at the storming of Syracuse (II, 20) ##### The Actualized - The Past ###### Actualization of the Possible - In the history of the [[#Culture]] as in that of the individual existence, we are dealing with the [[#Actualization of the Possible]] ; it is the story of an inner spirituality becoming the [[#Style]] of the world (I, 455) ##### Ages - That which we know of [[#Man]] divides clearly into two great ages of his being (II, 39) - We discover everywhere the sharp frontier of Tertiary and Diluvial, and on the hither side of it we see man as a completely formed type, familiar with custom, myth, wit, ornament, and technique and endowed with a bodily structure that has not materially altered up to the present day. ###### Diluvial See also: [[#High Culture]] / [[#Higher Culture]] - Beginnings of high cultures on Nile and Euphrates, with which the whole meaning of human existence became suddenly different (II, 39) - This second age opens to us another and quite different kind of experience. It was an incident, the sense of which cannot now be scrutinized, that the type of the [[#Higher Culture]] appeared suddenly in the field of human history. - The fact that we have before us eight such Cultures, all of the same build, the same development, and the same duration, justifies us in _looking_ _at_ _them_ _comparatively,_ and therefore justifies our treating them as comparable, studying them comparatively, and obtaining from our study a knowledge which we can extend backwards over lost periods and forwards over the future - provided always that a [[#Destiny]] of a different order does not replace this [[#Form-World]], suddenly and basically, by another (II, 43) ###### Tertiary See also: [[#Primitive Culture]] - The first is limited on the one side by that profound [[#Fugue]] of planetary [[#Destiny]] which we call the beginning of the Ice Age - and about that which we can (within the picture of [[#World-History]]) say no more than *that* a [[#Cosmic]] change took place (II, 39) - That of the [[#Primitive Culture]] (II, 39) - Our experiencing of the [[#Primitive Culture]] consists not only in surveying, in its relics, a self-contained and closed-off thing, but also in reacting to its deeper meaning by virtue of an inward relation to it which persists in us (II, 43) ##### Aggregate - One of the weightiest in all this [[#Form-World]] of our science (I, 565) - It deals, not with singular quantities but with the aggregates constituted by all quantities (or objects) having this or that specified morphological similarity - for instance all square numbers or all differential equations of a given type (565) - Such an aggregate it conceives as a new unit, a new number of the higher order, and subjecting it to criteria of new and hitherto quite unsuspected kinds such as "potency," "order," "equivalence," "countableness," and devising laws and operative methods for it in respect of these criteria (I, 565) ###### Inspired Aggregate - [[#Crowd]]s of this order of unity ([[#Cosmic Unity]]) are seized by storms of enthusiasm or, as readily, of panic (II, 21) - These [[#Inspired Aggregate]]s are born and die. ##### Aim - In the world as seen by the [[#Faustian]]'s eyes everything is [[#Motion]] without [[#Aim]] (449) - [[#Direction]] is the living, [[#Aim]] the dead (I, 476) ##### Alchemy - The [[#Arabian Culture]] owned the arabesque and the cavern-vaulting of the [[#Mosque]], and out of this world-feeling there issued [[#Alchemy]] with its ideas of mysterious efficient substantialities like the "philosophical mercury," which is neither a material nor a property but some thing that underlies the colored existence of metals and can transmute one metal into another (504) - In [[#Alchemy]] there is deep scientific doubt as to the plastic actuality of things - of the "somata" of Greek mathematicians, physicists and poets - and it dissolves and destroys the soma in the hope of finding its essence. - It is an iconoclastic movement just as truly as those of Islam and [[#The Bogomils]] of Byzantium were so. - It reveals a deep disbelief in the tangible figure of phenomenal [[#Nature]], the figure of her that to the Greek was sacrosanct (I, 506) ##### Alien - Always in some way related to the basic fact expressed by the word "perception," i.e., the outer world, the life of sensation. ###### Alien Life-Form - Can we imagine even in the least degree what it was to live in a world almost empty of men - we for whom all nature has long since become a background for the human multitude? How man's world-consciousness must have changed when, besides the forests and the herds of beasts, other men "just like himself" began to be met with, more and more frequently, in the country-side. (II, 41) - The increase of man's numbers - this, too, doubtless took place very suddenly - made experience of "fellow men" habitual, and replaced the impression of astonishment by the feelings of pleasure or hostility, and these again evoked a whole new world of experiences and of involuntary and inevitable relations. - It was for the history of the human soul perhaps the deepest and most pregnant of all events. It was in relation to [[#Alien Life-Form]]s that man first became conscious of his own, and now the interior organization of the clan was enriched by a wealth of intertribal forms of relation, which thereafter completely dominated primitive life and thought (II, 41) ##### America ###### American Architecture - The taste for the Gigantic is a symptom of declining [[#Creative Power]] (I, 386) - Here size is not, as in the [[#Gothic]] or the Pyramid styles, the expression of inward greatness, but the dissimulation of its absence. - I.e., the skyscraper ###### American Drama - Dramas like that of the emigration to America - man by man, each on his own account, driven by deep promptings to [[#Loneliness]] - or the Spanish Conquest, or the Californian gold-rush, dramas of uncontrollable [[#Longing]]s for [[#Freedom]], solitude, immense independence, and of giantlike contempt of all limitations whatsoever upon the [[#Home-Feeling]] - these dramas are [[#Faustian]] and only Faustian. No other Culture, not even the [[#Chinese]], knows them (I, 445) ##### Analogy - The means whereby to understand living forms (I, 2) - **Analogies**, insofar as they laid bare the organic structure of history, might be a blessing to [[#Historical Thought]]. Their technique, developing under the influence of a comprehensive idea, would surely eventuate in inevitable conclusions and logical mastery. (I, 3) ##### Animal Contra: [[#Plant]] - An animal can choose. It is emancipated from the servitude of all the rest of the world (II, 1). - They are little worlds unto their own within another great world. - The plant is something Cosmic, and the animal is additionally a [[#Microcosm]] in relation to a [[#Macrocosm]] (II, 2) ###### Animal Microcosm - The [[#Animal Microcosm]], in which existence and consciousness are joined in a self-evident unity of living, knows of consciousness only as the servant of existence (II, 12) - The [[#Animal]] lives simply and does not reflect upon life. ##### Apollonian **PRIME SYMBOL:** The Body (the near, strictly limited, self-contained) **STYLE**: Cowardly, Willed Nothing & Dared Nothing, See also: [[#Classical Culture]] - Mechanical statics, the sensuous cult of the Olympian gods, the politically individual city-states of Greece, the doom of Oedipus and the phallus-symbol (I, 241) - The Apollonian existence is that of the Greek who describes his ego as *soma* and who lacks all idea of an inner development and therefore all real history, inward and outward (I, 242) ###### Apollonian Culture See also: [[#Classical Culture]] - Fixated upon the static and corporeal - But the [[#Classical Culture]] possessed no [[#Memory]], no organ of history in this special sense. The memory of the [[#Classical Man]] - so to call it, though it is somewhat arbitrary to apply to alien souls a notion derived from our own - is something different, since past and future, as arraying perspectives in the working consciousness, are absent and the "[[#Pure Present]]," which so often roused [[Authors (Philosophy & Theory)/Johann Wolfgang von Goethe/General Biography|Goethe]]'s admiration in every product of the Classical life and in sculpture particularly, fills that life with an intensity that to us is perfectly unknown. - The Greek [[#Discobolus]] of [[#Myron]] (450 BCE) as an Expression of the Apollonian cultural outlook, depicting stasis and focusing on the final moment before the discus is thrown. ###### Apollonian Depth-Experience Contra: [[#Faustian Depth-Experience]] - The Doric soul actualized the symbol of the corporally present individual thing, while deliberately rejecting all big and far-reaching creations (I, 263) ###### Apollonian Ethic Contra: [[#Faustian Ethic]] - If ever there was a group of nations that kept the "struggle for existence" constantly before its eyes, it was the [[#Classical Culture]] (I, 416) - But Greek ethics, notwithstanding Heraclitus, were far from making struggle an ethical principle. - The Stoics and Epicureans alike preached abstention from it as an ideal. The overcoming of resistances may far more justly be called the typical impulse of the [[#Faustian Soul]] (I, 416) - It is only in the [[#Apollonian Ethic]] that [[#Beauty]] plays a distinct role (I, 418) - All [[#Apollonian Ethic]] as an ethic of [[#Attitude]] (I, 455) ###### Apollonian Nature Contra: [[#Faustian Nature]], [[#Magian Nature]] - It is sometimes said that [[#Classical Man]] lacked the feeling for [[#Nature]]. Insensitive to [[#Faustian Nature]], that of [[#Space]] and [[#Landscape]], Classical Man certainly was (431) - His [[#Nature]] was his Body (431) - The [[#Nature]] of the [[#Classical Man]] found its highest artistic emblem in the [[#Nude Statue]], and out of it logically there grew up a static of bodies, a physics of the near (504) - Rooted in the conceptions of matter and form (504) - A quiet meditation - Asks: What is the essence of visible being? (505) - Contented absorption in the visible (505) - [[#Nature]], as [[#Classical Man]] felt and knew it about him, viz., a sum of well-formed bodily things can not be defined in any other form but the [[#Nude Statue]] (531) ###### Apollonian Soul - The Apollonian Soul had tried to tie down the meaning of [[#Thing-Become]] by means of the principle of visible limits; its [[#Taboo]] was focused upon the immediately-present and proximate alien. - What was far away, invisible, was ipso facto "not there" - The Greek was not a series but a term. - Structured thought and action around the 'point-present' concern of the nearby (à la [[Authors (Philosophy & Theory)/Federico Campagna/General Biography|Campagna]]) - If life was worthless, at any rate the *grand gesture* in losing it was not so. The Greek willed nothing and dared nothing, but he found a stirring beauty in enduring (I, 270) - The Dionysian intoxication seems a sort of furious drowning of uneasiness (I, 271) - [[#Euclidean]] and [[#Point]]-Formed: Felt the empirical visible body as the complete expression of its own way of being (I, 342) - [[#Soul]], for the real Hellene, was in last analysis the form of his body - and thus [[#Aristotle]] defined it - The Greek lives [[#Point]]-wise, ahistorically, somatically. No Greek would have been capable of a genuine self-criticism. (I, 348) - The [[#Apollonian]] is [[#Will]]-less. The Classical idea of [[#Destiny]] and the symbol of the [[#Doric Column]] leave no doubt as to that. - Between Classical men, or states, or views of the world, there was - for all the quarreling and envy and hatred - no inner [[#Tension]], no deep and urging need of distance, solitude, ascendancy; and consequently there was none between the [[#Atom]]s of the Cosmos either (I, 510) - [[#Classical Man]] assumed that the [[#Soul]], as the form and meaning of the human body, was somehow co-created herewith, and Greek thought scarcely mentions it (II, 71) ###### Apollonian Soul-Image - The man of [[#Euclidean]] point-formed being, looked upon his soul as a Cosmos ordered in a group of excellent parts. - Denies [[#Directional Energy]] due to all being settled and rounded (401) - In blunt opposition to the [[#Faustian Soul-Image]] - In the Apollonian we have the soul-body as imagination-unit (401) - The body possesses parts, while the space of the Faustian is a scene of processes (401) - Conceives of his inner-world plastically. - The [[#Apollonian Soul-Image]] takes to flight at once on the approach of the [[#Magian Soul]] (402) - The contest of [[#Thought]] and [[#Will]] that is the hidden theme of every serious portrait from [[#Jan van Eyck]] to [[#Hans von Marées]] is impossible in [[#Apollonian Portraiture]], for in the [[#Apollonian Soul-Image]] [[#Thought]], the inner Zeus, is accompanied by the wholly a-historic entities of animal and vegetative impulse, wholly somatic and wholly destitute of conscious direction and drive towards an end (408) ###### Apollonian Technique - Small, simple, easy. A clever nullity (271) ###### Apollonian World-Feeling See also: [[#World-Feeling]], [[#Classical World-Feeling]] - The most valuable thing in the [[#Classical Mathematics]] is its proposition that number is the essence of all things *perceptible* _to_ _the_ _senses._ Defining number as a measure, it contains the whole [[#World-Feeling]] of a soul passionately devoted to the "here and now" - Deified the [[#Body]] and [[#The Present]]. - The Apollonian feeling, with its world of coexistent individual things, is tolerant as a matter of course (I, 450) - For the Classical world-feeling, conformably to the [[#Apollonian Depth-Experience]] and its symbolism, the individual body was [[#Being]] (I, 525) - What has not shape, what is not a shape, is not at all (I, 525) ##### Appearance ###### Effective Appearance - We, as [[#Faustian]] natures, are accustomed to take note of the individual according to his [[#Effective]] and not according to his [[#Plastic-Static Appearance]] in the field of our life-experience (I, 414) - We measure what a man is by his activity, which may be directed inwardly or outwardly, and we judge all intentions, reasons, powers, convictions and habits entirely by this directed-ness (I, 414) - See also: [[#Character]] ###### Plastic-Static Appearance ##### Arabian See also: [[#Magian]] ###### Arabian Culture - Arabian Culture is the culture of the established revelation-religions, all of which assume a dualistic [[#Soul-Image]] (404) - The [[#Arabian Culture]] very early dared the astounding gesture - we see it in the historical thought alike of the Jews and of the Persians from Cyrus's time - of connecting the legend of creation to the present by means of a genuine [[#Chronology]] (II, 31) ###### Arabian Soul - Strange and moving it is to see how this young Soul, held in bondage to the intellect of the Classical and to the political omnipotence of Rome dares not rouse itself into freedom but humbly subjects itself to obsolete value-forms and tries to be content with Greek language, ideas, and art-elements (I, 276). - The Arabian Soul was cheated of its maturity - like a young tree that is hindered and stunted in its growth by a fallen old giant of the forest (I, 283) - This alone is sufficient to explain the intense vehemence from which the [[#Arabian Culture]], when released at length from artistic as from other fetters, flung itself upon all the lands that had inwardly belonged to it for centuries past. - It is the sign of a soul that feels itself in a hurry, that notes in fear the first symptoms of old age before it had its youth (I, 283) - All of Faustian development was equivalently "shot out" in one discharge that carried the Arabs to Spain and France, India and Turkestan (I, 284) - With the victory of the Arabian [[#World-Feeling]], men's conception of the [[#Human Body]] underwent a revolution ###### Arabian Style - Early Christian art together with every living element in late Roman art, is in fact the springtime of the Arabian style - The Arabian style embraces the entire first millennium of our era. It thus stands at a critical position in the picture of a general history of [[#Art]], and its organic connectedness has been imperceptible under the erroneous conventions thereof (I, 276) - Never had the brilliant instant felt and experienced such as the [[#Cathedral]] for the [[#Faustian]] wherein the interior fulfilled the idea of infinite space (I, 283) ###### Arabian World-Feeling See also: [[#World-Feeling]] - Metaphysical notions from [[#Nazzam]] and [[#Suhrawardi]] manifested the Arabian [[#World-Feeling]] (I, 330) - The [[#Gold]] [[#Background]] possesses, in the iconography of the Western Church, an explicit dogmatic significance. It is an express assertion of the existence and activity of the divine spirit. It represents the Arabian form of the Christian world-consciousness (I, 330) - The [[#Magian Culture]]'s [[#Chronology]] connecting the legend of creation to the present is a necessary expression of the [[#Magian World-Feeling]] and fundamentally distinguishes the Judaeo-Persian creation-sagas from those of the Babylonian Culture (II, 30-31) ##### Architecture ###### Arabian Architecture - The master-masons of the Pantheon and the Imperial Fora were Syrians - in no other example is the primitive force of a young soul so manifest as here (I, 277) - The Arabian ([[#Magian]]) building begins with the inside and stays there (I, 296) ###### Apollonian Architecture - The Doric [[#Peripteros]], wholly corporeal and comprehensible in one glance (I, 243) - Emerged in opposition to the [[#Minoan]], a great renunciation (I, 243) - Denied an interior via outer doric column-sets (I, 263) - Simple, easy, small - no ornamentation shows such a poverty of invention as theirs (I, 271) - The Greek architecture with its commensuration of load and support and its peculiar smallness of scale suggests a persistent evasion of difficult architectural problems that were sought out in [[#Egyptian Architecture]] and [[#Faustian Architecture]] (I, 271) - There were only a few variations of the [[#Doric]] Temple and then it was exhausted (I, 272) - To overstep the strict limits would be an admission of the infinity of possibilities - Expressed in that of the [[#Doric Column]] and the [[#Architrave]] (I, 286) - All Classical building begins from the outside, contra the Western (I, 296) - The history of the Classical shaping art is one untiring effort to accomplish one single ideal - the conquest of the free-standing [[#Human Body]] as the vessel of the pure real present (I, 297) - The purely material, soulless body is the object which archaic relief, Corinthian painting on clay, and Attic fresco were all striving to obtain (until Polycletus and [[#Phidias]] achieved it in full) ###### Chinese Architecture - This Culture is the only one in which the art of gardening is a grand religious art. - It is the architecture of the landscape, and only that, which explains the architecture of the buildings, with their flat extension and the emphasis laid on the roof as the really expressive element (I, 252) - Chinese architecture espouses the landscape (I, 252) - Similar to [[#Egyptian Architecture]], it is direction in depth that maintains the [[#Becoming]] of [[#Space]] as a continuously present experience (I, 252) ###### Egyptian Architecture - The tomb-temples of the Old Kingdom and the mighty pyramid-temples of the Fourth Dynasty represent, not a purposed organization of [[#Space]] such as we find in the [[#Mosque]] and the [[#Cathedral]], but a rhythmically ordered sequence of spaces (249) - The sacred way leads from the gate-building on the Nile through passages, halls, arcaded courts and pillared rooms that grow narrower, to the chamber of the dead. - Egyptian architecture dominates the landscape (I, 252) - Similar to [[#Chinese Architecture]], it is direction in depth that maintains the [[#Becoming]] of [[#Space]] as a continuously present experience (I, 252) ###### Faustian Architecture - The dome of St. Peter's that floats high and bright over the vast vaulting (I, 243) - Begins on the grand scale simultaneously with the first stirrings of a new piety (the Cluniac reform, c. 1000) and a new thought (the Eucharist controversy) - The passionate language of this architecture is that of the poems too (spacelessness of prosody, rhythmatic syntax and imagery) (I, 245) - Built high, along with [[#Magian Architecture]] (I, 263) - The window as architecture is peculiar to the [[#Faustian Soul]] and the most significant symbol of its depth-experience. In it can be felt the will to emerge from the interior into the boundless (I, 263) - Expressed in that of the [[#Pillar]] and Pointed [[#Arch]] (I, 286) - All Western building begins from the inside, contra the Classical - The Faustian is the only soul that craves for a style which drives through walls into the limitless universe of space and makes both the exterior and the interior of the building complementary images of one and the same world-feeling (296) - Died at last with [[#Rococo]] in the [[#Rococo Period]] of the eighteenth century (I, 377) - On that last wonderful fragile growth of the Western architecture criticism has blown mercilessly, failing to realize that its origin is in the spirit of the [[#Fugue]] and that its non-proportion and non-[[#Form]], its evanescence and instability and sparkle, its destruction of surface and visual order, are nothing else than a victory of tones and melodies over lines and walls, the triumph of [[#Pure-Space]] over material, of absolute [[#Becoming]] over the [[#Thing-Become]] (I, 377) ###### Magian Architecture - Magian roofing, whether it be [[#Cupola]] or [[#Barrel-Vault]], *covers in* (243) - Built high, along with [[#Faustian Architecture]] (263) - In the Magian interior, the window is merely a negative component, a utility-form in no way yet developed into an art-form - to put it crudely, nothing but a hole in the wall (264) - The Arabian [[#Cupola]]-Church - The pendentive cupola that seems to float on high was (similar to the [[#Faustian]]'s [[#Stained Glass]]) also a victory over the principle of natural gravity which the [[#Apollonian Architecture]] expressed in column - The very absence of an exterior emphasizes that more the unbroken coherence of the wall that shuts in the Cavern and allows no look and no hope to emerge from it (265) - World-feeling is achieved in its purest expression in the [[#Central-Dome]] (281) - Expressed in that of [[#Column]] and Round [[#Arch]] (286) - Anti-plastic to the last degree, hostile to the pictorial and to the bodily alike. Itself bodiless, it disembodies the object over which its endless richness of web is drawn - The [[#Form-Language]] in the cavern-twilight exists for the faithful only **ARCHITECTURAL TERMS & SYMBOLS** ###### Acanthus - One of the most distinctive in Classical [[#Ornament]]ation - It has body, it is and remains individual, and its structure is capable of being taken in at one glance. ###### Arch - [[#Magian]] in origin - In its union with the [[#Doric Column]] (or, just Column), the (Apollonian) bodily principle of load and inertia is rejected and the arch is made to spring clear and open out of the slender column. - The idea actualized here is at once a liberation from all earth-gravity and a capture of space, and between this element and that of the dome which soars free but yet encloses the great [[#Cavern]], there is the deep relation of like meaning (286) ###### Architrave - In classical architecture, an architrave is the lowest, horizontal structural element of an entablature, resting directly on the tops of columns. - In every architrave there is to be found a secret battle between the conscious old and the unconscious, but victorious, new motives ###### Baroque Architecture - Began when [[#Michelangelo]] replaced the tectonic elements of the [[#Renaissance]], support and load, by those of dynamics, force and mass. - [[#Church of the Gesù]] is [[#Will]] become [[#Stone]] (413) ###### Barrel-Vault - Creates a tunnel-like, semi-cylindrical ceiling by extruding a single, continuous arch along a distance - Simplest form of a vault: effectively a series of arches placed side by side ###### Basilica - The pure Basilica was pushed into the Germanic West there to be transformed by the energy of the [[#Faustian]] depth-impulse into the [[#Cathedral]] (281) - The domed Basilica spread from Byzantium and Armenia into Russia where it came by slow degrees to be felt as an element of exterior architecture belonging to a symbolism concentrated in the roof (281) - When the Germanic spirit takes possession of the basilical type, the mutation of all structural parts brings the outer form of the building into relation with the meaning that governs the arrangement of the interior ###### Castle - Building which art is made and done (258) - In the castle it is the life and not the structure that possesses style (259) ###### Cathedral - The expression of the [[#Faustian]] idea in stone - *Is* Art, the only art by which *nothing* is imitated; it alone is pure tension of persistent forms, pure three-dimensional logic that expresses itself in edges and surfaces and volumes (258) - Architecture is derived from the inclinations of the moment (258) - The spirituality of the Gothic bodiless [[#Music]] gave deep meaning to the gigantic glass-expanses of cathedral-windows with their polychrome, translucent and wholly bodiless, painting - [[#Stained Glass]] (264) - Made for the brilliant instant felt and experienced as such when the wooden beams of the Cathedral roof locked themselves into rib-vaulting and an interior was made to actualize and fulfill the idea of **infinite space** (283) - The character of the [[#Cathedral]] is that of the forest (523) - This is the architectural actualizing of a world-feeling that had found the first of all its symbols in the high forest of the Northern plains, the deciduous forest with its mysterious tracery, its whispering of ever-mobile foliage over men's heads, its branches straining through the trunks to be free of earth (523) - Cathedral and Organ form a symbolic unity like temple and statue (524) ###### Cavern - [[#Prime-Symbol]] of the [[#Magian]] - Magian roofing, whether it be [[#Cupola]] or barrel-vault or even the horizontal baulk of a basilica, covers in. ###### Central-Dome - The purest expression of the [[#Magian]] world-feeling (281) ###### Chisel - Brings out the limiting surfaces and ipso facto affirms the corporeal and material nature of the marble block, contra the [[#Drill]] (288) ###### Cluniac Reforms - A series of changes within medieval monasticism in the Western Church focusing on restoring the traditional monastic life, encouraging art, and caring for the poor. - An increasingly rich liturgy stimulated demand for altar vessels of gold, fine tapestries and fabrics, stained glass, and polyphonic choral music to fill the [[Artists & Architects/Architecture/Architectural Movements/Medieval Architecture/Romanesque Architecture/General Outline|Romanesque]] churches ###### Column See: [[#Doric Column]], [[#Corinthian Column]], [[#Pseudo-Corinthian Column]] ###### Corinthian ###### Corinthian Column - Created from a tendency toward genre and applied art ###### Cupola - Small, often dome-shaped structure of a roof, serving as a lantern for light, a vent, etc. - Tells of the logic in the builders' world-picture, of the first and last things in their universe, rather than telling of the life therein, such as the [[#Castle]] (259) ###### Doric - Harsh, narrow, scanty and barbaric, the early Doric geometrical style appeared in opposition to the [[#Minoan]] (243) - The Doric Style pivoted everything on proportions and measure (271) ###### Doric Column - The greatest symbol of [[#Pure Present]] - Bore into the ground, always thought of from below upward - The [[#Apollonian]] turned the architectural type of the column inside out like a glove - the outer column-sets are relics of a denied interior (263) - The monolithic column was the mightiest symbol of [[#Euclidean]] existence - all body, all unity, all steadiness - The [[#Doric Column]] is the very embodiment of the Antique life-ideal. ###### Drill - In breaking surfaces and creating effects of light and shade, denies the corporeal and material nature of the marble block, contra the [[#Chisel]] (288) - In adopting, sculptors lose the old feeling for the phenomenon of the naked [[#Human Body]] (288) ###### Entablature - In classical architecture, an entablature is the horizontal superstructure that sits above columns and below the roof, forming one of the core elements of the classical orders. ![[Doric Diagram .jpg]] ###### Etruscan ###### Facade - The motive of the facade: greeting the beholder and telling him the inner meaning of the house (296) ###### Flying-Buttress ###### Gothic - The indescribable purity of Gothic form often causes us to forget what an excess of native strength and depth it possessed - Gothic is the *only* foundation of the [[#Renaissance]] (315) - Gothic and [[#Baroque]] are something that *is,* while [[#Renaissance]] is only an ideal, unattainable like all ideals, that floats over the will of a period (362) ###### Ionic - In the Ionic phase, the center of gravity shifted from [[#Architecture]] to an independent plastic art (269) ###### Metope - A rectangular architectural element of the [[#Doric]] order, filling the space between [[#Triglyph]] in a frieze, a decorative band above an architrave - The metopes of many temples had blue backgrounds so that they should appear deep in contrast with the [[#Triglyph]]s ###### Mosque - The earliest of all Mosques is the Pantheon as rebuilt by Hadrian. Here, without a doubt, the emperor was imitating, for the satisfaction of his own taste, cult-buildings that he had seen in the east (281) - A mosque has no face, and consequently the Iconoclastic movement of the Moslems and [[#The Paulicians]] - which under [[#Leo III]] spread to [[#Byzantium]] and beyond - necessarily drove the portrait-element quite out of the arts of form, so that thenceforward they possessed only a fixed stock of human [[#Arabesque]]s (345) ###### Peripteros - A type of ancient Greek or Roman temple surrounded by a portico with columns - a four sided Arcade or Peristyle ###### Pillar - Pointed [[#Arch]] as the expression of the [[#Faustian]] (286) ###### Pseudo-Corinthian Column - Of the 15th century ###### Relief - A sculptural method in which the sculpted pieces remain attached to a solid background of the same material - To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane ###### Renaissance Architecture - The [[#Renaissance]] practiced wholly and exclusively an architecture of space prescribed for it by the [[#Gothic]] - It produced no new building-idea and the extent of its architectural achievement might almost be reduced to [[#Facade]]s and Courtyards (311) - Most conclusively of all though is that motive which actually dominates the Renaissance - the association of round-[[#Arch]] and [[#Column]] - this in fact represents the leitmotif of the [[#Magian Architecture]] that originated in Syria (312) ###### Romanesque - Happened concurrently with the beginning of the [[#Faustian]] style (267) - Inner and out construction were placed in a fix relation, the wall was penetrated by the [[#Form-Language]] and the Form worked into the wall in a way that no other Culture had ever imagined - From the beginning the window and the belfry were invested with their meanings. - The form was irrevocably assigned (267) ###### Spire - The Spire is an "I," along with the [[#Flying-Buttress]] (407) ###### Triglyph - Triglyph is an architectural term for the vertically channeled tablets of the Doric frieze in classical architecture, so called because of the angular channels in them. The rectangular recessed spaces between the triglyphs on a Doric frieze are called metopes ##### Army ###### Apollonian Army - The Roman notion of an army, too, underwent a significant change. In genuinely Classical times there had been no Roman Army in the sense in which we speak of the Prussian Army, but only "armies," that is, definite formations (as we say) created as corps, limited and visibly present bodies, by the appointment of a Legatus to command (443) - It was Caracalla, the same who abolished the idea of "civis Romanus" by decree and wiped out the Roman civic deities by making all alien deities equivalent to them, who created the un-Classical and Magian idea of an Imperial Army, something _manifested_ in the separate legions. - These now meant something, whereas in Classical times they _meant_ nothing, but simply *were* (443) ##### Art - The notion of the art-form only arose when men became aware that their art-creations had a connotation at all, that is, when the expression-language of the art, along with its effects, had ceased to be something perfectly natural and taken-for-granted... - Men become suddenly aware of the existence of "works," and then for the first time the understanding eye is able to distinguish a causal side and a destiny side in every living art (167) - There is no timeless and solely true way of art, but only a history of art, marked like everything that lives with the sign of irreversibility (168) - All "Early" art is religious (243) - All Art is [[#Expression-Language]] (252) - It is that of one active existence speaking for itself only - Arts are living units, and the living is incapable of being dissected. (291) - If art has boundaries at all - boundaries of its soul-become-form - they are historical and not technical or physiological boundaries. - An art is an organism, not a system (292) - As such, no one art of any greatness has ever been reborn (295) - An organism of a [[#Culture]], organisms which are born, ripen, age, and forever die (373) - Art is the answer to what possesses [[#The Force of the Symbol]] (342) ###### Art History - The task before art-history is to write the comparative biographies of the [[#Great Style]]s, all of which as organisms of the same genus possess structurally cognate life histories (274) ###### Art Quotes - "No one has seriously considered the possibility that arts may have an allotted span of life and may be attached as forms of self-expression to particular regions and particular types of mankind, and that therefore the total history of an art may be merely an additive compilation of separate developments, of special arts, with no bond of union save the name and some details of craft-technique." (26) - To the Culture belong gymnastics, the tournament, the agon, and to the Civilization belongs **Sport**. This is the true distinction between the Hellenic palaestra and the Roman circus. **Art itself becomes a sport** (hence the phrase "art for art's sake'') to be played before a highly-intelligent audience of connoisseurs and buyers, whether the feat consist in mastering absurd instrumental tone-masses and taking harmonic fences, or in some tour de force of coloring. (46) ##### Art - Micro-Glossary ###### Act - An existence is made to show itself in the composition of the exterior structure (345) - To make one's [[#Confession]] is not to avow an [[#Act]] but to lay before the Judge the inner history of that [[#Act]] (348) - The act is patent, its roots the personal secret (348) - Nothing is more instructive than to observe how under the hands of a real [[#Faustian]] man even the [[#Act]] transforms itself into a [[#Portrait]]-study (357) **APOLLONIAN ACT** **FAUSTIAN ACT** - A [[#Faustian]] [[#Act]] is a contradiction in itself - hence the character-heads that we so often see on feeble act-representations and hence the laborious, forced, equivocal character that arouses our dislike in too manifest effort to placate the [[#Classical]] ideal - sacrifices offered up not by the [[#Soul]] but by cultivated understanding (357) - [[#Rembrandt]] never once painted an [[#Act]], in the foreground sense, and if [[#Leonardo da Vinci]], [[#Titian]], [[#Diego Velázquez]] did so at all, it was very rarely; and even then, so to say, they painted bodies as [[#Landscape]]. The [[#Portrait]] is ever the touchstone. (358) ###### Anatomy - That which [[#Leonardo da Vinci]] studied not as foreground anatomy but as physiology studied for the inward secrets of man (367) ###### Anti-Gothic - The [[#Renaissance]], essentially. ###### Apollonian Art - The [[#Nude Statue]] (241) - The painting that defines the individual body by contours is Apollonian - For the Greek, the marble of the state was felt with the eye, and the thick tones of an [[#Aulos]] moved him almost corporally. For him, eye and ear are the receivers of the whole of the impression that he wished to receive. (291) - Everything [[#Euclidean]] and tangible is also popular, and the genuinely popular art is therefore the Classical. It is very largely the feeling of the popular character in it that constitutes its indescribably charm for the [[#Faustian]] intellects that have to fight for self-expression, to win their world by hard wrestling (322) - For the [[#Faustian]], contemplation of Classical art and its interpretation is pure *refreshment*: here nothing needs to be struggled for, everything offers itself freely. - Classical art-work is an event (332) - What [[#Apollonian Art]] can claim as its very own is simply the apotheosis of the bodily *phenomenon*, taking the word perfectly literally - the rhythmic proportioning of limbs and harmonious build of muscle (343) - It was a strictly metaphysical reason, the need of a supreme life-symbol for themselves, that brought the later Hellenes to this art, which under all the consummate achievement is a narrow one. - There is nothing so **impersonal** as Greek art - In no Classical artwork is a relation with the beholder attempted, for that would require the [[#Form-Language]] of the individual object to affirm and to make use of the existence of a relation between that object and ambient unlimited space (435) ###### Apollonian Art-Space See also: [[#Composition]] - Presented things as separate singulars in contrast to general nothingness (315) - There is no background to connect the individual scenes - for such background would have been a challenge to the principle that things alone are actual and [[#Space]] non-existent ###### Apollonian Painting See also: [[#Painting]] - The strict style in Classical painting limited its palette to yellow, red, black and white. - The ban upon [[#Blue]] in the higher art was imposed upon the [[#Euclidean]] soul by its [[#Prime-Symbol]] (326) - Cold and disembodying, [[#Blue]] and [[#Green]] were kept out of the [[#Fresco]]es of [[#Polygnotus]] (326) - Classical painting is emphatically a public art (328) - Infinite space meant for Classical feeling complete nothingness, and the use of [[#Blue]] and [[#Green]], with their powers of dissolving the near and creating the far, would have been a challenge to the absolutism of the foreground and its unit-bodies, and therefore to the very meaning and intent of [[#Apollonian Art]] (328) ###### Arabesque - What is true as regards architecture is even more so as regards ornamentation, which in the Arabian world very early overcame all figure-representation and swallowed it up in itself. Then, as "arabesque" it advanced to meet, to charm and to mislead the young art-intention of the West. ###### Arabian Art - A single phenomenon - Brought the [[#Magian]] world-feeling to expression by means of the *gold ground* of its [[#Mosaic]] and Pictures (329) ###### Art of the Garden **WESTERN GARDEN-ART** - Here, expressed on the canvas of [[#Nature]] itself by extended pools, brick walls, avenues, vistas and galleries, is the same tendency that is represented in painting by the effort towards the linear perspective that the early Flemish artists felt to be the basic problem of their art and Brunellesco, Alberti and Piero della Francesca formulated (318) - It was a proclamation of the [[#Prime-Symbol]]. The point at which the perspective lines coalesce is at infinity. - As such, the Park is an impossibility in [[#Apollonian Art]] (318) - It was only the Imperial Age that gratified its taste with ground-schemes of Eastern origin (319) - The first garden theorist of the West, [[#Leon Battista Alberti]] - The most significant element in the Western garden-art is thus the [[#Point de Vue]] of the great [[#Rococo]] park, upon which all its avenues and clipped-hedges walk open and from which vision may travel out to lose itself in the distance (319) - It is the [[#Point de Vue]] that gives us the key to a real understanding of this remarkable mode of making nature itself speak the [[#Form-Language]] of a human symbolism (319) **CHINESE GARDEN-ART** ###### Artistic Form See also: [[#Form]] ###### Attic See also: [[#Attic Tragedy]] - Herein the motive toward child-portraits and family groups is totally absent ###### Attitude - That which [[#Hellenistic Portraiture]] is grounded in rather than a [[#Confession]] (347) - Build on attitudes devoid equally of [[#Duration]] and of [[#Direction]], disengaged from [[#Future]] and from past (347) - The statues of Olympian victors are representatives of a fighting attitude (350) - In the best age of [[#Attic]], the representation of a man in respect of his [[#Attitude]], as [[#Persona]], necessarily leans to the [[#Form-Ideals]] of the [[#Nude Statue]] (418) - [[#Character]] one possesses for one's self, but [[#Attitude]] has meaning only in relation to others. - Every [[#Movement]] means to win, while every Classical [[#Attitude]] only wants to *be* and troubles itself little about the Ethos of the neighbor. To fight for or against the trend of the times, to promote Reform or Reaction, construction, reconstruction or destruction - all this is as un-Classical as it is un-Indian (451) - All [[#Apollonian Ethic]] as an ethic of [[#Attitude]] (455) ###### Background - The [[#Gold]] [[#Background]] possesses, in the iconography of the Western Church, an explicit dogmatic significance. It is an express assertion of the existence and activity of the divine spirit. It represents the Arabian form of the Christian world-consciousness (330) - It is for this reason that for a thousand years this treatment of the background was held to be the only one metaphysically and ethically possible and seemly in representations of the Christian legend (330) - When "natural" backgrounds, with their [[#Blue-Green]] heavens, far [[#Horizon]]s and depth [[#Perspective]], began to appear in early [[#Gothic]], they had at first the appearance of something profane and worldly (330) ###### Baroque - [[#Oil-Painting]] and [[#Instrumental Music]] evolve organically towards aims that were comprehended in the [[#Gothic]] and achieved in the Baroque - With the Baroque, the leadership in music passes to Italy (304) - At the same time, [[#Architecture]] ceases to be the ruling art - Gothic and [[#Baroque]] are something that *is,* while [[#Renaissance]] is only an ideal, unattainable like all ideals, that floats over the will of a period (362) ###### Brushstroke - The Visible Brushstroke - Introduced by [[#Venice]] as a space-forming and quasi-musical motive (331) - It is only in the brushwork, which remains permanently visible and perennially fresh, that the historical feeling comes out. Our desire is to see in the work of the painter not merely something that has *become* but something that is *becoming* - Individual brushstrokes are accents of a personal temperament, ... bringing unending movement into the plain element of [[#Color]] (331) - Part of the dynamic stability of the universe of eternal Becoming, directional Time, and Destiny (332) - The physiognomy of this script of the brush - an ornamentation that is entirely new, infinitely rich and personal, a peculiar to the Western Culture - is purely and simply musical (332) - Henceforth the notion of tempo is comprised in the execution of a painting and steadily reminds us that this art is the art of a soul which, in contrast to the [[#Apollonian Art]], forgets nothing and will let nothing be forgotten that once was (332) ###### The Bust - Around the time of [[#Praxiteles]] naked goddess, a portrait-art ventured to show itself, simultaneously with the invention of a form that has never since been forgotten - the bust. - Unfortunately art-research has made the mistake of discovering in this the beginnings of the [[#Portrait]] (355) - Contra the individuality of Western portraiture (and the [[#Destiny]] it embodies), the Greek produced standard men to which any names whatever could be affixed. - This "portrait" is distinguishable not by personal traits but by the label only. This is the general custom amongst children and primitive men, and it is connected with [[#Name-Magic]] (355) - The brilliant fidelity of Roman busts has been mistaken for depth of [[#Physiognomy]] (356) ###### The Child - That which links past and future in [[#Portraiture]] (352) - In every art of human representation that has a claim to symbolic import, it signifies [[#Duration]] in the midst of phenomenal change, the endlessness of [[#Life]] (352) - The [[#Classical Life]] exhausted itself in the completeness of the moment. The individual shut his eyes to time-distances; he comprehended in his thought the men like himself whom he saw around him, but not the coming generations; and therefore there has never been an art that so emphatically ignored the intimate representation of [[#The Child]] as the Greek art did (352) ###### Chinese Art - Just as the devious ways through doors, over bridges, round hills and walls lead at last to the end, so the paintings take the beholder from detail to detail whereas [[#Egyptian Art]] and relief masterfully points him in the one set direction (252) - No [[#Egyptian]] or [[#Chinese]] [[#Sculpture]] ever dreamed of using external anatomy to express his meaning. (344) ###### Clouds - The same symbolic meaning as the [[#Horizon]] attaches to clouds. - Disregarded by the Classical Painter and treated superficially by the Renaissance Painter (318) - Very early the Gothic looked at its cloud-masses and through them, with the long sight of [[#Mysticism]] ###### Color Tones - Interpret space, while [[#Outlines]] define the material (321) - **Blue** - Along with Green, the colors of the heavens, the sea, the fruitful plain, the shadow of the southern noon, the evening, the remote mountains. - It is essentially atmospheric and not substantial - It is cold, it disembodies, it evokes impressions of expanse and distance and boundlessness (326) - **Green** - Along with Blue, the colors of the heavens, the sea, the fruitful plain, the shadow of the southern noon, the evening, the remote mountains. - It is essentially atmospheric and not substantial - It is cold, it disembodies, it evokes impressions of expanse and distance and boundlessness (326) ###### Composition - Composition differs in different Cultures according to the [[#Prime-Symbol]] of the Culture (323) - [[#Apollonian]] Composition - Placed figures and groups separately, with a deliberate avoidance of space-and-time relations in the plane of representation - There is no background to connect the individual scenes - for such background would have been a challenge to the principle that things alone are actual and [[#Space]] non-existent - [[#Polygnotus]]'s frescoes in the Lesche of the Cnidians at Delphi as an example - [[#Egyptian]] Composition - Chose to represent simultaneous events in superposed ranks, thereby eliminating the third dimension from the look of the picture (323) - ###### Content - **Classical Content** - The free-standing statue of a naked man; here every essential and important element of [[#Being]], its whole rhythm, is exhaustively rendered by surfaces, dimensions and the sensuous relations of the parts. ###### Craft-Art - Art becomes craft-art in all its branches - architecture and music, poetry and drama - and in the end we have a pictorial and literary stock-in-trade which is destitute of any deeper significance and is employed according to taste. - [[#Style]] transforming into [[#Taste]] ###### Egyptian Art - The art of Egyptians must aim at *plane* effects and nothing else, even when it is making use of solid means. - For the Egyptian, the pyramid over the king's tomb is a triangle, a huge powerful expressive plane that, whatever be the direction from which one approaches, closes off the [[#Way]] and commands the landscape (250) - It is an art that admits of no deviation for the relief of the tense soul (251) - No [[#Egyptian]] or [[#Chinese]] [[#Sculpture]] ever dreamed of using external anatomy to express his meaning (344) ###### Faustian Art - The fugue (241) - The painting that forms space by means of light and shade is Faustian - (242) - Everything of the plastic that had sprung up in the shade of Gothic Cathedrals at Chartres, Reims, Bamberg, Naumberg, etc. vanished before the [[#Oil-Painting]] of Venice and the [[#Instrumental Music]] of the [[#Baroque]] (295) - Faustian Art is not, and by very essence cannot be, for all. If modern painting has ceased to appeal to any but a small (and ever decreasing) circle of connoisseurs, it is because it has turned away from the painting of things that the man in the street can understanding. - It has transferred the property of [[#Actuality]] from [[#Content]] to [[Space]] - the space through which alone things *are.* - And with this a difficult metaphysical element has entered into painting and this element does not give itself away to the layman. - Faustian art is a deed. It symbolizes the living course. And the physiognomy of this script of the brush - an ornamentation that is entirely new, infinitely rich and personal, a peculiar to the Western Culture - is purely and simply musical (332) - In the religious art of the West, the representation of [[#Motherhood]] is the noblest of all tasks. (353) - The whole panorama of early [[#Gothic]] mankind is pervaded by something material, something caring and patient (353) - German-Catholic Christianity placed not the suffering Redeemer but the suffering Mother in the center of its [[#World-Picture]] (353) - Every high creator in Western history has in reality aimed, from first to last, at something which only a few could comprehend (i.e., the [[#Esoteric]]) (433) - The full [[#Faustian]] Life-Feeling, the passion of the third dimension, takes hold of the form of the [[#Picture]], the painted plane, and transforms it in an unheard-of way. The picture no longer stands for itself, nor looks at the spectator, but takes him into its sphere (436) ###### Faustian Art-Space - Dynamic, full of light, clarity of atmosphere, a great noon-calm (314) ###### Faustian Painting - In the sixteenth century, there is a transvaluation of all the elements - The background gains a preponderant importance (316) - The background as a symbol of the infinite conquers the sense-perceptible foreground, and at last the [[#Depth-Experience]] of the Faustian soul is captured in the kinesis of a picture (317) - There emerges in the picture the great symbol of an unlimited space-universe which comprises the individual things within itself as incidentals - *the horizon* (317) - An infinitesimal [[#Blue]]-to-[[#Green]] is the space-creating element through the history of our [[#Perspective]] [[#Oil-Painting]] - It is the basic and supremely important tone which supports the ensemble of the intended color-effect, like the [[#Basso Continuo]] supports the Orchestra (326) - Western painting is emphatically a studio-art (328) - The whole of [[#Oil-Painting]] is not meant for the bright light of day ###### Frame - The sector defined by the sides of the frame - the peepshow-field, twin with the stage-field - represents universal space itself. ###### Fresco - The completest Classical contrast to the polychrome painted windows of the [[#Cathedral]] - Co-material with the wall on and with which it has grown and its color is effective as material - The great achievement of Giotto and Masaccio in creating a fresco-art is only *apparently* a revival of the Apollonian way of feeling; but the [[#Depth-Experience]] and idea of [[#Extension]] that underlies it is not the [[#Apollonian]] unspatial and self-contained body but the [[#Gothic]] *field.* (314) - The fresco-painting is tied to the wall, trained on it, but the [[#Oil-Painting]], the "picture" on canvas or board or other table, is free from limitations of place (352) - Every resource of [[#Fresco]] - the big contours, the vast surfaces, the immense nearness of naked shapes, the materiality of color - was, with the [[#Sistine Chapel Ceiling]], for the last time strained to the utmost to liberate the high-[[#Renaissance]] [[#Paganism]] that was in [[#Michelangelo]] (364) - The [[#Florence]] fresco aims at [[#Actuality]] in individual things and produces a sum of such things in an architectonic setting - The [[#Fresco]] has no time-of-[[#Day]] (429) - Pure-timeless-brightness ###### Gigantic - The taste for the Gigantic is a symptom of declining [[#Creative Power]] (386) - Here size is not, as in the [[#Gothic]] or the Pyramid styles, the expression of inward greatness, but the dissimulation of its absence. - This swaggering in *specious* dimensions is common to all nascent [[#Civilization]]s - it can be found in the Zeus Alter of [[#The Kingdom of Pergamene]], the architecture of the Roman Imperial Age, the new American skyscraper, etc. (386) ###### Gothic Art See also: [[#Gothic]] - The Gothic gripped life in its entirety, penetrated its most hidden corners - It created new men and a new world (308) - From the idea of Catholicism to the state-theory of the Holy Roman Emperors, from the knightly tourney to the new city-form, from [[#Cathedral]] to Cottage, from language-building to the village maiden's bridal attire, [[#Oil-Painting]] to Spielmann's song, everything is hall-marked with the stamp of one and the same symbolism (308). - Men were contending *for* something, not *against it* (310) - Gothic and [[#Baroque]] are something that *is,* while [[#Renaissance]] is only an ideal, unattainable like all ideals, that floats over the will of a period (362) ###### Great Style - An emanation from the essence of the [[#Macrocosm]], from the [[#Prime-Symbol]] of a great culture. - Only the art of great Cultures, the art that has ceased to be only art and has begun to be an effective unit of expression and significance possess style (266) ###### The Image See also: [[#Image]] ###### Impressionism - The extreme of disembodiment (all bodies in space possessing an atmospheric and perspective meaning purely as carries of light and shade) of the world in the service of [[#Space]] (243) - Started with [[#Leonardo da Vinci]]'s [[#Sfumato]] (367) - What is the [[#Imitation]] of an "impression"? Something purely Western, something related to the idea of [[#Baroque]] and even to the unconscious purposes of [[#Gothic]] architecture and diametrically opposed to the deliberate aims of the [[#Renaissance]] (378) - Does it not signify the tendency - the deeply-necessary tendency of a [[#Waking-Consciousness]] to feel pure endless space as the supreme and unqualified [[#Actuality]], and all sense-images as secondary and conditioned actualities "within it" (378) - [[#Impressionism]] is the inverse of the [[#Euclidean]] [[#World-Feeling]]. It tries to get as far as possible from the language of [[#Plastic]] and near as possible to that of [[#Music]] (378) - The things in [[#Impressionism]] are not even bodies, but light-resistances in space, and their illusive density is to be unmasked by the [[#Brushstroke]] (379) - Under the influence of Impression, the artist feels an endless movement-quality in the sensuous element that is in utter contrast to the statuesque ataraxia ([[#ἀταραξία]]) (379) - [[#Impressionism]] is the comprehensive expression of a [[#World-Feeling]], and it must obvious therefore permeate the whole [[#Physiognomy]] of our "Late" Culture (379) - The Impressionistic picture in general presents to the beholder not the [[#Nature]] of the foreground but again a *second visage*, the look and soul of the [[#Landscape]] (380) ###### Landscape - The Impressionistic picture in general presents to the beholder not the [[#Nature]] of the foreground but again a *second visage*, the look and soul of the [[#Landscape]] (380) - Whether we take the Catholic-heroic landscape of [[#Claude Lorrain]], the intimate landscape (paysage intime) of [[#Jean-Baptiste-Camille Corot]], the sea and river-banks and villages of [[#Aelbert Cuyp]] and [[#Jan van Goyen]], we find always a portrait in the physiognomic sense, something uniquely occurring, unforeseen, brought to light for the first and last time (380) ###### Living Art - The sign of all living art, the pure harmony of "will," "must," and "can," the self-evidence of the [[#Aim]], the un-self-consciousness of the eecution, the unity of the art and the Culture - all that is past and gone. - Under the spell of a great tradition full achievement is possible even to a minor artist, because the [[#Living Art]] brings him in touch with his task and the task with him (387) - That which one wills to express is in him a priori. Of the stock of [[#Dead Form]]s that he had in front of him, he really saw only the few that he wanted to see, and saw them as he wanted them - namely, in line with his own intention and not with the intention of the original creator, for no [[#Living Art]] ever seriously considers that (II, 69) ###### Masterpiece - Each Masterpiece is an Individual Organism without Predecessor or Successor - it's theory, technique and convention belong to its character, and contain nothing of eternal or universal validity (293) ###### Magian Art - Anti-plastic to the last degree, hostile to the pictorial and to the bodily alike. Itself bodiless, it disembodies the object over which its endless richness of web is drawn (287) - Everything that the [[#Magian Culture]] had attempted in the way of frontal portraiture, deep relief and mosaic finally succumbed before the [[#Arabesque]] (295) - The awakening Magian Art at once reversed the meaning of the [[#Apollonian]] forms. The eyes of the statues and portraits in the Constantinian style are big and staring and very definitely directed. They represented the Pneuma, the higher of the two [[#Soul-Substance]]s (435) - In the [[#Classical]] [[#Fresco]]-[[#Painting]], heads are turned towards one another, but in the [[#Mosaic]]s of [[#Ravenna]], and even in the [[#Relief]]-work of Early Christian and Late Roman sarcophagi they are always turned toward the beholder, and their wholly spiritual look is fixed upon him (435) ###### Mosaic - In Hellenic times, it was made of pieces of marble, opaque and corporeal-Euclidean, adorning the floor (285) - With the awakening of the [[#Arabian Soul]], it came to be built up of pieces of glass and set in fused gold, simply covering the walls and roofs of domed [[#Basilica]]s (285) - This corresponds exactly as to phase with the [[#Stained Glass]] picturing of [[#Gothic]] [[#Cathedral]]s, both being "early" arts ancillary to religious architecture (285) - Transforms the church into the magic, gold-shimmering sphere that bears men away from earthly actuality (285) ###### Oil-Painting - The fresco-painting is tied to the wall, trained on it, but the [[#Oil-Painting]], the "picture" on canvas or board or other table, is free from limitations of place (352) - In the [[#Oil-Painting]] age that followed the end of the [[#Renaissance]], the depth of an artist can be accurately measured by the content of his [[#Portrait]]s (356) - All forms in the picture are thus fundamentally felt as portraits - Oil-painting, contra the [[#Fresco]], sees and handles with ever-growing sureness [[#Extension]] as a whole, and treats all objects only as representatives thereof. - Developed in the opposite direction of the [[#Fresco]], towards an imaginary darkness, also independent of time-of-[[#Day]], which forms the characteristic atmosphere of the Faustian [[#Soul-Space]] (430) ###### Outlines - Define the material, while [[#Color Tones]] interpret the space (321) ###### Painting - There is no such thing as "the" art of Painting - [[#Raphael]] is as dissimilar to [[#Titian]] as [[#Francisco Goya]] is to [[#Bach]] **TYPES OF PAINTING** - [[#Apollonian]] Painting - The strict style in Classical painting limited its palette to yellow, red, black and white. - The ban upon Blue in the higher art was imposed upon the [[#Euclidean]] soul by its [[#Prime-Symbol]] (326) - [[#Baroque]] Painting - Complicated by the fact that it involves an opposition of ordinary popular feeling and the finer sensibility (322) - [[#Chinese]] Painting - Shows not an evolution but an up-and-down of fashions for more than a thousand years on end; and this unsteadiness must have set in as early as the Han period (391) - The final result is an endless industrious repetition of a stock of fixed forms (391) - [[#Faustian]] Painting - See [[#Oil-Painting]] - [[#Music]]al Painting - A dynamic of [[#Space]] (i.e., the [[#Oil-Painting]]) (321) - [[#Plastic]] Painting - A static of things (i.e., the [[#Fresco]]) (321) ###### Patina - A symbol of mortality and hence related in a remarkable way to the symbols of time-measurement and [[#Funeral Customs]] / Rites (337) - Ennoblement of decay for the [[#Faustian Style]] ###### Patternwork - Pictures and fabrics, verses and vessels, furniture, dramas and musical compositions - all is patternwork. As such, we cease to be able to date anything within centuries, let alone decades, by the language of its [[#Ornament]]ation. So it has been in the Last Act of all Cultures (391) ###### Perspective - With the rise of perspective, the deeper form and full metaphysical significance of the picture comes to be concentrated upon the [[#Horizon]] (321) - The function of [[#Perspective]] is to subject things to the "I," which in ordering comprehends them; and it is a further indication that [[#Will]] - the claim to command the world - is absent from the [[#Classical]] make-up that its painting denies the perspective background. - **Aerial Perspective** - In other words, [[Artists & Architects/Baroque Movement/General Outline|Baroque]] Perspective (326) - Rendered by imponderable gradations of tone, rooted in the [[#Faustian World-Feeling]] (370) - **Apollonian Perspective** - Denies the perspective background and, therefore, the [[#Will]] (409) - **Chinese Perspective** - Places the vanishing point in the middle of the picture instead of in the [[#Depth]] as we do (409) - [[#Directional Energy]] is wanting (409) - **Faustian Perspective** - Puts the vanishing point in the [[#Depth]] (409) - From [[#Faustian]] perspective there runs a road straight to the comprehension of our astronomical world-picture and its passionate pioneering into unending farness (436) - **Linear Perspective** - In other words, [[#Renaissance]] Perspective (326) - Associated with the architectural motive (370) ###### Picture - Belongs to directly sensible nature - it *narrates* (321) - [[#Apollonian]] Culture recognized as actual only that which was immediately present in time and place - and thus it repudiated the background as pictorial element (329) - [[#Faustian]] Culture strove through all sensuous barriers towards infinity - and it projected the center of gravity of the pictorial idea into the distance by means of [[#Perspective]] (329) - [[#Magian]] Culture felt all happening as an expression of mysterious powers that filled the world-cavern with their spiritual substance - and it shut off the depicted scene with a gold background, that is, by something that stood beyond and outside all nature-colors (329) ###### Plastic - Arts such as [[#Sculpture]] - Sank into insignificance following the great [[#Faustian]] musicians and oil-painters (324) **CLASSICAL PLASTIC ART** - After liberating the form completely from the actual or imaginary back-wall and setting it up in the open, free and unrelated, to be seen as a body among bodies, moved on logically till the [[#Naked Body]] became its only subject (343) - In this art, what is [[#Ornament]]al in the high sense resides entirely in the proportions of the structure and the equivalence of the axes in respect of support and load (343) - The body has no interior, that is, no [[#Soul]] (343) - Contains the whole [[#Form-Language]] of the work within itself (ex., the [[#Column]]) (343) - Unlike the plastic forms of every other [[#Culture]], the [[#Attic]] [[#Statue]] stands wholly for itself and it fits into no architectural order; it is an individual amongst individuals, a body amongst bodies. And the living individuals merely perceive it as a neighbor, and do not feel it as an invasive influence, an efficient capable of traversing space. Thus is expressed the [[#Apollonian]] [[#Life-Feeling]] (435) **FAUSTIAN PLASTIC ART** ###### Plein-Air - Soulless and soul killing (335) - Rightly understood, the battle of [[#Rembrandt]]-brown and the plein-air of the new school is simply one more case of the hopeless resistance put up by soul against intellect and Culture against Civilization, of the opposition of symbolic necessary art and megalopolitan "applied" art (335) - [[#Plein-Air]] and its new color scale stand for irreligion (382) - With it, [[#Impressionism]] has come down again to the crust of the earth. Its space is cognized, not experienced, seen, not contemplated; there is a tunedness in it, but not [[#Destiny]]. It is the mechanical object of physics and not the felt world of the *pastorale* that [[#Gustave Courbet]] and [[#Édouard Manet]] give us in their landscapes (382) - The plein-air painters, true megalopolitans, obtain as it were specimens of the music of space from the least agitated sources of Space and Holland - [[#Diego Velázquez]], [[#Francisco Goya]], [[#Frans Hals]] - in order to restate it in empirical and scientific terms (383) - It is natural science as opposed to nature experience, head against heart, knowledge in contrast to faith (383) ###### Point de Vue - Point of view - It is the [[#Point de Vue]] that gives us the key to a real understanding of this remarkable mode of making nature itself speak the [[#Form-Language]] of a human symbolism (319) - It is in principle akin to the dissolution of finite number-pictures into infinite series in our mathematic: as the remainder-expression reveals the ultimate meaning of the series, so the glimpse into the boundless is what, in the [[#Art of the Garden]], reveals to a [[#Faustian Soul]] the meaning of [[#Nature]] (319) ###### Portrait See also: [[#Portraiture]] - Just as [[#Classical]] Man properly meant, with his perfected working-out of superficial body, to exhaust the whole essence of the living phenomenon in and by the rendering of its bounding surfaces, so [[#Faustian]] man no less logically found the most genuine, the only exhaustive, expression of his [[#Life-Feeling]] in the [[#Portrait]] (345) ###### Proportion ###### Quattrocento - The cultural and artistic events of Italy during the period 1400 to 1499 are collectively referred to as the Quattrocento. - It is characterized by a revival of classical antiquity, the development of linear perspective, anatomical study, and a new emphasis on proportion, clarity, and rational space. Artists such asMasaccio, [[#Donatello]], Brunelleschi, and Piero della Francesca established visual principles that balanced humanist ideals with disciplined structure, laying the foundations for the High Renaissance of the early 16th century. ###### Realism ###### Relief - Like [[#Fresco]], is tied to the bodily wall. - All [[#Apollonian]] sculpture might be considered as relief detached from the plane (298) - In the end, the figure is treated as a self-contained body apart from the mass of the building but it remains essentially a silhouette in front of a wall ###### Renaissance - To believe genuinely in a rebirth of Classical art in the Western fifteenth century requires a rare stretch of the imagination (295) - The Renaissance didn't alter the ways of thought and life-feeling of West Europe not one whit (308) - It could penetrate as far as costume and gesture but the roots of life it could not touch - The Renaissance never touched the people, even in Florence. - It was an [[#Anti-Gothic]] movement and a reaction against the spirit of polyphonic music that has its Classical equivalent in the Dionysiac movement (309) - This was a reaction against the Doric and the sculptural [[#Apollonian]] [[#World-Feeling]] - In both cases we have in reality an outbreak of deep-seated discordances in the Cultures, which physiognomically dominates the whole epoch of its history and its art world - a stand that the soul attempts to make against [[#Destiny]] that at last it comprehends (309) - It's *only* foundation is the [[#Gothic]] - it never even touched the real Classical, let alone understood or revived it (315) - The Renaissance was born of defiance, and therefore it lacked depth, width and sureness of creative instinct (361) - It is the only epoch in which theoretically formulated intention preceded (often enough surpassed) the ability to perform (361) - The seductive ease and clarity of the [[#Renaissance]] rests very largely upon evasion - the evasion of deeper reluctances by the aid of speciously simple rule. - Did not the [[#Renaissance]] find it quite sufficient preparation for great painted scenes to study corpses, suppressing the [[#Becoming]] in favor of the [[#Thing-Become]] and calling on the dead to make [[#Classical]] [[#ἀταραξία]] accessible to Northern creative energy? (168) ###### Renaissance Art - A revolt against the spirit of the [[#Faustian]] forest-music of [[#Counterpoint]], which at that time was preparing to vassalize the whole [[#Form-Language]] of the [[#Western Culture]] (308) - It was the logical consequence of the open assertion of this will in matured Gothic - Necessarily it remained dependent upon the forms of the original movement and represented simply the effect of these upon a hesitant soul (308) - It was without true depth - Renaissance Art is nothing more nor less than anti-[[#Gothic]] art (310) - At moments, Renaissance art succeeded in achieving a feeling for the bliss of perfect *nearness*, for pure, restful and liberating space-effects, bright and tidy and free from the passionate movement of Gothic and Baroque - it is not Classical but it is a dream of Classical existence - the only dream of the [[#Faustian Soul]] in which it was able to forget itself (316) - In Renaissance Art the painter had stated and the beholder had accepted the contents of the picture for what they were, as self-sufficient and co-extensive with the title. But after, the contents became a means, the mere vehicle of a meaning that was beyond the possibility of verbal expression (321) - What the Renaissance wanted to avoid: The [[#Faustian]] desire is to see in the work of the painter not merely something that has *become* but something that is *becoming* (331) - The Renaissance's deliberate [[#Bodiliness]] of color can be seen as a mere episode, an event of the very self-conscious surface, and not a product of the underlying [[#Faustian]] instinct of the Western Soul - The Renaissance as a protest against the [[#Faustian]] spirit betrays itself in instances such as [[#Portrait of Doge Leonardo Loredan]] (359) - The Renaissance as the desire to overcome the [[#Gothic]] [[#Portrait]] with the [[#Classical]] [[#Act]] (360) - [[#Renaissance]] is only an ideal, unattainable like all ideals, that floats over the will of a period (362) - It was, as always, the struggle between hand and soul, between eye and instrument, between the form willed by the artist and the form willed by [[#Time]] - the struggle between [[#Plastic]] and [[#Music]] (370) ###### Renaissance Man - The true Renaissance Man did not know what spiritual development meant. He managed to live outwardly, and this was the great good fortune and success of the [[#Quattrocento]] (360) - The Renaissance Artist and Humanist is the one single type of [[#Western Man]] for whom the word [[#Loneliness]] remained unmeaning. His life accomplished its course in the light of a courtly existence. - His feelings and impressions were all public, and he had neither secret discontents nor reserves, while the life of the great contemporaries in [[#The Netherlands]], on the contrary, moved on in the shadow of their works (360) ###### Renaissance Ornament - Is there a genuine Renaissance ornamentation? (315) - Certainly there is nothing comparable in symbolic force with the ornamentation of the [[#Gothic]] (315) ###### Rococo - [[#Faustian Music]] transmuted the [[#Architecture]] of Bernini's [[#Baroque]] into accord with its own spirit and made of it Rococo - A style of transcendent ornamentation upon which lights (or rather "tones") play to dissolve ceilings, walls and everything else constructional and actual into polyphonies and harmonies, with architectural trills and cadences and runs to complete the identification of the [[#Form-Language]] of these halls and galleries with that of the music imagined for them (307) ###### Sculpture - **Apollonian Sculpture** - Statue-art, the art of the naked body standing free upon its footing and appreciable from all sides alike, existed in the Classical and the Classical only, for it was that Culture alone which quite decisively refused to transcend sense-limits in favor of [[#Space]] (297) - For the **Attic statue**, the problem of [[#Artistic Form]] and [[#Content]] could not exist; the two are completely identical and identified in the [[#Human Body]] (322) - Classical sculpture, late art that it is, arrives at secularizing the pictures of the god, it creates the antique ideal of female form in a Cnidian Aphrodite - merely a very beautiful object, not a character or an ego but a piece of [[#Nature]] (354) - There was not and could not be any Hellenic impressionism; if there is one art that *must* exclude it on principle, it is Classical sculpture (370) - **Chinese Sculpture** - The heads of the Saints of Ling-yan-si tell of a wholly personally inner life by their look and the play of the corners of their mouth (342) - No Chinese sculptor ever dreamed of using external anatomy to express his meaning (344) - **Egyptian Sculpture** - Egyptian statue is always meant to be seen from the front - No Egyptian sculptor ever dreamed of using external anatomy to express his meaning (344) - In Egypt, the face of the statue was equivalent to the pylon, the face of the temple-plan; it was a mighty emergence out of the stone-mass of the body, as we see in the [[#Hyksos Sphinx of Tanis]] and [[#Head of King Amenemhat III]] (345) - **Faustian Sculpture** - Florentine Sculpture ended with [[#Michelangelo]] (295) - Following [[#Oil-Painting]] and [[#Instrumental Music]] as evolving into [[#Prime Phenomena]] of the [[#Faustian Soul]], sculpture could thereforward achieve only a few beautiful incidental pieces in the shadow of painting, garden art, or architecture (324) - The art of the West had no real need of them - there was no longer a [[#Style]] of [[#Plastic]] in the sense that there were styles of painting or music (324) - This art had fallen out of the [[#Destiny]] of the [[#Culture]] - its speech meant nothing new (324) - Figures might appear like [[#Bernini]] but his very appearance shows the more clearly that this art, incapable of carrying the [[#Faustian]] burden has no longer a mission - and therefore no longer a soul or a life-history of specific style-development - in the Faustian world (235) - In [[#Gothic]] [[#Image-Work]] - With [[#Michelangelo]], the history of Western Sculpture is at an end. What of it there was after him was mere misunderstandings or reminiscences. His real heir was the [[#Palestrina Style]] (367) - **Pergamene Sculpture** - Achieving something similar to [[#Christoph Willibald Gluck]]'s melancholic *Armide* via making every muscle speak (342) - Marked the end of [[#Apollonian Art]]. comparable to [[#Richard Wagner]] in [[#Faustian Art]] (385-386) - See the [[#Gigantomachy Frieze]] ###### Space in Art - By its very essence transcendent and addresses itself to our imaginative powers - In an art that is under the suzerainty of [[#Space]], the narrative element enfeebles and obscures the more profound tendency (322) - It is for this reason that the theorist clings to the superficial opposition of [[#Content]] and [[#Artistic Form]] (322) - An art without space is a priori unphilosophical (323) ###### Self-Portrait ###### Stained Glass Or, Painted Glass - Opposite the [[#Fresco]] - Emancipated from the body (265) - Here we have colors dependent on no carrying surfaces but as free in space as organ notes, shapes poised in the infinite (265) - Gothic architects created their pictures of glass to draw in the world of space without (265) - Letting in the light enlarges the church-space into world-space (285) ###### Statue - Is rooted in the ground, contra [[#Music]] (352) - The [[#Attic]] Statue is a completely Euclidean body, timeless and relationless, wholly self-contained. It neither speaks nor looks. It is quite unconscious of the spectator (435) ###### Vase-Painting - The [[#Classical]] [[#Vase-Painting]] and [[#Fresco]] have no time-of-[[#Day]] (429) ##### Artificial Art - An artificial art has no further organic future, it is the mark of the end (388) - In reference to [[#Richard Wagner]] and [[#Édouard Manet]] - What is practiced after them (music after Wagner, painting after [[#Paul Cézanne]], [[#Wilhelm Leibl]], and [[#Adolph von Menzel]]) is **impotence and falsehood** (389) ###### Artistic Impotence - In due course, even the strength to wish for change fades out. (390) - Ramses the Great appropriated to himself buildings of his predecessors by cutting out their names and inserting his own in the inscriptions. - It was the same consciousness of artistic impotence that led Constantine to adorn his triumphal arch in Rome with sculptures taken from other buildings (391) ##### Artist - He who plans what formerly grew out of the soil - Appears in the manhood of [[#Style-History]] (274) - Our desire is to see in the work of the painter not merely something that has *become* but something that is *becoming* (331) ###### Gothic Artist - The masters of the Gothic - who were nothing but silent workers in their art and yet achieved the very highest that could be achieved within its convention and its field (362) ###### Modern Artist - The modern artist is a workman, not a creator. He sets unbroken spectrum-colors side by side. The subtle script, the dance of [[#Brushstroke]]s, give away to crude commonplaces, pilings and mixings and daubings of points, squares, broad inorganic masses. - It is a risky art, meticulous, cold, diseased - an art for over-developed nerves, but scientific to the last degree, energetic in everything that relates to the conquest of technical obstacles, acutely assertive of programme (383) ##### Association See also: [[#Crowd]] Contra: [[#Unity]] - We distinguish the generic animal unities which are sensed, the unities profoundly dependent upon [[#Being]] and [[#Destiny]] -like the way of an eagle in the air or the way of the stormers on the breach - from the purely human [[#Association]]s which depend upon the [[#Understanding]] and cohere on the basis of like opinions, like purposes, or like knowledge (II, 21) - One can join or resign from an intellectual [[#Association]] as one pleases, for only one's [[#Waking-Consciousness]] is involved. But to a [[#Cosmic Unity]] one is committed, and committed with one's entire being (II, 21) - Intellectual [[#Association]]s are mere sums in the mathematical sense, varying by addition and subtraction, unless and until (as sometimes happens) a mere coincidence of opinion strikes so impressively as to reach the [[#Blood]] and so, suddenly, to create out of the sum a [[#Being]] (II, 22) ##### Atheism Contra: [[#Religion]] - Atheism, rightly understood, is the necessary expression of a spirituality that has accomplished itself and exhausted its religious possibilities, and is declining into the inorganic (541) - It is entirely compatible with a living wistful desire for real religiousness - therein resembling [[#Romanticism]] which likewise would recall that which has irrevocably gone, namely, the [[#Culture]] (541) - [[#Atheism]] comes not with the evening of the [[#Culture]] but, with the dawn of the [[#Civilization]]. It belongs to the great city, to the "educated man" of the great city who acquires mechanistically what his forefathers, the creators of the [[#Culture]], had lived organically (541) - There is no religiousness that is without an atheistic opposition belonging uniquely to itself and directed uniquely against itself (541) - The atheist is unable to experience any difference between the [[#Nature-Picture]] of [[#Physics]] and that of [[#Religion]] (542) ###### Apollonian Atheism - The Roman felt that the claim of Yahweh to be recognized as sole God had something atheistic in it. One God, for him, was no God, and to this may be ascribed the strong dislike of popular feeling, both Greek and Roman, for the philosophers in so far as they were pantheists and godless (531) ###### Faustian Atheism ##### Atom ###### Apollonian Atom - Miniature forms (508) - Perceptibility, sensuous nearness as the basic conditions of the idea - The atoms of [[#Leucippus]] and [[#Democritus]] were different in form and magnitude, that is to say, they were purely plastic units, "indivisible," as their name asserts, but only plastically indivisible (509) - [[#Democritus]]' multitude of confused atoms, put there, patient, knocked about by the blind chance (509) ###### Atomic Theory - Now, the tendency of human thought (which is always causally disposed) to reduce the image of [[#Nature]] to the simplest possible quantitative [[#Form-Unit]] that can be got by causal reasoning, measuring and counting - in a word, by mechanical differentiation - leads necessarily in Classical, Western and every other possible physics, to an atomic theory (508) - Every atomic theory, therefore, is a myth and not an experience. In it the Culture, through the contemplative-creative power of its great physicists, reveals its in-most essence and very self (511) ###### Faustian Atom - Minimal quanta of energy (508) - Abstractness as the basic condition of the idea - The atomistic notions of [[#Modern Physics]] make more and more demands upon that truly Faustian power of inner vision which many branches of higher mathematics postulate and which is not at the disposal of laymen. - A quantum of action is an extension-element conceived without regard to sensible quality of any kind, which eludes all relation with sight and touch, for which the expression "shape" has no meaning whatever - something therefore which would be utterly inconceivable to a Classical researcher (508) - The atoms of Western physics, for which "indivisibility" has quite another meaning, resemble the figures and themes of [[#Music]]; their being or essence consisting in vibration and radiation, and their relation to the processes of [[#Nature]] being that of the "motive" to the [[#Movement]] (509) - Systems of abstract force-points, working in unison, aggressive, energetically dominating space (as "field"), overcoming resistances like Macbeth (509) ###### Socialist Atom - The dynamic-contrapuntal idea of it (509) ###### Stoic Atom - The static-plastic idea of it (509) ##### Beat See also: [[#Cosmic Beat]] ###### Pulse-Beat - How thereafter (the [[#Sex-Organ]]) creatures begat and conceived, how the plantlike in them drove them to reproduce themselves for the maintenance beyond themselves of the eternal cycle, how the _one'_ great [[#Pulse-Beat]] operates through all the detached souls, filling, driving, checking, and often destroying - that is the deepest of all [[#Life]]'s secrets, the secret that all religious mysteries and all great poems seek to penetrate... brought into existence out of discordant cycles of the [[#Blood]], it is the fruit of a [[#Cosmic Sin]] (II, 4-5) ##### Beauty - That which is worthy of [[#Imitation]] (257) - [[#Symbol]]s endure but the beautiful vanishes with life-pulsations - The "beauty" that [[#Classical Culture]], sculpture and [[#Poetry]] contained for Classical eyes is something different from the beauty that they contain for ours - The accustomed, the habitual, owing to the very fact of its possessing [[#Duration]], cannot possess beauty (257) ###### The Beautiful - The beautiful is longingly pursued, contra [[#The Significant]] which instils dread (257) ##### Become - When the intellect looks back from its sphere, the [[#Become]], the aspect of [[#Life]] is reversed, the idea of [[#Destiny]] which carries [[#Aim]] and future in it having turned into the mechanical principle of cause-and-effect of which the center of gravity lies in the past (515) ##### Becoming - Experienced by learning - the [[#Having-Become]] is for the human mind identical with the completed act of cognition. - Becoming has no number. We can count, measure, dissect only the lifeless· and so much of the living as can be dissociated from livingness. Pure becoming, pure life, is in this sense incapable of being bounded. It lies beyond the domain of cause and effect, law and measure. No deep and pure historical research seeks for conformities with causal laws - or, if it does so, it does not understand its own essence. (126) - That which is primarily shown in the [[#Faustian]] [[#Form-Language]] (352) ###### Becoming Examples - Numbering and drawing are a becoming, numbers and figures are things become. ###### Pure Becoming - Becoming has no number. We can count, measure, dissect only the lifeless and so much of the living as can be dissociated from livingness. Pure becoming, pure life, is in this sense incapable of being bounded. - It lies beyond the domain of cause and effect, law and measure. No deep and pure historical research seeks for conformities with causal laws - or, if it does so, it does not understand its own essence. ##### Being Contra: [[#Waking-Being]] / [[#Waking-Consciousness]] - [[#Being]] possesses [[#Beat]] and [[#Direction]] (II, 7) - In [[#Being]] a [[#Destiny]] rules - Prime Question: "When and wherefore?" - It is only the pulse-beat of [[#Being]] that endures throughout the generations, whereas [[#Waking-Consciousness]] begins anew for each [[#Microcosm]]. And herein lies the distinction between [[#Procreation]] and [[#Birth]] (II, 7) - Being can do without consciousness and the life of [[#Understanding]] but not vice verse (II, 13) - Every being livingly experiences every other being and its [[#Destiny]] in relation to itself (II, 29) - [[#Being]] has been confused with [[#Waking-Being]], [[#Life]] with the means by which life expresses itself. ###### Waking-Being See also: [[#Waking-Consciousness]] Contra: [[#Being]] - Is [[#Tension]] and [[#Extension]] (II, 7) - [[#Waking-Consciousness]] distinguishes causes and effects (II, 7) - Prime Question: "Where and how?" - A [[#Plant]] leads an existence that is without [[#Waking-Consciousness]] - In sleep all creatures become plants, the [[#Tension]] of polarity to the [[#World-Around]] is extinguished, and the [[#Beat]] of [[#Life]] goes on. ##### Biology ##### Birth Contra: [[#Procreation]] - A beginning, contra [[#Procreation]]'s pledge of [[#Duration]] - A [[#Plant]] is bred but it is not born. It "is there" but no awakening, no birthday, expands a sense-world around it (II, 7) ##### Blood - Referencing the mathematical logic of popular catechism, Kant, Buddha's *Four Truths*: "What is not in these doctrines of acquired truth is the uncritical logic of the [[#Blood]], which generates and matures those conduct-standards of social classes and of practical men that we only consciously realize when someone infringes them" (452) - The blood is for us the symbol of the living. Its course proceeds without pause, from generation to [[#Death]], from the [[#Mother Body]] in and out of the [[#Body]] of [[#The Child]], in the waking state and in sleep, never-ending (II, 4) - [[#Thought]] shows off its power when it calls the [[#Body]] a [[#Notion]], when it establishes the pitifulness of the Body and commands the voices of the [[#Blood]] to be silent. But in truth the [[#Blood]] rules, in that silently it commands the activity of Thought to begin and to cease (II, 12) ###### Ancestral Blood - The blood of the ancestors flows through the chain of the generations and binds them in a great linkage of [[#Destiny]], [[#Beat]], and [[#Time]] (II, 4) ###### Blood System See also: [[#Cosmic-Organ]] - We possess two cyclic organs of the [[#Cosmic]] existence, the [[#Blood System]] and the [[#Sex-Organ]], and two differentiating organs of microcosmic mobility, [[#Sense]]s and [[#Nerve]]s (II, 4) ##### Body - We have to assume that in its origin the whole [[#Body]] has been both a cyclic and a tactual organ (II, 4) ###### Apollonian Body - [[#Prime-Symbol]] of the [[#Apollonian]] ###### Bodiliness - The [[#Renaissance]]'s deliberate bodiliness of [[#Color]] can be seen as a mere episode, an event of the very self-conscious surface, and not a product of the underlying [[#Faustian]] instinct of the Western Soul ###### Faustian Body - A vessel of the [[#Soul]], felt by [[Authors (Philosophy & Theory)/Johann Wolfgang von Goethe/General Biography|Goethe]] (342) ###### Human Body - [[#Classical Culture]] is the Culture of the [[#Human Body]], contra the Northern (i.e., the [[#Faustian]]) as a Culture of the [[#Spirit]] (341) - Like the [[#Gothic]], the old Egyptian statue denies the intrinsic importance of the [[#Human Body]] (351) - Holds the [[#Body]] - as it holds a pyramid or obelisk - to a mathematical scheme and confines the personal element to the head (351) ###### Naked Body - In the whole of painting after [[#Leonardo da Vinci]] there is not one important or distinctive work that derives its meaning from the [[#Euclidean]] being of the nude body. ###### Nude Statue - A completely ahistoric copy of a man (349) - The [[#Nature]] of the [[#Classical Man]] found its highest artistic emblem in the [[#Nude Statue]], and out of it logically there grew up a static of bodies, a physics of the near (504) ##### Brain - That which might be justified to replace the word [[#Soul]] in the [[#World-City]] (484) ###### Western Brain - Since in the Western "brain," the [[#Will-to-Power]] the tyrannical set towards the [[#Future]] and purpose to organize everybody and everything, demands practical expression, [[#Ethics]], as it loses touch more and more with its metaphysical past, steadily assumes social-ethical and social-economic character (484) ##### Buddhism - Each Culture has its own mode of [[#Spiritual Extinction]], which is that which follows of necessity from its life as a whole. And hence [[#Buddhism]], [[#Stoicism]], and [[#Socialism]] are morphologically equivalent as end-phenomena (468) - A final and purely practical world-sentiment of tired megalopolitans who had a closed-off [[#Culture]] behind them and no future before them. It was the basic feeling of the Indian Civilization and as such both equivalent to and "contemporary" with [[#Stoicism]] and [[#Socialism]] (468) ###### Buddha - Buddha, for instance, gives a pattern to take or to leave, and [[#Epicurus]] offers counsel. Both undeniably are forms of high morale, and neither contains the [[#Will-Element]] (448) - Along with [[#Jean-Jacques Rousseau]]and [[#Socrates]], each buried a millennium of spiritual depth (463) - Each proclaimed his gospel to mankind, but it was to the mankind of the city intelligentsia, which was tired of the town and the Late Culture, and whose "pure" (i.e., soulless) reason longed to be free from them and their authoritative form and their hardness, from the symbolism with which it was no longer in living communion and which therefore it detested. The Culture was annihilated by discussion. - Was a Nihilist (463) - Rejects all speculation about God and the cosmic problems; only self and the conduct of actual life are important to it (469) - Did not recognize a [[#Soul]] - ##### Care - The spiritual counterpoise of [[#Distance]] - - For the [[#Egyptian Soul]], care for the [[#Future]] expressed in the choice of granite or basalt as the craftsman's materials, in the chiseled archives, in the elaborate administrative system, in the net of irrigation works, and, necessarily bound up therewith, care for the past. - [[#Care]] is the root-feeling of [[#Future]] and all Care is motherly (i.e., rooted in [[#Motherhood]]) - It expresses itself in the formation and the idea of Family and the [[#State]] and in the principle of Inheritance, which underlies both. (352) - Care may be either affirmed or denied - one can live care-filled or care-free (352) - The imaging-power that is the efficient in dynamics conjures up the old great symbol of Faustian man's historical passion, [[#Care]] - the outlook into the farthest far of past and future, the back-looking study of history, the foreseeing state, the confessions and introspections, the bells that sounded over all our country-sides and measured the passing of [[#Life]] (560) ##### Causality Contra: [[#Destiny]] - Is the reasonable, the law-bound, the describable, the badge of our whole waking and reasoning existence (154) - We bring out that which is in the causal by means of a physical or an epistemological system, through numbers, by reasoned classification (154) - Requires us to distinguish and in distinguishing to dissect and destroy. - Related to Death, contra [[#Destiny]]'s relation to [[#Life]] (154) - The notion of causality is coterminous with the notion of [[#Law]] - the only laws that are are causal laws (155) - **Causality is [[#Destiny]] Become, Destiny made Inorganic and Modeled in Reason-Forms (156)** - Conceived of as an **Anti-Fate** and made to create another world to protect us from and console us. - As a web of cause and effect spreads, a convincing picture of timeless duration (i.e., [[#Being]]) (157) - Morphological element of the Causal is a [[#Principle]] - Existence-Mode of Causality is that of objects and stamps out of the world of sensations a set of well-distinguished and well-defined things, properties and relations - We are skeptics in regard to any and every mode of [[#Thought]] which "explains" [[#Causality]] (II, 36) ###### Causal Knowledge - Along with technical knowledge, only refer to the [[#Thing-Become]], the Extended, the Comprehended (204) ###### Causal Truth ###### Causality-Men Contra: [[#Destiny-Men]] - A whole world separates the purely living man - peasant and warrior, statesman and general, man of the world and man of business, everyone who wills to prosper, to rule, to fight, and to dare, the organizer or entrepreneur, the adventurer or bravo or gambler - from the man who is destined either by the power of his mind or the defect of his blood to be an "intellectual" - the saint, priest, savant, idealist, or ideologue (II, 19) ###### Causality Principle - The abstract savant, the natural-science researcher, the thinker in systems, whose whole intellectual existence bases itself on the causality principle, are "late" manifestations of an unconscious hatred of the powers of incomprehensible [[#Destiny]]. - Bound to have a fatal effect upon the capacity for genuinely experiencing [[#History]] when, at last, it attains its rigid from in that "late" condition of [[#Culture]] to which it is propr and in which it is able to tyrannize over the [[#World-Picture]]. - The [[#Causality Principle]], in the form in which it is self-evidently necessary for us - the agreed basis of truth for our mathematics, physics and philosophy - is a Western and, more strictly speaking, a [[#Baroque]] phenomenon (518) - It cannot be proved, for every proof set forth in a Western language and every experiment conducted by a Western mind presupposes itself. ###### Cause & Effect - When we give the names [[#Cause & Effect]] to a pair of sensuous elements, we are fixing between them a relation of power and rank - when one is there, the other must be there also. In these relations, observe, [[#Time]] does not figure in at all (II, 16) - We are concerned not with [[#Fact]]s of [[#Destiny]] but with [[#Causal Truth]] (II, 16) ###### English Causality - Represented by [[#Darwin]] and [[#Charles Lyell]] (II, 36) - In place of the incalculable catastrophes and metamorphoses such as [[#Leopold von Buch]] and [[#Georges Cuvier]] admitted, they put a methodical evolution over very long periods of time and recognize as causes only scientifically calculable and indeed mechanical utility-causes (II, 36) - This English type of [[#Causality]] is not only shallow, but also far too narrow. It limits possible causal connections, in the first place, to those which work out their entire course on the earth's surface; but this immediately excludes all great [[#Cosmic]] relations between earthly life-phenomenon and the events of the solar system and the stellar universe, and assumes the impossible postulate that the exterior face of the earth-ball is a completely insulated region of natural phenomena (II, 36) - It assumes that connections which are not comprehensible by the means at present available to the human consciousness - namely, [[#Sensation]] refined by instruments and [[#Thought]] precised by [[#Theory]] - do not even exist (II, 36) ##### Chronological Number - Bears the hall-mark of becoming, linked with [[#Life]] and the necessity of [[#Destiny]] (93) - Chronological number distinguishes uniquely-occurring actualities, [[#Mathematical Number]] constant possibilities. The one sharpens the images and works up the outlines of epoch and fact for the understanding eye. But the other is itself the law which it seeks to establish, the end and aim of research. Chronological number is a scientific means of pioneering borrowed from the science of sciences, mathematics, and used as such without regard to its specific properties.(129) ##### Century ###### Nineteenth Century - The actual-and-effective philosophy of the [[#Nineteenth Century]] has as its one genuine theme the [[#Will-to-Power]]. It considers this in civilized-intellectual, ethical, or social forms and presents it as [[#Will-to-Life]], as Life-Force, as practical-dynamical principle, as [[#Idea]], as dramatic figure (492) - For the [[#Nineteenth Century]] the word [[#Evolution]] meant progress in the sense of increasing fitness of [[#Life]] to [[#Purpose]]s (II, 37) - The [[#Nineteenth Century]], its historical research guided by [[#Natural Science]] and [[#Historical Thought]] by ideas of the [[#Baroque]], simply brought us to the pinnacle whence we see the new world at our feet (II, 45) - Pure [[#Nineteenth Century]]: What is sought is just a chain of [[#Cause & Effect]]. Everything follows and nothing is prime. Since every [[#Young Culture]] superficially shows [[#Form-Element]]s of Older Cultures, these elements are supposed to have had continuing effect, and when a set of such effects has been strung together, the [[#Historian]] regards it with satisfaction as a sound piece of work (II, 66) ###### Twentieth Century - It will be the characteristic task of the [[#Twentieth Century]], as compared with the [[#Nineteenth Century]], to get rid of this system of superficial causality, whose roots reach back into the rationalism of the Baroque period, and to put in its place a pure physiognomic (II, 36) ##### City ###### World-City - Petrifying, a [[#Thing-Become]] - A century of purely extensive effectiveness, excluding big artistic and metaphysical production - let us say frankly an irreligious time which coincides exactly with the idea of the world-city - is a time of decline. - A century of purely extensive effectiveness, excluding big artistic and metaphysical production - let us say frankly an irreligious time which coincides exactly with the idea of the [[#World-City]] - is a time of decline. - The [[#World-City]] has definitely overcome the land, and now its spirit fashions a theory proper to itself, directed of necessity outward, soulless (484) - Henceforward, we might with some justice replace the word "soul" by the word "[[#Brain]]." ##### Civilization - The mummy of the living body of a [[#Soul]] that is [[#Culture]] (464) - For every [[#Culture]] has its own Civilization. (41) - The Civilization is the inevitable destiny of the Culture, and in this principle we obtain the viewpoint from which the deepest and gravest problems of historical [[#Morphology]] become capable of solution. - Civilizations are the most external and artificial states of which a species of developed humanity is capable. They are a conclusion, the [[#Thing-Become]] succeeding the [[#Thing-Becoming]], death following life, rigidity following expansion, intellectual age and the stone-built, petrifying world-city following mother-earth and the spiritual childhood of Doric and Gothic. They are an end, irrevocable. yet by inward necessity reached again and again (41) #CoreSpengler - "Expansion is Everything" (49) - At last, in the grey dawn of Civilization, the fire in the Soul dies down. The dwindling powers rise to one more, half-successful, effort of creation, and produce the Classicism that is common to all dying Cultures. The soul thinks once again, and in Romanticism looks back piteously to its childhood; then finally, weary, reluctant, cold, it loses its desire to be, and, as in Imperial Rome, wishes itself out of the overlong daylight and back in the darkness of protomysticism, in the womb of the mother, in the grave. (143) ###### Late Civilization ##### Change See also: [[#Evolution]] - All that we see about us impels us to the conviction that again and again profound and very sudden changes take place in the being of plants and animals, changes which are of a [[#Cosmic]] kind and nowise restricted to the earth's surface, which are beyond the ken of human sense and understanding in respect of causes, if not indeed in all respects (II, 38) - So, too, we observe that swift and deep changes assert themselves in the history of the great Cultures, without assignable causes, influences, or purposes of any kind #CoreSpengler ##### Character See also: [[#Effective Appearance]] Examples: Othello, Don Quixote, Le Misanthrope, Werther and Hedda Gabler - We habitually speak of the "character" of heads and landscapes; of ornaments, brush-strokes and scripts; of whole arts and ages and Cultures. - The art of the [[#Characteristic]] is, above all, [[#Baroque Music]] (414) - What [[#Will]] is in the [[#Soul-Image]], [[#Character]] is in the picture of [[#Life]] as we see it, the Western life that is self-evident to Western men (414) - [[#Character]] must be understand as that which remains in principle constant in the working-out of life; where there is no such constant we speak of "lack of [[#Character]]" (417) - It is [[#Character]] - the form in virtue of which a *moving* existence can combine the highest constancy in the essential with the maximum variability in the details - that makes telling biography possible at all (417) ###### Characteristic - Best represented in art via [[#Baroque Music]] (414) ###### Character-Study - The sciences of [[#Character-Study]], particularly [[#Physiognomy]] and Graphology, would not be able to glean much in the [[#Classical]] field (417) ##### Charity See also: [[#Compassion]] ###### Faustian Charity - In the Faustian type of charity, a [[#Soul]] rises out of the fraternity of souls (459) ###### Personal Charity - The justification before God of the Person, the individual (459) ###### Russian Charity - In the Russian, the Raskolnikov, type of charity a [[#Soul]] melts into the fraternity of souls (459) ##### Chemistry See also: [[#Element]] ###### Faustian Chemistry - It was just at the time of the definite emancipation of the Western mathematic by [[#Newton]] and Leibniz that the Western chemistry was freed from Arabic form by [[#Georg Ernst Stahl]] (1660-1734) and his Phlogiston theory. - That which is called the founding of modern chemistry and has Stahl and [[#Antoine Lavoisier]] at its turning-points is anything but a building-up of "chemical" ideas, in so far as chemistry implies the alchemistic outlook on Nature. - It is in fact the end of genuine chemistry, its dissolution into the comprehensive system of pure dynamic, its assimilation into the mechanical outlook which the Baroque age had established through [[#Galileo]] and [[#Newton]] (507) ###### Magian Chemistry See also: [[#Alchemy]] - The rise of a chemical method of the Arabian style betokens a new world-consciousness. - The discovery of it, which at one blow made an end of Apollinian natural science, of mechanical statics, is linked with the enigmatic name of Hermes Trismegistus (506) ##### Chinese ###### Chinese Culture ###### Chinese Soul - The Chinese Soul wanders in its world. This is the meaning of the East-Asiatic [[#Perspective]], which places the vanishing point in the middle of the picture instead of in the [[#Depth]] as we do. ###### Chinese Depth-Experience - Embodies the intensely directional principle of the Tao - But whereas the Egyptian treads to the end a [[#Way]] that is prescribed for him with an inexorable necessity, the Chinaman wanders through the world (251) ##### Christian ###### Baptism - What the acquisition of Roman citizenship meant for the Gaul or the Greek in Caesar's time, Christian baptism meant for him now - entry into the leading nation of the leading Culture (II, 84) ###### Christian Art - Has it never been observed how the Christian legend became in [[#Faustian Painting]] a glorious transformation of the Faustian ambition to fly? - All the pictured ascents into heaven and falls into hell, the divine figures floating above the clouds, the blissful detachment of angels and saints, the insistent emphasis upon freedom from earth's heaviness, are emblems of [[#Soul-Flight]], peculiar to all art of the [[#Faustian]], utterly remote from that of [[#Byzantium]] (369) ###### Christianity - It is quite wrong to bind up [[#Christianity]] with the [[#Moral Imperative]]. It was not Christianity that transformed [[#Faustian]] man, but Faustian man who transformed Christianity - And he not only made it a new religion but also gave it a new moral direction. The "it" became "I," the passion-charged center of the world, the foundation of the great Sacrament of *personal* [[#Contrition]] (451) - Gothic springtime proceeded to a profound - and never yet appreciated - inward transformation of the [[#Morale]] of Jesus. A quiet spiritual morale welling from the [[#Magian World-Feeling]] - a morale or conduct recommended as potent for salvation, a morale that knowledge of which was communicated as a special act of [[#Grace]] - was recast as a *morale of imperative command* (451) ##### Chronology - In opposition to the *What?* and *How?* of [[#Mathematics]] stands that of the *When?* of things, the specifically historical problem of [[#Destiny]], future and past: all these things are comprised in the word **Chronology**, which simple mankind understands fully and unequivocally. (165) ###### Christian Chronology - ###### Chronological Element - Tells us that [[#History]], as soon as it becomes [[#Thought-History]], is no longer immune from the basic conditions of all [[#Waking-Consciousness]] (II, 26) - ##### Classical See also: [[#Apollonian]] - Synonymous with [[#Apollonian Culture]] - Chose the sensuously present individual body as the ideal type of [[#Extension]] (The Extended) (241) - Begins with a great renunciation. The [[#Doric Column]] - Everything that is Classical is comprehensible in _one_ glance, be it the [[#Doric]] temple, the statue, the Polis, the cults; backgrounds and secrets there are none (432) ###### Classical Culture - Synonymous with [[#Apollonian Culture]] - Chose the sensuously present individual body as the ideal type of [[#Extension]] (The Extended) (241) - Begins with a great renunciation. The [[#Doric Column]] - Culture of the [[#Human Body]], contra the Northern (i.e., the [[#Faustian]]) as a Culture of the [[#Spirit]] (341) - If ever there was a group of nations that kept the "struggle for existence" constantly before its eyes, it was the Classical Culture (416) - All the big cities, big and little, fought one another to sheer extinction, without plan or purpose, without mercy, body against body, under the stimulus of a completely anti-historical instinct (416) ###### Classical History - That of anecdotes, of a series of plastic details (194) ###### Classical Life - The style of every individual life within it is anecdotal - The sense-perceivable side of events condenses on anti-historical, daemonic, absurd incidents - It is the denial and disavowal of all logic of happening (194) - The Classical Life exhausted itself in the completeness of the moment. The individual shut his eyes to time-distances; he comprehended in his thought the men like himself whom he saw around him, but not the coming generations; and therefore there has never been an art that so emphatically ignored the intimate representation of [[#The Child]] as the Greek art did (352) - [[#Life]], in the Classical, presents itself to the critical [[#Waking-Consciousness]] of the [[#Classical Man]] in a form penetrated with [[#Euclidean]] character, and the image that is generated in the legal mind is one of bodies, of positional relations between bodies, and of reciprocal effects of bodies by contact and reaction - just as with [[#Democritus]]'s atoms. It is [[#Juristic Statics]] (II, 82) ###### Classical Man - The Classical Soul was determined to banish [[#Distance]] in every aspect from its world-consciousness - It never entered the Classical head to draw any distinction of principle between history as story and history as documents (13) - Classical man's existence - [[#Euclidean]], relationless, point-formed - Was weak in the face of the "powers." - The Greek lives [[#Point]]-wise, ahistorically, somatically. No Greek would have been capable of a genuine self-criticism. (348) - [[#Classical Man]] took good care not to take the cover, the material wrapping, off anything cosmic, but to do *just this* is the most characteristic impulse of a [[#Faustian]] nature (368) - [[#Classical Man]] only saw himself and his fortunes as statically present with himself, and did not ask "whence" or "whither" (478) - Universal history for him was an impossible notion. This is the static way of looking at history. ###### Classical Religion - As [[#Classical Religion]] is [[#State Religion]] through and through, there is no distinction made as to the fount of [[#Law]]; real law and [[#Divine Law]] were made, like personal law, by the citizen, and the relations of things and of gods to persons were precise and definite (II, 73) ###### Classical / Apollonian Style - In the [[#Ionic]] phase, the center of gravity shifted from [[#Architecture]] to an independent plastic art (269) ###### Classical Time - In the world-consciousness of the Hellenes all experience, not merely the personal but the common past, was immediately transmuted into a timeless, immobile, mythically-fashioned background for the particular **momentary present** (8) - The Classical Culture possessed **no memory**, no organ of history in this special sense. The memory of the [[#Classical Man]] is different since past and future are absent and the [[#Pure Present]] fills that life with an unknown intensity (9) - For the [[#Classical Man]], the past is subtilized instantly into an impression that is timeless and changeless, polar and not periodic in structure (9) ###### Classical World-Feeling - Led the [[#Classical Man]] to see [[#Mathematics]] only as the theory of relations of magnitude, dimension and form between bodies. - [[#Law]], in the Classical world, is [[#Law]] made by citizens for citizens and presupposes that the [[#State-Form]] is that of the [[#Polis]] (II, 72) - It was this basic form of public life that led to the notion of the [[#Person]] as identical with the man who, added to others like him, made up the body of the [[#State]] - From this formal fact of [[#Classical World-Feeling]] grew up the whole structure of [[#Classical Law]] (II, 72) ##### Classicism - A sentimental regard for an [[#Ornament]]ation (rules, laws, types) that has long been archaic and soulless (262) ##### Cognition - That act of experience of which the completed issue is called [[#Nature]] (125) - Cognized and Nature are one in the same - The symbol of [[#Mathematical Number]] has shown us that the aggregate of things cognized is the same as the world of things mechanically defined, things correct once and for all, things brought under law. - In the style of cognizing, and therefore of the cognition-product, the [[#Prime-Symbol]] of the particular Culture comes into play (512) ###### Cognize ##### Color See also: [[#Color Tones]] - The relation of colors has established itself in every great school as a deep-felt necessity - Colors are natural ###### Black - All genuinely transcendent Cultures - that is all whose [[#Prime-Symbol]] requires the *overcoming* of the apparent, the life of struggle and not that of acceptance - have the same metaphysical inclination to [[#Space]] as to [[#Blue]]s and Blacks. ###### Blue - Ultimately a [[#Faustian]], monotheistic color (327) - Along with Green, the colors of the heavens, the sea, the fruitful plain, the shadow of the southern noon, the evening, the remote mountains. - It is essentially atmospheric and not substantial - It is cold, it disembodies, it evokes impressions of expanse and distance and boundlessness (326) - It is transcendent, spiritual, non-sensuous (327) - It is a color of loneliness, of [[#Care]], of a present that is related to a past and a future, of [[#Destiny]] as the dispensation governing the universe from within (327) - Blue, equally a [[#Perspective]] color, always stands in relation to the dark, the unillumed, the unactual. - It does not press in on us, it pulls us out into the remote. - An enchanting nothingness - [[Authors (Philosophy & Theory)/Johann Wolfgang von Goethe/General Biography|Goethe]] (327) - It is pure blue that etherealizes the Madonna's mantle (327) - All genuinely transcendent Cultures - that is all whose [[#Prime-Symbol]] requires the *overcoming* of the apparent, the life of struggle and not that of acceptance - have the same metaphysical inclination to [[#Space]] as to [[#Blue]]s and Blacks. (327) ###### Blue-Green - An indefinite color of a thousand nuances into white and grey and brown; something deeply musical into which the whole atmosphere is plunged (326) ###### Bronze - The Hellenes had in the end come to prefer bronze to painted marble, the better to express (by the radiance of this phenomenon against a deep blue sky) the idea of the individualness of any and every corporeal thing (337) - When the [[#Renaissance]] dug these statues up, it found them [[#Black]] and [[#Green]] with the patina of many centuries - The historic spirit, with its piety and longing, fastened onto this - and from this time forth our [[#Form-Feeling]] has canonized this black and green of [[#Distance]] (337) ###### Gold - The [[#Magian]]'s color for background so to shut off scenes in a [[#Picture]] with something that stood beyond and outside all nature-colors (329) - Gold is not a color. - Compared to yellow, it produces a complicated sense-impression, through the metallic, diffuse refulgence that is generated by its glowing surface - The metallic gleam is unearthly (329) - The gleaming gold takes away from the scene, the life and the body their substantial being (329) ###### Green - Ultimately a [[#Faustian]], monotheistic color (327) - Along with Blue, the colors of the heavens, the sea, the fruitful plain, the shadow of the southern noon, the evening, the remote mountains. - It is essentially atmospheric and not substantial - It is cold, it disembodies, it evokes impressions of expanse and distance and boundlessness (326) - It is transcendent, spiritual, non-sensuous (327) - It is a color of loneliness, of [[#Care]], of a present that is related to a past and a future, of [[#Destiny]] as the dispensation governing the universe from within (327) - The most significant use of dusky [[#Green]] as the color of [[#Destiny]] is Grünewald's (328) - The indescribable power of [[#Space]] in his nights is equal only to [[#Rembrandt]]'s - It is a specifically Catholic color (328) - The effect of this color depends on the work being exhibited indoors ###### Red - Ultimately a [[#Apollonian]], [[#Euclidean]], polytheistic color (327) - With [[#Yellow]], put on sparingly and in dependence upon the basic [[#Blue]]-to-[[#Green]] tone in the [[#Faustian Art]] (326) - They are the colors of the material, the near, the full-blooded. - They are the popular colors, the colors of the crowd, of children, of women, and of savages. (327) - Is the characteristic color of sexuality - It matches best the Phallus-symbol - and therefore the statue and the [[#Doric Column]] ###### Studio Brown - Another symbol of the highest significant (along with the Visible [[#Brushstroke]]) which subdued more and more the actuality of all color (332) - Possesses a mightier power of over things than greens of [[#Matthias Grünewald]]'s background's and it carries the battle of [[#Space]] against Matter to a decisive close. - It even prevails over the more primitive Linear [[#Perspective]] - Between this and the Impressionist technique of the Visible Brushstroke, there is an enduring and deeply suggestive connection - Both in the end dissolve the tangible existences of the sense-world - the world of moments and foregrounds - into atmospheric semblances - Line disappears from the tone-picture (333) - The [[#Magian]] could only dream of such mystic power - This brown opened a prospect into an infinity of [[#Pure Form]]s. And therefore its discovery marks for the [[#Faustian Style]] a culmination in the process of its becoming (333) - This color has something Protestant in it. (333) - The atmospheric brown (alien to the [[#Renaissance]]) is the unrealest color that there is - it is the one major color that does not exist in the rainbow (334) - When this brown dies, an entire Culture dies with it (335) - It was [[#Rembrandt]] above all who understood [[#Studio Brown]] - It is the enigmatic brown of his most telling work, and its origin is in the deep lights of [[#Gothic]] church-windows and the twilight of the high-vaulted Gothic nave. (335) - Brown became the characteristic color of the [[#Soul]], and more particularly of a historically disposed soul (335) - Brown is a historical color - it makes the atmosphere of the pictured space signify directedness and future, and overpowers the assertiveness of any instantaneous element that may be represented (336) - Studio brown, the symbol of a spatial infinity, which had for [[#Faustian]] mankind created a spiritual something out of a mere canvas, now came to be regarded, with [[#Plein-Air]], quite suddenly, as an offense to [[#Nature]] (382) ###### Violet - A [[#Red]] succumbing to [[#Blue]] is the color of women no longer fruitful and of priests living in celibacy (327) ###### Yellow - Ultimately a [[#Apollonian]], [[#Euclidean]], polytheistic color (327) - With [[#Red]], put on sparingly and in dependence upon the basic [[#Blue]]-to-[[#Green]] tone in the [[#Faustian Art]](326) - They are the colors of the material, the near, the full-blooded. - They are the popular colors, the colors of the crowd, of children, of women, and of savages. ##### Community ###### Creed-Community - The law of individual cities, which was so self-evident on [[#Classical]] ground, is here silently transmuted into a law of creed-communities (II, 83) - With [[#Constantine I]] came the great change; he turned Imperial Caliph law on to the [[#Creed-Community]] of [[#Christianity]] in lieu of that of Syncretism, and thereby constituted the Christian [[#Nation]] (II, 84) - The [[#Arabian]] concept of [[#Nationality]] is a new and wholly decisive fact. The frontiers between [[#Home]] and "Abroad" lay in the [[#Apollonian]] world between every two towns, and in the [[#Magian]] between every two creed-communities (II, 84) ##### Compassion See also: - A dangerous word. - Neither [[#Nietzsche]] himself - for all his maestria - nor anyone else has yet investigated the meaning - conceptual and effective - of the word at different times (456) - There is a hardness in the sort of compassion that was practiced by the German mystics, the German and Spanish military Orders, the French and English Calvinists (459) ###### Compassion-Morale - In the every day sense, always respected by us so far as words go, and sometimes hoped for by the thinker, is never actually actualized (459) ##### Concept - The [[#Word]], originally the name of a visual thing, changes imperceptibly into the label of a mental thing, the [[#Concept]] (II, 10) ##### Confession - The grave teacher (344) - The self-portrait of the [[#Artist]] (348) - To make one's [[#Confession]] is not to avow an [[#Act]] but to lay before the [[#Judge]] the inner history of that [[#Act]] (348) - The act is patent, its roots the personal secret (348) - When [[#The Protestants]] oppose auricular confession, it never occurs to him that he is rejecting merely the outward form of the idea and not the idea itself (348) - He declines to confess to the priest but he confesses to himself, to a friend, or to all and sundry. - The Renaissance as the desire to overcome the [[#Gothic]] [[#Portrait]] with the [[#Classical]] [[#Act]] appeared simultaneously with and in association with a decline in the capacity for self-examination and artistic [[#Confession]] in the Goethian sense (360) - Between [[#Dante]]'s *Vita Nuova* and [[#Michelangelo]]'s sonnets there is not poetic [[#Confession]], no self-portrait of the high order. ##### Consciousness ###### Classical Consciousness - The perfected extension of the Classical consciousness is one of the sensuous and bodily presence (512) ###### Human Waking-Consciousness - [[#Human Waking-Consciousness]] is no longer a mere [[#Tension]] between [[#Body]] and Environment. It is now [[#Life]] in a self-contained [[#Light-World]] (II, 8) ###### Waking-Consciousness See also: [[#Waking-Being]] Contra: [[#Being]] - That which the knowledge of death has gained power to dominate (161) - In the waking consciousness, becoming and become struggle for control of the world-picture (211) - Every trait of the actual waking-consciousness, whether it be feeling or understanding, is in the moment of our becoming aware of it, already past (219) - All wakeful states are in their essence [[#Tension]]s (II, 3) - Is [[#Tension]] and [[#Extension]] (II, 7) - [[#Waking-Consciousness]] begins anew for each [[#Microcosm]]. - In man's [[#Waking-Consciousness]], nothing disturbs the now pure lordship of the [[#Eye]] (II, 7) - There is set up within the [[#Waking-Consciousness]] a definite opposition between [[#Sensation]] and [[#Understanding]], a tension that in animals is quite unthinkable and even in man can hardly have been at first anything more than a rarely actualized possibility (II, 10) - Consists of [[#Sensation]] and [[#Understanding]], and their common essence is a continuous self-adjustment in relation to the [[#Macrocosm]] (II, 16) - Identical with ascertainment - [[#Waking-Consciousness]] is synonymous with the existence of oppositions, such as that between [[#Cognition]] and the object [[#Cognize]]d (II, 16) - The world of [[#Tension]]s is necessarily in itself stiff and dead - namely, eternal truth, something beyond all time, something that is a state. The actual world of [[#Waking-Consciousness]], however, is full of changes (II, 17) - Religion, science, art, are activities of [[#Waking-Consciousness]] that are based on a [[#Being]] (II, 67) - Faith, meditation, creation, and whatever of visible activity is required as outcome of these invisibles - as sacrifice, prayer, the physical experiment, the carving of a statue, the statement of an experience in communicable words - are activities of the waking-consciousness and nothing else. ###### Western Consciousness - Achieves [[#Extension]], after its own fashion, as transcendental [[#Space]], and as it thinks its space more and more transcendentally it develops by degrees the abstract polarity of Capacity and Intensity that so completely contrasts with the Classical visual polarity of Matter and Form (512) ##### Consensus - That [[#Magian]] idea, which we can hardly grasp at all, of the [[#Consensus]] wherein, as a consequence of the presence in each man of a pneuma emanating from the divine pneuma, the unanimous opinion of the elect is held to be immediate divine [[#Truth]]. It was this that gave the decisions of the early Church Councils their authoritative character and it underlies the scientific methods that rule in the world of Islam to this day (II, 71) ##### Contemplation Or, Vision - Vision is to be carefully distinguished from seeing - [[Authors (Philosophy & Theory)/Johann Wolfgang von Goethe/General Biography|Goethe]] - Is that act of experience which itself [[#History]] because it is itself a fulfilling. That which has been lived is that which has happened, and it is history. ##### Contrition - The spiritual expression of the [[#Faustian]] [[#Historical Feeling]] and the rite of [[#Confession]] (i.e., the grave teacher) - Intensified to the tragic fullness of world drama (around 1200 A.D.) (344) ##### Conviction - The text of a conviction is never a test of its reality, for man is rarely conscious of his own beliefs. Catchwords and doctrines are always more or less popular and external as comapred with deep spiritual activities (457) ##### Cosmic Contra: [[#Microcosmic]] - All that is [[#Cosmic]] bears the hallmark of periodicity; it has "beat" (rhythm, tact) - In all primitive existence the "it," the [[#Cosmic]], is at work with such immediacy of force that all [[#Microcosmic]] utterances, whether in [[#Mythology]], custom, [[#Technique]], or [[#Ornament]], obey only the pressures of the very instant (II, 41) ###### Cosmic Beat Contra: [[#Microcosmic Tension]] - Everything that can be paraphrased in terms like [[#Direction]], [[#Time]], [[#Rhythm]], [[#Destiny]], [[#Longing]] - from the hoof-beats of a team of thoroughbreds and the deep tread of proud marching soldiers to the silent fellowship of two lovers, the sensed tact that makes the dignity of a social assembly, and that keen quick judgment of a "judge of men" which Spengler has already called [[#Physiognomic Tact]] (II, 3) - The beat of cosmic cycles goes on notwithstanding the [[#Freedom]] of [[#Microcosmic]] movement in [[#Space]], and from tiem to time breaks down the [[#Tension]] of the [[#Waking Individual]]'s [[#Being]] into the *one* grand felt harmony (II, 3) - Perceived through [[#Feel]] (II, 4) ###### Cosmic Entities - It is not [[#Microcosmic Unit]]s that move but [[#Cosmic Entities]] that pick amongst them and appropriate them (II, 67) ###### Cosmic Order - All grand events of history are carried by beings of the [[#Cosmic Order]], by peoples, parties, armies, and classes, while the history of the [[#Intellect]] runs its course in loose associations and circles, schools, levels of education, tendencies" and "isms" (II, 22) ###### Cosmic Sin ###### Plantlike-Cosmic - [[#Being]] heavy with [[#Destiny]], [[#Blood]], sex, possess an immemorial mastery and keep it. They *are* [[#Life]]. The other only serves life. But this other wills, not to serve, but to rule; moreover, it believes that it does rule, for one of the most determined claims put forward by the human spirit is its claim to possess power over the [[#Body]], over [[#Nature]]. (II, 12) ##### Cosmopolis - When men construct an unmetaphysical [[#Religion]] in opposition to cults and dogmas; when a "natural law" is set up against historical law; when, in art, styles are invented in place of the style that can no longer be borne or mastered; when men conceive of the State as an ".order of society" which not only can be but must be altered – then it is evident that something has definitely broken down (464) - The [[#Cosmopolis]] itself, the supreme Inorganic, is there, settled in the midst of the [[#Culture]]-landscape, whose men it is uprooted, drawing into itself and using up (464) ##### Cosmos ###### Apollonian Cosmos - What the Greek called Kosmos was the image of a world that is not continuous but complete. _Inevitably,_ then, the Greek man himself was not a series but a term - The plurality of separate bodies which represents Cosmos for the Classical soul requires a similar pantheon - hence the antique polytheism (247) - If we may characterize the Classical "world," the cosmos, as being based on a deep need of visible limits and composed accordingly as a sum of material things ###### Faustian Cosmos ###### Magian Cosmos ##### Counter-Movement See also: [[#Revolt]] - In a counter-movement, it is far easier to define what it is opposing than what it is aiming at (310) ##### Counter-Reformation See also: [[#Reformation]] - The majestic spirit of the [[#Counter-Reformation]], massive, animated, gorgeous, lives already in [[#Michelangelo]]. ##### Creative Element See also: [[#Creative Power]] - A [[#Culture]]'s imaginative power driving its [[#Symbolism]] (504) ##### Criticism Contra: [[#Lived Experience]] - Abstracted from connections to [[#Sensation]] and busied with itself, [[#Criticism]] needs a substitute for the [[#Sensation-Activity]] that had previously been its object. And this cannot be given it but by an already existing mode of thought ([[#Sensation-Judgment]]), and it is upon this that Criticism now works. This, and only this, and not something building freely on nothingness, is [[#Thought]] (II, 15) - Can [[#Criticism]] then, as criticism, solve the great questions, or can it merely pose them? At the beginning of knowledge we believe the former. But the more we know, the more certain we become of the latter. So long as we hope, we call the secret a problem (II, 15) - The opposite of [[#Lived Experience]] (II, 26) - [[#Natural Science]] is criticism and nothing else. But in [[#History]], [[#Criticism]] can do no more than scientifically prepare the field over which the historian's eye is to sweep. History is that ranging glance itself, whatever the direction in which it ranges. He who possesses such an eye can understand every fact and every situation "historically." [[#Nature]] is a [[#System]], and systems can be learnt (II, 26) ##### Crowd - Crowds of this order of unity ([[#Cosmic Unity]]) are seized by storms of enthusiasm or, as readily, of panic (II, 21) - These [[#Inspired Aggregate]]s are born and die. - Intellectual [[#Association]]s are mere sums in the mathematical sense, varying by addition and subtraction, unless and until (as sometimes happens) a mere coincidence of opinion strikes so impressively as to reach the [[#Blood]] and so, suddenly, to create out of the sum a [[#Being]] (II, 22) - In any political turning-point words may become fates and opinions passions. A chance [[#Crowd]] is herded together in the street and has one consciousness, one sensation, one language - until the short-lived soul flickers out and everyone goes his way again (II, 22) ##### Culture See also: [[#Culture-Man]] - The living body of a [[#Soul]] (464) - Culture is self-evident (464) - A Culture consists of people and peoples linked as societies that cohere as one Kultur because they are bound together by a shared, albeit largely unconscious, understanding of [[#Space]] and [[#Time]] that is unique to each Culture and that becomes the guiding principle behind its birth, growth, decay, and demise (Lewis, 43) - Each Culture has its own new possibilities of self-expression which arise, ripen, decay, and never return. There is not one sculpture, one painting, one mathematics, one physics, but many, each in its deepest essence different from the others, each limited in duration and self-contained, just as each species of plant has its peculiar blossom or fruit, its special type of growth and decline. These cultures, sublimated life-essences, grow with the same superb aimlessness as the flowers of the field. They belong, like the plants and the animals, to the living Nature of Goethe, and not to the dead Nature of Newton. #CoreSpengler (27) - Culture is the prime phenomenon of all past and future world-history (139) - "A Culture is born in the moment when a great soul awakens out of the proto-spirituality of ever-childish humanity, and detaches itself, a form from the formless, a bounded and mortal thing from the boundless and enduring. It blooms on the soil of an exactly-definable landscape, to which plant-wise it remains bound. It dies when this soul has actualized the full sum of its possibilities in the shape of peoples, languages, dogmas, arts, states, sciences, and reverts into the proto-soul. But its living existence, that sequence of great epochs which define and display the stages of fulfilment, is an inner passionate struggle to maintain the Idea against the powers of Chaos without and the unconscious muttering deep-down within." - Each Culture is nothing but the actualizing and form of a single, singularly constituted soul (169) - The [[#Soul]]'s total expression Become and Perceptible in Gestures and Works, as its mortal transient body, obnoxious (subject to) to [[#Law]], [[#Number]] and [[#Causality]] (238) ###### Culture-Folk - Sprung up from the soil and peasant-like even when it lived in towns, "the People," replaced by the rootless city-mass (473) ###### Culture into Civilization - Anti-provincial, late, futureless, but quite inevitable (44) ###### Culture-Soul - To attempt the interpretation of a poet or a prophet, a thinker or a conqueror, is of course nothing new, but to enter a Culture-Soul- Classical, [[#Egyptian]] or [[#Arabian]] - so intimately as to absorb into one's self, to make part of one's own life, the totality expressed by typical men and situations, by religion and polity, by style and tendency, by thought and customs, is quite a new manner of experiencing life. ###### High Culture Contra: [[#Primitive Culture]] - The [[#High Culture]] is the [[#Waking-Being]] of a single huge organism which makes not only custom, myths, technique, and art, but the very peoples and classes incorporated in itself the vessels of one single [[#Form-Language]] and one single history (II, 42) ###### Higher Culture - The history of the [[#Higher Culture]]s shows that [[#Science]] is a transitory spectacle, belonging only to the [[#Autumn]] and [[#Winter]] of their life-course, and in the case of the Classical, Indian, Chinese and Arabian thought alike a few centuries suffice for the complete exhaustion of its possibilities (503) **TYPES OF CULTURES IN BRIEF** ###### Egyptian Culture See also: [[#Egyptian]] - See also: [[#Egyptian]] - The embodiment of *[[#Care]]* - which is the spiritual counterpose of [[#Distance]] - care for the future expressed in the choice of granite or basalt as the craft-man's materials. - The Egyptian denied mortality, embalming even their history in chronological dates and figures - The Egyptian mummy is the victory over [[#Mortality]] and the mere present; it is to the last degree un-Classical (15) - Expresses itself almost exclusively by the immediate language of [[#Stone]] (248) - Avoids relations, contra the [[#Western Culture]] seeking them out (II, 45) ###### Indian Culture - That which embodies a perfectly ahistoric soul (13) ###### Primitive Culture Contra: [[#High Culture]] - The [[#Primitive Culture]] is not fragmentary, but something strong and integral, something highly vital and effectual (II, 40) - In all primitive existence the "it," the [[#Cosmic]], is at work with such immediacy of force that all [[#Microcosmic]] utterances, whether in [[#Mythology]], custom, [[#Technique]], or [[#Ornament]], obey only the pressures of the very instant (II, 41) - The [[#Primitive Culture]] is neither an organism nor a sum of organisms (II, 42) - Everything primitive is a sum - a sum of the [[#Expression-Forms]] of primitive groupings (II, 42) ###### Young Culture - Every [[#Young Culture]] superficially shows [[#Form-Element]]s of older Cultures (II, 65) - Searching through all Cultures, then, one will always find that the continuation of earlier creations into a later Culture is only apparent, and that in fact the younger being has set up a few (very few) relations to the older being, always without regard to the original meanings of that which it makes its own (II, 68) ##### Dance ###### Schuhplattler - Folk dance from Bavaria that was originally imitated from the courtship of the woodcock (254) ##### Data ###### Historical Data - Don't repeat themselves - *Facts* ###### Natural-Science Data - Consistently repeat themselves - *Truths* ##### Day ###### Morning - The art of [[#Thespis]] developed, as its inmost nature required, as a scene of morning and full sunlight (429) ###### High Noon / Midday - Represented by the [[#Music]] of the [[#Ionic]] flute (429) - At [[#High Noon / Midday]] things and nearness assert themselves and [[#Space]] is repudiated (429) - In the [[#Classical]]/[[#Apollonian]] world, the souls belong to the day - even the early Church still speaks of the twelve dedicated days; but with the awakening of the [[#Faustian Soul]] these become "Twelfth Night" (429) - Steady brightness as hall-mark of the [[#Classical]]/[[#Apollonian]] ###### Late Afternoon ###### Night - At Night, the universe of [[#Space]] triumphs over matter, at [[#High Noon / Midday]] things and nearness assert themselves and [[#Space]] is repudiated (429) ###### Midnight - It is at midnight, too, and particularly in the twelve long nights after Christmas, that the souls of the [[#Faustian]] dead walk abroad. ###### Twilight - Steady twilight is the respective hall-mark of the Western, alike in painting and drama (430) ##### Death - Related to [[#Space]] - We are [[#Time]] but we possess also an image of [[#History]] and in this image Death, and with Death, Birth. These appear as two riddles (220) - It is because there is this deep and significant identity that we so often find the awakening of the inner life in a child associated with the death of some relation. The child suddenly grasps the lifeless corpse for what it is, something that has become wholly matter, wholly [[#Space]], and at the same moment it feels itself as an individual being in an [[#Alien]] extended world. (220) - Only when [[#Understanding]] has become, through [[#Language]], detached from visual awareness and pure, does [[#Death]] appear to man as the great enigma of the [[#Light-World]] about him (II, 18) - Then, and only then, [[#Life]] becomes the short span of time between [[#Birth]] and [[#Death]], and it is in relation to death that that other great mystery of generation arises also. Only then does the diffuse animal fear of everything become the definite human [[#Fear]] of death (II, 18) - It is _this_ that makes the love of man and woman, the love of mother and child, the tree of the generations, the family, the people, and so at last world-history itself the infinitely deep facts and problems of [[#Destiny]] that they are (II, 18) ###### The Dead - The dead strive no more. They are no more [[#Time]] but only [[#Space]] - something that stays but does not ripen towards a [[#Future]]; and hence it is [[#Stone]], the abiding stone, that expresses how the dead is mirrored in the [[#Waking-Consciousness]] of the living. ###### Death-Fear - To death, as the common lot of every human being born into the [[#Light]], adhere the ideas of guilt and punishment, of existence as a penance, of a new life beyond the world of this light, and of a [[#Salvation]] that makes an end of the [[#Death-Fear]]. In the knowledge of death is originated that world-outlook which we possess as being men and not beasts (II, 19) ##### Decoration - Shrinks away in awe at the dawn of a great Culture when [[#Architecture]] as [[#Ornament]] comes into being suddenly (260) ##### Deed - All [[#Faustian Ethic]] an ethic of the [[#Deed]] (455) - The [[#Faustian World-Feeling]] of [[#Deed]], which had been efficient in every great man from the [[#The Hohenstaufen Dynasty]] and the Welf to Frederick the Great, [[#Goethe]] and [[#Napoleon]], smooths itself down to a philosophy of work. - It was [[#Deed]]s of [[#Science]] that [[#Galileo]], [[#Johannes Kepler]], and [[#Newton]] performed, but it is scientific work that the modern physicist carries out. - Life only counts insofar as it is [[#Deed]] (477) - We have to distinguish, in all modernism, between the popular side with its *dolce far niente* (sweet doing nothing), its solicitude for health, happiness, freedom from care, and universal peace - in a word, its supposedly [[#Christian]] ideals - and the higher Ethos which values [[#Deed]]s only, which (like everything else that is [[#Faustian]]) is neither understood nor desired by the masses, which grandly idealizes the [[#Aim]] and therefore [[#Work]] (477) ##### Depth - From the moment of our awakening, the fateful and directed life appears in the phenomenal life as an experienced Depth (222) - World-experience is bound up with the essence of depth (i.e., *far-ness* or [[#Distance]]) (222) - Depth is a representation of expression, of [[#Nature]], and with it begins the "world" - Depth is the first and genuine dimension in the literal sense of the word. In it the [[#Waking-Consciousness]] is active, whereas in the other units (length and breadth) it is strictly passive. It is the *symbolic content of a particular order* as understood by one particular [[#Culture]] that is expressed by this original fundamental and unanalyzable element (223) - The experience of depth is an act, as entirely involuntary and necessary as it is creative... - The symbolic experience of Depth is what is lacking in the child, who grasps at the moon and knows as yet no meaning in the outer world but, like the soul of primitive man, dawns in a dreamlike continuum of sensations - The first comprehension of Depth is an act of birth - the spiritual complement of the bodily. - It is the [[#Depth]]-Experience through which the World Becomes, through which Perception Extends Itself to the World ###### Depth-Experience - By Depth-Experience, sensation is expanded into the world. - The [[#Depth-Experience]] is a [[#Becoming]] and effects a [[#Thing-Become]], signifying [[#Time]] and evoking [[#Space]], at once cosmic and historical (347) - [[#Depth-Experience]] actualizes the [[#Extension-World]] (398) - Identical with the awakening of a soul and therefore with the creation of the outer world belonging to that soul (511) - Re: [[#Human Waking-Consciousness]]: The [[#Depth-Experience]] is a mighty out-thrust into the visible [[#Distance]] from a [[#Light-Center]] - the point which we call "I" (II, 8) - **APOLLONIAN DEPTH EXPERIENCE** - See also: [[#Apollonian Depth-Experience]] - The Greek who sacrificed outside the temple did not feel space (250) - **EGYPTIAN DEPTH EXPERIENCE** - See also: [[#Egyptian Depth-Experience]] - The depth-experience which governed his world-form was so emphatically directional that he comprehended [[#Space]] more or less as a continuous process of actualization (250) - The Egyptian experience [[#Space]] in and by the processional march along its distinct elements - **FAUSTIAN DEPTH EXPERIENCE** - See also: [[#Faustian Depth-Experience]] - The man of the Gothic centuries praying in the [[#Cathedral]] let himself be immersed in the quiet infinity of [[#Space]] (250) - - "Cogito, ergo sum" is simply the formulation of the [[#Depth-Experience]] - I cognize, and therefore I am in [[#Space]] (512) - **MAGIAN DEPTH EXPERIENCE** ###### Depth-Perspective - **OF OIL PAINTING** - Makes the space-field of the picture, conceived as infinite, dependent on the observer, who in choosing his distance asserts his dominion (409) ###### Depth-Rhythm - Mentioned in reference to [[#Raphael]] (380) ###### Experiential Depth - Eludes every numerical definition (226) - The whole of lyric poetry and music, the entire painting of Egypt, China and the West by hypothesis deny any strictly mathematical structure in space as felt and seen, and it is only because all modern philosophers have been destitute of the smallest understanding of painting that they have failed to note the contradiction. ##### Destiny Contra: [[#Causality]] - Described by [[Authors (Philosophy & Theory)/Oswald Spengler/General Biography|Spengler]] as the *Logic of Time* (7) contra the *Logic of Space* (rooted in a necessity of cause and effect) - A fact of the deepest inward certainty, a fact which suffuses the whole of mythological religions and artistic thought and constitutes the essence and kernel of all history but is unapproachable through the cognition-forms which [[#Kant]] investigates (7) - That which leads to a historical ordering of the phenomenal world (8) - Is the word for an inner certainty that is not describable. - The idea of Destiny can be imparted only by the artist working through media like portraiture, tragedy and music (154) - Creative through and through and thus related to [[#Life]] (contra [[#Causality]]'s relation to Death) - Stands beyond and outside all comprehended [[#Nature]] (156) - Morphological element of Destiny is an [[#Idea]], an idea that is incapable of being "cognized," described or defined, and can only be felt and inwardly lived. - The Organic Logic of Existence (169) - "Without the inward certainty that [[#Destiny]] is something entirely intractable to critical thought we cannot perceive the world of [[#Becoming]] at all" (184) - Destiny is [[#Incident]] Become Immense (193) - Every destiny appears in some sensible garb - as persons, acts, scenes and gestures - in which [[#Nature]]-laws are operative. ###### Destiny Idea - It's opposition to the [[#Causality Principle]] is the necessary foundation of [[#World-Building]] (153) - The Destiny Idea demands life-experience and not scientific experience, the power of seeing and not that of calculating, depth and not intellect (154) - In the Destiny Idea the soul reveals its [[#World-Longing]], its desire to rise into the light, to accomplish and actualize its vocation (154) - In the language of religion, God's Providence - The Destiny-Idea manifests itself in every line of life. With it alone do we become members of a particular Culture, whose members are connected by a common world-feeling and a common world-form derived from it. (230) ###### Destiny-Men See also: [[#Active Man]] Contra: [[#Causality-Men]], [[#Meditative Man]] - A whole world separates the purely living man - peasant and warrior, statesman and general, man of the world and man of business, everyone who wills to prosper, to rule, to fight, and to dare, the organizer or entrepreneur, the adventurer or bravo or gambler - from the man who is destined either by the power of his mind or the defect of his blood to be an "intellectual" - the saint, priest, savant, idealist, or ideologue (II, 19) ###### Destiny-Quality - The necessary directedness of existence, the possibility that life in its course actualizes (398) ##### Détente Contra: [[#Tension]] - Sense and object, I and thou, [[#Cause & Effect]], thing and property - each of these is a [[#Tension]] between discretes, and when the state pregnantly called [[#Détente]] appears, then at once fatigue, and presently sleep, set in for the [[#Microcosmic]] side of life. A human being asleep, discharged of all tensions, is leading only a [[#Plantlike Existence]] (II, 3) ##### Devil - In proportion as the [[#Will]] emerges, out of the [[#Gothic]] struggle for primacy between "intellectus" and "voluntas" as the center of a spiritual monotheism, the figure of the [[#Devil]] fades out of the real world (411) ##### Diatribe - First observed as a Hellenistic phenomenon, it is an efficient form in all [[#Civilization]]s (473) - Dialectical, practical and plebeian through and through, it replaces the old meaningful and far-ranging Creation of the great man by the unrestrained Agitation of the small and shrewd, ideas by aims, symbols by programs (473) - The Expansion-Element common to all Civilizations, the imperialistic substitution of outer space for inner spiritual space, characterizes this also. - Quantity replaces quality, spreading replaces deepening. - We must confused this hurried and shallow activity with the [[#Faustian]] [[#Will-to-Power]] - All it means is that creative inner life is at an end and intellectual existence can only be kept up materially, by outward effect in the space of the City (473) #CoreSpengler - [[#Diatribe]] belongs necessarily to the "religion of the irreligious" and is the characteristic form that the "cure of souls" takes therein (474) - Appears as Indian preaching, Classical rhetoric, and Western journalism. - It appeals not to the best but to the most, and it values its means according to the number of successes obtained by them. - It substitutes for the old thoughtfulness an intellectual male-prostitution by speech and writing, which fills and dominates the halls and the market-places of the [[#Megalopolis]] (474) ##### Discovery - Best embodied by the [[#Baroque Period]] (368) - The word discovery has something bluntly un-[[#Classical]] in it. - [[#Classical Man]] took good care not to take the cover, the material wrapping, off anything cosmic, but to do *just this* is the most characteristic impulse of a [[#Faustian]] nature (368) - The discoveries of the New World, the circulation of blood, and the Copernican universe were achieved almost simultaneously and, at bottom, are completely equivalent (368) - [[#Leonardo da Vinci]] was a discoverer through-and-through, and [[#Discovery]] was the sum in one word of his whole nature. - There are some discoveries that have all the pathos of a great and necessary [[#Symbol]] and reveal [[#Depth]]s within, and there are others that are merely play of intellect (442) - It is prominence or insignificance in the [[#Macrocosm]] as a whole that gives [[#Discovery]] and the application thereof the [[#Character]] of [[#Depth]] or Shallowness (442) ##### Disposition - Original Sin (186) ##### Distance - That which the [[#Apollonian Soul]] / [[#Classical Man]] was determined to banish, in every aspect, from its world-consciousness (10) - While we gaze into the distance with our senses, it floats around us, but when we are startled, the alert eye sees and tense and rigid space. The space *is:* the principle of its existing at all is that it is, outside time and detached from it and from life (229) - The feeling for long range is at the same time one for [[#History]]. At a distance, [[#Space]] becomes [[#Time]] and the [[#Horizon]] signifies the [[#Future]] (320) - Distance, when treated by the likes of [[#Raphael]], comes to signify [[#Future]], for what [[#Impressionism]] seizes and holds is by hypothesis a unique and never-recurring instant, not a landscape in *being* but a fleeting moment of the [[#History]] thereof. - The passionate thrust into [[#Distance]] is [[#Faustian]]. [[#Force]], [[#Will]], has an [[#Aim]], and where there is an Aim there is for the inquiring eye an end (561) ###### Distance-Become - The boundless [[#World-Horizon]] (406) ###### Distance-Becoming - The [[#Historic-Future]] (406) ###### Distance-Sense - That which *Confessed* limitation with humility (434) ##### Direction - Direction is the origin of [[#Extension]]. - Irreversibility - The element of [[#Direction]], too, which is inherent in all "becoming," is felt owing to its inexorable irreversibility to be something [[#Alien]] and hostile, and the human will-to-understanding ever seeks to bind the inscrutable by the spell of a name. - Every happening is unique and incapable of being repeated. It carries the hall-mark of Direction ("[[#Time]]"), of irreversibility. - That which has happened is thenceforth counted with The Become and not with The Becoming, with the stiffened and not the living, and belongs beyond recall to the past (126) - [[#Direction]] is the living, [[#Aim]] the dead (476) - The thinker, in imagining that he can cut out the factor of [[#Life]], forgets that knowing is related to the known as [[#Direction]] is to [[#Extension]] and that it is only through the living quality of direction that what is felt extends into distance and depth and becomes [[#Space]]. - The cognized structure of [[#The Extended]] is a projection of the cognizing being (511) ###### The Directed - [[#Actuality]] - the world in relation to a soul - is for every individual the projection of The Directed upon the domain of [[#The Extended]] - the [[#Proper]] mirroring itself on the [[#Alien]]; one's actuality then signifies oneself. ###### Direction-Feeling - The direction-feeling as [[#Will]] and the [[#Space-Feeling]] as [[#Reason]] are imagined as entities, almost as legend-figures; and out of them comes the picture that our psychologists of necessity abstract from inner life (406) ###### Directional Energy - Denied in the Classical and also in the Indian [[#Soul-Image]] (where all is settled and rounded), is emphatically affirmed in the [[#Faustian]] and [[#Egyptian]] (wherein all is systems and centers of forces) (401) - [[#Classical Man]], belonging wholly to the present, is equally without that directional energy by which the [[#Faustian]] image of world and of soul are dominated, which sums all [[#Faustian]] sense-impressions as a path toward [[#Distance]] and our inward experiences as a feeling of [[#Future]] (408) - [[#Socialism]] as a tautening of [[#Directional Energy]] (461) ###### Directional Motion - In the [[#Apollonian]] world there is no [[#Directional Motion]] - the [[#Ionic]] and [[#Corinthian]] styles appear by the side of the [[#Doric]] without setting up any claim to sole and general validity (450) ##### Divine - Out of such a primary feeling in the existence that has become thoughtful there arises, then, an idea of the Divine immanent in the world-around, and this idea becomes steadily more definite (524) ##### Doubt - Analysis reached its goal with [[#Carl Friedrich Gauss]], [[#Augustin-Louis Cauchy]] and [[#Bernhard Riemann]], and to-day it is only filling up the gaps in its structure. This is the origin of the sudden and annihilating [[#Doubt]] that has arisen about things that even yesterday were the unchallenged foundation of physical theory, about the meaning of the energy-principle, the concepts of mass, space, absolute time, and causality-laws generally (553) - This doubt is no longer the fruitful doubt of the [[#Baroque]], which brought the knower and the object of his knowledge together; it is a doubt affecting the very possibility of a Nature-science (553) ##### Drama See also: [[#Tragedy]] - Drama is presented in the movement of the brushstroke or the chisel, the melodic curve of the song, the tone of the recitation, the line of poetry, the description, the [[#Dance]]. - The drama, in the epoch of [[#Nietzsche]] and [[#Darwin]], is no longer poetry in the old sense of the [[#Culture]] days, but a form of agitation, debate and demonstration. The stage has become a moralizing institution (491) ###### Dramatist - The distinctive [[#Philosophy]] of the 19th Century is only Ethics and social critique in the productive sense - nothing more. And consequently, again, its most important representatives (apart from actual practitioners) are the dramatists (485) ###### American Drama - Dramas like that of the emigration to America - man by man, each on his own account, driven by deep promptings to [[#Loneliness]] - or the Spanish Conquest, or the Californian gold-rush, dramas of uncontrollable [[#Longing]]s for [[#Freedom]], solitude, immense independence, and of giantlike contempt of all limitations whatsoever upon the [[#Home-Feeling]] - these dramas are [[#Faustian]] and only Faustian. No other Culture, not even the Chinese, knows them (445) ###### Baroque Drama - Makes character instead of occurrence its center of gravity, the origin of a system of spiritual co-ordinates which gives the scenic facts position, sense, and value in relation to itself (419) - The outcome is a [[#Tragedy]] of Willing, of efficient forces, of inward movement not necessarily exhibited in visible form (419) ###### Character-Drama - The Drama of the West ###### Character-Tragedy - In the [[#Tragedy]] of a [[#Character]], what happens is the outcome of a long inner development (420) ###### Classical Drama - In Classical Drama - even of the Late period - the mask is an element of profound symbolic necessity, whereas [[#Faustian]] pieces would not be regarding as played at all without the play of features. - The Greek understood drama as a maximum of passivity (422) ###### The Classical Stage-Figure - Contrary to [[#The Faustian Character]], is a role and not a [[#Character]]; over and over again the same figures appear - the old man, the slayer, the lover, all slow-moving bodies under masks and on stilts (420) ###### Drama of the Noble Gesture - [[#Apollonian]] in nature (419) ###### The Faustian Character - Merely exists as a human being thus constituted in their respective milieux. Their struggle - whether against the world or the next, or themselves - is forced on them by their [[#Character]] and not by anything coming from outside (420) ###### Faustian Drama - Of deep necessity, therefore, we [[#Faustian]]s understand drama as a maximum of activity (422) - We inwardly need a drama of [[#Perspective]]s and wide [[#Background]]s, a stage that shakes off sensuous limitations and draws the whole world into itself (430) ###### Situation-Drama - That of the Greeks, the [[#Apollonian]] ##### Duration - A piece of perished time - The [[#Funeral Customs]] of the [[#Apollonian]] were a ceremonial completion of [[#Death]] and a denial of all historical duration - He willed to have no history, no duration, neither past nor future, neither preservation nor dissolution, and therefore he destroyed that which no longer possessed a present, the body. - The duration of a generation - whatever may be its nature - is a fact of almost mystical significance. - [[#Duration]] (i.e., timelessness) and [[#Extension]] are identical (512) ###### Duration in Art - [[#Ornament]] employs a language emancipated from speaking, a stock of forms that possess [[#Duration]] and is not at the mercy of the individual - Every [[#Imitation]] possesses beginning and end, while an [[#Ornament]] possesses only [[#Duration]], and therefore we can only imitate the [[#Destiny]] of an individual (for instance, Antigone or Desdemona), while by an ornament or [[#Symbol]] only the generalized [[#Destiny Idea]] itself can be represented (e.g., that of the Classical world by the [[#Doric Column]]) - In every art of human representation that has a claim to symbolic import, it signifies duration in the midst of phenomenal change, the endlessness of Life. - But the [[#Classical Life]] exhausted itself in the completeness of the moment. The individual shut his eyes to time-distances... ###### Life-Duration See also: [[#Life-Duration of Form]] AKA: Definite Tempo of Development - We must take these properties into account in a historical theory of structure - The Rhythm of Classical Experience was different from that of [[#Egyptian]] or [[#Arabian]] - The notion of Life-Duration as applied to man, a butterfly, an oak, etc. comprises a specific time-value, which is quite independent of all the accidents of the individual case ##### Dynamic - As all the forms of Dynamic (whether pictorial, musical, physical, social or political) are concerned with the working-out of infinite relations and deal, not with the individual case and the sum of individual cases as the Classical [[#Physics]] has done, but with the typical course or process and its functional rule, [[#Character]] must be understand as that which remains in principle constant in the working-out of life; where there is no such constant we speak of "lack of [[#Character]]" (417) ###### Form-Language of Dynamics - Puts the energetic contrast of capacity and intensity in place of the volition-less somatic contrast of material and form - one of the most common to all the mind-creations of the [[#Baroque]] centuries (414) ##### Ear ###### Ear-World ##### Ego - That which keeps its world in subordination, amidst the experience of [[#Depth]] (as an act, entirely involuntary and necessary as it is creative) - Out of the rain of impressions the Ego fashions a formal unit, a cinematic picture, which as soon as it is mastered by the understanding is subjected to law and the [[#Causality Principle]] - therefore, as the projection of an individual spirit it is transient and mortal - The [[#Spirit]] which evokes a higher world, and through creation triumphs over mere life, "the flesh," [[#Nature]] - this is the prime image that underlies all feelings of [[#Ego]] (403) - The the outset of [[#Thought]], the [[#Ego]] was [[#Waking-Being]] as such (insofar, that is, as having sight, it felt itself as the center of a [[#Light-World]]); now it becomes [[#Spirit]] - namely, pure [[#Understanding]], which [[#Cognize]]s itself as such and very soon comes to regard not only the world around itself, but even the remaining component of life, its own [[#Body]], as qualitatively below itself (II, 11) ###### Apollonian Ego - For the mode of human imagining, it is more than important, it is determinant that the [[#Apollonian]] individual feels himself as a body amongst bodies (342) ###### Faustian Ego - For the mode of human imagining, it is more than important, it is determinant that the [[#Faustian]] individual feels himself as a centre in endless space (342) ##### Egyptian **PRIME SYMBOL:** [[#Way]], The Nile (directional stream of life), **STYLE:** That of the Brave Soul, Dared All & Said Nothing See also: [[#Egyptian Culture]] - Instead of spinning word-subtleties around its form of [[#Extension]], its [[#Space]] and its [[#Time]], instead of forming hypotheses and number-systems and dogmas, Egyptian Culture set up its huge symbols in the landscape of the Nile in all silence - in [[#Stone]] (248) - The one element in extension that the Egyption emphasizes is that of [[#Direction]] in [[#Depth]] (249) ###### Egyptian Soul - The Egyptian soul, conspicuously historical in its texture and impelled with primitive passion towards the infinite, perceived past and future as its whole world, and [[#The Present]] (which is identical with [[#Waking-Consciousness]]) appeared to him simply as the narrow common frontier of two immeasurable stretches. - Saw itself moving down a narrow and inexorable prescribed life-path to come at the end before the judges of [[#The Dead]] - this was its [[#Destiny Idea]] (249) - The Egyptian's existence is that of the traveller who follows one unchanging direction and the whole [[#Form-Language]] of his Culture is a translation into the sensible of this one theme. ###### Egyptian Depth-Experience - The depth-experience which governed his world-form was so emphatically directional that he comprehended [[#Space]] more or less as a continuous process of actualization (250) - The man must move, and so become himself a symbol of life, in order to enter into relation with the [[#Stone]] part of symbolism (250) - It is the forward-driving life which extends them into "world." - The Egyptian experience [[#Space]] in and by the processional march along its distinct elements - The dominance of the horizontal, the vertical and the right angle, and the avoidance of all foreshortening support the two-dimensional principle and serve to insulate this directional [[#Depth-Experience]] which coincides with the [[#Way]] and the grave at the end. - The world-creating depth-experience of the Egyptian Soul gets its substance from the direction-factor - spatial [[#Depth]] as stiffened [[#Time]], distance, death. - [[#Destiny]] itself dominate the expression, and the merely sensuous dimensions of length and breath become an escorting plane which restricts and prescribes the [[#Way]] of [[#Destiny]] (267) ###### Egyptian Style - Purely architectural and remained so until the [[#Egyptian Soul]] was extinguished (269) - It is the only one in which [[#Ornament]]ation as a decorative supplement to architecture is entirely absent (269) - It allowed no divergence into arts of entertainment, display-painting, busts, secular music - The expression of a **brave soul** (270) - Dared all, said nothing. ###### Egyptian World-Feeling See also: [[#World-Feeling]] ###### Way - Way signifies both [[#Destiny]] and third dimension. ##### Element - Every group of scientifically established [[#Element]]s has a dual tendency inherent and unchanged since primitive ages. - The one tendency urges forwards the completest possible system of [[#Technical Knowledge]], for the service of practical, economical, and warlike ends, which many kinds of animals have developed to a high degree of perfection, and which from them leads, through [[#Primitive Man]] and his acquaintance with [[#Fire]] and metals, directly to the [[#Machine-Technics]] of our [[#Faustian Culture]] (II, 28) - The other tendency took shape only with the separation of strictly human thought from physical vision by means of [[#Language]], and the aim of its effort has been equally complete [[#Theoretical Knowledge]] which we call in the earlier phases of [[#Culture]] religious, and in the later scientific. ###### Apollonian Element - The Classical critic of [[#Nature]] took the visible juxtaposition of states as the original diversity, and specified the famous four elements of Empedocles - namely, earth as the rigid-corporeal, water as the non-rigid-corporeal and air as the incorporeal, together with fire, which is so much the strongest of all optical impressions that the Classical spirit could have no doubt of its [[#Bodiliness]] (505) - The elements of [[#Empedocles]] designate states of bodiliness (507) ###### Faustian Element - The elements of [[#Antoine Lavoisier]], whose combustion-theory followed promptly upon the isolation of oxygen in 1771, designate energy-systems accessible to human will, "rigid" and "fluid" becoming mere terms to describe tension-relations between molecules (507) - By our analysis and synthesis, [[#Nature]] is not merely asked or persuaded but forced. The modern chemistry is a chapter of the modern physics of [[#Deed]] (507) ###### Magian Element See also: [[#Alchemy]] - The Arabian "elements," on the contrary, are ideal and implicit in the secret constitutions and constellations which define the phenomenon of things for the eye (505) ##### Energy See also: [[#Space-Energy]], [[#Directional Energy]] ##### English ##### Entropy - MathematicaI1y, [[#Entropy]] is represented by a quantity which is fixed by the momentary state of a self-contained system of bodies and under all physical and chemical alterations can only increase, never diminish; in the most favorable conditions it remains unchanged (557) - Entropy, like [[#Force]] and [[#Will]], is something which (to anyone for whom this [[#Form-World]] is accessible at all) is inwardly clear and meaningful, but is formulated differently by every different authority and never satisfactorily by any. Here again, the [[#Intellect]] breaks down where the [[#World-Feeling]] demands expression (557) - The Entropy Theory (1850) is the beginning of the destruction of that masterpiece of Western intelligence, the old dynamic physics, the deep opposition of [[#Theory]] and [[#Actuality]] which is here for the first time introduced into theory itself (558) - If the Entropy theory is followed out to its conclusion, it results, _firstly,_ that in theory all processes must be reversible - which is one of the basic postulates of dynamics and is reasserted with all rigor in the law of the Conservation of Energy - but, _secondly,_ that in actuality processes of Nature in their entirety are irreversible. - Signifies world's end as completion of an inwardly necessary evolution (561) ##### Environment - If the environment of a man is with respect to him a [[#Macrocosm]] with respect to a [[#Microcosm]], an immense aggregate of [[#Symbol]]s, then the man himself, insofar as he belongs to the fabric of [[#Actuality]], insofar as he is *phenomenal,* must be comprised in the general [[#Symbolism]] (341) ##### Epoch - The necessary moment of transition, typically from Culture to Civilization (197) - When we say an event is epoch-making we mean that it marks in the course of a Culture a necessary and fateful turning-point. - Every being, active or contemplative, strides on to its fulfillment by [[#Epoch]]s and we have to assume just such Epochs in the history of solar systems and the world of fixed stars (II, 39) - The origins of the earth, of life, of the free-moving animal *are* such Epochs, and, therefore, mysteries that we can do not more than accept (II, 39) #CoreSpengler ###### Personal Epoch - We can distinguish between impersonal or anonymous and personal epochs according to their physiognomic type in the picture of history (197) ##### Esoteric - Every [[#Culture]] has its own quite definite sort of [[#Esoteric]] or [[#Popular]] character that is immanent in all its doings, so far as these have symbolic importance (431) - [[#The Commonplace]] eliminates difference of spiritual breadth as well as [[#Depth]] between man and man, while the [[#Esoteric]] emphasizes and strengthens them (431) ###### Esoteric Culture - Symptoms of the Western life-feeling, viz., the" misunderstood" artist, the poet "left to starve," the .. derided discoverer," the thinker who is "centuries in advance of his time" and so on. These are types of an esoteric Culture. - Destinies of this sort have their basis in the passion of [[#Distance]] in which is concealed the desire-to-infinity and the [[#Will-to-Power]], and they are as necessary in the field of [[#Faustian]] mankind - at all stages - as they are unthinkable in the [[#Apollonian]] (432) ###### The Baroque Esoteric - That the severe esoteric of the [[#Baroque]] Age is felt now as a burden, is a symptom of sinking strength and of the dulling of that ##### Eucharist - In opposition to the Classical sacrifices offered to individual gods in separate temples, there is here the one never-ending sacrifice repeated everywhere and every day (246) ##### Euclidean - Classical form of the [[#Destiny Idea]] - Forms the [[#Classical Man]]'s existence (+ relationless, point-formed) - The Euclidean world-feeling that deified the body and the present (175) - The here-and-now - The Euclidean soul of the [[#Classical Culture]] could only experience its existence, bound as this was to present foregrounds, in the form of [[#Incident]]s of the Classical Style (193) - Everything Euclidean and tangible is also popular, and the genuinely popular art is therefore the Classical. It is very largely the feeling of the popular character in it that constitutes its indescribably charm for the [[#Faustian]] intellects that have to fight for self-expression, to win their world by hard wrestling. ##### Evolution - For the [[#Nineteenth Century]] the word [[#Evolution]] meant progress in the sense of increasing fitness of [[#Life]] to [[#Purpose]]s (II, 37) - For [[#Gottfried Wilhelm Leibniz]] - whose *Protogæa (1691),* a work full of significant thought, outlines, on the basis of studies made in the Harz silver-mines, a picture of the world's infancy that is Goethean through and through - and for [[#Goethe]] himself it meant fulfillment in the sense of increasing connotation of the [[#Form]] (II, 37) - The two concepts, [[#Goethe]]'s [[#Form-Fulfillment]] and [[#Darwin]]'s [[#Evolution]], are in as complete opposition as [[#Destiny]] to [[#Causality]], and as [[#German]] to [[#English]] thought, and German to English history (II, 37) ###### Darwinism - Springs from the materialist conception of history and kills all that is fateful and organic (158) - The megalopolitan-intellectual product of the most abstract of all Civilizations (158) - A shallow formulation of the [[#Life-Feeling]] behind concepts such as Force, Mass, [[#Will]], and Passion (411) - Proof, to the Darwinian, means to the ordering and pictorial presentation of a selection of facts so that they conform to his historico-dynamic basic feeling of [[#Evolution]]. - Darwinism - that is to say, that totality of very varied and discrepant ideas, in which the common factor is merely the application of the [[#Causality Principle]] to living things, which therefore is a method and not a result - was known in all details to the 18th Century (487) - The spiritual unity of the century is manifest enough here. - Darwin's struggle for existence, which he read into [[#Nature]] and not out of it, is only the plebeian form of that primary feeling which in [[#Shakespeare]]'s tragedies moves the great realities against one another; but what Shakespeare inwardly saw, felt and actualized in his figures as [[#Destiny]], Darwinism comprehends as causal connexion and formulates as a superficial system of utilities (488) - There is no more conclusive refutation of [[#Darwinism]] than that furnished by paleontology (II, 37) ###### Evolution-Idea - From [[#Schopenhauer]] to [[#George Bernard Shaw]], everyone has been, without being aware of it, bringing the same principle into form. Everyone (including even those who, like Hebbel, knew nothing of Darwin) is a derivative of the [[#Evolution-Idea]] - and of the shallow civilized and not the deep Goethian form of it at that - whether he issues it with a biological or an economic imprint (487) ###### Goethean Evolution - In [[#Goethe]] evolution is upright, in [[#Darwinism]] it is flat. - In Goethe, it is organic, in Darwin mechanical - In Goethe an experience and emblem, in Darwin a matter of cognition and law. - In Goethe, it meant inward fulfillment, to Darwin it meant [[#Progress]] - Fulfillment in the sense of increasing connotation of the [[#Form]] (II, 37) ##### Existence ###### Plantlike Existence - A human being asleep, discharged of all tensions, is leading only a [[#Plantlike Existence]] (II, 3) ##### Experience - Experience is our sense possesses the tendency *from particular to infinite*. And for that very reason it is in contradiction with the feeling of the [[#Apollonian Science]]. What for us is the way to acquire experience is for the Greek the way to lose it (521) - The scientific mode of [[#Experience]] is, for every [[#True Historian]], something additional or subordinate. It addresses to the [[#Waking-Consciousness]], by the way of [[#Understanding]] and imparting laborious and repetitive proof of that which one moment of illumination has already, and instantly, demonstrated to [[#Being]] (II, 58) ###### Inner Experience - That which the [[#Form-Language]] of the Greek seemingly might not allow (349) ###### Lived Experience Contra: [[#Criticism]] ##### Experiment ###### Faustian Experiment - The Faustian experiment, based on working hypotheses and employing the methods of measurement, is nothing but the systematic and exhaustive exploitation of this "experience." (520) ##### Expert - Opposite of the lay-man - He who is totally lacking in the [[#Classical Life]], wherein everyone knows everything (434) - For the [[#Faustian]], the polarity of [[#Expert]] and layman has all the significance of a high symbol, and when the tension of this [[#Distance]] is beginning to slacken, there the [[#Faustian]] life is fading out (434) ##### Expression ###### Expression-Forms - Those which are inwardly bound together (i.e., the expression-forms of all branches of a [[#Culture]]) via a **Morphological Relationship** (6) - Originally what happens is that a [[#Name]] is given to a system of [[#Expression-Forms]] conjuring up in our minds a particular complex of relations. But this does not last long, and soon one is suppositing under the [[#Name]] a [[#Being]], and under the relation and effect. ###### Expression-History - ###### Expression-Means - It's significance lies not int he thing but in the way in which it is used (316) ##### Extension - Means for the Classical mankind body and for us [[#Space]], and it is as a function of space that, to us, things 'appear.' - That dimension to which [[#Number]] exclusively belongs (rather than [[#Time]]) - Characterized by limit and causality - Everything extends itself, but it is not yet [[#Space]], not something established in itself but a self-extension continued from the moving here to the moving there (222) - Every extension that is actual has first been accomplished in and with an experience of [[#Depth]], and what is primarily indicated by the word [[#Time]] is just this process of extending, first sensuously and only later intellectually, into [[#Depth]] and [[#Distance]]... (228) - A deep identity unites the awakening of the soul, its birth into clear existence in the name of a [[#Culture]], with the sudden realization of [[#Distance]] and [[#Time]], the birth of its outer world through the symbol of [[#Extension]]; and thenceforth this symbol is and remains the prime symbol of life, imparting to it its specific style and the historical form in which it progressively actualizes its inward possibilities. - We Shall Consider the Kind of [[#Extension]] as the Prime [[#Symbol]] of a [[#Culture]] (231) - It is only a preconceived idea of criticism that [[#Extension]] exists in itself and independently of the form-feeling and world-feeling of the knower (511) - [[#Duration]] (i.e., timelessness) and [[#Extension]] are identical (512) ###### The Extended - The space in which and through which a [[#Culture]] strives to actualize itself (141) - Each Culture stands in deeply symbolical, almost mystic relation to its Extended (141) - The unending space of tone and the all-round body of marble or bronze are immediate interpretations of [[#The Extended]] (377) - The cognized structure of [[#The Extended]] is a projection of the cognizing being (511) ###### Extension-World - That which [[#Depth-Experience]] actualizes (398) ###### The Non-Extended ##### Eye - The eye comes into existence as the [[#Supreme Sense]] evokes for itself a bodily [[#Organ]] - and, in and with the eye, as its opposite pole, [[#Light]] (II, 6) - It is for his [[#Eye]] that man develops the magic of his [[#Architecture]], wherein the constructional elements given by [[#Touch]] are restated in relations generated by [[#Light]] (II, 6) - Religion, art, thought, have all arisen for [[#Light]]'s sake, and all differentiations reduce to the one point of whether it is the bodily [[#Eye]] or the mind's eye that is addressed (II, 6) ###### Eye-World - Music is the only art whose means lie outside the [[#Light-World]] that has so long become coextensive with our total world, and music alone, therefore, can take us right out of this world, break up the steely tyranny of [[#Light]], and let us fondly imagine that we are on the verge of reaching the [[#Soul]]'s final secret - an illusion due to the fact that our [[#Waking-Consciousness]] is now so dominated by one [[#Sense]] only, so thoroughly adapted to the [[#Eye-World]], that it is incapable of forming, out of the impressions it receives, a world of the [[#Ear]] (II, 8) ##### Fact See also: [[#Practical Understanding]] Contra: [[#Truth]] - Every fact, even the simplest, contains *ab initio* a [[#Theory]] (501) - A fact is a uniquely occurring impression upon a [[#Waking-Being]], and everything depends on whether that being, the being for whom it occurs or did occur, is or was Classical or Western, Gothic or Baroque (501) - [[#The Modern Physicist]] physicist is too ready to forget that even words like quantity, position, process, change of state and body represent specifically Western images - For an [[#Animal]], not [[#Truth]]s, but only Facts exist (II, 13) - A [[#Fact]] addresses itself to the whole [[#Waking-Consciousness]], for the service of [[#Being]], and not to that side of the Waking-Consciousness which imagines it can detach itself from [[#Being]] (II, 13.) - [[#Actual Life]], [[#History]], knows only [[#Fact]]s; life experience and knowledge of men deal only in facts. - Truths exist for the mind, [[#Fact]]s only in relation to [[#Life]] (II, 57) ###### Fact-Men - It is these fact-men of the grand style who are the representatives to-day of the [[#Will-to-Power]] over other men's destinies and therefore of the [[#Faustian Ethic]] generally. Men of this sort do not broadcast their millions to dreamers, "artists," weaklings and "down-and-outs" to satisfy a boundless benevolence; they employ them for those who like themselves count as material for the [[#Future]]. - They pursue a purpose with them. They make a center of [[#Force]] for the existence of generations which outlives the single lives. Mere [[#Money]], too, can develop ideas and make history, and [[#Cecil John Rhodes]] provided, in disposing of his possessions by will, that it should do so. ###### Physiognomic Fact - Historical treatment - in Spengler's term [[#Physiognomic Fact]] - is decided by the [[#Blood]], the gift of judging men broadened out into past and future, the innate flair for persons and situations, for the event, for that which had to be, must have been. (II, 57-58) - It does not consist in bare scientific criticism or knowing of data. ##### Faith - Faith and [[#Knowledge]] are only two species of inner certitude, but of the two faith is the older and it dominates all the conditions of knowing, be they never so exact. And thus it is theories and not pure numbers that are the support of all natural science (500) - All "knowing" of [[#Nature]], even the exactest, is based on a religious faith (502) - Amongst the [[#Faustian]] there is no [[#Faith]] without leanings to an Inquisition of some sort (543) ##### Faustian **PRIME SYMBOL:** Endless, Boundless, [[#Infinite Space]] - Galilean dynamics, Catholic and Protestant dogmatics, the great dynasties of the [[#Baroque]] with their cabinet diplomacy, the destiny of Lear and the Madonna-ideal from [[#Dante]]'s Beatric to the last line of *Faust II* (241) - The Faustian is an existence which is lead with a deep consciousness and introspection of the ego, and a resolutely personal culture evidenced in memories, reflections, retrospects and prospects and conscience. - The longing for the woods, the mysterious compassion, the ineffable sense of forsakenness (246) - Represented by the [[#Cathedral]] (247) - It was *we* and not the Hellenes or the men of the high Renaissance that prized and sought out high mountain tops for the sake of the limitless range of vision that they afford. This is a [[#Faustian]] craving - to be *alone* with endless space (319) - As far as sense-observations are concerned, it seems that an absolute limit has been reached; neither light nor gravitation can give a sign of existence through this outer space, void of mass. But for us it is a simple _necessity_ _of_ _thought._ Our spiritual passion, our unresting need to actualize our existence-idea in symbols, _suffers_ under this limitation of our [[#Sense-Perception]]s (439) ###### Faustian Activism - Te distinctive philosophy of the 19th Century is only Ethics and social critique in the productive sense - nothing more. And consequently, again, its most important representatives (apart from actual practitioners) are the [[#Dramatist]]s. - They are the real philosophers of [[#Faustian Activism]], and compared with them not one of the lecture-room philosophers and systematics counts at all (485) ###### Faustian Culture See also: [[#Western Culture]] - Obsessed with the [[#Infinite]] and the intangible - Guiding by the principle of unlimited space, expressed in an artistic output which seeks to sweep its audience away from the immediate towards the ethereal and the immeasurable (Lewis, 43) - Represented best by the incorporeal melodies and polyphonies of contrapuntal music contra the Athenian sculptor (Lewis, 43) - The bent of the [[#Faustian Culture]] was overpoweringly towards [[#Extension]], political, economic or spiritual. It overrode all geographical-material bounds. It sought - without any practical object, merely for the [[#Symbol]]'s own sake - to reach the North Pole and South Pole. It ended by transforming the entire surface of the glove into a single colonial and economic system (444) - The [[#Faustian Culture]] has produced a long series of granite-men, the [[#Classical Culture]] never a one (458) ###### Faustian Depth-Experience - The Faustian depth-impulse refuses to be bound in the prime symbol of a [[#Way]] (a la the [[#Egyptian]]) and from its earliest beginnings strives to transcend every optical limitation (262) - Its most significant symbol is the window as architecture (263) - - The [[#Historic-Future]] is [[#Distance-Becoming]], the boundless [[#World-Horizon]] is [[#Distance-Become]] (406) - This is the meaning of the [[#Faustian Depth-Experience]] ###### Faustian Ethic See also: [[#Faustian Morale]], [[#Faustian Morality]]. [[#Faustian-Christian Morality]] - The entire [[#Faustian Ethic]], from [[#Thomas Aquinas]] to [[#Kant]], *is* an "excelsior" - the fulfillment of an "I," ethical work upon an "I," justification of an "I" by [[#Faith]] and Works; respect of the neighbor "Thou" for the sake of one's "I" and its happiness; and, lastly and supremely, immortality of the "I" (407) - It is the fundamental postulate of all our ethical systems, differ otherwise as they may in their metaphysical or practical precepts, that man has [[#Character]]. - [[#Character]], which forms itself in the stream of the world - the [[#Personality]], the relation of living to doing - is a [[#Faustian]] impression of the man made by the man; - and, significantly enough, just as in the physical [[#World-Picture]] it has proved impossible to separate the vectorial ideas of [[#Force]]s from the idea of motion, so also it is impossible to draw a strict distinction between [[#Will]] and [[#Soul]], [[#Character]] and [[#Life]] (415) - In the ethics of the West, everything is [[#Direction]], claim to power, will to affect the distant (448) - The feeling of the world as [[#Will]], [[#Movement]], [[#Force]], [[#Direction]]. This basic feeling is not merely the foundation of our ethics, it is itself our whole ethics, and the rest are bye-blows (449) - It is a shallow judgment, and one incapable of inwardly understanding [[#History]], that cannot distinguish the literary chatter of popular social-moralists and humanity-apostles from the deeply ethical instincts of the West-European Civilization (461) - The trivial and superficial tendency towards ideals of "welfare," "[[#Freedom]]," "humanity," the doctrine of the "greatest happiness of the greatest number," are mere negations of the [[#Faustian Ethic]] - a very different matter from the tendency of Epicureanism towards the ideal of "happiness," for the condition of happiness was the actual sum and substance of the Classical ethic (461) ###### Faustian History - A boundless mass of human [[#Being]], flowing in a stream without banks; up-stream, a dark past wherein our time-sense loses all powers of definition and restless or uneasy fancy conjures up geological periods to hide away an eternally unsolvable riddle; down-stream, a future even so dark and timeless - such is the groundwork of the [[#Faustian]] picture of human history (140) - Just because the force of our [[#Faustian]] being has by now worked up about us a circumcircle of [[#Inner Experience]]s such as no other men and no other time could acquire - just because for us the remotest events become increasingly significant and disclose relationships that no one else, not even the closest contemporaries of these events, could perceive - much has now become [[#History]] (i.e., life in tune with our life) that centuries ago was not history. - Tacitus probably" knew" the data concerning [[#Tiberius Gracchus]]'s revolution, but for him it no longer meant anything effectively, whereas for us it is full of meaning. - The history of the [[#Monophysite]]s and their relation to Mohammed's _milieu_ signify nothing whatever to the Islamic believer, but for us it is recognizably the story of [[#English Puritanism]] in another setting. - For the world-view of a Civilization which has made the whole earth its stage, nothing is in the last resort quite unhistorical (II, 58) ###### Faustian History-Thinking - The celebrated theories of [[#Kant]], [[#Pierre-Simon Laplace]], [[#Georges Cuvier]], [[#Charles Lyell]], [[#Darwin]], have also a politico-economic tinting, and their very power and impressiveness for the lay public show that the mode of outlook upon all these historical planes proceeds from a single source. - And what is accomplishing itself to-day is the final achievement of which [[#Faustian History-Thinking]] is capable - the organic linking and disposition of these historical planes in a single vast world-history of uniform physiognomic that shall enable our glance to range from the life of the [[#Individual]] man without a break the first and last destinies of the universe (II, 35-36) ###### Faustian Imperative - The overcoming of resistances may far more justly be called the typical impulse of the Western soul. Activity, determination, self-control, are postulates. To battle against the comfortable foregrounds of life, against the impressions of the moment, against what is near, tangible and easy, to win through to that which has generality and duration and links past and future - these are the sum of all Faustian imperatives from earliest [[#Gothic]] to [[#Kant]] and [[#Johann Gottlieb Fichte]], and far beyond them again to the Ethos of immense power and will exhibited in our States, our economic systems and our [[#Technics]] (416) - Active, fighting, and victorious being (416) - Every thinker from [[#Meister Eckhart]] to [[#Kant]] willed to subject the "phenomenal" world to the asserted domination of the cognizing ego, and every leader from [[#Otto the Great]] to [[#Napoleon]] did it (444) - The genuine object of their ambitions was the boundless, alike for the great Franks and [[#The Hohenstaufen Dynasty]] with their world-monarchies, for [[#Gregory VII]] and [[#Innocent III]], for the Spanish Habsburgs, "on whose empire the sun never set," and for the Imperialism of to-day on behalf of which the World-War was fought and will continue to be fought for many a long day. ###### Faustian Instinct - The [[#Faustian Instinct]], active, strong-willed, as vertical in tendency as its own Gothic cathedrals, as upstanding as its own "ego habeo factum," looking into [[#Distance]] and [[#Future]], demands toleration - that is, room, space - for its proper [[#Activity]], but only for that (451) ###### Faustian Morale See also: [[#Faustian Ethic]], [[#Faustian Morality]] - Everyone demands something of the rest. We say "thou shalt" in the conviction that so-and-so [[#Fact]] will, can and must be changed or fashioned or arranged comfortably to the order, and our belief both in the efficacy of, and in our title to give, such orders is unshakeable (448) This is the [[#Faustian Morale]] (448) - In the ethics of the West, everything is [[#Direction]], claim to power, will to affect the distant (448) - The beginning of a morale is a claim to general and permanent validity. It is a necessity of the [[#Faustian Soul]] that this should be so (448) - Where, on the heights of [[#Faustian Morale]], from the Crusades to the World War, do we find anything of the [[#Slave Morale]], the meek resignation, the deaconess' Caristas? Only in pious and honored words, nowhere else. (459) - The type of the very priesthood is [[#Faustian]]; think of those magnificent bishops of the old German empire who on horseback led their flocks into the wild battle, or those Popes who could force submission on a Henry IV and a [[#Frederick II]], of the Teutonic Knights in the Ostmark, of Luther's challenge in which the old Northern heathendom rose up against old Roman, of the great Cardinals (Richelieu, Mazarin, Fleury) who shaped France. That is Faustian morale, and one must be blind indeed if one does not see it efficient in the whole field of West-European history. ###### Faustian Nature Contra: [[#Apollonian Nature]], [[#Magian Nature]] - That of [[#Space]] and [[#Landscape]] (431) - The outcome of Faustian man's [[#Nature Idea]] was a dynamic of unlimited space, a physics of the distant (504) - Rooted in the conceptions of [[#Force]] and Mass (504) - From the very outset a working hypothesis (505) - We ask: What possibility is there of mastering the visible motive-forces of [[#Becoming]]? (505) - Masterful questioning of [[#Nature]] and methodical experiment - It is only the Faustian conception of [[#Nature]] that instead of a magnet thinks of a magnetism whose field of [[#Force]] includes a piece of iron, and instead of luminous bodies thinks of radiant energy, and that imagines personifications like "electricity," "temperature," and "radioactivity" (546) ###### Faustian Religion - The Deity of the Reformation and the Counter-Reformation can only be 'manifested' in the storm of an organ fugue or the solemn progress of cantata and mass (247) ###### Faustian Soul **Being**: Consists in overcoming [[#The Present]] **Feeling**: Loneliness **Yearning:** Infinity - Devote its energies to a 'ceilingless' chase of infinity in all its forms (from mathematics to technology, politics to music) (a la [[Authors (Philosophy & Theory)/Federico Campagna/General Biography|Campagna]]) - That Soul whose prime symbol is **pure and limitless space** and, as such, needs in its innermost being the perpetual reach of infinity - From this flows the idea (and necessity) of ideas of Progress #Progress - It was when the idea of the impending end of the world spread over Western Europe (about the year 1000) that the Faustian Soul of this religion was born (221) - The "body" of this soul is the [[#Western Culture]] that blossomed forth with the birth of the Romanesque style in the tenth century in the Northern plain between the Elbe and the Tagus (141) - The Faustian Soul looks for an immortality to follow the bodily end, a sort of marriage with endless [[#Space]], and it disembodies the [[#Stone]] in its [[#Gothic]] thrust system till at last nothing remained visible but the indwelling depth- and height-energy of this self-extension (249) - Roving into all distances, finding its expression not in *person*, but in [[#Personality]], [[#Character]], call it what you will. - [[#Western Man]] lives in the consciousness of his [[#Becoming]] and his eyes are constantly upon past and future (348) - The overcoming of resistances may far more justly be called the typical impulse of the [[#Faustian Soul]] (416) - The [[#Faustian Soul]] puts its need of solitude, distance and abstraction into all its actualities, into its public life, its spiritual and its artistic [[#Form-World]]s alike. - Nothing compares to the expansion-power of the Western Soul. The true [[#Style-History]] of that soul accomplished itself only on the mother soil, but its resultant effects knew no bounds. (II, 56) ###### Faustian Soul-Image - Emphatically affirms [[#Directional Energy]] - All is systems and centers of forces (401) - In blunt opposition to the [[#Apollonian Soul-Image]] - In the Faustian, we have the soul-space as the imagination-unit (401) - A scene of processes vs. the Apollonian body possessing parts - The Faustian inner-life is a musical one; the sonata of the inner-life has the [[#Will]] as first subject, thought and feeling as themes of the second subject; the movement is bound by strict rules of a spiritual [[#Counterpoint]]; and [[#Psychology]]'s business is to discover this Counterpoint (402) - Soul-dynamic, contra the spiritual static of the [[#Apollonian]] existence (402) ###### Faustian Style - [[Artists & Architects/Architecture/Architectural Movements/Medieval Architecture/Romanesque Architecture/General Outline|Romanesque]], Gothic, Renaissance, Baroque and Rococo - stages of one and the same style (268) - Founded on an unresting persistent search for a Something (268) - Passed into music with that of the [[#Baroque]], whose [[#Form-Language]] in its turn ruled the entire building art of the eighteenth century (269) - In [[#Gothic]] and [[#Baroque]], contra the [[#Egyptian Style]], the triumph over heaviness became a perfectly conscious motive of the [[#Form-Language]] (270) - These are simply the youth and age of one and the same vessel of forms, the style of the West as ripening and ripened. (273) - [[#Studio Brown]]'s discovery marks for the Western style a culmination in the process of its becoming (333) - We shall never entirely shake off the idea that the Gothic style as compared with the Greek is unnatural. Of course it is, for it is *more than [[#Nature]]*; only we are unnecessarily loath to realize that it is a deficiency in the Greek that our feeling has detected. - The Western [[#Form-Language]] is richer - [[#Portraiture]] belongs to [[#Nature]] *and* to [[#History]] (348) ###### Faustian Wisdom - The final issue to which the Faustian wisdom tends - though it is only in the highest moments that it has seen it - is the dissolution of all knowledge into a vast system of morphological relationships (566) ###### Faustian World-Feeling See also: [[#World-Feeling]] - Amongst the Western peoples, it was the Germans who discovered the mechanical _clock,_ the dread symbol of the flow of time, and the chimes of countless clock towers that echo day and night over West Europe are perhaps the most wonderful expression of which a historical world-feeling is capable. - All bodies in it possess an atmospheric and perspective meaning purely as carriers of light and shade. The extreme of this disembodiment of the world in the service of space is Impressionism. - Professed its faith in infinity through the forms of its [[#Cathedral]]s - It is the Western world-feeling that has produced the idea of a limitless universe of [[#Space]] - a space of infinite star-systems and distances that far transcends all optical possibilities - and this was a creation of the _inner_ [[#Vision]], incapable of all actualization through the eye, and, even as an idea, alien to and unachievable by the men of differently disposed Culture. - The [[#Faustian World-Feeling]] created the new technique that it wanted (i.e., [[#Oil-Painting]]) - it transformed the linear [[#Perspective]] associated with the architectural motive into a purely aerial perspective rendered by imponderable gradations of tone (370) - In the [[#Faustian World-Feeling]], Absolute Good and Absolute Evil, this oppositions pale together (411) - The primary words [[#Will]], [[#Space]], [[#Force]], [[#God]], upborne by and permeated with connotations of [[#Faustian]] feeling, are emblems, are the effective framework that sustains the great and kindred [[#Form-World]]s in which this being expresses itself (413) ##### Fear See also: [[#World-Fear]] ###### Fear before the Invisible - Following life of an [[#"I"]] becoming essentially a life in the sun, and night becoming akin to death, there arises a new feeling of [[#Fear]] which absorbs all others within itself - [[#Fear before the Invisible]], fear of that which one hears or feels, suspects, or observes in its effects without seeing (II, 8) - It is fear of the invisible that is the essence and hallmark of human [[#Religion]]ess (II, 8) ##### Feel - The perception of [[#Cosmic Beat]] (II, 4) - [[#Race]]-or Sex-[[#Life]] (II, 4) - Bears the mark of periodicity, beat, even to the extent of harmony with the great cycles of the stars, of relation between female [[#Nature]] and the moon, of this life generally to night, spring, warmth (II, 4) ##### Feeling - The perception of [[#Microcosmic Tension]] (II, 4) - [[#Sense-Life]] (II, 4) - Consists in [[#Tension]]s, polarities of [[#Light]] and object illuminated, of [[#Cognition]] and that which is [[#Cognize]]d, of wound and the weapons that has caused it. ##### Fire See also: [[#Element]] - [[#Fire]] is for the warrior a weapon, for the craftsman part of his equipment, for the priest a sign from [[#God]], and for the scientist a problem. - But in all these aspects alike it is proper to the "natural," the scientific, mode of [[#Waking-Consciousness]]. - In the [[#World-as-History]] we do not find fire as such, but the conflagration of [[#Carthage]] and the flames of the faggots heaped around [[#Jan Hus]] and [[#Giordano Bruno]] (II, 29) ##### First-Person - The [[#Faustian]] [[#FIrst-Person]] idiom, our "ego habeo factum" (I have done it) - our dynamic syntax, that is - faithfully renders the "way of doing things" that results from this disposition and, with its positive [[#Directional Energy]], dominates not only our picture of the [[#World-as-History]] but our own history to boot. - The [[#First-Person]] towers up in the [[#Gothic]] architecture; the [[#Spire]] and the [[#Flying-Buttress]] are both "I". (407) ##### Focus - Adjusted to the one significance that for the moment a man's [[#Light-World]] holds for him (II, 25) ##### Force - That which is used via the [[#Will]] of the [[#Fact-Men]] as the center, for the existence of generations which outlives the single lives (461) - The history of the concept of [[#Force]], which has been stated and restated with all the tireless passion of a thought that feels its own self endangered by a difficulty, is nothing but the history of endeavors to find a form that is unimpeachable, mathematically and conceptually, for [[#Motion]] (517) - Forms a dogmatic unit along with [[#Motion]] and Mass (516) - [[#Force]] is a mythical quantity, which does not arise out of scientific experimentation but, on the contrary, defines the structure thereof a priori (546) ###### Force-Concept - The center of gravity of a dynamic universe for the [[#Faustian Soul]] (404) ###### Force-Dogma - The [[#Force-Dogma]] is the one and only theme of [[#Faustian Physics]]. ###### Force-Idea ##### Form - A feeling for form, however definite, is not the same as the form itself (19) - Form is something mobile, something becoming, something passing. The doctrine of formation is the doctrine of transformation. Metamorphosis is the key to the whole alphabet of Nature - [[Authors (Philosophy & Theory)/Johann Wolfgang von Goethe/General Biography|Goethe]] - When art is born, spent, dies, or transmuted into another, why it is this or that art as dominant or absent from a Culture - all of these are questions of Form in the highest sense (293) - In the time of [[#Rembrandt]] or [[#Bach]] the "failures" that we see in the death of the [[#Living Art]] were unthinkable. The [[#Destiny]] of the [[#Form]] lay in the race or the school, not in the private tendencies of the individual. ###### Arts of Form - The clearest type of symbolic expression that the world-feeling of higher mankind has found for itself is that of the arts of form - And with these arts we count [[#Music]] in its many and very dissimilar kinds ###### Dead Form - That which one wills to express is in him a priori. Of the stock of [[#Dead Form]]s that he had in front of him, he really saw only the few that he wanted to see, and saw them as he wanted them - namely, in line with his own intention and not with the intention of the original creator, for no [[#Living Art]] ever seriously considers that (II, 69) ###### Energy of the Form - It is a [[#Destiny]] that evoked into the world [[#Life]] as life, the ever-sharper opposition between plant and animal, each single type, each genus, and each species. - And along with this existence there is given also a definite [[#Energy of the Form]] of the form - by virtue of which in the course of its [[#Self-Fulfillment]] it keeps itself pure or, on the contrary, becomes dull and unclear or evasively splits into numerous varieties - and finally a specific [[#Life-Duration of Form]], which (unless, again, incident intervenes to shorten it) leads naturally to a senility of the species and finally to its disappearance (II, 38) ###### Exclusive-Form See also: The [[#Esoteric]], contra the [[#Popular]] - We find everywhere in the Western what we find nowhere in the [[#Classical]] - the [[#Exclusive-Form]] (433) - Whole periods - the Provençal Culture and the [[#Rococo]] - are in the highest degree select and uninviting, their ideas and forms having no existence except to a small class of higher men (433) - Even the [[#Renaissance]] is no exception, for though it purports to be the rebirth of that Antique which is so utterly non-exclusive and caters so frankly for all, it is in fact, through-and-through, the creation of a circle or of individual chosen souls, a [[#Taste]] that rejects popularity from the outset (433) ###### Form-Element ###### Form-Feeling - [[#Apollonian]] Form-Feeling - In the Classical world the starting-point of every formative act was, as we have seen, the ordering of the "become," in so far as this was present, visible, measurable and numerable. - [[#Egyptian]] Form-Feeling - [[#Faustian]] Form-Feeling - The Western, Gothic, form-feeling on the contrary is that of an unrestrained, strong-willed far-ranging soul, and its chosen badge is pure, imperceptible, unlimited space. - With [[#Michelangelo]], the personal [[#Destiny]] and not the material [[#Human Body]] became the starting-point of the Faustian [[#Form-Feeling]] (349) ###### Form-Fulfillment See also: [[#Goethean Evolution]] - Fulfillment in the sense of increasing connotation of the [[#Form]] (II, 37) ###### Form-Ideals - The self-contained unit of [[#Being]] expressed in [[#Sculpture]] (348) - Examples found in [[#Act]] and [[#Portraiture]] (345) - It is in the conflict of these two [[#Form-Ideals]] that the contrast of the two worlds ([[#Apollonian]] and [[#Faustian]]) is first manifested in full (345) ###### Form-Language - The more nearly a Culture approaches the noon culmination of its being, the more virile, austere, controlled, intense the form-language it has secured for itself, the more assured its sense of its own power, the clearer its lineaments (143) - For the [[#Apollonian]], - One must ask if their form-language is even capable of hinting at an [[#Inner Experience]]? - Apollonian [[#Form-Language]] reveals only the become (the [[#Thing-Become]]) - For the [[#Egyptian]], that of the traveller who follows one unchanging direction, the whole form-language of his Culture translated into the sensible of this one theme - For the [[#Faustian]], instrumental music (247) - [[#Faustian]] form-language is infinitely richer than the [[#Apollonian]]'s, exemplified in Faustian]] [[#Portraiture]] belonging both to [[#Nature]] *and* to [[#History]] (348) - Shows above all a [[#Becoming]] - For the [[#Magian]], developed from the cavern-feeling and emphasized the definite roof - All strict arts have their grammar and syntax of form-language, with rules and laws, inward logic and tradition (256) ###### Form-Manifestation - We are skeptics in regard to any and every mode of [[#Thought]] which "explains" [[#Causality]] (II, 36) - We let things speak for themselves, and confine ourselves to sensing the [[#Destiny]] immanent in them and contemplating the [[#Form-Manifestation]]s that we shall never penetrate (II, 37) ###### Form-Unit - By the side of these great [[#Form-Unit]]s (i.e., an innter spirituality becoming the style of the world), which grow and fulfill themselves and close down within a predeterminate series of human generations, which endure for a few centuries and pass irrevocably into death, we see the group of [[#Faustian]] morals and the sum of [[#Apollonian Morality]]. That they *are,* is [[#Destiny]]. (455) ###### Form-World - How a state of being, such as the [[#Faustian World-Feeling]], expresses itself (i.e., the emblems and framework that sustains the great and kindred form-worlds rooted in the [[#Faustian]] exist as [[#Will]], [[#Space]], [[#Force]], etc.) - The "return to [[#Nature]]" which already thinkers and poets begin to feel and to proclaim reveals itself in the form-world of the arts as a sensitive longing and presentiment of the end (275) ###### Great Form - That which the earlier artists of a [[#Culture]] to feel themselves the masters of but the later artists feel as uneasy slaves underneath (386) ###### Historical Form - In the history, the genuine [[#History of Higher Men]] the stake fought for and the basis of the [[#Animal]] struggle to prevail is ever - even when driver and driven are completely unconscious of the symbolic force of their doings, purposes, and fortunes - the actualization of something that is essentially spiritual, the translation of an [[#Idea]] into a living [[#Historical Form]] (II, 60) ###### Life-Duration of Form See also: [[#Life-Duration]] - A [[#Life-Duration]] of a form, which (unless, again, incident intervenes to shorten it) leads natually to a senility of the species and finally to its disappearance (II, 38) ###### Man-Form ###### Ornamental Form-Language - For us, there are no ascertainable rules for the duration, tempo, and course of development of these utterances (referring to [[#Primitive Culture]]). We observe, say, an [[#Ornamental Form-Language]] - not to be called a [[#Style]] - ruling over the population of a wide area, spreading, changing, and at last dying out (II, 41) ###### Pure Form - [[#Studio Brown]] opened a prospect into an infinity of [[#Pure Form]]s. And therefore its discovery marks for the [[#Faustian Style]] a culmination in the process of its becoming (333) - The affinity between [[#Mathematical Thought]] and [[#Legal Thought]] is very close. The intention, in both, is to take the prima facie data, to separate out the [[#Sensuous-Incidental]], and to find the intellectually basic principle - the [[#Pure Form]] of the object, the pure type of situation, the pure connexity of [[#Cause & Effect]] (II, 82) ##### Freedom - When we use the risky word freedom, we shall mean freedom to do, not this or that, but the **necessary** or the **nothing.** (52-53) ##### Function(s) - The function is anything rather than an expansion of, it is complete emancipation from, any pre-existent idea of number. (100) ##### Funeral Customs - Consecrated by all great Cultures by Ritual and Art - Elevated to the highest degree of symbolism - The oldest cult is associated with the stone that marks the place of burial, the oldest temple-building with the tomb-structure, the origins of art and decoration with the grave-ornament - [[#Symbol]] has created itself in graves (249) ###### Classical Funeral Customs - Burning, an act of annihilation in which the [[#Euclidean]], the here-and-now, type of existence was powerfully expressed. - In it, the [[#Classical Man]] willed to have no history, no duration, neither past nor future, neither preservation nor dissolution, and therefore he destroyed that which no longer possessed a present... (177) - Representative of a formless ancestor-worship and soul-feast contra the Western ancestor-series - The Apollonian soul would see their dead annihilated, and so it remained averse from [[#Stone]] building throughout the early period of its Culture (249) ###### Western Funeral Customers - Made in homage to the Western ancestor-series / genealogical tree that eternalized the family-vault of the West (177) ##### Future - Directional Time and Destiny (always young) (202) - Only youth has a Future and *is* Future (202) - Signified for the [[#Faustian Soul]] by the [[#Horizon]] (320) ###### Historic-Future - The [[#Historic-Future]] is [[#Distance-Becoming]], the boundless [[#World-Horizon]] is [[#Distance-Become]] (406) - This is the meaning of the [[#Faustian Depth-Experience]] ##### Garden See also: [[#Art of the Garden]] ###### Western Garden-Art - It was a proclamation of the [[#Prime-Symbol]]. The point at which the perspective lines coalesce is at infinity. ###### Parks - The [[#Baroque]] Park is the park of the Late seasons, of the approaching end, of the falling leaf (320) - The Late poetry of the withering garden avenues, the unending lines in the streets of a Megalopolis, the ranks of pillars in a [[#Cathedral]], the peak in a distance mountain chain - all tells us that the [[#Depth-Experience]] which constitutes our [[#Space-World]] for us is in the last analysis our inward certainty of a [[#Destiny]], of a prescribed [[#Direction]], of [[#Time]], of the irrevocable - Here, in the experience of the [[#Horizon]] as [[#Future]], we become directly and surely conscious of the identity of [[#Time]] with the "third dimension" of that experienced space which is living-extension - The [[#Renaissance]] Park is meant for the summer and the noon-day. It is timeless, and nothing in its [[#Form-Language]] reminds us of mortality (320) ##### Geometry See also: [[#Mathematics]] ###### Apollonian Geometry - The [[#Classical]] geometry is that of a child, that of any lay-man - Euclid's Elements are used in England as a school-book to this day (432) ###### Faustian Geometry ##### German ##### Gesture - It is this that provides the necessary foundation for a spiritual static (a la the [[#Apollonian Soul]]) (417) ##### God - What God is for us, God as Breadth of the world, the Universal Power, the ever-present doer and provider, that also - reflected from the space of world into the imaginary space of soul and necessarily felt as an actual presence - is [[#Will]] (411) - The word [[#God]] in antithesis to [[#World]] has always - however interpreted in this or that case - implied exactly what is implied in the world [[#Will]] with respect to [[#Soul]], viz,. the power that moves all that is within its domain (411) - After the [[#Renaissance]], the notion of God sheds the old sensuous and personal traits, becomes little by little identical with the notion of [[#Infinite Space]] and in becoming so becomes [[#World-Will]] (412) - Around 1700, [[#Instrumental Music]] becomes the only art that in the end is capable of clearly expressing what we feel about God (412) - From the later days of the Renaissance onward, the notion of God has steadily approximated, in the spirit of every man of high significance, to the idea of pure endless [[#Space]] (522) - If we turn back from [[#Nature-Feeling]] become form to [[#Nature-Knowledge]] become system, we know God or the gods as the origin of the images by which the [[#Intellect]] seeks to make the world-around comprehensible to itself (545) - The great views of [[#Life]] were brought into shapes, into Gods; today they are brought in [[#Notion]]s (545) ###### Apollonian God - The Classical deity is superlative shape (527) ###### God-in-Nature ###### Faustian God - From the later days of the Renaissance onward, the notion of God has steadily approximated, in the spirit of every man of high significance, to the idea of pure endless [[#Space]] (522) - He is no longer the Father of St.[[#Francis of Assisi]] and the high-vaulted cathedrals, the personally-present, caring and mild God felt by Gothic painters like [[#Giotto]] and Stephen Lochner, but an impersonal principle; unimaginable, intangible, working mysteriously in the [[#Infinite]]. - Every relic of personality dissolves into insensible abstraction, such a divinity as only [[#Instrumental Music]] of the grand style is capable of representing, a divinity before which painting breaks down and drops into the background (522-523) - The Faustian God is superlative [[#Force]] (527) ###### Ungodly - The "Other" is the [[#Ungodly]] to which the [[#Spirit]] will not accord the dignity of [[#Being]]; to the [[#Apollonian World-Feeling]] this ungodly "other" is [[#Substance]] without shape, to the [[#Faustian]] it is substance without force (527) ##### Grace - The supreme ethical expression of [[#Incident]] and [[#Destiny]] - Obtained through the sacrificial death of Jesus, of being made free to will - Grace's polarity with [[#Disposition]] must ever be a projection of feeling, of the emotional life, and not a precision of learning reasoning - This embraces the existence of every truly significant man of Western Culture (186) ##### Higher History - Intimately related to [[#Life]] and to becoming - The actualizing of possible [[#Culture]] (73) ##### Historian ###### True Historian - ##### History Contra: [[#Nature]] - That from which his imagination seeks comprehension of the living existence of the world in relation to his own life, which he thereby invests with a deeper reality (8) - The aggregate of that which has no relation to [[#Mathematics]] (75) - The naive, youthful; more or less instinctive way that is proper to all men alike. - That which is truly natural - Real history is heavy with fate but free of laws (155) - Every [[#Culture]] possesses a specific and peculiar sort of history (172) - He who approaches History in the spirit of judgment will only find 'data' (184) - On the surface of History, it is the unforeseen that reigns. - The coming of great men, their doings, their fortunes, are all incalculables (185) - History is the actualizing of the soul - The same style governs the history one makes as governs the history one contemplates (195) - History is itself the condition of being "in the focus" and the material is only an aid to this condition, whereas in [[#Nature]] the real aim is the winning of the material, and theory is only the servant of this purpose. - History is present [[#Becoming]] that tends into the [[#Future]] and looks back on the past. - History is eternal [[#Becoming]] and therefore eternal future (515) - In [[#History]], [[#Criticism]] can do no more than scientifically prepare the field over which the historian's eye is to sweep. History is that ranging glance itself, whatever the direction in which it ranges. He who possesses such an eye can understand every fact and every situation "historically." [[#Nature]] is a [[#System]], and systems can be learnt (II, 26) ###### Divine History - How [[#Joachim of Floris]] conceived of his picture of the world (344) - Each individual man came to feel how his life-course was fitted as [[#Ornament]] in the plan of [[#Divine History]], and experienced this personal connection with it in the forms of [[#Contrition]] and [[#Confession]] ###### Historical Feeling - Around 1200, earlier than by [[#Dante]], the historical feeling of the [[#Faustian Soul]] - of which the deep sacrament of [[#Contrition]] is the spiritual expression and the rite of [[#Confession]] the grave teacher - is intensified to the tragic fullness of a world-drama. ###### Historical Thinker - Every time, every land, every living [[#Aggregate]] has its own historical [[#Horizon]], and it is the mark of the genuine [[#Historical Thinker]] that he actualizes the picture of [[#History]] that his time demands (II, 26) ###### History of Higher Men - In the history, the genuine [[#History of Higher Men]] the stake fought for and the basis of the [[#Animal]] struggle to prevail is ever - even when driver and driven are completely unconscious of the symbolic force of their doings, purposes, and fortunes - the actualization of something that is essentially spiritual, the translation of an [[#Idea]] into a living [[#Historical Form]] (II, 60) ###### History-in-Itself - There is no [[#History-in-Itself]]. The history of a family is taken differently by each member of it, that of a country differently by each party, that of the age by each nation (II, 29) - The history of an era could be handled objectively only if it were very distant in time, and the historian were radically disinterested (II, 29) ###### History-Picture Contra: [[#Nature-Picture]] - In the [[#History-Picture]] that in which [[#Knowledge]] is simply an auxiliary, the [[#Cosmic]] makes use of the [[#Microcosmic]] (II, 26) - In the [[#Nature-Picture]] (or science-) it is the ever-present subjective that is alien and illusive, but in the [[#History-Picture]] it is the equally ineliminable objective, [[#Number]], that leads into error (II, 26) - There is for every man, *because* he belongs to a class and a time and a nation and a Culture, a typical picture of history as it ought to appear in relation to himself, and equally there are typical pictures specific to the time or class or Culture, qua time or class or Culture (II, 30) - Every man of the [[#Faustian Culture]] possesses his own picture of history and besides, innumerable other pictures from his youth upwards, which fluctuate and alter ceaselessly in response to the experiences of the day and the year (II, 30) - All these 'pictures,' developed in the same man ([[#Goethe]], in this instance) have the same structure. Even the history of [[#Plant]]s and [[#Animal]]s, even that of the earth's crust or that of the stars, is a *fable convenue* ('a fable agreed upon), and mirrors in outward actuality the inward tendency of the [[#Ego]]'s being (II, 35) ###### Human History - That which the [[#Faustian World-History]] has made, for all its immense and still unknown span, a mere episode in [[#World-History]] (II, 33) - The typically [[#Faustian]] separation of [[#Human History]], as such, from the far wider history of the world has had he result that since the end of the [[#Baroque]] our [[#World-Image]] / [[#World-Picture]] has contained several [[#Horizon]]s disposed one behind the other in as many planes (II, 34) - For the exploration of these, individual sciences, more or less overtly historical in character, have taken shape. ###### Landscape History - A new dynasty, native or foreign, in Egypt, a revolution or conquest in China, a new Germanic people in the Roman Empire, were elements in the history of the landscape like a change in the fauna or the migration of a flock of birds (II, 60) #CoreSpengler ###### Materialist History - This knowledge is exactly the component that we discern to be wanting in those generalizations that distort or altogether ignore that all-important [[#Fact]], the uniqueness of the constituent event in history - the worst example of this being the "materialistic" conception of history, about which we have said almost all there is to say when we have described it as physiognomic barrenness (II, 30) ###### Primitive History - [[#Primitive Man]] has history only in the biological sense, and all prehistoric study boils down to the investigation of this sense. The increasing familiarity of men with [[#Fire]], stone tools, and the mechanical laws which make weapons effective, characterizes only the development of the type and of its latent possibilities. The objects for which one tribe employed these weapons against another tribe are of no importance in this plane of history (II, 59) ###### Post-History - A void of the [[#History of Higher Men]]. All that remains is the struggle for mere power, for [[#Animal]] advantage per se. - Whereas previously [[#Power]], even when to all appearance destitute of any inspiration, was always serving the [[#Idea]] somehow or other, in the [[#Late Civilization]] even the most convincing illusion of an idea is only the mask for purely zoological strivings (II, 60) ###### Spiritual History - The transformation of [[#Renaissance]] [[#Fresco]]-painting into Venetian [[#Oil-Painting]] is a matter of Spiritual History (369) ##### Historyless - The man of a [[#Culture]] that is in full march towards [[#Self-Fulfillment]]. Before this, after this, outside this, man is historyless (II, 59) - Man is not only [[#Historyless]] before the birth of a [[#Culture]], but again becomes so as soon as a [[#Civilization]] has worked itself out fully to the definitive form which betokens the end of the living development of the Culture and the exhaustion of the last potentialities of its significant existence (II, 60) ##### Home - Every Culture possesses a proper conception of home and fatherland, which is hard to comprehend, scarcely to be expressed in words, full of dark metaphysical relations, but nevertheless unmistakable in its tendency (442) ###### Fatherland - The fatherland-feeling undergoes a change of meaning for Eastern men - and not merely Christians- in Imperial times. - **Apollonian Fatherland** - [[#Apollonian]] man, so long as he retained any effective remnant at all of his proper world-feeling, regarded home in the genuinely corporeal sense as the ground on which his city was built - a conception that recalls the "unity of place" of [[#Attic Tragedy]] and statuary (443) - **Faustian Fatherland** - For [[#Faustian]] Man, it means an impalpable unity of [[#Nature]], speech, climate, habits and [[#History]] - not earth but "country," not [[#Point]]-like presence but historic past and future, not a unit made up of men, houses and gods but an idea, the idea that takes shape in the restless wanderings, the deep [[#Loneliness]], and that ancient German impulse towards the South which has been the ruin of our best, from the Saxon Emperors to Holderlin and [[#Nietzsche]] (443) - **Magian Fatherland** - To [[#Magian]] man, to Christians, Persians, Jews, Greeks, Manicheans, the [[#Nestorian]]s and Mohammedans, it means nothing that has any connexion with geographical actualities (443) ###### Home-Feeling - **Apollonian Home-Feeling** - The Classical [[#Home-Feeling]] which tied the individual corporally and [[#Euclidean]]-wise to the [[#Polis]] is the very antithesis of that enigmatic Heimweh (etymological root of [[#Home]]) of the Northerner which has something musical, soaring and unearthly in it. - Classical man felt as [[#Home]] just what he could see from the Acropolis of his native city. Where the horizon of [[#Athens]] ended, the alien, the hostile, the [[#Fatherland]] of another began (442) - **Faustian Home-Feeling** ###### Motherland ##### Horizon - There is not a hint of it, either in [[#Egyptian Art]]'s [[#Relief]] or in Byzantine [[#Mosaic]] or in vase-paintings and frescoes of the Classical age, etc. - The line, in the unreal vapor of which heaven and earth melt, the sum and potent symbol of the far, contains the painter's version of the "infinitesimal" principle (317) - It is out of the remoteness of the horizon that the [[#Music]] of the picture flows - For this reason the great landscape painters of Holland paint only backgrounds and atmospheres - For the contrary reason, "anti-musical" masters like Signorelli and Mantegna paint only foregrounds and reliefs (317) - It is in the horizon then that [[#Music]] triumphs over [[#Plastic]], the passion of [[#Extension]] over its Substance (318) - Far horizons deepen the field to infinity, and the color-treatment of the close foreground eliminates the ideal plane of separation formed by the canvas and thus expands the field so that the spectator is in it (436) ###### Geographical-Horizon - A widening of the [[#Geographical-Horizon]]: Thanks to compass and telescope, the savant of that mature age could for the first time not merely posit the sphericity of the earth as a matter of theory, but actually feel that he was living upon a sphere in [[#Space]] (II, 32) ###### Historico-Geographical Horizon - Can a workman to-day really understand a peasant? Or a diplomat a craftsman? The [[#Historico-Geographical Horizon]] that determines for each of them the questions worth asking and the form in which these are asked is so different from the horizons of the others that what they can exchange is not a communication, but passing remarks (II, 33) ###### Land-Horizon - After the [[#Christian Chronology]], the [[#Land-Horizon]] is no more. So too, [[#Time-Horizon]]s melt in the double endlessness of the calendar before and after Christ (II, 32) ###### Time-Horizon - After the [[#Christian Chronology]], the [[#Land-Horizon]] is no more. So too, [[#Time-Horizon]]s melt in the double endlessness of the calendar before and after Christ (II, 32) ##### "I" - The [[#Depth-Experience]] is a mighty out-thrust into the visible [[#Distance]] from a [[#Light-Center]] - the point which we call "I" (II, 8) - "I" is a [[#Light-Concept]] (II, 8) - From this point onward the life of an "I" becomes essentially a life in the sun, and night is akin to [[#Death]] (II, 8) ##### Idea Contra: [[#Truth]] - Every [[#Idea]] that is possible at all is a mirror of the being of its author (503) - Ideas belong to the living self of the author and can only be sympathetically evoked (II, 14) ###### Nature Idea ##### Ideal ###### Classical Ideal - The [[#Classical Ideal]] was indifference to the course of the world (448) ###### Faustian Ideal - Contra the [[#Classical Ideal]], the course of the world is the very thing which it is the whole business of the [[#Faustian Ideal]] to master (448) ##### Image See also: [[#The Image]] ###### Image of a Counterworld - What is not environment we do not see, but we do divine" its" presence in ourselves and in others, and by virtue of .. its" physiognomic impressive power it evokes in us the anxiety and the desire to know; and thus arises the meditated or pondered image _of a_ [[#Counterworld]] which is our mode of visualizing that which remains eternally alien to the physical eye (395) - The [[#Soul]] is [[#Counterworld]] to [[#Nature]] ###### Image of Nature ###### Image of the Soul - The image of the [[#Soul]] (i.e., [[#Soul-Image]]) is mythic and remains objective in the field of spiritual [[#Religion]] so long as the [[#Image of Nature]] comes to be observed critically (395) - At any particular time, the current image of the soul is a function of the current [[#Language]] and its inner [[#Symbolism]] (397) ###### Image of Understanding - We see the world around us, and since every free-moving being must for its own safety understand the world, the accumulating daily detail of technical and empirical experience becomes a stock of permanent data which man, as soon as he is proficient in [[#Speech]], collects into an [[#Image]] of what he understands (395) - This is the [[#World-as-Nature]] ###### Image-Work **GOTHIC IMAGE-WORK** - In Gothic [[#Image-Work]] a language of the muscles is unheard of. The human tracery that clothes the mighty [[#Gothic]] framework with a web of countless figures and reliefs is not merely [[#Ornament]] (344) ###### World-Image - The world-image is self-sufficing and therefore, for this definite sort of [[#Mankind]], unconditionally true. And [[#Causality]] in our sense plays no part therein (519) ##### Imitation - With [[#Ornament]], a higher possibility of [[#Expression-Language]] and its polarity with Ornament is hardly perceptible in the beginning (253) - The earlier and the closer to the producing race - It is the outcome of a physiognomic idea of a second person with whom (or which) the first is involuntarily induced into resonance of vital rhythm - Widely spread in the animal world, whereas [[#Ornament]] is almost peculiar to man (253) - Imitation is born of the secret rhythm of all things cosmic. - The rhythm of imitation bridges dichotomies (Here and There, [[#Proper]] and [[#Alien]], Microcosm and Macrocosm) - Similar to [[#Religion]] in its effort of the waking soul to reach the powers of the world-around - It consists in an identity of inner activity between the soul and body, which vibrating as one, become one (253) - The aim of all imitation is effective simulation; this means effective assimilation of ourselves into an [[#Alien]] something (253) - It is able to awaken an intense feeling of unison over all the range from silent absorption and acquiescence to the most abandoned laughter and down into the last depths of the erotic, a unison which is inseparable from creative activity - All imitation in the broadest sense is **dramatic** (254) - Imitation is only a speaking with means that are born of the moment and unreproducible - Only the living can be imitated - All the dancing and drawing and describing and portraying for eye and ear is irrevocably "directional," and hence the highest possibilities of Imitation lie in the copy of a [[#Destiny]], be it in tones, verses, picture or stage scene (255) - Expresses itself by accomplishing itself - Possess a beginning an end - We can only imitate the [[#Destiny]] of an individual - Spiritualizes and quickens (257) - [[#Becoming]] - Allied to love, sexual love, songs, riots, and dance (257) ###### Imitation in the Arts - The imitative side of the arts stands closer to the real race-feelings of hate and love, out of which arises the opposition of ugly and beautiful - An Imitation is beautiful, contra an [[#Ornament]] being significant (257) - That which we think has [[#Beauty]] is worth copying (257) ###### Imitation in Architecture - The idea of the family appears in the plan of the proto-house, the inner form of the stock in the plan of its villages, the life of a nation and its social ordering in the plan of the city - The castle and the cottage - These are buildings in which art, imitative art, is made and done. - The art of villages and castles is derived from the inclinations of the moment, from the laughter and high spirit of feasts. and games, and to such a degree is it dependent on [[#Time]] - In the [[#Architecture]] of the living, [[#Stone]] serves a worldly purpose ##### Immortality - The words of Holy Scripture were not indeed doubted, but unconsciously another meaning was substituted by the finer minds amongst Catholics, this other meaning, unmistakable already in [[#Martin Luther]] and to-day quite general, is the conception of [[#Immorality]] as the continued existence to all eternity of the soul as a centre of [[#Force]] (II, 72) - Were Paul or Augustine to become acquainted with our ideas of Christianity, they would reject all our dogmas, all our books, and all our concepts as utterly erroneous and heretical. ##### Imperialism - Imperialism is Civilization unadulterated. ##### Incident - The world of incident is the world of once-actual facts that longingly or anxiously we live forward to as [[#Future]], that raise or depress us as the living [[#The Present]] (-the), and that we contemplate with joy or with grief as Past. - Shakespearean Incidental is at the very heart of Western [[#Tragedy]], which is a true copy of the Western history idea and with it gives the clue to that which we understand in the world - [[#Time]]. - Fresh incidentals can affect the shape of an epoch's development, can make it grandiose or puny, prosperous or sorrowful, but alter it they cannot (193) - Belong to a different world than the Causal, despite how closely that may appear to be in relation to one another (204) ###### Examples of the Incident / Incidental - Shakespeare has the Dramatist of the Incidental ##### Individual ###### Individualism - Only through the individualism of the [[#Microcosm]] does that which the [[#Light]] offers to its eyes - our eyes - acquires meaning as "[[#Body]]," and even to planets we are from some inner motive reluctant to concede the property of [[#Bodiliness]] (II, 3) ###### Waking Individual ##### Infinite See also: [[#Infinite Space]], [[#Symbolic Infinity]], [[#Will-to-Infinity]] - That which the [[#Faustian]] tendency passionates strives toward - The [[#Apollonian]] as unquestioningly devoted and limited itself to the study of the small and the near as the [[#Faustian]] has to that of the infinite and ultra-visual. ###### Infinity-Craving - The [[#Faustian]] [[#Infinity-Craving]] for the first time separated the two notions ([[#World-History]] and [[#Man-History]]) during the [[#Baroque]], and now it has made [[#Human History]], for all its immense and still unknown span, a mere episode in [[#World-History]] (II, 33) ##### Intellect - So far, no one has dared to assume that the supposed constant structure of the intellect is an illusion and that the history spread out before us contains more than one style of knowing. - In all acts of the intellect germane to mathematical number - measuring, counting, drawing, weighing, arranging and dividing - men strive to delimit [[#The Extended]] in words as well, i.e., to set it forth in the form of proofs, conclusions. theorems and system... - Discussed in reference to [[#Schopenhauer]] on p. 486 - The [[#Will-to-System]] is a will to kill something living, to establish, stabilize, stiffen it, to bind it in the train of logic. - The [[#Intellect]] has conquered when it has completed the business of making rigid (II, 14) ###### Classical Intellect - The squaring of the circle became for the Classical intellect the supreme problem of the finite. - In the [[#Apollonian]] mathematic the intellect is the servant of the eye ###### Faustian Intellect - In the [[#Faustian]] mathematic, the intellect is the master of the eye. - Ultimately derived from the world-picture of the [[#Gothic]] (502) ##### Journalism - That which taints the [[#Science]]s (434) ##### Judge - There arises a group of Early [[#Arabian Law]]s, differentiated according to religions as decisively as [[#Classical Law]]s are differentiated according to cities. In the realm of the Sassanids schools arose for the teaching the Zoroastrian law proper to them; the Jews, who formed an exceedingly large portion of the population from Armenia to Sahara, created their proper law in the Talmud, which was completed and closed some few years before the _Corpus_ _Juris._ Each one of these Churches had its peculiar jurisdiction, independent of the geographical frontiers of the moment - and the [[#Judge]] representing the ground-lord judged only cases between parties of different faiths (II, 85) ###### Qadi - The Oriental does not ask to see either the practical object of the law that is applied to him or the logical grounds of its judgments. The relation of the [[#Qadi]] to the people, therefore, has nothing in common with that of the [[#Praetor]] to the citizens. The latter bases his decisions upon an insight trained and tested in high positions, the former upon a spirit that is effective and immanent in him and speaks through his mouth (II, 89) - It is a quintessence of concentrated experience that the [[#Praetor]] makes his own, but the texts are a sort of oracle that the [[#Qadi]] esoterically questions. - It does not matter in the least to the [[#Qadi]] what a passage originally meant or why it was framed. He consults the words - _even_ the letters - and he does so not at all for their everyday meanings, but for the magic relations in which they must stand towards the case before him (II, 89) - The conviction that the letters contain secret meanings, penetrated with the Spirit of [[#God]], finds imaginative expression in the fact (mentioned above) that all religions of the Arabian world formed [[#Script]]s of their own, in which the holy books had to be written and which maintained themselves with astounding tenacity as badges of the respective "[[#Nation]]s" even after changes of language (II, 90) ##### Knowledge - [[#Man-Knowledge]] and [[#Nature-Knowledge]] have neither aims nor ways in common (394) ###### Critical Knowledge - Rests upon the belief that the [[#Understanding]] of today is better than that of yesterday (II, 15) ###### Knowing ###### The Known - [[#The Known]] is timeless and alien to [[#Motion]]; its state of becomeness implies this. It is the organic sequence of knowns that gives the impression of a motion (513) ###### Man-Knowledge ###### Nature-Knowledge - A [[#Nature-Knowledge]] is (however philosophy may express the relation) a function of knowing, which is in each case knowing in a particular style. A scientific necessity therefore has the style of the appropriate [[#Intellect]] (517) **Apollonian Nature-Knowledge** - The "facts" of [[#Apollonian Nature]]-Knowledge are things, and they lie on the surface of [[#The Known]] (519) **Faustian Nature-Knowledge** - The facts of [[#Faustian Science]] are relations, which in general are invisible to lay eyes, which have to be mastered intellectually, which require for their communication a code-language that only the expert researcher can fully understand (520) ###### Technical Knowledge - For the service of practical, economical, and warlike ends, which many kinds of animals have developed to a high degree of perfection, and which from them leads, through [[#Primitive Man]] and his acquaintance with [[#Fire]] and metals, directly to the [[#Machine-Technics]] of our [[#Faustian Culture]] (II, 28) ###### Theoretical Knowledge See also: [[#Theoretical Thought]], [[#Theory]], [[#Theoretical Understanding]] - That which we call in the earlier phases of [[#Culture]] religious, and in the later scientific (II, 29) ##### Language - The development of [[#Language]] brought along with it a determination of fundamental significance - the emancipation of [[#Understanding]] from [[#Sensation]] (II, 10) - Often hides more than it communicates (II, 45) ###### Communication-Languages - The language that is meant to be understood by definite beings. - Assumes a state of connexion of waking-beings. - Postulates a "thou" - The "thou" is that which is meant to understand the speech of the "I" - Every deity is a "thou" - It is by some "thou" that we first came to the knowledge of an "I" ###### Culture-Language ###### Expression-Language - Language which is only an expression for the world, an inward necessity springing from the longing inherent in all life to actualize itself before witnesses, to display its own presence to itself - Assumes only a state of waking-being - Witnesses merely proves the presence of an "I" - The "I" is that which speaks - "I" is a designation for the fact that a bridge exists to some other being. - All Art (252) - An artistic expression-language should in no wise be a communication-language - This expression is either [[#Ornament]] or [[#Imitation]] (253) ###### Faustian Language - The [[#Faustian Soul]] is here (instead of *sum,* we say *ich bin*, *je suis*, I am) beginning to remold for its own use grammatical material of the most varied provenance. - The coming of this specific "I" is the first dawning of that [[#Personality-Idea]] which was so much later to create the sacrament of [[#Contrition]] and personal [[#Absolution]] (346) - The insertion of auxiliaries "have" and "be" between a doer and a deed expresses an activated body, replaces the world of bodies by one of [[#Function(s)]] between centers of force, the static syntax by a dynamic. This "I" and "Thou" is key to [[#Gothic]] [[#Portraiture]] (347) - All the Western, [[#Faustian]], languages possess the notion of [[#Will]] (397) ##### Law - Law and the domain of law are anti-historical (126) - They excluded incident and causality. The laws of nature are forms of rigorous and therefore inorganic necessity. - Every law must, to be available to the understanding at all, once have been discovered through some destiny-disposition in the history of an intellect - that is, it must have once been in experiential life. - All [[#Law]]s formulated in words are [[#Order]]s that have been activated and vitalized, filled with the very essence of the one - and only the one - [[#Culture]] (500) - It is a grave error to suppose that a law that surveys all things evenly and without being influenced by political and economic interests can exist at all (II, 78) - Such a state of things can be pictured, and is always being pictured, by those who suppose that the imagining of political possibilities is a political activity. - But nothing alters the fact that such a law, born of abstractions, does not exist in real history. - Always the [[#Law]] contains in abstract form the [[#World-Picture]] of its author, and every [[#Historical World-Picture]] contains a political-economic _tendency_ dependent, not upon what this man or that thinks, but upon what is practically intended by the class which in fact commands the power and, with it, the legislation (II, 78) - Every law is established by a class in the name of the generality. - Legislative codes are one and all political acts, and party-political acts at that (II, 78) ###### Arabian Law - The first creation of [[#Arabian Law]] was the concept of the incorporeal person. (II, 82) - Here is an element entirely absent in [[#Classical Law]] and appearing quite suddenly in the Classical jurists (who were all [[#Aramaeans]]), which cannot be estimated at its full value, or in its symbolic importance as an index of the new [[#World-Feeling]], unless we realized the full extent of the field that this [[#Arabian Law]] covered. - The law of individual cities, which was so self-evident on [[#Classical]] ground, is here silently transmuted into a law of creed-communities (II, 83) - In [[#Arabian Law]]: Always _one_ Pneuma, _one_ like spirit, _one_ identical knowledge and comprehension of whole and sole truth, welds the believers of the same religion into a [[#Unit]] of will and action, _into_ _one_ [[#Juristic Person]] (II, 83) - It was not long before it became the habit, not to apply the old laws of the city of Rome to the fact-material of the given case, but to quote the jurists' texts like the Bible. What does this signify? (II, 88) - For our Romanists it is a sign of decadence, but looked at from the view-point of the Arabian world, it is just the reverse - a proof that Arabian man did eventually succeed in making an alien and imposed literature inwardly his own, in the form admissible for his own world-feeling. With this the completeness of the opposition between the [[#Classical World-Feeling]] and the [[#Arabian World-Feeling]] becomes manifest (II, 88) - Whereas the [[#Classical Law]] was made by burghers on the basis of practical experience, the Arabian came from [[#God]], who manifested it through the intellect of chosen and enlightened men (II, 88) - The authoritativeness of [[#Classical Law]] rests upon their success, that of the [[#Arabian Law]] on the majesty of the [[#Name]] that they bear (II, 89) - The Oriental does not ask to see either the practical object of the law that is applied to him or the logical grounds of its judgments. The relation of the [[#Judge]] to the people, therefore, has nothing in common with that of the [[#Praetor]] to the citizens. The latter bases his decisions upon an insight trained and tested in high positions, the former upon a spirit that is effective and immanent in him and speaks through his mouth (II, 89) ###### Christian Law - From Constantine onwards the quiet transformation of "[[#Roman Law]] into orthodox [[#Christian Law]] proceeded more and more decisively, and it was as such that converted Asiatics and Germans received and adopted it (II, 84) - Thus a perfectly new law came into being in old forms. ###### Classical Jurisprudence - Since [[#Legal Thought]] presupposes a substance of political and economic relations, in the same way as mathematical thought presupposes physical and technical elements of knowledge, [[#Rome]] very soon became *the home of [[#Classical Jurisprudence]]* (II, 81) - [[#Classical Jurisprudence]] was the Roman's science, and his only one (II, 81) - At the very moment when the creative mathematic closes off with Archimedes, juristic literature begins with [[#Aelius Caesar]]'s Tripertita, a commentary on the Twelve (198 B.C.) - The Romans treat only of cases and their classification; they never analyze a basic idea such as, for instance, judicial error. They distinguish carefully the sorts of contracts, but they have no conception of [[#Contract]] as an idea, or of any theories as to invalidity or unsoundness (II, 81) - The last landmark of [[#Classical Jurisprudence]], so far as we know, was the *Institutes* of [[#Gaius]] (about 161) (II, 82) ###### Classical Law See also: [[#Greek Law]], [[#Roman Law]] Contra: [[#Western Law]] - Law, in the Classical world, is [[#Law]] made by citizens for citizens and presupposes that the [[#State-Form]] is that of the [[#Polis]] (II, 72) - It was this basic form of public life that led to the notion of the person as identical with the man who, added to others like him, made up the body of the [[#State]] - From this formal fact of [[#Classical World-Feeling]] grew up the whole structure of [[#Classical Law]] (II, 72) - [[#Classical Law]] is law *of the day and even the moment;* it was in its very idea occasional legislation for particular cases, and when the case was settled, it ceased to be law (II, 75) - To extend its validity over subsequent cases would have been in contradiction to the Classical sense of the present (II, 75) - A present law without [[#Duration]] (II, 75) - [[#Experience]] means for the ancient lawgiver something different from what it means to us. It means, not the comprehensive outlook over a consistent mass of law that contains implicitly every possible case, associated with practical skill in applying it, but the experimental knowledge that certain jural situations are for ever recurring, so that one can save oneself the trouble of forming new law on every occasion (II, 76) - All [[#Classical Law]] bears the stamp of the moment (II, 77) - It marked the close of Classical law-making when [[#Hadrian]] (about 130 AD) introduced the [[#Edictum Perpetuum]], which gave final form to the well-established corpus of the annual pronouncements of the [[#Praetor]]s and forbade further modifications thereof (II, 80) - [[#Classical Law]] is the law of bodies. In the general stock composing the world it distinguishes bodily [[#Person]]s and bodily Things and, like a sort of [[#Euclidean]] mathematic of public life, establishes ratios between them (II, 82) ###### Contract ###### Divine Law ###### Edictum Perpetuum - Via [[#Hadrian]], gave final form to the well-established corpus of the annual pronouncements of the [[#Praetor]]s and forbade further modifications thereof (II, 80) - It was still, as before, the [[#Praetor]]'s duty to publish the "law of his year," but, even though this law had no greater degree of validity than corresponded to his administrative powers and was not the law of the Empire, he was obliged thenceforth to stick to the established text. It is the very symbol of the petrified "[[#Late Civilization]] (II, 80) ###### Greek Law See also: [[#Classical Law]] - [[#Roman Law]] in its whole development is an individual city law, one amongst hundreds of such, and [[#Greek Law]] as a unity never existed at all (II, 73) ###### Jural Community - The fusion of the faithful into a single [[#Jural Community]] was effected in express form by the Emperor-cult, which was [[#Religious Law]] through and through (II, 83) ###### Jurisprudence - With the Hellenistic age began [[#Jurisprudence]], the *science of law*, the systematic comprehension of the law which men actually apply. - Since legal thought presupposes a substance of political and economic relations, in the same way as mathematical thought presupposes physical and technical elements of knowledge, [[#Rome]] very soon became *the home of [[#Classical Jurisprudence]]* (II, 81) ###### Juristic Statics - [[#Life]], in the Classical, presents itself to the critical [[#Waking-Consciousness]] of the [[#Classical Man]] in a form penetrated with [[#Euclidean]] character, and the image that is generated in the legal mind is one of bodies, of positional relations between bodies, and of reciprocal effects of bodies by contact and reaction - just as with [[#Democritus]]'s atoms. It is [[#Juristic Statics]] (II, 82) ###### Jus Contra: [[#Lex]] - Juridicial Law (II, 87) - The opposition between [[#Jus]] and [[#Lex]] in Arabian-Latin usage comes to expression very clearly in the work of [[#Justinian I]]. Institutes and Digests are *jus*; they have essentially the significance of canonical texts. Constitutions and Novels are _leges,_ new law in the form of elucidations. The canonical books of the New Testament and the traditions of the Fathers are related to one another in the same way (II, 87) ###### Jus Civile - The law of the citizens (II, 80) ###### Jus Gentium - The law of the [[#Alien]] (II, 80) External: Category of law in ancient Rome that governed relations between Roman citizens and non-citizens, and later more generally the principles common to many peoples. Unlike [[#Jus Civile]], which applied only to Roman citizens and was rooted in specifically Roman tradition, [[#Jus Gentium]] developed as a more flexible body of rules derived from practices widely observed across Mediterranean societies - especially in commerce, contracts, and property. ###### Jus Peregrinum - When finally the whole population of the Classical world, save the small part possessing Roman citizenship, was comprised in the field of this alien law, the [[#Jus Peregrinum]] of the city of Rome became practically an imperial law (II, 80) ###### Legal Thought - The affinity between [[#Mathematical Thought]] and [[#Legal Thought]] is very close. The intention, in both, is to take the prima facie data, to separate out the [[#Sensuous-Incidental]], and to find the intellectually basic principle - the [[#Pure Form]] of the object, the pure type of situation, the pure connexity of [[#Cause & Effect]] (II, 82) ###### Lex Contra: [[#Jus]] - Constitutional Law (II, 87) - The opposition between [[#Jus]] and [[#Lex]] in Arabian-Latin usage comes to expression very clearly in the work of [[#Justinian I]]. Institutes and Digests are *jus*; they have essentially the significance of canonical texts. Constitutions and Novels are _leges,_ new law in the form of elucidations. The canonical books of the New Testament and the traditions of the Fathers are related to one another in the same way (II, 87) ###### Lex Rogata - People's law (II, 79) ###### Religious Law ###### Roman Law See also: [[#Classical Law]] - As the strongest example of a system that to all appearance has travelled unaltered through two millennia, and yet actually has passed through three whole courses of evolution in three Cultures, with completely different meanings in each, we may take [[#Roman Law]] (II, 72) - The Romans were neither systematists nor historians nor theorists, but just splendidly practical. Their jurisprudence is an empirical science of individual cases, a refined [[#Technique]], and not in the least a structure of abstractions (II, 73) - [[#Roman Law]] in its whole development is an individual city law, one amongst hundreds of such, and [[#Greek Law]] as a unity never existed at all (II, 73) - Roman law is the younger and presupposes the long experience of the elder. It was built up, in fact, late and, with this exemplar of [[#Greek Law]] before it, very swiftly (II, 75) - It is not without significance that the flowering-time of the [[#Stoic Philosophy]], which deeply affected juridical ideas, followed that of Greek, but preceded that of [[#Roman Law]] (II, 75) - In Rome itself, it is true, law was conceived of by a large part of the population as city-state law, but this feeling became weaker and weaker with every step towards the East (II, 83) ###### Western Law Contra: [[#Classical Law]] - Similar in appearance to the Roman praetor, but so profoundly different in meaning as to leave no doubt as to the great gap which is set between [[#Classical Law]] and [[#Western Law]], is that inspired and truly Germanic notion of English jurisprudence, the creative power of the judge who "declares" the [[#Law]]. His business is to apply a law which in principle possesses eternal validity (II, 75) - Even the application of the existing body of laws the [[#Judge]] can regulate, according to the situations disclosed in the course of the case, by means of his "rules" (which have nothing in common with the praetor's) (II, 76) - And if he should conclude in the presence of a particular set of facts that current law is defective in respect of these, he can fill the gap at once, and thus in the very middle of a trial create new law, which (if concurred in by the judicial body in the due forms) becomes thereafter part and parcel of the permanent stock of law. This is what makes it so completely un-Classical. - In [[#Western Law]], the tendency is from the first to bring the entire living body of law into a general code, ordered forever and exhaustively complete, containing in advance the decision of every conceivable future problem. (II, 77) - All [[#Western Law]] bears the stamp of the future (II, 77) ##### Life - The form in which the actualizing of the possible is accomplished (71) i.e., *the accomplishing* (also on p. 153) - Everything living has **Life**, direction, impulse, will, a movement-quality that is most intimately allied to yearning and has not the smallest element in common with the "motion" of the physicists - the living is indivisible and irreversible, once and uniquely occurring, and its course is entirely indeterminable by mechanics (160) - Arises in opposition to thought (166) - The secret of Life accomplishing itself which is touched upon by the word [[#Time]] forms the foundation of that which, as accomplished, is understood by (or rather indicated to an 'inner feeling in us by) the word [[#Space]]. - Just as every painter and musician has something in him which, by force of inward necessity, never emerges into consciousness but dominates a priori the [[#Form-Language]] of his work and differentiates that work from the work of every other [[#Culture]], so every conception of [[#Life]] held by a [[#Culture-Man]] possesses a priori a constitution that is deeper than all momentary judgments and strivings and impresses the [[#Style]] of these with the hall-mark of the particular Culture. - Interpretation creates depth and thereby fashions actuality and world - [[#Life]] itself enters into the experiences as third dimension (511) - Life stiffens and passes and is at once the three-dimensional [[#Space]] of the known (511) - High as may be the objectives that [[#Thought]] sets before itself, in actuality [[#Life]] makes use of thought for its ends and gives it a living objective quite apart from the solution of abstract problems (II, 17) - For [[#Thought]] the solutions of problems are either correct or erroneous - for [[#Life]] they are valuable or valueless (II, 17) ###### Actual Life ###### Counter-Concept of Life - Owing, however, to the unconditional monarchy of the [[#Eye]], life is presented as the life of a visible entity in the light; understanding, then, when it becomes interlocked with [[#Speech]], promptly forms a [[#Concept]] of [[#Thought]] and with it a [[#Counter-Concept of Life]], and in the end it distinguishes life as it is from that which might be. Instead of straight, uncomplicated living, we have the antithesis represented in the phrase "[[#Thought]] and [[#Action]]." (II, 12) ###### Life-Feeling **Classical/Apollonian Life-Feeling** - It goes without saying that we, when we turn to look into the Classical [[#Life-Feeling]], must find there some basic element of ethical values that is antithetical to [[#Character]] in the same way as [[#The Statue]] is antithetical to The [[#Fugue]] (417) **Faustian Life-Feeling** - The mad Lear between fool and reckless outcast on the heath, int he night and the storm, the unutterably lonely [[#Ego]] lost in space - here is the [[#Faustian]] [[#Life-Feeling]] - The full [[#Faustian]] Life-Feeling, the passion of the third dimension, takes hold of the form of the [[#Picture]], the painted plane, and transforms it in an unheard-of way. The picture no longer stands for itself, nor looks at the spectator, but takes him into its sphere (436) ###### Sense-Life - Connected with [[#Feeling]] (II, 4) ##### Life-Course - The history of humanity has no meaning whatever and that deep significances reside only in the [[#Life-Course]] of the separate cultures. Their inter-relations are unimportant and accidental. (II, 53) - We must regard the phenomenon of [[#World-History]] under two aspects - [[#Life-Course]]s of the great [[#Culture]]s and relations between them (II, 63) ##### Life-Ideal - That which conforms to the [[#Prime-Symbol]] of the great [[#Culture]]s as it comes to manifestation ###### Apollonian Life-Ideal - From this follows unreserved acceptance of the sensuous instant (342) ###### Faustian Life-Ideal - From this follows a not less passionate wrestle to overcome the sensuous instant (342) ##### Light - Classical scientists conceived of light as consisting in corporeal particles proceeding from the source of light to the eye of the beholder (503) - For the Arabian thought, even at the stage of the Jewish-Persian academies of Edessa, Resaina and Pombaditha (and for Porphyry too), the colors and forms of things were evidenced without the intervention of a medium, being brought in a magic and "spiritual" way to the seeing-power which was conceived as substantial and resident in the eyeball (503) - The idea of light as a [[#Force]], an _impetus,_ was current even from about 1300 amongst [[#The Parisian Occamists]] who centred on Albert of Saxony, Buridan and Oresme the discoverer of co-ordinate geometry. - Abstract thinking about [[#Light]] may lead (and has led) to an ideal light representable by an ensemble picture of waves and rays, but the significance of this development in actuality was that thenceforward life was embraced and taken in through the [[#Light-World]] of the [[#Eye]] (II, 6) - It is for his [[#Eye]] that man develops the magic of his [[#Architecture]], wherein the constructional elements given by [[#Touch]] are restated in relations generated by [[#Light]] (II, 6) - Religion, art, thought, have all arisen for [[#Light]]'s sake, and all differentiations reduce to the one point of whether it is the bodily [[#Eye]] or the mind's eye that is addressed (II, 6) - That we do not merely live but *know* about living is a consequence of our bodily existence in the [[#Light]] (II, 18) ###### Light-Actualities - Gods are surmised, imagined, envisaged [[#Light-Actualities]], and the idea of an "invisible" god is the highest expression of human transcendence (II, 8) ###### Light-Center - The [[#Depth-Experience]] is a mighty out-thrust into the visible [[#Distance]] from a [[#Light-Center]] - the point which we call "I" (II, 8) ###### Light-Concept - "I" is a [[#Light-Concept]] (II, 8) ###### Light-Idea - The other modes of speaking of which vestiges remain at all have long been absorbed into language in the form of mimicry, gesture, or emphasis. The difference between purely human speech and general animal utterance is that words and word-linkages constitute a domain of inward [[#Light-Idea]]s, which has been built up under the sovereignty of the [[#Eye]]s (II, 9) ###### Light-Thing - The only space that remains to us is [[#Visual Space]], and in it places have been found for the relics of other [[#Sense-World]]s (sounds, scents, heat and cold) as properties and effects of [[#Light-Thing]]s... - It is a seen fire that warmth comes from, it is a seen rose in illumined space that gives off the scent and we speak of a certain tone as violin-tone. As to the stars, our conscious relations with them are limited to seeing them - over our heads they shine, describing their visible path (II, 8) ###### Light-Value - Every [[#Word-Meaning]] has a [[#Light-Value]], even in the case of words like "melody," "taste," "cold," or of perfectly abstract designations (II, 9) ###### Light-World - Only with the [[#Light-World]] of the [[#Eye]] do [[#Distance]]s come into being as [[#Color]]s and Brightnesses; only in this world are night and day and things and motions visible in the [[#Extension]] of illuminated space, and the universe of infinitely remote stars circling above the earth, and that light-horizon of the [[#Individual]] [[#Life]] which stretches so far beyond the environs of the [[#Body]] (II, 6) - Where the bounds of the [[#Light-World]] are, there lies the beyond, and [[#Salvation]] is emancipation from the spell of the [[#Light-World]] and its [[#Fact]]s (II, 9) - Man's thought is [[#Visual Thought]], our concepts are derived from vision, and the whole fabric of our logic is a [[#Light-World]] in the imagination (II, 9) ##### The Logician - For [[#The Logician]] and [[#The Psychologist]], however skeptical he may be, there is a point at which criticism falls silent and [[#Faith]] begins, a point at which even the strictest analytical thinker must cease to employ his method - the point, namely, at which analysis is confronted with itself and with the question of whether its problem is soluble or even exists at all (393) ##### Loneliness - That which for the [[#Renaissance Man]] remained devoid of meaning, unique amongst all of [[#Western Man]] (360 - For the [[#Apollonian]], to settle far from the coast would have meant to lose sight of [[#Home]], while to settle in [[#Loneliness]] - the ideal life of the trapper and prairie-man of [[#America]] as it had been of Icelandic saga-heroes long before - was something entirely beyond the possibilities of Classical mankind (445) ##### Longing See also: [[#World-Longing]] ###### Columbus-Longing - Unfelt by the [[#Apollonian]] (441) ###### Copernican-Longing - Unfelt by the [[#Apollonian]] (441) ##### Lyric ###### Apollonian Lyric - A choral lyric, a singing before witnesses (428) - Public recited, contra the [[#Faustian Lyric]] as received inwardly, in wordless reading, as soundless music (428) ###### Faustian Lyric - All our lyric verse from Walther von der Vogelweide to [[#Goethe]] and from Goethe to the poems of our dying world-cities is monologue (428) - Received inwardly, in wordless reading, as soundless music (428) ##### Macrocosm - [[#Actuality]] as the sum total of all symbols in relation to one soul (218) - From this property of being significant nothing is exempt. All that is, symbolizes (218) - Everything speaks out of the essence of one and only one soul. - The Macrocosm is a property of the individual soul; we can never know how it stands with the soul of another. - It is the particular way in which a [[#Macrocosm]] presents itself to the understanding man of a particular [[#Culture]] that determines a priori that whole necessity of asking them, and the way in which they are asked (480) ##### Magian **PRIME SYMBOL:** The Cavern **WORLD-FEELING**: Achieved through the architecture of the central-dome (281) - Algebra, astrology and [[#Alchemy]], its mosaics and arabesques, its caliphates and mosques, and the sacraments and scriptures of the Persian, Jewish, and Christian, "post-Classical" and Manichaean religions (242) ###### Cavern-Feeling - Outside the domain of the [[#Pseudomorphosis]]on the contrary, the cavern- feeling was free to develop its own form-:language, and here therefore it is the definite roof that is emphasized (whereas in the other domain the protest against the Classical feeling led merely to the development of an interior). - Requires a survey-able history consisting in a beginning and an end to the world that is also the beginning and the end of man - acts of God of mighty magic - and between these turns, spellbound to the limits of the [[#Cavern]] and the ordained period, the battle of light and darkness, of the angels and Jazatas with Ahriman, Satan, and Eblis, in which Man, his Soul, and his Spirit are involved. ###### Magian Culture See also: [[#Arabian Culture]] - That which created the ancient-mediaeval-modern world-sense - For the Magian thinker the expression [[#World-History]] meant a unique and supremely dramatic act, grounded in not only polar conceptions like "good and evil" but by the figure of a catastrophe, an epochal change of phase between world-creation and world-decay (23) - With the [[#Microcosmic]] dualism of the Magian Culture, with *ruach* and *nephesh*, pneuma and psyche, is necessarily associated the macrocosmic opposition of God and Devil - Ormuzd and Ahriman for Persians, Yahwe and Beelzebub for Jews, Allah and Eblis for Mohammedans - in brief, Absolute Good and Absolute Evil. - With the microcosmic dualism of the Magian Culture, with ruach and nephesh, pneuma and psyche, is necessarily associated with macrocosmic opposition between [[#God]] and [[#Devil]] - in brief, Absolute Good and Absolute Evil (411) - In the [[#Faustian World-Feeling]], both of these oppositions pale together. ###### Magian Man - [[#Magian Man]] saw in miracles merely the exercise of a power that was not common to all, not in any way a contradiction of the laws of [[#Nature]] (518) - [[#Magian Man]] evolved out of the deepest depths of his dualistic [[#World-Consciousness]] a [[#Language]] of his own religious awareness that we call "the" [[#Christian]] religion (II, 70) - So much of this experience as was communicable - words, formulae, rites, was accepted by the man of the [[#Late Classical Period]] as a means of expression for his [[#Religious Need]]; then it passed from man to man, even to the German of the Western pre-Culture, in words always the same and in sense always altering (II, 71) ###### Magian Nature Contra: [[#Faustian Nature]], [[#Apollonian Nature]] - Rooted in the idea of substances with visible of secret attributes (a la [[#Alchemy]]) (504) - The [[#Arabian Culture]] owned the arabesque and the cavern-vaulting of the [[#Mosque]], and out of this world-feeling there issued [[#Alchemy]] with its ideas of mysterious efficient substantialities like the "philosophical mercury," which is neither a material nor a property but some thing that underlies the colored existence of metals and can transmute one metal into another (504) - A silent knowledge of [[#Alchemy]] tthe means of [[#Grace]] (505) ###### Magian Religion - The Magian hierarchy of heaven - angels, saints, persons of the Trinity - has grown paler and paler, more and more disembodied, in the sphere of Western [[#Pseudomorphosis]], supported though it was by the whole weight of Church authority... - has disappeared unnoticed from among the possibilities of the [[#Faustian]] world-feeling (247) - The Christian, the Jewish, the Persian, the Manichaean, the Syncretic possessed cult-buildings and an [[#Ornament]]ation of the first rank; and however different the items of their dogmas, they are all pervaded by an homogenous religiousness and express it in a homogenous symbolism of [[#Depth-Experience]] (278) - Each religion's temple tells of a like spirituality: it is the Cavern-feeling ###### Magian Soul Contra: [[#Apollonian Soul]], [[#Faustian Soul]] - The Gospel of St. John belongs thereto, and the writings of the Gnostics, the Early Fathers, the Neoplatonists, the [[#Manichaeans]], and the dogmatic texts in the talmud and the Avesta; so, too, does the tired spirit of the Imperium Romanum, now expressed only in religiosity and drawing the little life that is in its philosophy from the young East, Syria, and Persia (402) - The conception of a double, bodily or spiritual, ecstasy and of the partition of men into lower and higher, psychics and pneumatics, was familiar currency among the Gnostics (403) - Heathen and Christian, Spirit and Nature, man's drama from Creation to Last-Judgment (403) ###### Magian Soul-Image See also: [[#Soul-Image]] Contra: [[#Apollonian Soul-Image]], [[#Faustian Soul-Image]] - The hall-mark of the Magian [[#Soul-Image]] is a strict dualism of two mysterious substances, Spirit and Soul. (402) - On this specifically Middle-Eastern soul-image rests, of inward necessity, all the psychology and particularly the theology with which the "[[#Gothic]]" springtime of the [[#Arabian Culture]] (0-300 AD) is filled (402) - Against the [[#Apollonian Soul-Image]], there is a patent difference of value between a [[#Substance]] permeating the body (a la the Classical) and a [[#Substance]] which falls from the world-cavern into humanity, abstract and divine, making of all participants a Consensus (403) - Received its rigorously scientific completion in the schools of Baghdad and Basra - The problems of this Magian [[#Psychology]] are to us tangled and largely inaccessible (403) ###### Magian World-Feeling - [[#Force-Concept]] as found in Descartes and Galileo is the center or gravity of a dynamic universe and ipso facto is alien to the [[#Magian World-Feeling]] (404) - It is the most convincing of all evidences of the victory of the [[#Magian World-Feeling]] that Caracalla in 212 AD granted Roman citizenship to all provincials. For this grant simply abolished the ancient, [[#Statue]]-esque, idea of the citizen. ##### Man ###### Active Man See also: [[#Destiny-Men]] - The [[#Active Man]] who does and wills and fights, daily measuring himself against the power of [[#Fact]]s, looks down upon mere [[#Truth]]s as unimportant (II, 14). - For, in the last resort, only the [[#Active Man]], the man of [[#Destiny]], lives in the actual world, the world of political, military, and economic decisions, in which concepts and systems do not figure or count (II, 20) ###### Baroque Mankind - It was Baroque Mankind ([[#Christian]] or unbeliever, monk or rationalist) that first utterly put away the cult of the palpable ###### Brain-Man - Marked by [[#Unfruitfulness]], belonging to the [[#Megalopolis]] (472) ###### Civilization-Man - Lives outwards in space and amongst bodies and [[#Fact]]s (464) - Understands what appears as [[#Destiny]] to the [[#Culture-Man]] as a linkage of causes and effects, and thenceforward he is a materialist (464) - The feeling of strangeness in a Culture's forms, the idea that they are a burden from which creative freedom requires to be relieved, the impulse to overhaul the stock in order by the light of [[#Reason]] to turn it to better account, the fatal imposition of thought upon the inscrutable quality of creativeness, are all symptoms of a [[#Soul]] that is beginning to tire. Only the sick man feels his limbs (464) - When men construct an unmetaphysical religion in opposition to cults and dogmas; when a "natural law" is set up against historical law; when, in art, styles are invented in place of the style that can no longer be borne or mastered; when men conceive of the State as an "order of society" which not only can be but must be altered – then it is evident that something has definitely broken down (464) - Lives consciously (465) ###### Culture-Man - He who, in finding an ornamental pattern of notions when looking for Life, came to formulate an [[#Imaginary Soul-Body]] based in nothing other than the exact mirror-image of the form in which the matured [[#Culture-Man]] looks on his outer-world (398) - Lives inwards - That which he feels as [[#Destiny]], the [[#Civilization-Man]] understands as a linkage of causes and effects, and thenceforward he is a materialist (464) - To [[#Gothic]] and [[#Doric]] men, [[#Ionic]] and [[#Baroque]] men, the whole vast [[#Form-World]] of art, religion, custom, state, knowledge, social life was easy. They could carry it and actualize it without "knowing" it (464) - They had over the symbolism of the [[#Culture]] that unstrained mastery that [[#Mozart]] possessed in music. - Culture is self-evident. - Lives unconsciously (465) ###### Historical Man - The man of a [[#Culture]] that is in full march towards [[#Self-Fulfillment]]. Before this, after this, outside this, man is [[#Historyless]]; and the destinies of the people to which he belongs matter as little as the Earth's destiny matters when the plane of attention is the astronomical and not the geological (II, 59) ###### Mankind - Man cannot give an answer to his own questions, he can only *believe* in the correctness of his answer (II, 14) - As for mankind, discoveries of the [[#Diluvial]] age indicate more and more pointedly that the [[#Man-Form]]s existing then correspond to those living now; there is not the slightest trace of [[#Evolution]] towards a [[#Race]] of greater utilitarian "fitness" (II, 38) ###### Man-History - In all other [[#Culture]]s (except the [[#Faustian]]) the aspects of [[#World-History]] and [[#Man-History]] coincide. The beginning of the world is the beginning of man, and the end of man is the end of the world (II, 33) ###### The Mass - The rootless city-mass that has replaced the People, the [[#Culture-Folk]] (473) - It is this late-appearing mass and not [[#Mankind]] that is the object of the propaganda of [[#Stoicism]] and [[#Socialism]] (473) ###### Meditative Man - All that motives and urges, the eye for men and situations, the belief in his star which every born man of action possesses and which is something wholly different from belief in the correctness of a standpoint, the voices of the blood that speak in moments of decision, and the immovably quiet conviction that justifies any aim and any means - all these are denied to the critical, [[#Meditative Man]] (II, 19) - In the contemplative a single [[#Organ]] can operate without (and even against) the [[#Body]] (II, 19) - All the worse, when this organ tries to master [[#Actuality]] as well as its own world, for then we get all those ethico-politico-social reform-projects which demonstrate, unanswerably, how things ought to be and how to set about making them so (II, 19) - The thinker could discuss [[#Destiny]] if he liked; it was enough for these men to be [[#Destiny]] (II, 21) ###### Men of Theory See also: [[#Meditative Man]] Contra: [[#The Real Statesman]] - Men of theory commit a huge mistake in believing that their place is at the head and not in the train of great events (II, 20) ###### Primitive Man See also: [[#Primitive Culture]], [[#Primitive History]], [[#Primitive Understanding]] - Experiences [[#Soul]], first in other men and then in himself, as a *Numen* (divine presence or will - not a god in human form, but an impersonal, animating power that inhabits a place, object, or action), just as he knows Numina of the outer world, and develops his impressions in mythological form (394) - His works for these things are [[#Symbol]]s, they evoke [[#Image]]s, likenesses (394) - The primitive himself even appropriates a [[#Soul-Image]] out of facts of his own life as subjected to the formative working of the basic experiences of [[#Waking-Consciousness]] (distinction of ego and world) and those of being (distinction of body and soul, etc.) (399) ###### Western Mankind - Without exception is under the influence of an immense optical illusion (447) - Everyone demands something of the rest. We say "thou shalt" in the conviction that so-and-so [[#Fact]] will, can and must be changed or fashioned or arranged comfortably to the order, and our belief both in the efficacy of, and in our title to give, such orders is unshakeable (448) - This is the [[#Faustian Morale]] (448) ##### Mass - The notion of [[#Mass]] is only the complement of that of [[#Force]]. [[#Newton]], a deeply religious nature, was only bringing the Faustian world-feeling to expression when, to elucidate the words" force" and "motion," he said that masses are points of attack for force and carriers for motion. So the 13th-Century Mystics had conceived of God and his relation to world (517) - Western skepticism has never been directed against [[#Space]], always against tangible things only. Space is the higher idea - [[#Force]] is only a less abstract expression for it - and it is only as a counter-concept to space that [[#Mass]] arises. (526) - For mass is what is _in_ space and is logically and physically dependent upon space (526) ##### Mathematics - Along with the principle of [[#Causality]], leads to a naturalistic [[#Chronology]] - Every [[#Philosophy]] has hitherto grown up in conjunction with a mathematic belonging to it (74) - The style of any mathematic which comes into being depends wholly on the [[#Culture]] in which it is rooted, the sort of mankind it is that ponders it (78) - There is no mathematic but only mathematics (80) - Mathematics is an illusion (89) - Answers the question *How?* and *What?* - that is, the problem of the Natural order of things. - Mathematics, whether or not it employs visible images and representations as working conveniences, concerns itself with systems that are entirely emancipated from life, time and distance, with [[#Form-World]]s of pure numbers whose validity - not fact-foundation - is timeless and like everything else that is "known" is known by causal logic and not experience (227) ###### Classical Mathematics - Conceived of things *as they are,* as *magnitudes,* timeless and purely present (18) - The Alpha and Omega of the Classical mathematic is construction (which in the broad sense includes elementary arithmetic), that is, the production of a single visually-present figure. The chisel, in this second sculptural art, is the compass. (114) - The Classical mathematics excludes the symbol of infinite space and therefore the [[#Classical History]] does so too. ###### Western Mathematics - We now conceive of things as they become and behave, as function, and this brought us to dynmaics, etc. (18) - The **modern theory of [[#Function(s)]]** is the imposing marshaling of this whole mass of thought. - ...Our Western mathematic, having exhausted every inward possibility and fulfilled its destiny as the copy and purest expression of the idea of the Faustian soul, closes its development in the same way as the mathematic of the Classical Culture concluded in the third century. (121) ###### Groups - The last and conclusive creation of [[#Western Mathematics]] - Groups are aggregates or sets of homogeneous mathematical images - e.g., the totality of all differential equations of a certain type which in structure and ordering are analogous to the Dedekind number-bodies. ###### Mathematical Law - The means whereby to identify dead forms ###### Mathematical Number - Mathematical number, the formal principle of an extension-world of which the phenomenal existence is only the derivative and servant of waking human consciousness, bears the hall-mark of causal necessity and so is linked with **death**. (93) ###### Mathematical Thought - The affinity between [[#Mathematical Thought]] and [[#Legal Thought]] is very close. The intention, in both, is to take the prima facie data, to separate out the [[#Sensuous-Incidental]], and to find the intellectually basic principle - the [[#Pure Form]] of the object, the pure type of situation, the pure connexity of [[#Cause & Effect]] (II, 82) ##### Measure - Mere industrious measuring for measuring's sake is not and never has been more than a delight for little minds (500) ###### Experimental Measurement - Can in the nature of things only establish a [[#Number]], which number we have (significantly, again) named [[#Work]] (547) ##### Mechanics - The final aim of [[#Natural Science]] is to discover the motions underlying all alteration, and the motive forces thereof; that is to resolve itself into [[#Mechanics]] - [[#Hermann von Helmholtz]] (497) - What this resolution into Mechanics means is the reference of all qualitative impressions to fixed quantitative base-values, that is, to [[#The Extended]] and to change of place therein. - It means, further - if we bear in mind the opposition of [[#Becoming]] and Become, [[#Form]] and [[#Law]], [[#Image]] and [[#Notion]] - the referring of the seen [[#Nature-Picture]] of a single numerically and structurally measurable Order (497) - For most people [[#Mechanics]] appears as the self-evident synthesis of [[#Nature-Impression]]s. But it merely appears to be so. For what is [[#Motion]]? Is not the postulate that everything qualitative is reducible to the motion of unalterably alike mass-points, essentially [[#Faustian]] and not common to humanity? (498) - [[#Mechanics]], having nothing to do with aging, should have nothing to do with [[#Motion]] (514) - And consequently, since no scientific system is conceivable without a [[#Motion-Problem]] in it, a complete and self-contained mechanics is an impossibility (514) ###### Pure Mechanics - The [[#Pure Mechanics]] that [[#The Physicist]] has set before himself as the end-form to which it is his task (and the purpose of all this imagination-machinery) to reduce [[#Nature]], presupposes a dogma - namely, the religious [[#World-Picture]] of the Gothic centuries (502) ###### Western Mechanics - The specific tendency of all Western Mechanics is towards an intellectual conquest by measurement, and it is therefore obliged to look for the essence of the phenomenon in a system of constant elements that are susceptible of full and inclusive appreciation by measurement, of which [[#Hermann von Helmholtz]] distinguishes [[#Motion]] (using the word in its everyday sense) as the most important (498) ##### Mechanism - Like everything else that is no longer [[#Becoming]] but is the [[#Thing-Become]], [[#Scientific Psychology]] has put a [[#Mechanism]] in place of an [[#Organism]] (398) ##### Megalopolis - The [[#Megalopolis]] - skeptical, practical, artificial - alone represents [[#Civilization]] today (465) - Irreligious and soulless (471) - All religiousness in the [[#Megalopolis]] rests upon self-deception (542) ###### Apollonian Megalopolis - The megalopolis of the Classical world studiously maintained in its [[#Extension]] that tangle of crooked lands that enabled the [[#Apollonian Soul]] to feel himself a body in the midst of bodies (320) ###### Art of the Megalopolis - It is only at the stage of the Megalopolis that art, reasoned to pieces and de-spiritualized, goes over to naturalism as that term is understood nowadays. - [[#Imitation]] of the charm of visible appearances, of the stock of sensible characters that are capable of being scientifically fixed (255) ###### Faustian Megalopolis - We imprint upon the plan of our megalopolitan streets the same directional-destiny character that the seventeenth century imprinted upon the Park of Versailles - We lay our streets as long arrow-flights into remote distance, regardless even of preserving old and historic parts of our towns (for the symbolism of these is not now prepotent in us) (320) ###### The Late Period City - Needs abstract thinking and forces the "physicist of the inner world" (i.e., [[#The Psychologist]]?) to elucidate a fictitious world by ever more fictions, [[#Notion]] by more [[#Notion]]s. - He transmutes [[#The Non-Extended]] into [[#The Extended]], builds up a system as "cause" for something that is only manifested physiognomically, and comes to believe that in this system he has the structure of "the" [[#Soul]] before his eyes (396) ###### Man of the Megalopolis / ###### Megalopolitan - The unanchored late man whose [[#Destiny Idea]] is overpowered by matter-of-fact feeling and mechanizing thought (154) - The [[#Megalopolitan]] is irreligious; this is part of his being, a mark of his historical position (542) - Bitterly has he may feel the inner emptiness and poverty, earnest as he may long to be religious, it is out of his power to be so. - All religiousness in the [[#Megalopolis]] rests upon self-deception (542) ##### Memory - The real organ of history (174) - This organ was not present in the make-up of a [[#Classical Man]]'s soul - There was no [[#Time]] in it (175) - In the picture which we call [[#Memory]] and recollection, things are present to us as bathed in an inner [[#Light]] and swept by the pulsation of our existence (II, 26) ##### Metaphysics - The Metaphysical Period of [[#Philosophy]]: Originally of a religious and finally of a rationalistic cast - in which thought and life still contain something of chaos, an unexploited fund that enables them effectively to create (482) - No one is a genuine metaphysician who has not penetrated into the [[#Form-World]] of numbers, who has not lived them into himself as a symbolism (482) - With the decline of [[#Metaphysics]], [[#Ethics]] has outgrown its status as a subordinate element in abstract theory (483) - It becomes the custom to despise and mock at the metaphysical, the unpractical, the philosophy of "stone for bread" (483) - Strict [[#Metaphysics]] has exhausted its possibilities (484) ###### Apollonian Metaphysic - The Classical Metaphysic regarded man as a body among bodies, and knowledge as a sort of contact, passing from the known to the knower and not vice versa (410) ##### Mexican ###### Mexican Culture - It was a thoroughly [[#Classical]] trait - feebleness of the [[#Will-to-Power]] in the matter of [[#Technics]] - that kept the Aztecs ill armed and so made possible their catastrophe (II, 53) - This is the one example of a [[#Culture]] ended by violent death (II, 53) - It was not starved, suppressed, or thwarted, but murdered in the full glory of its unfolding, destroyed like a sunflower whose head is struck off by one passing. - The most appalling feature of the tragedy was not in the least a necessity of the [[#Western Culture]] that it should happen. It was a private affair of adventures. - This instance shows, as no other shows, that the history of humanity has no meaning whatever and that deep significances reside only in the [[#Life-Course]] of the separate cultures. Their inter-relations are unimportant and accidental. (II, 53) #CoreSpengler ##### Microcosm - When, and not until, the unit has thus separated itself from the All and can define its position with respect to the All, it becomes thereby a [[#Microcosm]]. - Even the planets in their great cycles are in [[#Servitude]], and it is only these tiny worlds that move freely relative to a great one which appears in their consciousness as their [[#World-Around]] (environment) (II, 2) ###### Microcosmic Contra: [[#Cosmic]] - All that is [[#Microcosmic]] possesses polarity; it possesses [[#Tension]] (II, 3) ###### Microcosmic Tension Contra: [[#Cosmic Beat]] - Perceived through [[#Feeling]] ###### Microcosmic Unit - It is not [[#Microcosmic Unit]]s that move but [[#Cosmic Entities]] that pick amongst them and appropriate them (II, 67) ###### Microcosmic Will - In such instances (war-dances and love-dances, a regiment mounting to the assault under fire is forged into a unity - a [[#Body]], capable of thinking and acting pitifully, blindly, and strangely for a moment ere it falls apart again), the [[#Microcosmic Will]] is obliterated (II, 4) - One [[#Destiny]] overlies all. Out of the sum of little single worlds comes suddenly a complete whole (II, 4) ##### Minoan - Early [[#Doric]] geometrical style appeared in opposition to the Minoan - The Minoan art of Crete is pure [[#Craft-Art]] ##### Mission - it is only through such grand instances of worldly passion which express the consciousness of a [[#Mission]] that we are able to understand those of grand spiritual passion, of the upright and forthright Caritas which nothing can resist, the dynamic charity that is so utterly unlike Classical moderation and Early-Christian mildness (459) ##### Misunderstanding Contra: [[#Understanding]] - Why, for example, do we fail to find in the former category the pyramid, pylon, and obelisk of Egypt, or hieroglyphic, or cuneiform? What of the stock of Byzantium and of the Moorish East was _not_ accepted by Gothic art and thought in Spain and Sicily? (II, 70) - It is impossible to overpraise the wisdom (quite unconscious) that governed the choice and the unhesitating transvaluation of what was chosen. - Every relation that was accepted was not only an exception, but also a [[#Misunderstanding]], and the inner force of a Being is never so clearly evidenced as it is in this _art of_ _deliberate_ _misunderstanding._ - The more enthusiastically we laud the principles of an alien thought, the more fundamentally in truth we have denatured it (II, 70) ##### Modern - "Modern times," which in form asserts that it is the last and conclusive term of the series, has in fact, ever since the Crusades, been stretched and stretched again to the elastic limit at which it will bear no more (23) ###### Ethical Modernity - Rooted in the thought of [[#Schopenhauer]] ###### Modernity - In the shareholders meeting of any limited company, or in the technical staff of any first-rate engineering works there is more intelligence, taste, character and capacity than in the whole music and painting of present-day Europe (389) ##### Morality - Hitherto the pretension of each and every morale to universal validity has obscured the fact that every [[#Culture]], as a homogenous being of higher order, possesses a moral constitution proper to itself (415) - There are as many moralities as there are [[#Culture]]s (415) - Just as we are incapable of altering our [[#World-Feeling]] - so incapable that even in trying to alter it we have to follow the old lines and confirm instead of overthrowing it - so also we are powerless to alter the ethical basis of our waking being (453) - We are no more capable of converting a man to a morale alien to his being than the [[#Renaissance]] was capable of reviving the [[#Classical]] or of making anything but a Southernized Gothic, an [[#Anti-Gothic]], out of the [[#Apollonian]] motives (454) ###### Apollonian Morality See also: [[#Classical Ethic]] - To the Classical spirit [[#Mankind]] appears as a stationary mass, and correspondingly there is that quite dissimilar morale that we can trace from the Homeric dawn to the time of the Roman Empire (415) ###### Christian Morality - The Christian morale of [[#Origen of Alexandria]]'s time was quite different from the Christian morale of [[#Francis of Assisi]]'s. ###### Civilization Ethic - Faustian [[#Civilization Ethic]] - [[#Socialism]] as the primary example (475) ###### Civilization Morale - That which a man looks for (466) - A function of logic (466) ###### Civilized Ethic - Are no longer the reflection of [[#Life]] but the reflection of [[#Knowledge]] upon Life (466) - All metaphysic of the high style, all pure intuition, vanishes before the one need that has suddenly made itself felt, the need of a [[#Practical Morale]] for the governance of a [[#Life]] that can no longer govern itself. ###### Classical Ethic - Every [[#Classical Ethic]] that we know or can conceive of constitutes man an individual static entity, a body among bodies, and all Western valuations relate to him as a center of effect in an infinite generality (455) - The ethical ideal of Classical man was that which is led up to in his tragedy, and revealed in its Katharsis. - This in its last depths means the purgation of the Apollinian soul from its burden of what is _not_ Apollinian, not free from the elements of [[#Distance]] and [[#Direction]], and to understand it we have to recognize that [[#Stoicism]] is simply the mature form of it (456) - We might describe the content of the [[#Classical Ethic]] as philanthropy, a boon conferred by the individual upon himself, his soma (461) ###### Culture Morale - That which a man has, opposed to [[#Civilization Morale]] as what a man looks for (466) - Too deep to be exhaustible by logical means (466) ###### Egyptian Ethic - Something socialistic here (455) ###### Ethics - Every ethic is a formulation of a [[#Soul]]'s view of [[#Destiny]] - heroic or practical, grand or commonplace, manly or old-manly. (466) ###### Ethical Socialism - Is neither more nor less than the sentiment of action-at-a-distance, the moral pathos of the third dimension: and the root-feeling of [[#Care]] - care for those who are with us, and for those who are to follow - is its emblem in the sky (455). - Even now the [[#Ethical Socialism]] of the [[#Faustian Soul]], its fundamental ethic, as we have seen, is being worked upon by the process of transvaluation as that soul is walled up in the stone of the great cities (462) - [[#Ethical Socialism]] is the maximum possible of attainment to a [[#Life-Feeling]] under the aspect of [[#Aim]]s; for the directional movement of [[#Life]] that is felt as [[#Time]] and [[#Destiny]], when it hardens, takes the form of an intellectual machinery of means and ends (476) - In spite of its foreground appearances, [[#Ethical Socialism]] is not a system of [[#Compassion]], humanity, peace and kindly care, but one of [[#Will-to-Power]]. Any other reading of it is illusory (476) - The [[#Aim]] is through and through imperialist; welfare, but welfare in the expansive sense, the welfare not of the diseased but of the energetic man who ought to be given and must be given [[#Freedom]] to do so, regardless of obstacles of wealth, birth and tradition (476) ###### Ethical System - Every ethical system, whether it be of religious or of philosophical origin, has associations with the great arts and especially with that of architecture. It is in fact a structure of propositions of causal character. Every [[#Truth]] that is intended for practical application is propounded with a "because" and a "therefore" (452) ###### Evil ###### Faustian Morality See also: [[#Faustian Ethic]], [[#Faustian Morale]] - The conception of mankind as an active, fighting, progressing whole is (and has been since [[#Joachim of Floris]] and the Crusades) so necessary an idea for us that we find it hard to realize that it is an exclusively Western hypothesis, living and valid only for a season (415) - The beginning of a morale is a claim to general and permanent validity. It is a necessity of the [[#Faustian Soul]] that this should be so (448) - [[#Will-to-Power]] even in ethics, the passionate striving to set up a proper morale as a universal truth, and to enforce it upon humanity, to reinterpret or overcome or destroy everything otherwise constituted - nothing is more characteristically our own than this is (451) ###### Faustian-Christian Morality - [[#The Mendicant Orders]], [[#The Moravians]], and [[#The Salvation Army]] are exceptions to this different generality - namely the [[#Faustian-Christian Morality]] (457) - That morale will not indeed be found formulated, either by [[#Martin Luther]] or by the Council of Trent, but all Christians of the [[#Great Style]] - [[#Innocent III]] and [[#John Calvin]], [[#Ignatius of Loyola]] and [[#Girolamo Savonarola]], [[#Blaise Pascal]] and [[#St. Teresa of Ávila]] - have had it in them, even in unconscious contradiction to their own formal teachings (457) ###### Good ###### Immorality - "Immoral" is only a new kind of "moral" and sets up he same claim to primacy. (450) ###### Indian Ethic - Opposite tendency to the [[#Egyptian Ethic]], an immobile attitude, of non-desire, of static self-containedness of the individual (455) - The seated [[#Buddha]] and [[#Zeno of Citium]]'s [[#ἀταραξία]] are not altogether alien to one another. - A state of untroubled calm that comes from living in accordance with reason and nature ###### Instinctive Morale - So long as the [[#Culture-Man]] that is approaching a Culture's fulfillment still continues to live straight before him naturally and unquestioningly, his life has a settled conduct. This is the [[#Instinctive Morale]], which may disguise itself in a thousand controversial forms but which he himself does not controvert, because he *has* it (465) ###### Master Morale - [[#Nietzsche]]'s [[#Slave Morale]] is a phantom, his [[#Master Morale]] is a reality (460) - However it may have been in the Classical world, _our_ great well-doers are the great *doers* whose forethought and care affects millions, the great statesmen and organizers (460) ###### Moral-Dynamic ###### Moral Imperative - As the form of morale is [[#Faustian]] and only [[#Faustian]] (449) ###### Morale See also: [[#Faustian Morale]], [[#Slave Morale]], [[#Master Morale]], [[#Compassion-Morale]], [[#Systematic Morale]], - There are as many morales as there are Cultures, no more and no fewer (453) - There is no general morale of humanity (453) - A morale, like a sculpture, a music, a painting-art, is a self-contained [[#Form-World]] expressing a [[#Life-Feeling]]; it is a datum, fundamentally unalterable, an inward necessity. - [[#Nietzsche]] was the first to have an inkling of this (as many moralities as cultures); but he never came anywhere near to a really objective [[#Morphology]] of [[#Morale]] beyond good" (all good) and evil (all evil) (415) - And yet if anything could detect the _prime-phenomenon_ of Morale as such, it should have been the historical insight of a Westerner. However, it appears that we are only now ripe enough for such a study - Whatever we take [[#Morale]] to be, it is not part of Morale to provide its own analysis; and we shall get to grips with the problem, not considering what should be our acts and aims and standards, but only by diagnosing the Western feeling in the very form of the enunciation (447) - The [[#Magian]] dome transformed into the [[#Russian]] [[#Cupola]], the [[#Chinese]] landscape-architecture of devious paths, the [[#Gothic]] [[#Cathedral]] tower. Each is an image of the particular and unique morale which arose out of the [[#Waking-Consciousness]] of the [[#Culture]] (452) - Between the [[#Morale]] that one has and the Morale that one thinks one has, there is a relation which is very obscure and very unsteady, and it is just here that an incorruptible psychology would be invaluable (456) - As soon as [[#Life]] is fatigued, as soon as a man is put on to the artificial soil of great cities - which are intellectual worlds to themselves - and needs a theory in which suitably to present Life to himself, [[#Morale]] turns into a problem (466) ###### Plebeian Morale - The Plebeian Morale of [[#Epicurus]] and the Stoa, the sects of the [[#Buddha]]'s day and the [[#Nineteenth Century]] century made rather battle-plans for the outmaneuvering of [[#Destiny]] (467) - It is the [[#Plebeian Morale]] of every day and "sound human [[#Reason]]" that is the basis of all our expositions and discussions of [[#Life]] (467) ###### Practical Morale - That which is needed following the vanishing of all metaphysics of the high style, all pure intuition, for the governance of a [[#Life]] that can no longer govern itself (466) ###### Sentimental Morale - Amongst [[#Faustian]]s, [[#Sentimental Morale]], morale directed to happiness and usefulness, is never the final instinct, however we may persuade ourselves otherwise. ###### Slave Morale - A phantom ###### Systematic Morale - Is an [[#Ornament]], and it manifests itself not only in precepts but also in the style of drama and even in the choice of art-motives. (452) ###### Tragic Morale - The tragic morale of a Culture knows and grasps the heaviness of being, but it draws therefrom the feeling of pride that enables the burden to be borne (467) ###### Western Ethic - All Western valuations relate to him as a center of effect in an infinite generality (455) ##### Money - What is the hall-mark of a politic of Civilization to day, in contrast to a politic of Culture yesterday? It is, for the Classical rhetoric, and for the Western journalism, both serving that abstract which represents the power of [[#Civilization]] - **money**. (45) - It is the money-spirit which penetrates unremarked the historical forms of the people's existence, often without destroying or even in the least destroying these forms. - Mere money can develop ideas and make history, and [[#Cecil John Rhodes]] - precursor of a type that will be significant indeed in the twenty-first century - provided, in disposing of his possessions by will, that it should do so (461) ##### Morphology - For [[Authors (Philosophy & Theory)/Johann Wolfgang von Goethe/General Biography|Goethe]] and in biology, it is the study of the form and structure of organisms. This is contrasted with Physiology, which deals primarily with Function. - Morphology studies the forms of organisms by juxtaposing them and evolving, from this juxtaposition, a standard of comparison - The morphology of [[#World-History]] becomes inevitably a universal symbolism (61) ###### Morphology of Art-History - From Goethe: All [[#Art]] is a living thing that must have an inconspicuous beginning, a slow growth, a brilliant moment of fulfillment and a gradual decline like every other organic being, though it is presented in a set of individuals (272-273) - [[#Style]]s do not follow one another like waves or pulse-beats. It is not the personality or will or brain of the artist that makes the style, but the style that makes the type of the artist (273) ###### Morphology of a History of Philosophy - There is no such thing as [[#Philosophy]] "in itself" (480) ###### Morphology of all Morales - A task for the future (454) - [[#Nietzsche]] took the first step but failed. Modern revolutionaries like [[#George Bernard Shaw]], [[#Max Stirner]], [[#Henrik Ibsen]], and [[#August Strindberg]] are just the same - they have only managed to hide the facts (from themselves as well as from others) behind new formulae and catchwords (454) ###### Morphology of the Exact Sciences - Before the curtain falls, there is one more task for the historical [[#Faustian]] spirit, a task not yet specified, hitherto not even imagined as possible. There has still to be written a [[#Morphology of the Exact Sciences]] which shall discover how all laws, concepts and theories inwardly hang together as forms and what they have meant as such in the life-course of the [[#Faustian Culture]] (563) ##### Mortality - Where the [[#Egyptian Culture]] immortalizes their dead, the [[#Classical Culture]] burned their dead (15) ##### Mother ###### Mother Body ###### Motherhood - Endless [[#Becoming]] is comprehended in the idea of Motherhood. - Woman as Mother is [[#Time]] and is [[#Destiny]]. - Just as the mysterious act of [[#Depth-Experience]] fashions, out of sensation, [[#Extension]] and [[#World]], so through Motherhood the bodily man is made an individual member of this world, in which thereupon he *has* a [[#Destiny]] (352) - All symbols of [[#Time]] and [[#Distance]] are also symbols of maternity (352) - [[#Care]] is the root-feeling of [[#Future]] and all Care is motherly. - It expresses itself in the formation and the idea of Family and State and in the principle of Inheritance, which underlies both. - The nursing mother points intot he [[#Future]], and she is just the figure that is entirely missing in [[#Apollonian Art]] (353) - In the religious art of the West, the representation of [[#Motherhood]] is the noblest of all tasks. - The [[#Reims Cathedral]] as the first centering of the Madonna rather than Christ (353) - Afterwards, the Madonnas of [[#Raphael]] led the way to the purely human type of the [[#Baroque]] (353) - See [[#Sistine Madonna]] ###### Madonna See: [[#Madonna with the Bean Blossom]], [[#Madonna of the St. Anne Entrance of Notre-Dame]], [[#Sistine Madonna]] ##### Motion - In the world as seen by the [[#Faustian]]'s eyes everything is [[#Motion]] without [[#Aim]] (449) - [[#Being]] and [[#Motion]] are incompatible; motion "is" not (is only "apparent) (512) - The question is not one of motions in the picture but of motions of the picture. - [[#Motion]], in the [[#Nature]] of [[#Physics]], is nothing else but that metaphysical something which gives rise to the consciousness of a succession. - The secret of [[#Motion]]awakens in man the apprehension of [[#Death]] (514) - [[#Motion]] is a contradiction within [[#Nature]] (514) - The contradiction may be covered up by adroit formulation, _but_ _it_ _lives_ _on_ _in_ _the_ fundamental concepts (514) - [[#Motion]] within a physical system is the ageing of that system (514) ###### Apollonian Motion - That which Classical man saw before him as [[#Motion]] in space, he understood as a change of position of bodies (505) ###### Faustian Motion - We, from the way in which we experience motion, have deduced the concept of a [[#Process]], a "going-forward," thereby expressing and emphasizing that element of [[#Directional Energy]] that our thought necessarily predicates in the courses of [[#Nature]] (505) ###### Motion-Problem - The attempt to solve the [[#Motion]]-Problem is an attempt of knowledge to get on the track of its own secret, its own [[#Destiny]] (514) - The whole [[#Apollonian]] conception of the motion-problem is implicit in the root-word ἀρχή, the whole Western conception of it in the [[#Force-Idea]] (517) - All that is problematical for the understanding consciousness somehow gathers itself together in one last and gravest problem, *the problem of motion*. (II, 17) - And on that problem free and abstract thought breaks down, and we begin to discern that the [[#Microcosmic]] is after all as dependent as ever upon the [[#Cosmic]], just as the individualness of a being from its first moment is constituted not by a body, but by the sheath of a body. - The [[#Motion-Problem]] remains the center of gravity of all higher thought (II, 18) - In posing motion as a problem we affirm our [[#Will]] to comprehend the incomprehensible, the "when and wheretofore." ##### Movement - To the [[#Faustian]], the [[#Freedom]] of Movement is indispensable (445) - Every [[#Movement]] means to win, while every Classical [[#Attitude]] only wants to *be* and troubles itself little about the Ethos of the neighbor. To fight for or against the trend of the times, to promote Reform or Reaction, construction, reconstruction or destruction - all this is as un-Classical as it is un-Indian (451) - [[#Movement]] contradicts [[#Nature]] as a picture, but it represents the history of this picture (513) ###### Culture-Movement - The phrase ".si duo faciunt idem, non est idem" - which ought to appear at the head of every historical work that deals with living and uniquely -occurring Becomings and not with logically, causally and numerically comprehensible Becomes – is specially applicable to these final expressions of[[#Culture-Movement]]s. - In all Civilizations [[#Being]] ceases to be suffused with [[#Soul]] and comes to be suffused with [[#Intellect]], but in each several Civiliza­tion the intellect is of a particular structure and subject to the [[#Form-Language]] of a particular symbolism (470) ##### Music - In [[#Salvation]] beyond the [[#Light-World]], there resides the ineffable charm and very real power of emancipation that [[#Music]] possesses for men (II, 9) - Music is the only art whose means lie outside the [[#Light-World]] that has so long become coextensive with our total world, and music alone, therefore, can take us right out of this world, break up the steely tyranny of [[#Light]], and let us fondly imagine that we are on the verge of reaching the [[#Soul]]'s final secret - an illusion due to the fact that our [[#Waking-Consciousness]] is now so dominated by one [[#Sense]] only, so thoroughly adapted to the [[#Eye-World]], that it is incapable of forming, out of the impressions it receives, a world of the [[#Ear]] (II, 8) ###### Apollonian Music - The thick tones of an [[#Aulos]] moved the Greek almost corporeally (191) - The serious music of the Classical was nothing but a plastic for the ear - The [[#Tetra-Chords]], chromatic and enharmonic, have a structural and not a harmonic meaning - this is the very difference between Body and [[#Space]] (300) - This music was single-voiced - The melody - like Classical verse from Homer to Hadrian's time - was treated *quantitatively* and not *accentually*; that is, the syllables, their bodies and their extent, decided the rhythm (301) ###### Arabian Music - Very little is said - a sacred music (in the style of the the syncretic cults, the [[#Manichaeans]], the Mithraists, the synagogues of Irak and in due course the [[#Nestorian]] Christians) and a gay secular music (amongst the South- Arabian and Sassanid chivalry) must have developed. - Both are said to have found their culmination in the Moorish style that reigned from Spain to Persia ###### Chinese Music - Incomprehensible to the [[#Faustian]] - we are unable to distinguish gay from grave (301) - To the [[#Chinese Soul]], all music of the West without distinction is *march-music* (301) ###### Faustian Music - The same will to emerge from interiors into the boundless (found in the [[#Faustian Depth-Experience]]) is present in the contrapuntal music - The incorporeal world of this music was and reamined that of the first [[#Gothic]] - it eventually became of inward necessity [[#Cathedral]]-like (264) - For this music, sight and hearing equally are bridges into the soul and nothing more. To the [[#Apollonian]] this visionary kind of artistic enjoyment was utterly alien. - Music dominates both [[#Painting]] and [[#Architecture]] in the eighteenth century, [[#Sculpture]] fades (300) - Melodic accent and beat produced the march, [[#Polyphony]] the image of endless space (302) - The Western [[#Portrait]] *is* music, soul woven of [[#Color Tones]], invading and pervading [[#Space]] without limit (352) - With [[#Richard Wagner]], everything merges in bodiless infinity, no longer even does a linear melody wrestle itself clear of the vague tone-masses that in strange surgings challenge an imaginary space (388) ###### Russian Music - Infinitely mournful to the [[#Faustian]] ear but not as such to the [[#Russian]] (301) ##### Music - Micro-Glossary ###### Aulos - An **ancient Greek wind instrument**, often compared to a double-reed oboe or modern clarinet in function, though its construction and sound were distinct. ###### Baroque Music - Pictorial and instrumental - Operates as a means of motives - Whether a bass melody be set against upper voices, or upper voices be concerted against one another upon a background of [[#Basso Continuo]], always sound-worlds of characterist expression-quality work reciprocally upon one another in the infinity of tonal space (305) - From out of the Early Baroque proceeded in the seventeenth century the sonata-like forms of suite, symphony, and concerto grosso (305) - It was in pursuit of matter quivering and flowing like a solution that [[#Baroque Music]] became thematic instead of melodic and - reinforcing the theme with every expedient of harmonic charm, instrumental color, rhythm, and tempo - developed the [[#Tone-Picture]] from the imitative piece of [[#Titian]]'s day to the leitmotiv-fabric of [[#Richard Wagner]], and captured a whole new world of feeling and experience (380) - Art of the [[#Characteristic]] (414) ###### Basso Continuo - Represents virtuosi and not pious participants - **Basso continuo** is the **harmonic and structural foundation of [[#Baroque Music]]**, transforming music from Renaissance counterpoint toward **tonal, chord-based thinking**, and enabling the expressive, dramatic, and richly textured sound that defines the era. ###### Caccia - A secular **14th-century Italian vocal compositions** associated with the **Trecento** period. - Cacce are among the first Western compositions to depict **everyday life and soundscapes** in music—dogs barking, vendors shouting, horns calling. ###### Cantata - A cantata is a vocal composition with instrumental accompaniment, typically structured in multiple movements, often including arias, recitatives, and choruses. - Originating in the [[#Baroque Period]], cantatas were written for both religious (sacred cantatas, often for church services) and secular purposes (secular cantatas for courts or private events). - "The last great masters of the Cantata, who had played around image-themes with infinite variety of vocal and instrumental color and had painted veritable pictures of fine landscape and grand legend-scene" (375) ###### Canzoni - An Italian or Provençal song or ballad ###### Chamber Music - Here, Western Art as a whole reaches its highest point. Here our prime symbol of Endless / [[#Infinite Space]] is expressed as completely as the Spearman of [[#Polykleitos]] expresses that of intense bodiliness for the [[#Apollonian Soul]] (206) ###### The Chorus - The Chorus is the primitive [[#Tragedy]], for without it the [[#ἦθος]] (disposition) would be impossible. [[#Character]] one possesses for one's self, but [[#Attitude]] has meaning only in relation to others (428) - The Chorus as crowd (the ideal opposite to the lonely or inward man and the monologue of the West), this Chorus by which, in the stage-life as in the real life, fear before the boundless and the void is banished, is truly [[#Apollonian]] (428) ###### Chorus of Instruments - Subsequent to the Empire of the Human Voice (fell in 1560) following the [[#Palestrina Style]] and [[#Orlando di Lasso]] ###### Counterpoint - **Counterpoint** is the musical technique of **combining independent melodic lines** so that they sound coherent and meaningful when heard together. Each line (or “voice”) has its own logic, but is composed according to rules that govern how voices **interact**—through consonance and dissonance, motion, imitation, and resolution. - Where [[#Polyphony]] names the _fact_ of multiple voices sounding at once, **counterpoint** names the _method_ by which those voices are composed. - The symbolism of Counterpoint belongs to [[#Extension]] - Is reborn in the form of the [[#Fugue]], of which [[#Girolamo Frescobaldi]] was the first master and [[#Bach]] the culmination. ###### Fauxbourdon - **Fauxbourdon** (from French _faux bourdon_, “false bass”) is a **15th-century polyphonic technique** in which a chant melody is harmonized in **parallel first-inversion chords**, producing a smooth, consonant texture dominated by **thirds and sixths**. - Fauxbourdon is a **bridge technique**: halfway between medieval polyphony and Renaissance harmony, teaching Western music how to think in chords without abandoning linear voice-leading. ###### Fugue - A fugue is a highly structured contrapuntal composition in which a single musical theme (the subject) is introduced and then repeated, developed, and interwoven across multiple voices. - Developed during the [[#Baroque]] period by [[#Bach]] and others - The rhythm of the fugue is based in the succession of elements in [[#Time]] (129) ###### Gothic Music - Architectural and vocal (304) - Builds - Had developed the instruments into families of definite timbre but the newborn orchestra of [[#Baroque Music]] no longer observed the limitations imposed by the human voice, treating it instead as a voice to be combined with other voices (305) ###### Imitative Music See also: [[#Imitation]] - Soul, landscape, feeling (302) - In [[#Castle]] and village, a secular imitative music came into being, that of troubadours and minstrels - The Castle *makes* music - It begins with impromptu, sung by the knight - It is Living Existence contra the [[#Waking-Consciousness]] of [[#Ornamental Music]] (304) - A new art, it consisted of simple melodies that appealed to the heart with their major and minor, [[#Canzoni]], [[#Madrigals]], and the [[#Caccia]] - After 1400 A.D., these forms give rise to forms of collective singing - the [[#Rondeau]] and the Ballade (303) - All this is art for the public - the point of it is in the melodic inventiveness instead of in the symbolism of its linear progress (303) - The result is an inexhaustible fund of folk-melodies on which even the eighteenth century was still drawing (304) ###### Instrumental Music - Between 1500 - 1800 A.D., became the ruling art of the [[#Faustian Style]] (299) - At the beginning in the seventeenth century, music uses the characteristic tone-colors and contrasts of the instruments as a means wherewith the paint (299) - It paints pictures (in the sonata), paints heroic landscapes (in the pastoral cantata), and draws a portrait in lines of melody (300) - Ended with Liszt, Wagner, and Bruckner - The striving of instrumental music toward freer and ever freer chromatics (de Rore, Luca Marenzio) and towards the formation of bodies of tone by means of string and wind choruses corresponds exactly with the new tendency of [[#Oil-Painting]] to create pictorial chromatics out of pure colors, by the means of unlimited [[#Studio Brown]] shadings and the contrast-effect of visible [[#Brushstroke]]s (333-334) ###### Madrigals - A **madrigal** is a **secular vocal composition**, typically **polyphonic**, that flourished in **Italy during the 16th century** (and later in England). It is usually written for **three to six unaccompanied voices** and set to **poetry**, often about love, nature, or philosophical reflection. ###### Melody - Melody for the [[#Apollonian]] - like Classical verse from Homer to Hadrian's time - was treated quantitatively and not accentually; that is, the syllables, their bodies and their extent, decided the rhythm. - That which [[#Imitative Music]] begins with, contra the symbolism of [[#Counterpoint]] belonging to [[#Extension]] and through [[#Polyphony]] signifying [[#Infinite Space]]. ###### Music for the Masses - Ordinary people are bored by [[#Mozart]] and [[#Beethoven]], and regard music generally as something for which one is or is not in the mood (322) - A certain degree of interest in matters of art has been induced by concert room and gallery since the age of enlightenment invented the phrase "art for all" (322) - But [[#Faustian Art]] is not, and by very essence cannot be, for "all." ###### Oratorio - An oratorio is a large-scale musical composition, usually on a religious subject, written for orchestra, choir, and soloists, and performed without staging, costumes, or acting. ###### Ornamental Music See also: [[#Ornament]] - Strict form, style, school (302) - West Europe has an ornamental music of the grand style which is associated with the architectural history of the [[#Cathedral]], which is closely akin to Scholasticism and Mysticism and which finds its laws in the motherland of high Gothic between Seine and Scheldt (303) - The Cathedral *is* music - It begins with theory, sung by the spiritual singer - It is [[#Waking-Consciousness]] contra the Living Existence of [[#Imitative Music]] (304) - [[#Counterpoint]] developed simultaneously with the [[#Flying-Buttress]] system, and its source was the [[#Romanesque]] style of the [[#Fauxbourdon]] - It is an architecture of human voices and, like the statuary-group and the glass-paintings, is only conceivable in the setting of these stone vaultings (303) - With this, it is a **high art of space** - this is the genuine rebirth (a la [[#Joachim of Floris]] (303) - The result of which is a store of "eternal" rules (304) - The courtly taste of [[#Florence]] was antipathetic to the spirit of [[#Counterpoint]] - the evolution of the strict musical form proceeded wholly within the magic circle of [[#Gothic]] architecture (304) ###### Palestrina Style - Named after Giovannie Pierluigi da Palestrina - One of the hallmarks of Palestrina's music is that dissonances are typically relegated to the "weak" beats in a measure. This produced a smoother and more consonant type of [[#Polyphony]] which is now considered to be definitive of late Renaissance music. - In brief, it is a style of **pure, balanced, and intelligible polyphonic church music**, prized for its clarity and restraint. ###### Polyphony - **Polyphony** is music in which **two or more independent melodic lines** are sung or played **simultaneously**, each with its own contour and rhythmic life. No single line is merely accompaniment; each has structural importance. - Early Western sacred music emphasized **oneness**: a single chant sung collectively. Polyphony introduces **difference within unity**—multiple voices coordinated without collapsing into chaos. - Produced the image of endless space, through polyphony is signified infinite space (304) ###### Rondeau - A **rondeau** is a **fixed poetic and musical form** that originated in **medieval France** (13th–14th centuries) and was widely used in both **poetry and song**. ###### Tetra-Chords - The name comes from tetra (from Greek—"four of something") and chord (from Greek chordon—"string" or "note"). In ancient Greek music theory, tetrachord signified a segment of the greater and lesser perfect systems bounded by immovable notes (Greek: ἑστῶτες); the notes between these were movable (Greek: κινούμενοι). - It literally means four strings, originally in reference to harp-like instruments such as the lyre or the kithara, with the implicit understanding that the four strings produced adjacent (i.e., conjunct) notes. ###### Titian-Music - Produced in Venice, a new madrigal that in its flow and ebb follows the sense of the text (304) ###### Tone - Something extended, limited and numerable just as lines and colors are - harmony, melody, rhyme and rhythm no less so than perspective, proportion, chiaroscuro and outline (191) ###### Tone-Picture ###### Violin - The noblest of all instruments that the [[#Faustian Soul]] has imagined and trained for the expression of its last secrets - It is in string quartets and violin sonatas that the [[#Faustian Soul]] has experienced its most transcendent and most holy moments of full illumination (306) ##### Mythology - Every myth of the [[#Great Style]] stands at the beginning of an awakening spirituality. It is the first formative act of that spirituality. Nowhere else is it to be found. There - it *must* be (527) - There are as many [[#Form-World]]s of great myth as there are [[#Culture]]s and early architectures (528) - As for the meaning of a myth, its provenance proves nothing. The [[#Numen]] itself, the primary form of the world-feeling, is a pure, necessary, and unconscious creation, and it is not transferable (530) - All mythology and all natural science has arisen out of man's wonder in the presence of the mystery of [[#Motion]] (II, 18) ###### Faustian Mythology - The immense wealth of religious-intuitive creations in the Imperial Age in Germany as the basis of what would come into existence as the [[#Faustian Mythology]] (528) - It was in this age that the folk-lore of Western Europe became an entirety - The deep inward unity of this [[#Faustian]] world of myth and saga and the complete congruence of its expression-symbolism has never hitherto been realized, and yet Siegfried, Baldur, Roland, Christ the King in the "Heliand," are different names for one and the same figure. - Valhalla and Avalon, the Round Table and the communion of the Grail-templars, Mary, Frigga and Frau Holle mean the same (529) - The forest stirrings and the forest solitude, the tempest and the surf, which completely dominated the Nature of Faustian man (even that of pre-Faustian Celts and Teutons) and imparted to their mythology its peculiar character (532) ###### Inner Mythology - For every man, whatever the [[#Culture]] to which he belongs, the elements of the [[#Soul]] are the deities of an Inner Mythology (411) ###### Magian Mythology - The [[#Arabian Soul]] built up its myth in centuries between Cesar and Constantine (531) ###### Myth-Motive - The old Celtic and old Germanic myth-motives have to be treated, like the repertory of Classical forms possessed by the learned monk, and like the entire body of Christian-Eastern faith taken over by the Western Church, simply as the material out of which the Faustian soul in these centuries created a mythic-architecture of its own (530) ###### Myth of the Springtime - In the Classical, Arabian and Western Cultures, the [[#Myth of the Springtime]] is in each case that which we should expect; in the first static, in the second [[#Magian]], in the third dynamic (530) ##### Mysticism - In the mysticism of all primitive periods, to know God means to conjure him, to make him favourable, to appropriate him inwardly. This is achieved, principally, by means of a word, the Name - the" nomen" which designates and calls up the "numen " - and also by ritual practices of secret potency; and the subtlest, as well as the most powerful, form of this defense is causal and systematic knowledge, delimitation by label and number. ##### Name - By virtue of the [[#Name]] they are subject to the intellectual power of the man who possesses the Name, and (as has been shown already) the whole of philosophy, the whole of science, and everything that is related in any way to "[[#Knowing]]" is at the very bottom nothing but an infinitely-refined mode of applying the [[#Name-Magic]] of the primitive to the "[[#Alien]]." - The pronouncement of the right name (in physics, the right concept) is an incantation (525) - The outcome of a Numen is a Deus, the outcome of a [[#Notion]] is an [[#Idea]] (525) ###### Name-Magic - The name serves to capture some essence of what is named and to bind it as an object which thereupon becomes specific for every beholder. ##### Nation ##### Nationality ###### Arabian Nationality - The [[#Arabian]] concept of [[#Nationality]] is a new and wholly decisive fact. The frontiers between [[#Home]] and "Abroad" lay in the [[#Apollonian]] world between every two towns, and in the [[#Magian]] between every two creed-communities (II, 84) ##### Nature See also: [[#Science]] Contra: [[#History]] - Contra [[#History]], the shape in which the man of higher Cultures synthesizes and interprets the immediate impressions of his senses. - All that is numerable, all that can be captured and marked off by [[#Number]] - Nature is the sum of the law-imposed necessities. There are only laws of Nature. (125) - "Nature," in the exact sense, is a way of possessing actuality which is special to the few, restricted to the megalopolitans of the late periods of great Cultures, masculine, perhaps even senatorial (130) - Nature is a possession which is saturated through and through with the most personal connotations. - Nature is a function of the particular [[#Culture]]. - That which is exact, mechanically correct, an artificially conception of the world by soul from the scientist (131) - Nature is not the world-picture in which [[#Destiny]] is operative. - Nature stands beyond all time, its mark is [[#Extension]], and it is without directional quality. - Nature is a possession which is saturated through and through with the most personal connotations. Nature is a function of the particular Culture (224) - The knowledge of [[#Nature]] is an activity of measurement (513) - [[#Nature]] is an expression of the [[#Culture]] in each instance. - No [[#Nature]] is pure - there is always something of [[#History]] in it. - [[#Nature]] is Become and therefore eternally past (515) - When we are working in the domain of [[#Nature]], our settings and self-adjustments should be and can be up to a certain point impersonal - one "forgets oneself" - but every man, class, nation, or family sees the picture of [[#History]] in relation to itself (II, 26) - The mark of [[#Nature]] is an extension that is inclusive of everything, but [[#History]] is that which comes up out of the darkness of the past, presents itself to the seer, and from him sweeps onward into the future (II, 26) - [[#Nature]] is a [[#System]], and systems can be learnt (II, 26) ###### Nature-Feeling - The whole substantiality of the visible world is denied by the [[#Faustian]] [[#Nature-Feeling]] for which in the end nothing is of earth and the only actual is [[#Space]] (534) - The fairy-tale dissolves the matter of [[#Nature]] as the Gothic style dissolves the stone-mass of our cathedrals into a ghostly wealth of forms and lines that have shed all weight and acknowledge no bounds (534) ###### Nature-Impression ###### Nature-Law - In every [[#Nature-Law]], physically exact as it may be, we are called upon to distinguish between the nameless number and the naming of it, between the plain fixation of limits and their theoretical interpretation (499) - The moment we clothe dead signs in words, give them flesh, body and life, and, in sum, a perceptible significance in the world, we have overstepped the limits of a mere order... θεωρία means image, vision, and it is this that makes a [[#Nature-Law]] out of a figure-and-letter formula. Everything exact is in itself meaningless... (499) - [[#Nature-Law]]s, which for us are self-evidently the proper [[#Expression-Forms]] in science, are not by any means so for the men of other [[#Culture]]s (518) - [[#Nature-Law]]s are forms of the known in which an aggregate of individual cases are brought together as a unit of higher degree (518) **Apollonian Nature-Law** - Man was only the measure and not the creator of things - a view that unconsciously forgoes all conquest of nature through the discovery and application of laws (518) **Faustian Nature-Law**: - [[#Living Time]] is ignored - that is, it does not matter whether, when or how often the case arises, for the question is not of chronological sequence but of mathematical consequence. But in the consciousness that no power in the world can shake this calculation lies 'our will to command over Nature. That is Faustian (518) - It is only from this standpoint that miracles appear as breaches of the laws of [[#Nature]] (518) **Magian Nature-Law** - [[#Magian Man]] saw in miracles merely the exercise of a power that was not common to all, not in any way a contradiction of the laws of [[#Nature]] (518) ###### Nature-Picture Contra: [[#History-Picture]] - The element in the [[#Nature-Picture]] in virtue of which it not merely from moment to moment is, but in a continuous flow with and around us becomes, is the copula of the [[#Waking-Consciousness]] and its world. - This element is called [[#Movement]] and it contradicts [[#Nature]] as a picture, but it represents the history of this picture. - The bases of the [[#Apollonian]] and the [[#Faustian]] Nature-images, respectively, are in all contexts the two opposite symbols of individual thing and unitary space (532) - In the nature- (or science-) picture it is the ever-present subjective that is alien and illusive, but in the [[#History-Picture]] it is the equally ineliminable objective, [[#Number]], that leads into error (II, 26) - The [[#Nature-Picture]] of [[#The Child]] and [[#Primitive Man]] develop out of the petty technique of every day, which perpetually forces both of them to turn away from the fearful contemplation of wide nature to the critique of the facts and situations of their near environment (II, 28) - [[#The Child]] discovers its first [[#Truth]]s through play - [[#Primitive Man]] applies this critical experience, as he acquires it, to his arms and tools, to the materials for his clothing, food, and housing - i.e., to things insofar as they are dead (II, 28) - The mature [[#Culture-Man]] transposes in exactly the same way, every day and every hour. - What lies beyond any attainable frontier of [[#Knowledge]] he calls [[#God]], and all that lies within that frontier he strives to comprehend - as action, creation, and manifestation of God - causally. **Apollonian Nature-Picture**: - If the man is ahistorical, like the Greek, so that the totality of his impressions of the world is absorbed in a pure point-formed present, his Nature-image is static, self-contained (that is, walled against past and future) in every individual moment (515) - [[#Number]], the definitive evaluation of the [[#Thing-Become]], is in the case of ahistoric man [[#Measure]] (515) **Faustian Nature-Picture**: - If the Man is historically constituted, the image formed is dynamic. - [[#Number]], the definitive evaluation of the [[#Thing-Become]], is in the case of ahistoric man [[#Function(s)]] (515) ##### Necessity - Was once identical to [[#Freedom]] for the [[#Faustian]] until (the process of mutilation) freedom became understood as indiscipline (387) - Regarding the [[#Necessity]] which is a postulate in all exact research, we have to consider two kinds of [[#Necessity]], viz., a necessity within the spiritual and living (for it is [[#Destiny]] that the history of every individual research-act takes its course when, where and how it does) and a necessity within the known (for which the current Western name is [[#Causality]]) (500) - The physical notion of [[#Necessity]] has a religious origin (517) ###### Mechanical Necessity - It must not be forgotten that the mechanical necessity that rules in what our intellects comprehend as [[#Nature]] is founded upon another necessity which is organic and fateful in [[#Life]] itself. The latter creates, the former restricts (517) ##### Nerve - We possess two cyclic organs of the [[#Cosmic]] existence, the [[#Blood System]] and the [[#Sex-Organ]], and two differentiating organs of microcosmic mobility, [[#Sense]]s and [[#Nerve]]s (II, 4) ##### Nihilism - Three forms of Nihilism: [[#Buddhism]], [[#Socialism]], [[#Stoicism]] - In each case, the ideals of yesterday, the religious and artistic and political forms that have grown up through the centuries, are undone; yet even in this last act, this self-repudiation, each several [[#Culture]] employs the [[#Prime-Symbol]] of its whole existence (469) ###### Apollonian Nihilism - [[#Epicurus]] or [[#Antisthenes]] or [[#Zeno of Citium]] - watches ideals crumble before his eyes (469) ###### Faustian Nihilism - [[#Henrik Ibsen]] or [[#Nietzsche]], Marx or [[#Richard Wagner]] - shatters the ideals (469) ###### Indian Nihilism - Withdraws from the presence of ideals into himself (469) ###### The Coming of Nihilism - If we pass in review the great 19th-Century names with which we associate the march of this great drama - [[#Schopenhauer]], Hebbel, [[#Richard Wagner]], [[#Nietzsche]], [[#Henrik Ibsen]], [[#August Strindberg]] - we comprehend in a glance that which Nietzsche, in a fragmentary preface to his incomplete master-work, deliberately and correctly called [[#The Coming of Nihilism]]. - Every one of the great Cultures knows it, for it is of deep necessity inherent in the finale of these mighty organisms. [[#Socrates]] was a nihilist, and [[#Buddha]] (463) ##### Notion - We can only define notions by notions (394) - No subtleties of intellectual play with notional distinctions, no plausible observations of connections between [[#Sensuous-Corporeal]] states and "inward processes" touch that which is in question - [[#Will]] - that is no notion, but a name, a prime-word like God, a sign for something of which we have an immediate inward certainty but which we are forever unable to describe (394) - Certain ineffable stirrings of the soul can be imparted by one man to the sensibility of another man through a look, two bars of a melody, an almost imperceptible movement. That is the real [[#Language of Souls]], and it remains incomprehensible to the outsider. - The word as utterance, as poetic element, may establish the link but the word as [[#Notion]], as element of scientific prose, never (395) - The great views of [[#Life]] were brought into shapes, into Gods; today they are brought in [[#Notion]]s (545) ##### Number - The primary element on which all mathematics rests. - The symbol of causal necessity (74) - Like the conception of God, it contains the ultimate meaning of the [[#World-as-Nature]] (74) - Something that marks off and captures nature-impressions, and it is by such means that human understanding obtains power over the world (75) - The sign of completed demarcation, the essence of everything actual, which is cognized, delimited, which has become all at once (75) - The domain of number like the domains of tone, line, and color, becomes an image of the world-form (81) - **Numbers** are images of the perfectly desensualized understanding, of pure thought, and contain their abstract validity within themselves (90) - Numbers are symbols of the mortal. Stiff forms are the negation of life, formulas and laws spread rigidity over the face of nature, numbers make dead... (93) ###### Classical Number - It is the deep metaphysical fear that the sense- comprehensible and present in which the Classical existence had entrenched itself would collapse and precipitate its cosmos (largely created and sustained by art) into unknown primitive abysses. And to understand this fear is to understand the final significance of Classical number - that is, measure in contrast to the immeasurable - and to grasp the high ethical significance of its limitation. - Integral and corporeal, inevitably seeks to relate itself with the birth of bodily man (110) ###### Pure Number - If the [[#Pure Number]]s of a physical formula represent a causal necessity, the existence, the birth and the life-duration of a theory are a [[#Destiny]] (501) ###### Western Number - The conception of number as [[#Function(s)]] is related to the dynamic principle of cause-and-effect (519) - Both are creations of the same intellect, expression-forms of the same spirituality, formative principles of the same objectivized and "become" Nature (519) ##### Numina ###### Numen - How the [[#Consciousness]] of a Culture intellectually concretes its primary [[#Numina]] - It imposes significant words - names - on them and there conjures (seizes or bounds) them (525) - The [[#Numen]] itself, the primary form of the world-feeling, is a pure, necessary, and unconscious creation, and it is not transferable (530) ##### Objectivity - What is necessary for an intellectual interpretation of [[#Life]] by itself, to survey the widest and gravest of all the fields of human thought (447) ##### Order - All [[#Law]]s formulated in words are [[#Order]]s that have been activated and vitalized, filled with the very essence of the one - and only the one - [[#Culture]] (500) ##### Organ See also: [[#Blood System]], [[#Nerve]], [[#Sense]] - We possess two cyclic organs of the [[#Cosmic]] existence, the [[#Blood System]] and the [[#Sex-Organ]], and two differentiating organs of microcosmic mobility, [[#Sense]]s and [[#Nerve]]s. - We have to assume that in its origin the whole [[#Body]] has been both a cyclic and a tactual organ (II, 4) ###### Cosmic-Organ See also: [[#Blood System]], [[#Sex-Organ]] - To these [[#Cosmic-Organ]]s the [[#Microcosm]] as such adds (in the degree to which it possesses [[#Freedom]] of [[#Movement]] vis-à-vis the [[#Macrocosm]]) the [[#Organ-Sense]], which is originally the [[#Touch-Sense]] and nothing else. ###### Organ-Sense ###### Sex-Organ - The [[#Blood]] of the ancestors flows through the chain of the generations and binds them in a great linkage of destiny, beat, and time. Originally this. was accomplished only by a process of division, redivision, and ever new division of the cycles, until finally a specific organ of sexual generation appeared and made _one_ *moment* into a symbol of [[#Duration]] (II, 4) ##### Organism ##### Ornament - With [[#Imitation]], a higher possibility of [[#Expression-Language]] and its polarity with Imitation is hardly perceptible in the beginning (253) - Ornament evidences an ego conscious of its own specific character. - Almost peculiar to man, while [[#Imitation]] is widely spread in the animal world (253) - Ornament detaches itself from [[#Imitation]] as something which does not follow the stream of life but rigidly faces it. - Instead of physiognomic traits overheard in the [[#Alien]] being, we have established motives, [[#Symbol]]s, which as impressed upon it. - The intention is no longer to pretend but to conjure (255) - The "I" overwhelms the "Thou" - Contra Imitation, Ornament employs a language emancipated from the speaking, a stock of forms that possesses [[#Duration]] and is not at the mercy of the individual (255) - Ornament is something taken away from [[#Time]] - it is pure [[#Extension]], settled and stable (255) - Expresses something by presenting itself to the senses as a finished thing. - It is Being as such, wholly independent of origin. - Can only represent the generalized [[#Destiny Idea]] (i.e., that of the [[#Classical Culture]] by the [[#Doric Column]]) - Enchants and kills (257) - [[#Being]] (*Is*) - Allied to the care of the past, to recollection, to the funerary (257) - Is extinguished when [[#Civilization]] sets in (261) ###### Ornamental Language - The nearer the grand style comes to its point of fulfillment, the more decisive the tendency to an [[#Ornamental Language]] of inexorable clarity of symbolism (374) - No other Culture possess an [[#Ornamental Language]] of such dynamic impressiveness relatively to the means it employs as the West - Every point or stroke of color, every scare-audible tone releases some surprising charm and continually feeds the imagination with fresh elements of space-creating energy (380) ###### Ornament in the Arts - In the ornamentation of an art-work is reflected the inviolable causality of the macrocosm as the man of the particular kind sees and comprehends it. - An Ornament is significant, contra an [[#Imitation]] being beautiful (257) ###### Ornament in Architecture - Ornamentation of the high order develops itself on the stiff symbols of death, the urn, the sarcophagus, the stele and the temple of the dead, and beyond these in gods' temples and [[#Cathedral]]s which are ornament through and through (258) - The [[#Cathedral]] *is* art and, moreover, the only art by which *nothing* is imitated; it alone is pure tension of persistent forms, pure three-dimensional logic that expresses itself in edges and surfaces and volumes. - Contra the [[#Architecture]] of the living serving a worldly purpose, the architecture of the cult is a [[#Symbol]] (259) - The "spell" of the great Ornamentation remains unbroken til in the beginning of a "late" period [[#Architecture]] falls into a group of civic and worldly special arts that unceasingly devote themselves to pleasing and clever [[#Imitation]] and become ipso facto personal (261) - When Ornament loses its sacred rigor it becomes [[#Decoration]] for the architectural setting of a polite and mannered life (261) ###### Ornament in Time - The final or industrial form of Ornament, [[#Craft-Art]] - no longer historical, no longer in the condition of [[#Becoming]] - oriental carpets, Persian and Indian metal work, Chinese porcelain, etc. (262) ##### Peasant - The "People" represent the city-people, an inorganic mass, something fluctuating. - The [[#Peasant]] is not democratic - this again being a notion belonging to mechanical and urban existence - and he is therefore overlooked, despised, detested. - With the vanishing of the old "estates" - gentry and priesthood - he is the only organic man, the sole relic of the Early Culture. There is no place for him either in the thought of [[#Stoicism]] or [[#Socialism]] (465) ##### Person Contra: [[#Persona]] - The West can imagine a person (in our sense of the word) as deprived of certain rights and even of all rights, but the [[#Classical Man]] under the punishment of capitis deminutio media ceased _to_ be a [[#Person]] although living on as a [[#Body]]. - And the specifically Classical idea of the thing, _res,_ is only intelligible in contrast to and as the object of [[#Persona]] (II, 72) ###### Juristic Person - In [[#Arabian Law]]: Always _one_ Pneuma, _one_ like spirit, _one_ identical knowledge and comprehension of whole and sole truth, welds the believers of the same religion into a [[#Unit]] of will and action, _into_ _one_ [[#Juristic Person]] (II, 83) - A [[#Juristic Person]] is thus a collective entity which has intentions, resolutions, and responsibilities as an entity. In [[#Christianity]] we see the idea already actual and effective in the primitive community at Jerusalem, and presently it soars to the conception of a triune Godhead of three Persons (II, 83) - The Persians of the [[#Sassanid Period]] no longer conceived of themselves, as their predecessors of [[#Achaemenid Period]] had done, as a [[#Unit]] by virtue of origin and speech, but as a unit of Mazdaist believers, vis-a-vis unbelievers, irrespective of the fact that the latter might be of pure Persian origin (as indeed the bulk of the Nestorians were). - So also with the Jews, and later the [[#Mandaeans]] and [[#Manichaeans]], and later again the [[#Monophysite]] and the Nestorian Christians - each body felt itself a [[#Nation]], a legal community, a [[#Juristic Person]] in a new sense (II, 85) ##### Persona Contra: [[#Person]] - The word that stands in the [[#Classical]] vocabulary where [[#Personality]] stands in our own - namely *role* or *mask* (417) - What is indicated is not the personality (that is, an unfolding of inward possibilities in active striving) but a permanent and self-contained posture strictly adapted to a so-to-say plastic ideal of being (418) - A specifically [[#Classical]] notion, possessing meaning and valency only in the [[#Classical Culture]]. - The individual person is a [[#Body]] which belongs to the stock of the [[#Polis]]. It is with reference to him that the law of the Polis is ordered, downwards into the law of Things - with, as a marginal case, the slave who was [[#Body]], but not [[#Person]] - and upward into the [[#Law]] of [[#God]]s - with, as a marginal case, the hero who from being person had attained godhead and the legal right to a cult, like ##### Personality - Introduced on P. 345 - "And thus these bodies of stone are not mere servants of the architecture. They have a deep and particular meaning of their own, the same meaning as the memorial-tomb brings to expression with ever-increasing intensity from the Royal Tombs of St. Denis onwards - they speak of [[#Personality]] (345)" - An unfolding of inward possibilities in active striving (418) ###### Personality-Idea - The coming of "I" (je suis, ich bin, I am) is the first dawning of that [[#Personality-Idea]] which was so much later to create the sacrament of [[#Contrition]] and personal [[#Absolution]] (346) ##### Philanthropy - We might descibe the content of the [[#Classical Ethic]] as [[#Philanthropy]] (461) - A boon conferred by the individual upon himself, his soma. - [[#Aristotle]] describes the effect of the [[#Attic Tragedy]] on the Attic spectator as philanthropic. - Its [[#Peripeteia]] relieves him from compassion with himself (461) ##### Philosopher - Every professed Philosopher is forced to believe, without serious examination, in the existence of a Something that in his opinion is capable of being handled by the reason, for his whole spiritual existence depends on the possibility of such a Something (393) ##### Philosophy - There are no eternal truths. Every philosophy is the expression of its own and only its own time, and - if by philosophy we mean effective philosophy and not academic triflings about judgment-forms, sense-categories and the like - no two ages possess the same philosophic intentions. (54-55) - It is palpable that we have lost sight of the final significance of effective philosophy. We confuse philosophy with preaching, with agitation, with novel-writing, with lecture-room jargon (57) - Is at the very bottom defense against the incomprehensible - There is no such thing as [[#Philosophy]] "in itself" (480) - Every [[#Culture]] has its own philosophy, which is a part of its total symbolic expression and forms with its posing of problems and methods of thought an intellectual ornamentation that is closely related to that of architecture and the arts of form (480) - Infinitely more important than the answers are the questions - the choice of them, the inner form of them. - For it is the particular way in which a [[#Macrocosm]] presents itself to the understanding man of a particular [[#Culture]] that determines a priori that whole necessity of asking them, and the way in which they are asked (480) - There are no eternal questions, but only questions arising out of the feelings of a particular being and posed by it (484) - Any and every such philosophy is, from the first word to the last, from its most abstract proposition to its most telltale trait of personality, a [[#Thing-Become]], mirrored over from [[#Soul]] into [[#World]], from the realm of freedom into that of necessity, from the immediate-living into the dimensional-logical; and on that very account it is mortal, and its life has prescribed rhythm and duration. The choice of them, therefore, is subject to strict necessity (485) ###### Apollonian Philosophy - [[#Apollonian]] Man did not want to observe the broad universe, and the philosophical systems one and all are silent about it (436) - They know only problems concerned with tangible and actual things, and have never anything positive or significant to say about what is between the "things" (436) ###### Baroque Philosophy - The rationalism of late [[#Baroque]], in all the pride of the self-assured [[#City-Spirit]], decided in favor of the greater power of the Goddess [[#Reason]] ([[#Kant]], [[#The Jacobins]]); but almost immediately thereafter the nineteenth century ([[#Nietzsche]] above all) went back to the strong formula *Voluntas superior intellectu* ("will is superior to intellect"), and this indeed is in the blood of all of us. - We feel [[#Will]] and [[#Space]], the dynamic world-picture of [[#Galileo]] and [[#Newton]] and the dynamic soul-picture which has [[#Will]] as its center of gravity and center of reference, as of identical significance. Both are [[#Baroque]] ideas, symbols of the fully ripened [[#Faustian Culture]] (410) ###### Civilization Philosophy See also: [[#City-Spirit]] - In every [[#Culture]], thought mounts to a climax, setting the questions at the outset and answering them with ever-increasing force of intellectual expression - and, as we have said before, ornamental significance - until exhausted... (482) ###### Epicurean Philosophy - An important component with it and [[#Stoic Philosophy]] is the recognition of a category of things neither preferred nor rejected - i.e., indifference (448) ###### Faustian Philosophy - What we see in the shifts of favoring from [[#Reason]] to [[#Will]] in thethe [[#Baroque Philosophy]] (for example) is the [[#Faustian Soul]] trying in labor of many centuries to paint a [[#Self-Portrait]], a one, moreover, that is in intimate concordance with its world-portrait (406) - The philosophy of the present that starts from Hegel and [[#Schopenhauer]] is a *critique of society* (484) - The attention that the [[#Stoic]] gave his own body, the Westerner devotes to the social body (484) ###### German Philosophy - What does it mean, that no German philosopher worth mentioning can be understood by the man in the street, and that the combination of simplicity with majesty that is Homer's is simply not to be found in any [[#Faustian Language]] (433) ###### Gothic Philosophy A subset of [[#Faustian Philosophy]] - The separation of its ultimate elements is a task that the [[#Gothic]] world-outlook and its philosophy leaves to the courage to the [[#Future]] (405) - Just as the ornamentation of the [[#Cathedral]] and the primitive contemporary painting still shirk the decision between [[#Gold]] and wide atmosphere in backgrounds - between the [[#Magian]] and the [[#Faustian]] aspects of [[#God-in-Nature]] - so this early, timid, immature [[#Soul-Image]] as it presents itself in this philosophy mingles characteristics derived from the Christian-Arabian metaphysic and its dualism of [[#Spirit]] and [[#Soul]] with Northern inklings of functional [[#Soul-Force]]s not yet avowed (405) - This is the discrepancy that underlies the conflict concerning the primacy of [[#Will]] or [[#Reason]], the basic problem of the [[#Gothic Philosophy]] (405) - The [[#Gothic]] world-view with its struggle of will and reason is in fact an expression of the [[#Life-Feeling]] of the men of the Crusades, of the [[#The Hohenstaufen Dynasty]] / Empire, of the great [[#Cathedrals]]. These men saw the soul thus, because they were thus (406) ###### Moral Philosophy - Up to Kant, up to Aristotle, up to the Yoga and Vedanta doctrines, philosophy had been a sequence of grand world-systems in which formal ethics occupied a very modest place. But now it became [[#Moral Philosophy]] with a metaphysic as background. - The enthusiasm of epistemology had to give way to hard practical needs. [[#Socialism]], [[#Stoicism]] and [[#Buddhism]] are philosophies of this type (466) ###### Physiognomic Skepticism - There remains the possibility of a third and last stage of Western philosophy, that of a [[#Physiognomic Skepticism]]. - The secret of the world appears successively as a knowledge problem, a valuation problem and a form problem. The Skeptic would deal with both simply as the historical expression of a [[#Culture]] (495) ###### Stoic Philosophy - An important component with it and [[#Epicurean Philosophy]] is the recognition of a category of things neither preferred nor rejected - i.e., indifference (448) ###### Systematic Philosophy - Systematic philosophy closes with the end of the 18th Century. [[#Kant]] put its utmost possibilities in forms both grand in themselves and - as a rule-final for the Western soul. - He is followed, as Plato and Aristotle were followed, by a specifically megalopolitan philosophy that was not speculative but practical, irreligious, social-ethicaI. - This [[#Philosophy]] begins with [[Authors (Philosophy & Theory)/Arthur Schopenhauer/General Biography|Schopenhauer]], who is the first to make the [[#Will-to-Life]] the centre of gravity of his thought. ##### Physics - Banishes incidentals from its field of view but it is incidental again that physics itself should occur in the alluvial period of the earth's crust, uniquely, as a particular kind of intellectual composition (188) - [[#Thought]] no sooner leaves [[#Religion]] for [[#Science]] than we get the double myth of concepts, in [[#Physics]] and [[#Psychology]] (411) - Physics is, in point of object, methods and results alike an expression and actualization of a [[#Culture]], an organic and evolving element in the essence of that [[#Culture]], and everyone of its results is a [[#Symbol]] (499) - That which physics - which exists only in the [[#Waking-Consciousness]] of the [[#Culture-Man]] - thinks it finds in its methods and in its results was already there, underlying and implicit in, the choice and manner of its search (499) - Physics investigates [[#Nature]], and consequently it knows [[#Time]] only as a length (513) - But [[#The Physicist]] lives in the midst of the history of this Nature, and therefore he is forced to conceive [[#Motion]] as a mathematically determinable magnitude, as a concretion of the pure numbers obtained in the experiment and written down in formulae (513) - All physics is treatment of the [[#Motion]]-Problem - in which the life-problem itself is implicit - not as though it could one day be solved, but in spite of, nay because of, the fact that it is insoluble. ###### The Apollonian Physicist - It never would have occurred to a Classical physicist to investigate things while at the same time denying or annihilating their perceivable form. And for that very reason there was no Classical chemistry, any more than there was any theorizing on the substance as against the manifestations of Apollo (506) ###### Apollonian Physics - A mechanical ordering of states (507) - Examines the aspect of ultimate elements in the picture of the Become; the basic notions of stuff and form (509) ###### Baroque Physics - Was, rooted and branch, a strict systematic and remained so for as long as its structure was not racked by theories, as long as its field was absolutely free from anything that expressed accident and mere probability (559) ###### Faustian Physics - If we can, today, state the theme of Western physics quite generally to be efficient [[#Space]], we have ipso facto defined also the kind of existence, the content of existence as lived by contemporary man (414) - Rooted in [[#Process]]es (507) - Examines the working of ultimate elements in the picture of the Become; they are notions of capacity and intensity (509) - [[#Tension]] as fundamental (511) - The content of [[#Faustian Physics]] follows from the notion of [[#Energy]], the [[#Will-to-Power]] in [[#Nature]], and therefore it is for us just as necessary as for the Classical thought it is impossible (511) - [[#Force]] is the mechanical [[#Nature-Picture]] of Western man; what [[#Will]] is to his [[#Soul-Image]] and infinite Godhead in his [[#World-Picture]] (517) - The primary ideas of this physics stood firm long before the first physicist was born, for they lay in the earliest religious [[#World-Consciousness]] of our [[#Culture]] (517) - Western physics is by its inward form dogmatic and not ritualistic. Its content is the dogma of [[#Force]] as identical with [[#Space]] and [[#Distance]], the theory of the mechanical [[#Act]] (as against the mechanical [[#Posture]]) in [[#Space]] (546) - Western Physics is drawing near to the limit of its possibilities. At bottom, its mission as a historical phenomenon has been to transform the [[#Faustian]] [[#Nature-Feeling]] into an intellectual knowledge, the faith-forms of Springtime into the machine-forms of exact [[#Science]] (553) ###### Form-World of Physics - The form-world of physics extends just as far as the cognate form-world of number and notion extend, and we have seen that (notwithstanding Kant) there is not and cannot be the slightest relation of any sort between [[#Mathematical Number]] and [[#Time]] (512) ###### Magian Physics - Rooted in secret forces (507) ###### The Modern Physicist - Too ready to forget that even words like quantity, position, process, change of state and body represent specifically Western images (501) ###### Modern Physics - As a science, is an immense system of *indices* in the form of names and numbers whereby we are enabled to work with [[#Nature]] as with a machine (499) ###### Pure Physics ###### The Physicist Contra: [[#The Skeptic]] - To [[#The Physicist]], present-day [[#Mechanics]] is a logical system of clear, uniquely significant concepts and of simple, necessary relations; while to [[#The Skeptic]] it is a *picture* distinctive of the structure of the West-European [[#Spirit]], though he admits that the picture is consistent in the highest degree and most impressively convincing (498) - [[#The Physicist]] lives in the midst of the history of this Nature, and therefore he is forced to conceive [[#Motion]] as a mathematically determinable magnitude, as a concretion of the pure numbers obtained in the experiment and written down in formulae (513) ##### Physiognomy - Enables one to read a whole life in the face or to sum up whole peoples from the picture of an epoch - and to do so without deliberate effort or "system" - is utterly remote from all Cause and Effect ([[#Causality]]) (155) ###### Physiognomic Tact - ...the sensed tact that makes the dignity of a social assembly, and that keen quick judgment of a "judge of men" which Spengler has already called [[#Physiognomic Tact]] (II, 3) ###### Pure Physiognomy - It will be the characteristic task of the [[#Twentieth Century]], as compared with the [[#Nineteenth Century]], to get rid of this system of superficial causality, whose roots reach back into the rationalism of the Baroque period, and to put in its place a pure physiognomic (II, 36) ##### Plant Contra: [[#Animal]] - Nothing on its own account (II, 1) - The twilight, the chill, the closing of every flower - these are not [[#Cause & Effect]], not danger and willed answer to danger. They are a single process of [[#Nature]], which is accomplishing itself near, with, and in the plant. The [[#Individual]] is not free to look out for itself, will for itself, or choose for itself (II, 1) - Only the plant is wholly and entirely what it is; in the being of the animal there is something dual (II, 2) - The plant is something Cosmic, and the animal is additionally a [[#Microcosm]] in relation to a [[#Macrocosm]] (II, 2) - A [[#Plant]] leads an existence that is without [[#Waking-Consciousness]] - In sleep all creatures become plants, the [[#Tension]] of polarity to the [[#World-Around]] is extinguished, and the [[#Beat]] of [[#Life]] goes on (II, 7) - A [[#Plant]] knows only a relation to the When and Wherefore (II, 7) - The upthrust of the first green shoots out of the wintry earth, the swelling of the buds, the whole mighty process of blooming, scent, color glory, and ripening - all this is desire to fulfill a [[#Destiny]], constant yearning towards a "when?" - "Where" can have no meaning for a [[#Plant]] existence. - A [[#Plant]] is bred but it is not born. It "is there" but no awakening, no birthday, expands a sense-world around it (II, 7) ###### Vegetable See also: [[#Vegetal Servitude]] ##### Poetry ###### Apollonian Poetry - The accents of the Homeric hexameter are the soft rustle of a leaf in the midday sun, the rhythm of matter - Classical poetry is statuary in reverse. Herein is the root of our feeling that ascribes to the Greek an unreserved devotion to [[#Nature]]. ###### Faustian Poetry - Radiates immensities of space and distance (245) - The [[Stabreim]], like potential energy in the world-pictures of modern physics, creates a tense restraint in the void without limits, distance night-storms above the highest peaks (245) - In its swaying indefiniteness all words and things dissolve themselves - it is the dynamics, not the statics, of language (245) - As in [[#Rembrandt]] and [[#Beethoven]], infinite solitude is felt as the home of the [[#Faustian Soul]] (245) ###### Magian Poetry ###### Northern Poetry - The whole of [[#Northern Poetry]] is one outspoken [[#Confession]] (348) ##### Point ###### Point-Existence - The naïve immediateness of a life subject to the blind chances of the Classical *Fatum,* the point-existence (327) ##### Polis - The existence of the [[#Polis]], that astonishing ideal of the [[#State]] as [[#Statue]], was in truth nothing more nor less than a refuge from the wide world of sea peoples - and that though the [[#Classical]], alone of all the Cultures so far, had a ring of coasts about a sea of islands, and not a continental expanse, as its motherland (441) - Law, in the Classical world, is [[#Law]] made by citizens for citizens and presupposes that the [[#State-Form]] is that of the [[#Polis]] (II, 72) ##### Popular - [[#Apollonian]] as the Most Popular, the [[#Faustian]] as the Least Popular (431) - A creation is [[#Popular]] that gives itself with all its secrets to the first comer at the first glance, that incorporates its meaning in its exterior and surface (431) - In any [[#Culture]], that element is "popular" which has come down unaltered from primitive states and imaginings, which a man understands from childhood without having to master by effort any really novel method or standpoint (431) - Every [[#Culture]] has its own quite definite sort of [[#Esoteric]] or [[#Popular]] character that is immanent in all its doings, so far as these have symbolic importance (431) - The purely [[#Popular]] and naive associates itself with the symbol of the bodily, while to the symbol of [[#Infinite Space]] belongs to a frankly [[#Un-Popular]] relation between the creations and the men of the Culture (431) - Every burgher belonged to the [[#Attic]] Culture, which excluded nobody; and consequently, the distinctions of deeps and shallows, which are so decisively important for the [[#Faustian]], did not exist at all for it. - For the [[#Faustian]], [[#Popular]] and Shallow are synonymous - in art as in science - but for [[#Classical Man]] it was not so (433) ###### The Commonplace - Eliminates difference of spiritual breadth as well as [[#Depth]] between man and man, while the [[#Esoteric]] emphasizes and strengthens them (431) ###### Un-Popular - The symbol of [[#Infinite Space]] (431) ##### Portraiture See also: [[#Portrait]] - Just as [[#Classical]] Man properly meant, with his perfected working-out of superficial body, to exhaust the whole essence of the living phenomenon in and by the rendering of its bounding surfaces, so [[#Faustian]] man no less logically found the most genuine, the only exhaustive, expression of his [[#Life-Feeling]] in the [[#Portrait]] (345) - The human interior, [[#Soul]], is made to speak of itself, as the interior of a church speaks to us through its façade or face (345) - In the love of the [[#Character]] and [[#Physiognomy]] in [[#Landscape]] - just the motive that was unthinkable in [[#Fresco]] art and permanently barred to the [[#Classical]] - the art of [[#Portraiture]] widens from the immediately human to the mediately human, to the representation of the world as a part of the [[#Ego]] or the self-world in which the painter paints himself and the beholder sees himself. For the expansion of [[#Nature]] into [[#Distance]] reflects a [[#Destiny]] (381) - The [[#Portrait]], the center of [[#Baroque]] Art, is identical with the representation of a man to the extent that he possesses [[#Character]] (418) ###### Apollonian Portraiture - In the perfected [[#Being]] of the all-round nude body the [[#Depth-Experience]] has been cut away, but the "look" of a [[#Portrait]] leads this experience into the super-sensuous infinite (347) - As an art of the near and tangible and timeless, it prefers motives of brief, a pause between two movements, the last moments before the throw of a discus, etc. - build of [[#Attitude]]s devoid of [[#Direction]] and [[#Duration]] (347) - In the work of [[#Phidias]] or [[#Polykleitos]], do we not see in the doming of the brow, the lips, the set of the nose, the blind eyes, the expression of entirely non-personal, plantlike, soulless vitality? (349) - Everything in a head that might allow something intimate or spiritual to become phenomenal was most carefully avoided (350) - Stupid and dull, devoid of any [[#Destiny]] - The head is never emphasized, always small, never regarded as the seat and symbol of an "I" (350) - What the sculptors worked out was the *types* of life's stages, which we mistranslate by character but which is really the kinds and modes of public behavior and [[#Attitude]] (355) - The [[#Soul]] is missing (356) - [[#Demosthenes]] as the closest to truth to life as [[#Classical Man]] felt it (356) - The contest of [[#Thought]] and [[#Will]] that is the hidden theme of every serious portrait from [[#Jan van Eyck]] to [[#Hans von Marées]] is impossible in [[#Apollonian Portraiture]], for in the [[#Apollonian Soul-Image]] [[#Thought]], the inner Zeus, is accompanied by the wholly a-historic entities of animal and vegetative impulse, wholly somatic and wholly destitute of conscious direction and drive towards an end (408) **Hellenistic Portraiture** - Tries to draw a spiritual *type* in the structure of its heads (342) - A Hellenistic portrait is the type of an attitude - a [[#Confession]] it is not, either to the creator of it or to the understanding spectator (347) ###### Chinese Portraiture - In China the face is like a landscape, full of wrinkles and little signs that mean something. ###### Egyptian Portraiture - In Egypt, the face of the statue was equivalent to the pylon, the face of the temple-plan; it was a mighty emergence out of the stone-mass of the body, as we see in the [[#Hyksos Sphinx of Tanis]] and [[#Head of King Amenemhat III]] (345) - Like the [[#Gothic]], the old Egyptian statue denies the intrinsic importance of the [[#Human Body]] (351) - Holds the body - as it holds a pyramid or obelisk - to a mathematical scheme and confines the personal element to the head (351) ###### Faustian Portraiture - For the West, the [[#Portrait]] is musical. The look, the play of the mouth, the pose of head and hands - these things are a [[#Fugue]] of the subtlest meaning, a composition of many voices that sounds to the understanding beholder (346) - Our portraits depict something *sui generis* (one-of-a-kind), once and never recurring, a life-history expressed in a moment, a world-center for which everything else is world-around, exactly as the grammatical subject "I" becomes the center of force in the [[#Faustian]] sentence - see [[#Faustian Language]] (347) - The Western portraiture is **endless** in every sense, for it begins to wake out of the stone from about 1200 and it has become completely music in the seventeenth century (348) - It takes its man not as a mere center of the [[#World-as-Nature]] which as phenomenon receives shape and significance from its being, but, above all, as a center of [[#World-as-History]] (348) - [[#Portraiture]] belongs to [[#Nature]] *and* to [[#History]] (348) - It is a biography, a self-portrait is a historical [[#Confession]] (348) - The whole painting has only one theme - a [[#Soul]] (351) - Maintains a contest of [[#Thought]] and [[#Will]] that is the hidden theme of every serious Faustian portrait from [[#Jan van Eyck]] to [[#Hans von Marées]] (408) - The full [[#Faustian]] Life-Feeling, the passion of the third dimension, takes hold of the [[#Form]] of the [[#Picture]], the painted plane, and transforms it in an unheard-of way. The picture no longer stands for itself, nor looks at the spectator, but takes him into its sphere. (436) **Baroque Portraiture** - The portraiture of the great age of [[#Baroque]] applies to historical [[#Distance]] all those means of pictorial counterpoint that we already know as the fabric of their spatial distance - the [[#Studio Brown]]-dipped atmosphere, the [[#Perspective]], the dynamic [[#Brushstroke]], the quivering [[#Color Tones]] and lights - And with their aid succeeds in treating the body as something intrinsically non-material, as the highly expressive envelope of a space-commanding [[#Ego]] (350) **Gothic Portraiture** - It had draped the body, not for its own sake but for the sake of developing in the [[#Ornament]] of the drapery a [[#Form-Language]] consonant with the language of the head and the hands of the [[#Fugue]] of [[#Life]] (351) - Denies the intrinsic importance of the [[#Human Body]] (351) **Oil Portraiture** - The first great oil-portrait was [[#Giovanni Bellini]]'s [[#Portrait of Doge Leonardo Loredan]] (359) **Renaissance Portraiture** - There is not and there cannot be any genuine [[#Renaissance]] [[#Portraiture]] (360) - In [[#Architecture]], little as the new work was [[#Apollonian]] in spirit, it was possible to create anti-Gothically, but in [[#Portraiture]] - no. It was too specifically a [[#Faustian]] symbol (360) ##### The Possible - The Future ##### Posture ###### Apollonian Posture - The instantaneous bodily posture was what the [[#Classical]] [[#Sculpture]] created, and of this [[#Faustian]] Man was incapable ###### Faustian Posture ##### Power ###### Creative Power See also: [[#Creative Element]] - The symptom of decline in creative power is the fact that to produce something round and complete the artist now requires to be emancipated from [[#Form]] and [[#Proportion]]. Its most obvious, though not its most significant, manifestation is the [[#Taste]] for the Gigantic (386) ##### Praetor - During Rome's late-Classical struggles, the rustic instincts were more and more pushed back by the intelligence of the [[#City]]. Consequently from about 350 we find side by side with the [[#Lex Rogata]] of the people the lex data, the administrative law, of the [[#Praetor]]. - With this the Twelve Tables idea drops out of the contest and it is the [[#Praetor]]'s edict that becomes the football of the party battle. - It did not take long for the [[#Praetor]] to become the centre of both legislation and judicial practice. And presently, corresponding to the political extension of the city's power, the jurisdiction of the Praetor and the field of his [[#Jus Civile]] - the law of the citizens - begin to diminish in significance and the peregrin praetor with his [[#Jus Gentium]] - the law of the alien - steps into the foreground. - And when finally the whole population of the Classical world, save the small part possessing Roman citizenship, was comprised in the field of this alien law, the [[#Jus Peregrinum]] of the city of Rome became practically an imperial law. - The Oriental does not ask to see either the practical object of the law that is applied to him or the logical grounds of its judgments. The relation of the [[#Judge]] to the people, therefore, has nothing in common with that of the [[#Praetor]] to the citizens. The latter bases his decisions upon an insight trained and tested in high positions, the former upon a spirit that is effective and immanent in him and speaks through his mouth (II, 89) ##### The Present - The Actualizing itself, the centre-of-gravity and the centre-of-meaning of life ##### Prime Phenomena - [[#Culture]] is the Prime Phenomena of all past and future [[#World-History]] - They have a soul, a [[#Physiognomy]] and therefore a [[#History]] (324) - Oil [[#Painting]] and [[#Instrumental Music]] for the [[#Faustian]] (324) ##### Principle ##### Process - A [[#Faustian]] concept, a "going forward," thereby expressing and emphasizing that element of [[#Directional Energy]] that our thought necessarily predicates in the courses of [[#Nature]] (505) ##### Procreation Contra: [[#Birth]] - A pledge of [[#Duration]] (II, 7) ##### Progress - The spirit of [[#The West]] mistaken for the meaning of the world (24) #CoreSpengler - The passionate energy of the advance is generically [[#Faustian]], the mechanical remainder - "Progress" - is specifically [[#Socialist]]ic, the two being related as body and skeleton (476) ##### Proper - Is involved with the basic fact known as feeling, i.e., the inner life, in some intimate and invariable way that equally defies analysis by the methods of abstract thought (70) ##### Pseudomorphosis - The architectural type of the Pseudomorphosis, both for Jew and Gentile, is the Basilica. It employs the means of the Classical to express the opposite thereof, and is unable to free itself from these means - that is the essence and the tragedy of Pseudomorphosis (279) ##### The Psychologist - For [[#The Logician]] and [[#The Psychologist]], however skeptical he may be, there is a point at which [[#Criticism]] falls silent and [[#Faith]] begins, a point at which even the strictest analytical thinker must cease to employ his method - the point, namely, at which analysis is confronted with itself and with the question of whether its problem is soluble or even exists at all (393) - He transmutes [[#The Non-Extended]] into [[#The Extended]], builds up a system as "cause" for something that is only manifested physiognomically, and comes to believe that in this system he has the structure of "the" [[#Soul]] before his eyes (396) - To analyze a feeling means to set up a representative silhouette in its place and then to treat it mathematically and by definition, partition, and measurement (396) - Every individual pronouncement of every individual psychologist proves on examination to be merely a variation of a system comfortable to the style of outer-world science of the day (397) ###### The Indian Psychologist - The standpoint of the Indian psychologist of early Buddhism was that of the Western psychologist and the Western "Socialist" of today, who reduce the inward man to a bundle of sensations and an aggregation of electrochemical energies (469) ###### The Scientific Psychologist ##### Psychology - Why has psychology - meaning thereby not knowledge of men and experience of [[#Life]] but scientific psychology - always been the shallowest and most worthless of the disciplines of [[#Philosophy]], a field of empty that it has been left entirely to mediocre minds and barren systematists? (394) - It is the misfortune of "experimental" psychology that it does not even possess an object as the word is understood in any and every scientific technique. Its searches and solutions are fights with shadows and ghosts. - Of the thousands of psychologists today, not one can give an actual analysis or definition of the [[#Will]] - or of regret, anxiety, jealousy, disposition, artistic intention (394) - Every [[#Psychology]] is a counter-[[#Physics]] (396) - Scientific psychology has worked out for itself a complete system of images, in which it moves with entire conviction. - Every [[#Culture]] possesses its own systematic psychology just as it possesses its own style of knowledge of men and experience of life (399) - [[#Thought]] no sooner leaves [[#Religion]] for [[#Science]] than we get the double myth of concepts, in [[#Physics]] and [[#Psychology]] (411) - Psychology in fact is the proper designation for the Western way of fashioning men (421) ###### Psychological System - Nothing in the world could be more remote from actual life-experience and knowledge of men than a system without such elements as [[#Destiny]] (398) ###### Scientific Psychology - Scientific Psychology (and, it may be added, the psychology of the same kind that we all unconsciously practice when we try to "figure to ourselves" the stirrings of our own or others' souls) has, in its inability to discover or even to approach the essence of the [[#Soul]], simply added one more to the symbols that collectively make up the [[#Macrocosm]] of the [[#Culture-Man]] (398) ###### Western Psychology - You will always find a *functional* and never a *bodily* ordering (400) - Thinking, feeling, willing - no Western psychologist can step outside this trinity, however much he may desire to do so (400) - Such psychology examines the [[#Soul]], not physiognomically to indicate its traits, but physically, as an object, to ascertain its elements, and it is quite natural therefore to find psychology reduced to perplexity when confronted with the problem of [[#Motion]] (401) ##### Pure Present - That whose great symbol is the [[#Doric Column]] - That which in itself predicates **the negation of time** (of direction) - In the [[#Apollonian Ethic]], the [[#Pure Present]], the moment, the foreground were not conquered but worked up. ##### Purpose - For the [[#Nineteenth Century]] the word [[#Evolution]] meant progress in the sense of increasing fitness of [[#Life]] to [[#Purpose]]s (II, 37) ##### Race ##### Reason Contra: [[#Understanding]] - In each case of [[#Nihilism]] ([[#Buddhism]], [[#Stoicism]], [[#Socialism]]), it is the all-power of [[#Reason]] that is the starting-point from which to discuss [[#Morale]], and [[#Religion]] (in the sense of belief in anything metaphysical) does not enter into the matter. - Nothing could be more irreligious than these systems in their original forms (468) - The Tyranny of Reason - of which we are not conscious, for we are ourselves its apex - is in every [[#Culture]] an epoch between man and old-man and no more (562) - That which calls ideas into [[#Life]] (II, 14) - Is essentially creative (II, 15) - Begets the object of its activity ##### Reformation See also: [[#Counter-Reformation]] ##### Religion See also: [[#Christian]], [[#Buddhism]] Contra: [[#Atheism]] - Every religion is an effort of the waking soul to reach the powers of the world-around (253) - Every [[#Soul]] has [[#Religion]], which is only another word for its existence. All living forms in which it expresses itself - all arts, doctrines, customs, all metaphysical and mathematical [[#Form-World]]s, all [[#Ornament]], every column and verse and idea - are ultimately religious, and *must* be so (471) - As the essence of every [[#Culture]] is religion, so - and consequently - the essence of every [[#Civilization]] is irreligion (471) - There is no religiousness that is without an atheistic opposition belonging uniquely to itself and directed uniquely against itself (541) - However definitely and distinctly a [[#Religion]] may express itself in [[#Word]]s, they are words, and the hearer puts his own sense into them (II, 67) ###### Irreligion - It is this extinction of living inner religiousness, which gradually tells upon even the most insignificant element in a man's being, that becomes phenomenal in the histroical world-picture at the turn from the [[#Culture]] to the [[#Civilization]], the Climacteric of the Culture, the time of change in which a mankind loses its spiritual fruitfulness forever, and building takes the place of begetting (472) ###### Monotheism - It is the same thing found in [[#Nietzsche]]'s Zarathustra's desire to reform mankind, the *general* transvaluation, that makes ethical monotheism and [[#Socialism]] (449) ###### Paganism ###### Polytheism - The Classical polytheism, consequently, has a style of its own which puts it in a different category from the conceptions of any other world-feelings, whatever the superficial affinities may be. - This mode of possessing gods without godhead has only existed once, and it was in the one Culture that made the statue of naked Man ([[#Nude Statue]]) the whole sum of its art (531) - [[#God]]s are bodies and plurality was an attribute of bodies alike for [[#Mathematics]], lawyers and poets. - Nothing was more alien to them than oneness, solitariness and self-adequacy; and no existence therefore was possible to them save under the aspect of eternal propinquity (532 - The unlimited multitude of antique gods - every tree, every spring, every house, nay every part of a house is a god - means that every tangible thing is an independent existence, and therefore that none is functionally subordinate to any other (532) - For Classical man the gods of the Egyptians, the Phoenicians and the Germans, in so far as they could be imagined as figures, were as real as his own gods. - Within his world-feeling the statement that such other gods "do not exist" would have no meaning. When he came into contact with the countries of these deities he did them reverence. - The gods were, like a statue or a polis, Euclidean bodies having locality (534) - In the first generations of the Imperial age, the antique [[#Polytheism]] gradually dissolved, often without any alteration of outward ritual and mythic form, into the Magian [[#Monotheism]]. A new soul had come up, and it lived the old forms in a new mode (537) ###### Religious Need ###### Religious Tradition - When a mankind so historically and retrospectively disposed as we are accepts the superficial as the real sense, and regards ideals as subject-matter for mere knowing, it is really evidencing its veneration for the past - in this particular instance, for [[#Religious Tradition]] (457) ###### Roman Religion - The old Roman religion, in which the Classical world-feeling was expressed with special purity, knew neither sun nor moon, neither storm nor cloud as deities (532) ###### Second Religiousness - The sequel and not the preface to the [[#Culture]] (562) - Men dispense with proof, desire only to believe and not to dissect (562) ##### Revolt See also: [[#Counter-Movement]] - Ultimately dependent upon the forms it is rejecting (308) - A stand that the soul attempts to make against [[#Destiny]] that at last it comprehends (309) - A striving to deflect the sense of the Culture, to repudiate, to get rid of or to evade its inexorable necessity; the one in revolt stands anxious in presence of the call to accomplish his historical fate (309) - Attached itself to the Dionysus-cult with its musical, dematerializing, body-squandering orgasms - Attached itself to the tradition of the Antique in the [[#Renaissance]] and its cult of the bodily-plastic tradition - In both cases, the [[#Alien]] expression-means were brought in consciously and deliberately in order that the force of a directly opposite [[#Form-Language]] should provide the suppressed feelings with a weight and a pathos of its own, so to enable them to stand against the steam (310) ##### Rhythm ##### Romanticism - A sentimental [[#Imitation]], not of life, but of an older Imitation (262) ###### German Romanticism - [[#German Romanticism]] found in magic and the tangled thought-threads of the Gothic philosophers the same attractiveness as it found in the Crusade-ideals of cloisters and castles, and even more in Saracenic art and poetry - without of course understanding very much of these remote things (404) ##### Ruins - We are moved by a secret piety to preserve things as [[#Ruins]] (338) - The heroic landscapes of the [[#Claude Lorrain]] type are inconceivable without ruins (338) - For the [[#Faustian]], it is not the classical statue but the classical torso that we really love. It has had a [[#Destiny]]; something suggestive of the past as past envelops it, and our imagination delights to fill the empty space of missing limbs with the pulse and swing of invisible lines. - Age, for us and the [[#Egyptian]], ennobles all things (338) - The [[#Egyptian Culture]] restored the works of its early period but it would never have ventured to build ruins as the symbols of the past. - Nothing was further from the [[#Apollonian]] mind than this reverence for the weather-beaten evidences of a once and a formerly (338) - Age, for the [[#Classical Man]], depreciates all things (338) ##### Russian **PRIME SYMBOL:** The Plane without Limit (Lacking Any Verticality) ###### Russian Soul - It's [[#Prime-Symbol]], the plane without limits, finds no sure expression either in religion or in architecture (267) - It is not yet a style, only the promise of a style that will awaken when the real Russian religion awakens (267) - The [[#Russian Soul]], will-less, having the limitless *plane* as its [[#Prime-Symbol]], seeks to grow up - serving, anonymous, self-oblivious - in the brother-world of the plane. - To take "I" as a starting point is to him the trait of Western vanity as presumptuous as is the upthrusting challenge to heaven of our [[#Cathedrals]] that he compares with his plane church-roof and its sprinkling of [[#Cupola]]s (407) - The truly Russian conception of truth as the anonymous agreement of the elect (408) ##### Sailing ###### Apollonian Sailing - To the circumnavigation of Africa, already achieved by Egyptians and Carthaginians, Classical mankind was wholly indifferent. - How statuesque their existence was, even with respect to intercourse, is shown by the fact that the news of the First Punic War - one of the most intense wars of history - penetrated to Athens from Sicily merely as an indefinite report. (441) - Felt the [[#Columbus-Longing]] as little as he felt the [[#Copernican-Longing]] (441) - A deep metaphysical shyness restrained them from extending the [[#Horizon]], and in geography as in other matters they stuck to near things and Foregrounds (441) ###### Egyptian Sailing - The Egyptians knew the sail, but only profited by it as a labor-saving device. - They sailed, as they had done before in their oared ships, along the coast to Punt and Syria, but the idea of the high-seas voyage - what it meant as a liberation, a [[#Symbol]] - was not in them. ###### Faustian Sailing - It was that the old Northern races, in whose primitive souls the [[#Faustian]] was already awakening, discovered in their grey dawn the art of [[#Sailing]] the seas which emancipated them. - Real sailing is a triumph over [[#Euclidean]] land. - It was the [[#Spirit]] of those who sent their dead kings to sea in their burning ships, thrilling manifests of their dark yearning for the boundless (440-441) ##### Salvation - Where the bounds of the [[#Light-World]] are, there lies the beyond, and [[#Salvation]] is emancipation from the spell of the [[#Light-World]] and its [[#Fact]]s (II, 9) ##### Scene ###### Apollonian Scene - The Greek scene is never a [[#Landscape]]; in general, it is nothing, and at best it may be described as a basis for movable statues. - The figures are everything in [[#Drama]], as in [[#Fresco]] (431) ###### Change of Scene - Regarded by the [[#Apollonian]] as a sort of profanation - Regarded by the [[#Faustian]] as an almost religious necessity, a postulate of our [[#World-Feeling]] (430) ###### Faustian Scene See: [[#Change of Scene]] ##### Science - Is always a natural science (204) - The few sciences that have kept the old fineness, [[#Depth]], and [[#Energy]] of conclusion and deduction and have not been tainted with [[#Journalism]] - and few indeed they are, for theoretical physics, [[#Mathematics]], Catholic dogma, and perhaps jurisprudence exhaust the list - address themselves to a very narrow and chosen band of experts (434) - There is no [[#Science]] that is without presuppositions of this kind (a la the dogma of the Gothic religious [[#World-Picture]] that preceded the [[#Pure Mechanics]] of the [[#Faustian Intellect]]), over which the researcher has no control and which can be traced back to the earliest days of the awakening [[#Culture]] (502) - There is no [[#Natural Science]] without a precedent [[#Religion]] (502) - The history of the [[#Higher Culture]]s shows that [[#Science]] is a transitory spectacle, belonging only to the [[#Autumn]] and [[#Winter]] of their life-course (503) - Every critical science, like every myth and every religious belief, rests upon an inner certitude (503) ###### Apollonian Science - Takes the earth-sphere, upon which he stands and which (even in Hipparchus) is enveloped in a fixed celestial sphere, as the complete and given world, and if we probe the depths and secrets of motive here we are almost startled by the persistency with which theory attempted time and time again to attach the order of these heavens to that of the earth in some way that would not impugn the primacy of the latter (436) - While [[#Democritus]], who tried (as on behalf of the [[#Apollonian Culture]] he was bound to try) to settle some limit of a bodily kind to it all, imagined a layer of hook-shaped atoms as a skin over the Cosmos, an insatiable hunger drives the [[#Faustian Science]] even further and further into the remote. - A first-rate scientist of the time of Archimedes would have declared himself, after a thorough study of our modern theoretical physics, quite unable to comprehend how anyone could assert such arbitrary, grotesque and involved notions to be [[#Science]], still less how they could be claimed as necessary consequences from actual facts. - The scientifically-justified conclusions," he would have said, are really so-and-so; and thereupon he would have evolved, on the basis of the same elements made facts" by _his_ eyes and _his_ mind, theories that our physicists would listen to with amazed ridicule (501) - Classical science faded out between [[#The Battle of Cannæ]] and [[#The Battle of Actium]] and made way for the world-outlook of the "second religiousness" (503) - In the Classical science the Eleatics, declining to admit the necessity of thinking of [[#Nature]] as in [[#Motion]], set up against it the logical view that thinking is a being, with the corollary that known and extended are identical and knowledge and becoming therefore irreconcilable (516) ###### Atheistic Science - Even [[#Atheistic Science]] has religion; modern mechanics exactly reproduces the contemplativeness of [[#Faith]] (502) ###### Baroque Science - Every Baroque scientist has his personal inner experience which he is trying to clothe in words. - [[#Goethe]], for instance, could never have defined his idea of a world-force, but to himself it was a certainty. - [[#Kant]] called force the phenomenon of an ent-in-itself: "we know substance in space, the body, only through forces." (547) ###### Faustian Science - Every [[#Faustian Science]], without exception, has besides its elementary groundwork certain "higher" regions that are inaccessible to the layman - symbols of our [[#Will-to-Infinity]] and [[#Directional Energy]] (434) - Compare [[#Apollonian Science]] with this the convulsive vehemence with which the discovery of [[#Copernicus]] - the "contemporary" of Pythagoras - drove through the soul of the West, and the deep spirit of awe in which [[#Johannes Kepler]] looked upon the laws of planetary orbits which he had discovered as an immediate revelation from [[#God]], not daring to doubt that they were circular because any other form would have been _too_ unworthy a [[#Symbol]]. - Here the old Northern life-feeling, the Viking infinity-wistfulness, comes into its own. Here, too, is the meaning of the characteristically [[#Faustian]] discovery of the telescope which, penetrating into spaces hidden from the naked eye and inaccessible to the [[#Will-to-Power]], widens the universe that we possess. ###### Natural Science See also: [[#Nature]] - "The final aim of Natural Science is to discover the motions underlying all alteration, and the motive forces thereof; that is, to resolve itself into Mechanics" (497) - There is no [[#Natural Science]] without a precedent [[#Religion]] (502) - In this point there is no distinction between the Catholic and the Materialistic views of the world - both say the same thing in different words. Even [[#Atheistic Science]] has religion; modern mechanics exactly reproduces the contemplativeness of [[#Faith]] (502) - Any reproach leveled by [[#Natural Science]] at [[#Religion]] is a boomerang. - Every [[#Idea]] that is possible at all is a mirror of the being of its author (503) - [[#Natural Science]] is criticism and nothing else (II, 26) ###### Popular Science - Our [[#Popular]] science is without value, détraquée (out of order), and falsified (434) ##### Script - The history of [[#Script]] belongs integrally with the [[#Expression-History]] of the several [[#Higher Culture]]s (II, 42) - The conviction that the letters contain secret meanings, penetrated with the Spirit of [[#God]], finds imaginative expression in the fact (mentioned above) that all religions of the Arabian world formed [[#Script]]s of their own, in which the holy books had to be written and which maintained themselves with astounding tenacity as badges of the respective "[[#Nation]]s" even after changes of language (II, 90) ##### Self ###### Self-Attunement - The extension of the historical world-picture makes it even more necessary in the [[#Faustian Culture]] than in any other to distinguish between the everyday [[#Self-Attunement]]s of ordinary people and that extreme Self-Attunement of which only the highest minds are capable, and which even in them holds only for moments (II, 33) ###### Self-Focusing - Each of these planes (i.e., the [[#Faustian]] sciences as [[#World-History]]) demands a particular [[#Self-Focusing]], and the moment the special forces become sharp the narrower and the broader planes cease to be live [[#Being]] and become more given [[#Fact]]s (II, 34) ###### Self-Fulfillment ##### Sense - We possess two cyclic organs of the [[#Cosmic]] existence, the [[#Blood System]] and the [[#Sex-Organ]], and two differentiating organs of microcosmic mobility, [[#Sense]]s and [[#Nerve]]s (II, 4) - [[#Color]], brightness, tones, odors, all conceivable modes of sensation, imply detachment, [[#Distance]], [[#Extension]] (II, 5) - Like the [[#Cosmic]] cycle of the blood, the differentiating activity of [[#Sense]] is originally a unity. ###### Active Sense - The [[#Active Sense]] is always an [[#Understanding Sense]] also. In these simple relations seeking and finding are one - that which we most appositely call [[#Touch]] (II, 5) ###### Positive Sense - All senses, however sophisticated and remote from the primitive they may seem, are essentially [[#Positive Sense]]s; there are no others (II, 5) ###### Sensation Contra: [[#Understanding]] - It is only later, in a stage wherein considerable demands are made upon developed senses, that [[#Sensation]] and [[#Understanding]] of Sensation cease to be identical and the latter begins to detach itself more and more clearly from the former (II, 5) - There is set up within the [[#Waking-Consciousness]] a definite opposition between [[#Sensation]] and [[#Understanding]], a tension that in animals is quite unthinkable and even in man can hardly have been at first anything more than a rarely actualized possibility (II, 10) ###### Sensation-Activity - Abstracted from connections to [[#Sensation]] and busied with itself, [[#Criticism]] needs a substitute for the [[#Sensation-Activity]] that had previously been its object. And this cannot be given it but by an already existing mode of thought ([[#Sensation-Judgment]]), and it is upon this that Criticism now works. This, and only this, and not something building freely on nothingness, is [[#Thought]] (II, 15) ###### Sensation-Judgment - It is in [[#Sensation-Judgment]]s that [[#The Child]] learns to comprehend and to differentiate ###### Sense-Impression - That which is only remarked when it detaches itself from another - The mere [[#Sense-Impression]] contains only length and breadth, and it is the living and necessary act of interpretation - which, like everything else living, possesses direction, motion and irreversibility (the qualities that our consciousness synthesizes in the word [[#Time]]) that _adds_ [[#Depth]] and thereby fashions actuality and world (511) ###### Sense-Judgment - The center of gravity has palpably shifted towards the judgment side of [[#Waking-Being]] / [[#Waking-Consciousness]] (II, 10) ###### Sense-Perception - The [[#Faustian]] spiritual passion, its unresting need to actualize our existence-idea in symbols, _suffers_ under the limitations of our sense-perceptions (439) ###### Sense-World - Vision, sounds, scents, heat and cold (II, 8) ###### Supreme Sense - Finally a [[#Supreme Sense]] develops among the rest. A something in the All, which forever remains inaccessible to our [[#Will-to-Understand]], evokes for itself a bodily [[#Organ]] (II, 6) - ###### Understanding Sense - The [[#Active Sense]] is always an [[#Understanding Sense]] also. In these simple relations seeking and finding are one - that which we most appositely call [[#Touch]] (II, 5) ##### Sensuous ###### Sensuous-Corporeal - No subtleties of intellectual play with notional distinctions, no plausible observations of connections between [[#Sensuous-Corporeal]] states and "inward processes" touch that which is in question - [[#Will]] - that is no notion, but a name, a prime-word like God, a sign for something of which we have an immediate inward certainty but which we are forever unable to describe (394) ###### Sensuous-Incidental - The affinity between [[#Mathematical Thought]] and [[#Legal Thought]] is very close. The intention, in both, is to take the prima facie data, to separate out the [[#Sensuous-Incidental]], and to find the intellectually basic principle - the [[#Pure Form]] of the object, the pure type of situation, the pure connexity of [[#Cause & Effect]] (II, 82) ##### Servitude ###### Vegetal Servitude See also: [[#Plant]] - A herd that huddles together trembling in the presence of danger, a child that clings weeping to its mother, a man desperately striving to force a way into his [[#God]] - all these are seeking to return out of the life of [[#Freedom]] into the [[#Vegetal Servitude]] from which they were emancipated into individuality and [[#Loneliness]] (II, 2) ##### Sfumato - A [[#Renaissance]] painting technique creating soft, hazy transitions between colors and tones, making edges appear to "smoke" or disappear, famously used by [[#Leonardo da Vinci]] - His admiration of this is the first sign of the repudiation of corporeal bounds in the name of [[#Space]], and as such it is the starting-point of [[#Impressionism]] (367) ##### Skepticism - The expression of a pure [[#Civilization]] and it dissipates the world-picture of the [[#Culture]] that has gone before. - For us, its success will lie in resolving all the older problems into one. ###### The Skeptic Contra: [[#The Physicist]] - To [[#The Physicist]], present-day [[#Mechanics]] is a logical system of clear, uniquely significant concepts and of simple, necessary relations; while to [[#The Skeptic]] it is a *picture* distinctive of the structure of the West-European [[#Spirit]], though he admits that the picture is consistent in the highest degree and most impressively convincing (498) ###### Faustian Skepticism - Western skepticism has never been directed against [[#Space]], always against tangible things only. Space is the higher idea - [[#Force]] is only a less abstract expression for it - and it is only as a counter-concept to space that [[#Mass]] arises. (526) - For mass is what is _in_ space and is logically and physically dependent upon space (526) ##### Socialism See also: [[#Ethical Socialism]] (under [[#Morality]]) - If we allow that [[#Socialism]] (in the ethical, not the economic sense) is that [[#World-Feeling]] which seeks to carry out its own views on behalf of all, then we are all without exception, willingly or no, wittingly or no, [[#Socialist]]s. (448) - It is the same thing found in [[#Nietzsche]]'s Zarathustra's desire to reform mankind, the *general* transvaluation, that makes ethical [[#Monotheism]] and [[#Socialism]] (449) - [[#Socialism]] - in its highest and not its street-corner sense - is, like every other [[#Faustian]] ideal - exclusive. - It owes its popularity only to the fact that it is completely misunderstood even by its exponents, who present it as a sum of rights instead of as one of duties, an abolition instead of an intensification of the Kantian imperative, a slackening instead of a tautening of [[#Directional Energy]] (461) - Each Culture has its own mode of [[#Spiritual Extinction]], which is that which follows of necessity from its life as a whole. And hence [[#Buddhism]], [[#Stoicism]], and [[#Socialism]] are morphologically equivalent as end-phenomena (468) - Socialism is the dynamic treatment of the individual self-management of [[#Stoicism]], it is defensive like Stoicism, but what it defends is not the pose but the working-out of [[#Life]]; and more, it is offensive-defensive, for with a powerful thrust into [[#Distance]] it spreads itself into all [[#Future]] and over all mankind, which shall be brought under one single regimen (470) - [[#Socialism]] becomes tragic with the ceasing of [[#Western Culture]] (479) - From [[#Jean-Jacques Rousseau]] onwards, [[#Faustian]] man has nothing more to hope for in anything pertaining to the grand style of [[#Life]]. Something has come to an end. - The [[#Northern Soul]] has exhausted its inner possibilities, and of the dynamic [[#Force]] and insistence that had expressed itself in world-historical visions of the future, nothing remains but the mere pressure, the passion yearning to create, the form without the content (479) ###### Socialist - All world-improvers are [[#Socialist]]s. And consequently there are no Classical world-improvers (449) - We are all Socialists, wittingly or unwittingly, willingly or unwillingly (475) - The [[#Socialist]] wants to organize and recast the world in form and substance, to fill it with his *own* [[#Spirit]] (477) - The [[#Socialist]] commands. He would have the whole world bear the form of his view, thus transferring the idea of the *Critique of Pure Reason* into the ethical field (477) - Act as though the maxims that you practice were to become by your will the law for all. - The [[#Socialist]] is the man of historical [[#Care]], who feels the [[#Future]] as his task and [[#Aim]], and accounts the happiness of the moment as worthless in comparison. - The attention that the [[#Stoic]] gave his own body, the Westerner devotes to the social body (484) ##### Soul - The possible, i.e., [[#The Possible]] - The *Still to be Accomplished* - The Idea of an Existence (153) - It would be easier to break up a theme of [[#Beethoven]] with a dissecting-knife or acid than to break up the [[#Soul]] by methods of abstract thought (394) - [[#Soul]], for the man who has advanced from mere living and feeling to the alert and observant state, is an [[#Image]] derived from quite primary experiences of [[#Life]] and [[#Death]] (395) - The [[#Soul]] is [[#Counterworld]] to [[#Nature]] (395) - Something that can neither be thought nor represented, *the* secret, *the* ever-[[#Becoming]], *the* pure experience (398) - When a population no longer possesses its [[#Soul]], it can no longer have a [[#History]] proper to itself (II, 62) ###### De-Souling - There is an Egyptian or an Arabian or a Chinese de-souling of the human being, just as there is a Western. This is a matter not of mere political and economic, nor even of religious and artistic, transformations, nor of any tangible or factual change whatsoever, but of the condition of a [[#Soul]] after it has actualized its possibilities in full (463) - An inward finishedness of the [[#Man of the Megalopolis]] (463) ###### Imaginary Soul-Body - Is never anything but the exact mirror-image of the form in which the matured [[#Culture-Man]] looks on his outer world. In the one as in the other, the [[#Depth-Experience]] actualizes the [[#Extension-World]]. ###### Language of Souls - [[#Rembrandt]] can reveal something of his soul, to those who are in inward kinship with him, by way of a self-portrait or a [[#Landscape]], and to [[#Goethe]] "a god gave it to say what he suffered." Certain ineffable stirrings of the soul can be imparted by one man to the sensibility of another man through a look, two bars of a melody, an almost imperceptible movement. That is the real [[#Language of Souls]], and it remains incomprehensible to the outsider. - The word as utterance, as poetic element, may establish the link but the word as [[#Notion]], as element of scientific prose, never (395) ###### Northern Soul - The [[#Northern Soul]] has exhausted its inner possibilities, and of the dynamic [[#Force]] and insistence that had expressed itself in world-historical visions of the future, nothing remains but the mere pressure, the passion yearning to create, the form without the content (479) - This soul was [[#Will]] and nothing but [[#Will]] (479) - It needed an [[#Aim]] for its Columbus-longing; it had to give its inherent activity at least the illusion of a meaning and an object. ###### Soul-Flight - Found primarily as imagery in [[#Christian]] art (369) ###### Soul-Force - *Discussed briefly on (405)* ###### Soul-Image - The image of the [[#Soul]] (i.e., [[#Soul-Image]]) is mythic and remains objective in the field of spiritual [[#Religion]] so long as the [[#Image of Nature]] comes to be observed critically (395) - The [[#Soul-Image]] like the [[#World-Image]] has its directional depth, its [[#Horizon]], and its boundedness or its unboundedness. - A [[#Soul-Image]] is never anything but the image of one quite definite soul. - No observer can ever step outside the conditions and the limitations of his time and circle, and whatever it may be that he "knows" or "cognizes," the very [[#Cognition]] itself involves in all cases choice, direction and inner form, and is therefore ab initio an expression of his proper [[#Soul]] (399) - When one convinces one's self that one knows the soul of an alien [[#Culture]] from its workings in actuality, the [[#Soul-Image]] underlying the knowledge is really one's own soul-image (399) - **Apollonian Soul-Image** - See: [[#Apollonian Soul-Image]] - The man of [[#Euclidean]] point-formed being, looked upon his soul as a Cosmos ordered in a group of excellent parts. - Denies [[#Directional Energy]] due to all being settled and rounded (401) - In opposition to the [[#Faustian]] - The element of [[#Will]] is absent from the Classical [[#Soul-Image]] (510) - **Egyptian Soul-Image** - Emphatically affirms [[#Directional Energy]] - All is systems and centers of forces (401) - **Faustian Soul-Image** - See: [[#Faustian Soul-Image]] - Emphatically affirms [[#Directional Energy]] - All is systems and centers of forces (401) - In opposition to the [[#Apollonian]] - **Indian Soul-Image** - Denies [[#Directional Energy]] due to all being settled and rounded (401) - **Magian Soul-Image** - See: [[#Magian Soul-Image]] ###### Soul-Myth - Those specially (in form, uniquely) Western creations of the soul-myth called [[#Will]], [[#Force]], and [[#Deed]] must be regarded as derivatives of the [[#Prime-Symbol]] of [[#Infinite Space]] (44) - *Only mentioned once in the Volume One* ###### Soul-Science - Spengler's mocking / snarky way of referring to [[#Scientific Psychology]] (398) - Associations, apperceptions, affections, motives, thought, feeling, will - all are dead mechanisms, the mere topography of which constitutes the insignificant total of our [[#Soul-Science]] (398) - One looked for [[#Life]] and one found an ornamental pattern of [[#Notion]]s (398) ###### Soul-Space - The [[#Faustian]] and the [[#Apollonian]] images of the [[#Soul]] are in blunt opposition. Once more all the old contrasts crop up. In the [[#Apollonian]] we have, so to call it, the , in the Faustian the [[#Soul-Space]], as the imagination-unit. The body possesses parts, while the space is the [[#Scene]] of processes. ###### Soul-Substance - [[#Spinoza]] operating under the [[#Arabian]] dualism of two [[#Soul-Substance]]s prevented him from produced a [[#Force-Concept]] - **Pneuma** (ruach): the higher of the two Soul-Substances (435) - **Psyche** (nephesh): the lower of the two Soul-Substances (411) - in the Western [[#Faustian World-Feeling]] both of these oppositions pale together. ##### Space - A conception, contra [[#Time]] as inconceivable - All of us are conscious of **Space** only but not of **Time**. Space "is" (i.e., exists, in and with our sense-world) - as a self-extension while we are living the ordinary life of dream, impulse, intuition and conduct, and as space in the strict sense in the moments of strained attention (160) - The Living is Killed by being Introduced into Space, for Space is Dead and Makes Dead - There is only one true "dimension" of space, which is direction from one's self outwards into the [[#Distance]], the "there" and the [[#Future]], and that the abstract system of three dimensions is a mechanical representation and not a fact of life - Space gives death to [[#Time]] (229) - Space (in the [[#Faustian]] sense) is a spiritual something, rigidly distinct from the momentary sense-present, which could not be represented in an [[#Apollonian]] language. - While [[#Life]] looks on [[#Space]] as something functionally belonging to itself, [[#Intellect]] looks upon [[#Life]] as something *in* [[#Space]] (515) ###### Expression-Space - For the [[#Apollonian]] - Alien to ours - Did not possess the word for space, so the Greek himself was destitute of our feeling of landscape, horizons, outlooks, distances, clouds, and of the idea of the far-spread fatherland embracing the great nation. - For the [[#Faustian]] - Embodies the element of soaring into the broad universe (243) - We may say that our world-picture is an actualizing of an [[#Infinite Space]] in which things visible appear very nearly as realities of a lower order, limited in the presence of the illimitable. - Gothic naves - For the [[#Magian]] - Cavernous - Eternal vaults of cupolas ###### Infinite Space - [[#Prime-Symbol]] of the [[#Faustian Soul]] - Our universe of infinite space, whose existence, for us, goes without saying, simply does not exist for [[#Classical Man]]. - The fact is that the infinite space of our physics is a form of very numerous and extremely complicated elements tacitly assumed, which have come into being only as the copy and expression of our soul, and are actual, necessary and natural only for our type of waking life. - Symbolized through [[#Polyphony]] in [[#Faustian Music]] - If, in fine, we look at it all together - the expansion of the [[#Copernican World-Idea]] into that aspect of stellar space that we possess to-day; the development of Columbus's discovery into a worldwide command of the earth's surface by the West; the perspective of [[#Oil-Painting]] and of [[#Tragedy]]-[[#Scene]]; the sublimed [[#Home-Feeling]]; the passion of our Civilization for swift transit, the conquest of the air, the exploration of the Polar regions and the climbing of almost impossible mountain-peaks - we see, emerging everywhere the [[#Prime-Symbol]] of the [[#Faustian Soul]], Limitless Space (445) ###### Pure-Space - The [[#Pure-Space]] of the [[#Faustian]] [[#World-Picture]] is is not mere [[#Extension]], but efficient Extension into the [[#Distance]], as an overcoming of the merely sensuous, as a strain and tendency, as a spiritual [[#Will-to-Power]] (409) ###### Space-as-Depth - No difference between this and [[#Will]] (408) ###### Space-Energy - The relation of [[#Faustian Will]] to our imaginary space is evidenced against in the physical concept of [[#Space-Energy]] - that utterly un-Classical idea in which even spatial interval figures as a form, and indeed as prime form thereof, for the notions of "capacity" and "intensity" rest upon it. ###### Space-Feeling - The [[#Space-Feeling]] as [[#Reason]] and the [[#Direction-Feeling]] as [[#Will]] are imagined as entities, almost as legend-figures; and out of them comes the picture that our psychologists of necessity abstract from inner life (406) ###### Space-World - Used in reference to [[#Perspective]], the felt geometry of the space-world that only the West knows. - From this grand intuition of symbolic space-worlds came the last and conclusive creation of Western mathematic - the expansion and subtilizing of the function theory in that of groups ###### Spatial Form - What is not experienced and felt, what is merely *thought,* takes this form. ###### Visual Space - The only space that remains to us is [[#Visual Space]], and in it places have been found for the relics of other [[#Sense-World]]s (sounds, scents, heat and cold) as properties and effects of [[#Light-Thing]]s... - It is a seen fire that warmth comes from, it is a seen rose in illumined space that gives off the scent and we speak of a certain tone as violin-tone. As to the stars, our conscious relations with them are limited to seeing them - over our heads they shine, describing their visible path (II, 8) ##### Spectator ###### Apollonian Spectator - The [[#Attic]] Statue is a completely Euclidean body, timeless and relationless, wholly self-contained. It neither speaks nor looks. It is quite unconscious of the spectator (435) - The Greek spectator stands *before* the [[#Fresco]] of [[#Polygnotus]]. The [[#Faustian]] sinks *into* the [[#Picture]] (436) ###### Faustian Spectator - The full [[#Faustian]] Life-Feeling, the passion of the third dimension, takes hold of the form of the [[#Picture]], the painted plane, and transforms it in an unheard-of way. The picture no longer stands for itself, nor looks at the spectator, but takes him into its sphere (436) - The Greek spectator stands *before* the [[#Fresco]] of [[#Polygnotus]]. The [[#Faustian]] sinks *into* the [[#Picture]], that is we are pulled into it by the power of the space-treatment (436) - Unity of space being thus re-established, the infinity that is expanded in all directions by the [[#Picture]] is ruled by the Western [[#Perspective]]; and from perspective there runs a road straight to the comprehension of our astronomical world-picture and its passionate pioneering into unending farness. ##### Speech See also: [[#Language]] - ##### Spirit - The the outset of [[#Thought]], the [[#Ego]] was [[#Waking-Being]] as such (insofar, that is, as having sight, it felt itself as the center of a [[#Light-World]]); now it becomes [[#Spirit]] - namely, pure [[#Understanding]], which [[#Cognize]]s itself as such and very soon comes to regard not only the world around itself, but even the remaining component of life, its own [[#Body]], as qualitatively below itself (II, 11) ###### City-Spirit - That which belongs to the late periods, such as the rationalism of the late [[#Baroque]], found in the pride of those self-assured [[#City-Spirit]]s who decided in favor of the great power of the Goddess [[#Reason]] ([[#Kant]], [[#The Jacobins]]) (405) - The urban spirit turns to look at itself (in Late period philosophy), in order to establish the proposition that there is no higher judgment-seat of knowing beyond itself, and with that thought draws nearer to higher mathematics and instead of priests we have men of the world... (481) ###### Classical Spirit - With its oracles and its omens, wants only to *know* the [[#Future]], but the [[#Western Spirit]] would shape it. ###### Spiritual Extinction - Each Culture has its own mode of [[#Spiritual Extinction]], which is that which follows of necessity from its life as a whole. And hence [[#Buddhism]], [[#Stoicism]], and [[#Socialism]] are morphologically equivalent as end-phenomena (468) ###### Western Spirit See also: [[#The Western Spirit]] - Wants to *shape* the [[#Future]] rather than merely *know* it as the [[#Classical Spirit]] is content doing (478) - From [[#Joachim of Floris]] to [[#Nietzsche]] and [[#Henrik Ibsen]] - arrows of yearning to the other bank, as Zarathustra says - every great man has linked his life to an eternal morning (478) ##### The Spiritual - Is an abstract science of [[#The Spiritual]] possible at all? Is that which one finds on his path identical with that which one is seeking? - Just as [[#Time]] arose from [[#Life]], the notion of [[#The Spiritual]] has come into being as the inverse and negative of the notion of the [[#World]] (396) - [[#The Spiritual]] in every living Culture is religious, has religion, whether it be conscious of it or not. That it exists, becomes, develops, fulfills itself, *is* its religion. It is not open to a spirituality to be irreligious (542) ##### State See also: [[#Law]] - The highest of all the time-symbols that have come into existence within a [[#Culture]]. - The meaning of the state to the man is comradeship in arms for the protection of hearth and home, wife and child, and for the insurance for the whole people of its future and its efficacy (181). - The State is the inward form of a Nation, its "form" in the athletic sense... ###### The Dynastic-Diplomatic State - The Faustian group forms itself round the ideal of pure spatial infinity and its center of gravity is [[#Instrumental Music]]. From this center, fine threads radiate out into all spiritual [[#Form-Language]]s and weave our infinitesimal mathematic, our dynamic physics, the propaganda of Jesuits and the power of our famous slogan of "progress," the modern machine-technique, credit economics and [[#The Dynastic-Diplomatic State]] - all into one immense totality of spiritual expression. ###### The Real Statesman Contra: [[#Men of Theory]], [[#Meditative Man]] - Knows only political [[#Fact]]s, not political [[#Truth]]s (II, 14) - Often enough a statesman does not" know" what he is doing, but that does not prevent him from following with confidence just the one path that leads to success (II, 20) - It is the hallmark of [[#The Real Statesman]] that he has a sure and penetrating eye for these mass-souls that form and dissolve on the tide of the times, their strength and their [[#Duration]], their [[#Direction]] and purpose (II, 23) ###### State-Form ###### State Religion See also: [[#Classical Religion]] ##### Static - There is no Western statics - that is, no interpretation of mechanical facts that is natural to the [[#Western Spirit]] bases itself on the ideas of [[#Form]] and [[#Substance]], or even, for that matter, on the ideas of [[#Space]] and [[#Mass]] otherwise than in connection with those of [[#Time]] and [[#Force]] (548) ##### Statistics - Belong, like [[#Chronology]], to the domain of the organic, to fluctuating [[#Life]], to [[#Destiny]] and [[#Incident]] and not to the world of [[#Law]] and timeless [[#Causality]] (558) ##### Stoicism - Directed to individual self-management, to statuesque and purely present being, without regard to [[#Future]] or Past or neighbor (469) - This in its last depths means the purgation of the [[#Apollonian]] soul from its burden of what is _not_ [[#Apollonian]], not free from the elements of [[#Distance]] and [[#Direction]], and to understand it we have to recognize that Stoicism is simply the mature form of it (455) - Statuesque steadiness and will-less ethos (456) - Mirroring [[#Nietzsche]]'s [[#Transvaluation of All Values]], we find in the Late Classical the event taking place instead Hellenistic-Roman Stoicism, that is, the long-death struggle of the [[#Apollonian Soul]] (462) - In the interval from Socrates - who was the spiritual father of the Stoa and in whom the first signs of inward-impoverishment and city-intellectualism became visible - to Epictetus and Marcus Aurelius, every existence-ideal of the old Classical underwent transvaluation. - Each Culture has its own mode of [[#Spiritual Extinction]], which is that which follows of necessity from its life as a whole. And hence [[#Buddhism]], [[#Stoicism]], and [[#Socialism]] are morphologically equivalent as end-phenomena (468) ###### Stoic - All Classical men of the Late period were Stoics unawares (476) - The whole Roman people, as a body, had a Stoic soul. - The [[#Stoic]] takes the world as he finds it (477) - He adapts himself, whereas the [[#Socialist]] commands ##### Stone - The great emblem of the Timeless-Become; space and death seem bound up in it (248) - It is [[#Stone]], the abiding stone, that expresses how the dead is mirrored in the [[#Waking-Consciousness]] of the living. (249) ###### Apollonian Stone - For [[#Phidias]], marble is the cosmic stuff that is crying for [[#Form]] (364) ###### Faustian Stone - For [[#Michelangelo]], the very character of the chiseled statue contradicts the [[#World-Feeling]] that tries to *find* something by, and not to *possess* something in, its art-works (364) - For him, marble was the foe to be subdued, the prison out of which he must delivered his idea... he attacked it with a passionate frontal attack, hewing into it as though into [[#Space]], etc. (365) - Never perhaps has there been a more open expression of [[#World-Fear]] (world-dread) in the presence of the Become - [[#Death]] - of the will to overpower and capture it in its vibrant form (365) - There is no other artist of the West whose relation to the stone has been that of [[#Michelangelo]] - at once so intimate and so violently masterful. It is his symbol of [[#Death]] (365) ##### Style See also: [[#Great Style]], [[#Egyptian Style]], [[#Faustian Style]], [[#Classical / Apollonian Style]] - Styles do not follow one another like waves or pulse-beats. It is not the personality or will or brain of the artist that makes the style, but the style that makes the type of the artist (273) - The Style, like [[#Culture]], is a prime phenomenon in the strictest [[Authors (Philosophy & Theory)/Johann Wolfgang von Goethe/General Biography|Goethe]]-ian sense, be it the style of art or religion or thought, or the style of life itself (273) - It is, as [[#Nature]], an ever-new experience of waking man, his alter ego and mirror-image in the world-around. - And therefore in the general historical picture of a [[#Culture]] there can be but one style, *the style of the Culture* - Style is not the shallow product of material, technique, and purpose. It is the very opposite of this, something inaccessible to art-reason, a revelation of the metaphysical order, a mysterious "must," a [[#Destiny]] (292) ###### Style-History - **Manhood of the Style-History**: When the Culture changes into the intellectuality of the great cities. The grand symbolism withers, the riot of superhuman forms dies down, milder and more worldly arts drive out the great art of developed stone (274) - The [[#Artist]] appears - Existence becomes self-conscious and detached from the land and the dream and the mystery, stands questioning and wrestling for an expression of its new duty (274) - Nothing compares to the expansion-power of the Western Soul. The true [[#Style-History]] of that soul accomplished itself only on the mother soil, but its resultant effects knew no bounds. ###### Style-Phases - [[#Romanesque]], [[#Gothic]], etc. - Erroneous to treat these as if they were styles on the same as units of quite another order such as the [[#Egyptian]] (273) ##### Substance See also: [[#Soul-Substance]] - For the [[#Magian]], [[#Spirit]] and [[#Soul]] ###### Substantiality - All Classical notions of substantiality, however they differed amongst themselves as realist or idealist, distinguish a "to-be-formed," that is, a Nonent, which only receives closer definition from the basic concept of [[#Form]], whatever this form may be in the particular philosophical system (526) - All Western notions of substantiality distinguish a "to-be-moved," which also is a negative, no doubt, but one polar to a different positive (526) ##### Suicide - For the [[#Apollonian]], going out of life's way, even to suicide, is ranked as a highly ethical act and was treated with the solemnity of a ritual [[#Symbol]] (271) ##### Symbol - "Everything that is is also a symbol" (Lewis, 44; Spengler, 212) - In them is the center of gravity of that world-picture that Spengler has called the [[#World-as-History]] as opposed to the [[#World-as-Nature]] - Symbols are sensible signs, final, indivisible and, above all, unsought impressions of definite meaning. - A symbol is a trait of actuality that for the sensuously alert man has an immediate and inwardly sure significance and that is incommunicable by process of reason. - As being things actualized, belong to the domain of [[#The Extended]] (219) - Symbol has created itself in graves (see [[#Funeral Customs]]) (249) - A symbol endures but everything of [[#Beauty]] vanishes with the life-pulsation of man, the class, the people or the race that feels it as a specific beauty in the general cosmic rhythm (257) ###### Prime-Symbol **Apollonian:** The Body **Egyptian:** The [[#Way]], Direction, The Nile **Faustian:** The Infinite Space **Magian:** The Cavern **Russian:** The Plane without Limit - That which determines a [[#Culture]]'s possibilities in [[#The Extended]] (374) ###### Supreme Life-Symbol - It was a strictly metaphysical reason, the need of a supreme life-symbol for themselves, that brought the later Hellenes to their self-enclosed art (i.e., [[#Apollonian Art]]), which under all the consummate achievement is a narrow one (344) ###### Symbolic Infinity - Just what the [[#Faustian World-Feeling]] had meant to express in its basic idea, which was simply the mechanical and extensional re-ideation of the idea of [[#Immorality]] and World-Soul (554) ###### Symbolism - Every great symbolism attaches its form-language to the cult of the dead, the forms of disposal of the dead, the adornment of the graves of the dead (220) - The essence of every genuine - unconscious and inwardly necessary - symbolism proceeds from the knowledge of death in which the secret of space reveals itself. - All symbolism implies a defensive; it is the expressive of a deep fear... (221) ###### The Force of the Symbol - What is it that possesses [[#The Force of the Symbol]], viz., the capacity of summing within itself and intelligibly presenting the essence of that man and the signification of his being? [[#Art]] is the answer (342) ###### The Significant - Instills dread, contra [[#The Beautiful]] which is longingly pursued (257) - The house of [[#The Dead]] (257) ##### System See also: [[#Systematic Philosophy]] - Nothing is simpler than to make good poverty of ideas by founding a system, and even a good idea has little value when enunciated by a solemn ass. Only its necessity to life decides the eminence of a doctrine. - [[#Nature]] is a [[#System]], and systems can be learnt (II, 26) ##### Taboo - The [[#World-Fear]] is stilled when an intellectual form-language hammers out brazen vessels in which the mysterious is captured and made comprehensible. this is the idea of Taboo. - The formidible [[#Alien]] becomes Taboo. ##### Taste - When [[#Civilization]] sets in, true [[#Ornament]] and with it, great art, as a whole are extinguished. - In the place of architectural style we find architectural [[#Taste]]. Methods of painting and mannerisms of writing, old forms and new, home and foreign, come and go with the fashion. - The inward necessity is no longer there, there are no longer" schools," for everyone selects what and where it pleases him to select. Art becomes [[#Craft-Art]] in all its branches - architecture and music, poetry and drama - and in the end we have a pictorial and literary stock-in-trade which is destitute of any deeper significance and is employed according to [[#Taste]]. ###### Renaissance Taste - It is mostly in trivialities that Renaissance taste made its contrasts between [[#Classical]] and [[#Modern]] (341) ##### Technics ###### Machine-Technics ##### Technique Contra: [[#Theory]] - Technique applies itself to visible near things and plain needs, [[#Theory]] to the distance and the terrors of the invisible (522) ##### Tension Contra: [[#Détente]] - The [[#Faustian]] pathos of [[#Distance]] (to use Nietzsche's expression) is peculiarly alien to the Classical, in which everything human demanded nearness, support and community. - It is this that distinguishes the spirit of the [[#Baroque]] from that of the [[#Ionic]], the culture of the Ancien Regime from that of Periclean Athens. And this pathos, which distinguishes the heroic doer from the heroic sufferer, appears also in the picture of Western physics as [[#Tension]] (510) - The principle of tension (developed in the potential theory), which is wholly untranslatable into Classical tongues and incommunicable toe Classical minds, has become for [[#Faustian Physics]] fundamental. - Sense and object, I and thou, [[#Cause & Effect]], thing and property - each of these is a [[#Tension]] between discretes, and when the state pregnantly called [[#Détente]] appears, then at once fatigue, and presently sleep, set in for the [[#Microcosmic]] side of life. - A human being asleep, discharged of all tensions, is leading only a [[#Plantlike Existence]] (II, 3) - The world of [[#Tension]]s is necessarily in itself stiff and dead - namely, eternal truth, something beyond all time, something that is a state. The actual world of [[#Waking-Consciousness]], however, is full of changes (II, 17) ##### Theory See also: [[#Theoretical Knowledge]], [[#Theoretical Thought]], [[#Theoretical Understanding]] - [[#Technique]] applies itself to visible near things and plain needs, [[#Theory]] to the distance and the terrors of the invisible (522) - Theory in the eminent sense is religious through and through. It is only in quite late states that scientific theory evolves out of religious, through men having become aware of methods (522) ##### Thing-Become See also: [[#Being]] - Always founded on a becoming and not the other way around - Number, a completed drawing, etc. - Every thing-become is mortal. Not only peoples, languages, races and Cultures are transient. (221) - A conclusion, a thing-become succeeding the [[#Thing-Becoming]], death following life, rigidity following expansion, intellectual age and the stone-built, petrifying world-city following mother-earth and the spiritual childhood of [[#Doric]] and [[#Gothic]] - That which is solely revealed via [[#Apollonian]] [[#Form-Language]] (352) ###### Having-Become - For the human mind, identical with the completed act of cognition (73) ##### Thing-Becoming See also: [[#Becoming]] - The "impressed form," living and developing. - Numbering, drawing, etc. - We may describe becomings and the things-become as the form in which respectively the facts and the results of life exist in the [[#Waking-Consciousness]]. To man in the waking state his proper life, progressive and constantly self-fulfilling, is presented through the element of [[#Becoming]] in his consciousness - this fact we call [[#The Present]] - and it possesses that mysterious property of [[#Direction]] which in all the higher languages men have sought to impound and - vainly - to rationalize by means of the enigmatic word time. - It follows necessarily from the above that there is a fundamental connexion between the become (the hard-set) and [[#Death]]. ##### Thought - Thought links the unlimited to the here, [[#Will]] links the [[#Future]] to [[#The Present]] (406) - [[#Thought]] no sooner leaves [[#Religion]] for [[#Science]] than we get the double myth of concepts, in [[#Physics]] and [[#Psychology]] (411) - [[#Understanding]] detached from [[#Sensation]] is called [[#Thought]] (II, 11) - Thought has introduced a permanent disunity into the [[#Human Waking-Consciousness]] (II, 11) - [[#Thought]], when it became independent, discovered a new mode of activity for itself... Man begins to believe that it is not impossible for his inner [[#Eye]] to see right through into the things that actually are (II, 11) - [[#Concept]] follows upon Concept, and at last there is a mighty [[#Thought-Architecture]] made up of buildings that stand out with full clarity under the inner light (II, 12) - [[#Thought]] shows off its power when it calls the [[#Body]] a [[#Notion]], when it establishes the pitifulness of the Body and commands the voices of the [[#Blood]] to be silent. But in truth the [[#Blood]] rules, in that silently it commands the activity of Thought to begin and to cease (II, 12) - [[#Thought]] rules, in spite of all, only in the "realm of thought" (II, 13) - The aim of [[#Thought]] is called [[#Truth]], and Truths are "established" - i.e., brought out of the living impalpability of the [[#Light-World]] into the form of [[#Concept]]s and assigned permanently to places in a system, which means a kind of intellectual space. - [[#Truth]]s are absolute and eternal - i.e., they have nothing more to do with [[#Life]] (II, 13) - High as may be the objectives that [[#Thought]] sets before itself, in actuality [[#Life]] makes use of thought for its ends and gives it a living objective quite apart from the solution of abstract problems (II, 17) - For [[#Thought]] the solutions of problems are either correct or erroneous - for [[#Life]] they are valuable or valueless (II, 17) ###### Historical Thought - Has the double task of dealing comparatively with the individual life-courses of the Cultures, and of examining the incidental and irregular relations of the Cultures amongst themselves in respect of their meaning (II, 44) ###### Modern Historical Thought - Although consideration of the Cultures themselves should logically precede that of the relations between them, modern historical thought generally reverses the order. The less it really knows of the [[#Life-Course]]s which together make up a seeming unity of world-happenings, the more zealously it searches for life in the web of relations, and the less it understands even of these (II, 65) ###### Theoretical Thought See also: [[#Theoretical Knowledge]], [[#Theoretical Understanding]], [[#Theory]] - The development of [[#Theoretical Thought]] within the [[#Human Waking-Consciousness]] gives rise to a kind of activity that makes inevitable a fresh conflict - that of [[#Being]] (existence) and [[#Waking-Being]] ([[#Waking-Consciousness]]). ###### Thought-Architecture ###### Thought-Become - The immortality of thoughts-become is an illusion - the essential is, what kind of man comes to expression in them. - The greater the man, the truer the [[#Philosophy]], with the inward truth that in a great work of art transcends all proof of its several elements or even of their compatibility with one another. ###### Thought-Communication - With [[#Visual Thought]], this narrowing and consequent deepening, which has led to all our [[#Sense-Impression]]s being adapted to and ordered with those of sight, has led also to the replacement of the innumerable methods of [[#Thought-Communication]] known to animals by the one single medium of language, which is a bridge in the [[#Light-World]] between two persons present to one another's bodily or imaginative eyes (II, 9) ###### Thought-History - ###### Visual Thought - Man's thought is [[#Visual Thought]], our concepts are derived from vision, and the whole fabric of our logic is a [[#Light-World]] in the imagination (II, 9) ##### Time - Destiny itself (Also interchangeable with the [[#Proper]]) - In its directedness, irreversibility, its livingness, is disclosed the very meaning of the historical world picture (155) - Proceeds and underlies [[#Space]], More fundamental than Space (157) - The word Time is a sort of charm to summon up that intensely personal something designated earlier as the [[#Proper]], which with an inner certainty we oppose to the [[#Alien]] something that is borne in upon each of us amongst and within the crowding impressions of the sense-life (159) - Whereas [[#Space]] is a conception, time is a word to indicate something inconceivable, a sound-symbol, and to use it as a notion, scientifically, is utterly to misconceive its nature. (160) - Time is a *discovery*, which is only made by thinking. - We create it as an idea or notion and do not begin til much later to suspect that *we ourselves are Time*, inasmuch as we live. - Time is tragic and it is by the meaning that it intuitively attaches to Time that one [[#Culture]] is differentiated from another (171) - Time is not a [[#Distance]] but a feeling (205) - Time gives birth to [[#Space]] (229) - Time may be looked at in the light of eternity or in the light of the instant; and the drama of begetting and bearing, or the drama of the nursing mother with her child, may be chosen as the symbol of [[#Life]] to be made apprehensible by all the means of art (353) - India and the Classical took the first, Egypt and the West the second. - It has been" shown how [[#Time]] arose, out of the feeling of the direction-quality possessed by ever-mobile [[#Life]], as a conceptual _negative_ to a positive magnitude, as an incarnation of _that_ _which_ _is_ _not_ [[#Extension]]; and that all the "properties" of Time, by the cool analysis of which the [[#Philosopher]]s believe they can solve the problem of Time, have been gradually formed and ordered in the intellect as inverses to the properties of [[#Space]]. (395) ###### Living Time - There can be no reappearance of [[#Living Time]]. For this has already passed into the known, into constant "existence" as [[#Depth]], and hence [[#Duration]] (i.e., timelessness) and [[#Extension]] are identical (512) ##### Tolerance - The [[#Will-to-Power]] is intolerant - all that is Faustian wills to reign alone (450) - [[#The Enlightenment]] of the eighteenth century was tolerant towards - that is, careless of - differences between the various Christian creeds, but in respect of its own relation to the Church as a whole, it was anything but tolerant as soon as the power to be otherwise came to it (451) - The degree of piety of which a period is capable is revealed in its attitude toward toleration (542) - One tolerates, either because the [[#Form-Language]] appears to be expressing something of that which in one's own lived experience is felt as [[#Divine]], or else because that experience no longer contains anything so felt (542) - What we have called [[#Tolerance]] / Toleration in the [[#Classical]] World is an expression of the contrary of [[#Atheism]] (543) ##### Touch - We use the word 'touch' quite genereally of contacts by eye, by ear, and even by the [[#Understanding]], for it is the simplest expression of the mobility of the living creature that needs constantly to be establishing its relation to its [[#World-Around]] (II, 5) ###### Touch-Sense ##### Tragedy - Has only developed in the [[#Culture]] which has most passionately affirmed and in that which has most passionately denied [[#Time]] (171) - **Western Tragedy** arises from the feeling of an inexorable Logic of [[#Becoming]] while the **Greek** feels the illogical, blind Causal of the moment (171) - [[#Epoch]]al in the West, episodic in the Classical (197) ###### Attic Tragedy - Aimed at the catharsis of fear and pity, the relief and recovery of the [[#Apollonian Soul]] in the moment of the pivot point (reversal) in the tragedy (270) - As the Greek spectator watched someone whom he knew senselessly maltreated by fortune, without any conceivable possibility of resistance to the Powers, and saw him go under with splendid mien, defiant, heroic, his own Euclidean soul experienced a marvelous uplifting . - If life was worthless, at any rate the grand gesture in losing it was not so. The Greek willed nothing and dared nothing, but he found a stirring beauty in enduring (270) - Emphasizes time and place, [[#The Present]], contra the [[#Faustian Tragedy]] (340) - Ended in Euripides - Classical tragedy relates to general situations and not particular personalities (419) - What befalls Ajax and Philoctetes, Antigone and Electra, their psychological antecedents play no part. The decisive event came upon them, brutally, as accident, from without, and it might have befallen another in the same way and with the same result (420) - Classical tragedy is anecdotal, dealing with the content of a single moment (420) ###### Baroque Tragedy - A Baroque Tragedy is directive [[#Character]] brought into and developed in the light-world, and shown as a curve instead of as an equation, as kinetic energy instead of potential energy. The visible person is the [[#Character]] as potential, the Action the [[#Character]] at work (422) ###### Faustian Tragedy See also: [[#Character-Tragedy]] - Our tragedies are tragedies of the past and of the future - the latter category, in which men yet to be are shown as carriers of a [[#Destiny]], is represented in a certain sense by *Faust* (338) - We do not have tragedies of [[#The Present]] (339) - Faustian tragedy always operates to get rid of the *nearness* of time and place which the [[#Attic Tragedy]] emphasized even in the case of a mythological subject (340) - In the [[#Tragedy]] of a [[#Character]], what happens is the outcome of a long inner development (420) - Faustian tragedy is biographical, dealing with the sense of a whole life (420) ###### Tragic Man - **Apollonian Tragic Man** - A [[#Euclidean]] body that is struck by the Heimarmene (fate, destiny, or necessity) in a position that it did not choose and cannot alter, but is seen, in the light that plays from without upon its surfaces, to be indeformable all the same (422) - Down to Alexander, the significant figure of Greek history astonish us with their inelasticity; not one of them undergoes in the battle of life any such inward transformation as those that took place in [[#Martin Luther]] and [[#Ignatius of Loyola]] (422) - What we are prone to call [[#Character]] in Greek drama and tragedy is nothing but the reflection of events upon the hero, never the reflection of a personality on events (422) - **Faustian Tragic Man** - Biographical, deals with the sense of his whole life. ##### Truth See also: [[#Theoretical Understanding]] Contra: [[#Fact]], [[#Idea]] - The aim of [[#Thought]] is called [[#Truth]], and Truths are "established" - i.e., brought out of the living impalpability of the [[#Light-World]] into the form of [[#Concept]]s and assigned permanently to places in a system, which means a kind of intellectual space. - [[#Truth]]s are absolute and eternal - i.e., they have nothing more to do with [[#Life]] (II, 13) - Truths are lifeless and can be imparted - Every new [[#Truth]] that the [[#Understanding]] finds is nothing but a critical judgment upon some other that was already there (II, 15) - Truths exist for the mind, [[#Fact]]s only in relation to [[#Life]] (II, 57) ##### Valhalla - Something beyond all sensible actualities floating in remote, dim, [[#Faustian]] regions (246) - It is nowhere - lost in the limitless, it appears with its inharmonious gods and heroes the supreme symbol of solitude (246) ##### The West See also: [[#Faustian]] ###### Western Culture - The body of the [[#Faustian Soul]] (241) - Expresses its soul in its extraordinary wealth of media - words, tones, colors, pictorial perspectives, philosophical systems, legends, the spaciousness of Gothic [[#Cathedral]]s and the formulae of [[#Function(s)]] (i.e., its [[#World-Feeling]]) (248) - Seeks out relations (II, 45) ###### Western History - Man has never been so awake and aware, so deeply sensible of time and conscious of [[#Direction]] and Fate and Movement as he has been in the West. - Western history was *willed*, Indian history *happened*. - That of great connections (194) - For the Greeks, Hellas was and remained the important part of the earth's surface, but with the discovery of America West-Europe became a province in a gigantic whole. Thenceforward the [[#History]] of the [[#Western Culture]] has a planetary character (442) ###### Western Man - Western man is in a high degree historically disposed. - The autobiographical tendency of Western man - revealed even in [[#Gothic]] times in the [[#Symbol]] of auricular [[#Confession]] - is utterly alien to [[#Classical Man]]. - Western man lives in the _consciousness_ of his [[#Becoming]] and his eyes are constantly upon past and future. - [[#Western Man]] lives in the consciousness of his [[#Becoming]] and his eyes are constantly upon past and future (348) ###### Western Life - The deep relation between this word [[#Character]] and the word [[#Will]] is unmistakable; what [[#Will]] is in the [[#Soul-Image]], character is in the picture of life as we see it, the [[#Western Life]] that is self-evident to Western men. It is the fundamental postulate of all our ethical systems, differ otherwise as they may in their metaphysical or practical precepts, that man has [[#Character]]. ###### The Western Spirit - The modem mathematic, though "true" only for the Western Spirit, is undeniably a master-work of that spirit ###### The Western State - Have a characteristic eye-to-the-future, behind which there is an unsurpassably intense [[#Will-to-the-Future]] (181) ##### Understanding Contra: [[#Reason]], [[#Sensation]], [[#Misunderstanding]] - It is only later, in a stage wherein considerable demands are made upon developed senses, that [[#Sensation]] and [[#Understanding]] of Sensation cease to be identical and the latter begins to detach itself more and more clearly from the former (II, 5) - We understand all [[#Understanding]] as derived from [[#Sensation]] (II, 5) - There is set up within the [[#Waking-Consciousness]] a definite opposition between [[#Sensation]] and [[#Understanding]], a tension that in animals is quite unthinkable and even in man can hardly have been at first anything more than a rarely actualized possibility (II, 10) - [[#Language]] emancipated [[#Understanding]] from [[#Sensation]] (II, 10) - That which finds [[#Truth]]s - Is essentially critical (II, 14-15) - Starts from the object of its activity, rather than begetting the object like [[#Reason]] (II, 15) - Only when [[#Understanding]] has become, through [[#Language]], detached from visual awareness and pure, does [[#Death]] appear to man as the great enigma of the [[#Light-World]] about him (II, 18) ###### Practical Understanding ###### Primitive Understanding - For quite early, before he has begun to think abstractly, [[#Primitive Man]] forms for himself a religious world-picture, and this is the object upon which the [[#Understanding]] begins to operate critically (II, 15) ###### Theoretical Understanding See also: [[#Theoretical Knowledge]], [[#Theoretical Thought]], [[#Theory]] ##### Unfruitfulness - Marks the [[#Brain-Man]] of the [[#Megalopolis]], as the sign of fulfilled [[#Destiny]], and it is one of the most impressive facts of historical symbolism that the change manifests itself not only in the extinction of great art, of great courtesy, of great formal thought, of the great style in all things, but also quite carnally in the childlessness and "race-suicide" of the civilized and rootless strata, a phenomenon not peculiar to ourselves but already observed and deplored - and of course not remedied - in Imperial Rome and Imperial China (472) ##### Unit ###### Power-Unit - When we speak today of Greek philosophy, or [[#Buddhism]], or Scholasticism, we mean something that is something living, a [[#Power-Unit]] that has grown and grown until it is mighty enough to take possession of men, to subject their [[#Waking-Consciousness]] and even their [[#Being]], and in the end to force them into an active conformity, which prolongs the direction followed by its own life (II, 67) - It is a whole [[#Mythology]], and, significantly, it is only men of the [[#Western Culture]] - the only mankind that lives with and in this picture is the Western - whose myth contains plenty of dæmons of this sort - "electricity" and "positional energy," for example. ###### Unit-City - It was only because Rome as a [[#Unit-City]] attained - as under other conditions Alexandria might have attained - to "Imperium" over the Classical world that Roman law became pre-eminent, not because of its intrinsic superiority, but firstly through Rome's political success and afterwards because of Rome's monopoly of practical experience on the large scale (II, 74) ##### Unity See also: [[#Crowd]] Contra: [[#Association]] ###### Cosmic Unity - One can join or resign from an intellectual [[#Association]] as one pleases, for only one's [[#Waking-Consciousness]] is involved. But to a [[#Cosmic Unity]] one is committed, and committed with one's entire being (II, 21) ###### Unity of Common Ground - Is acquired at will (II, 21) ###### Unity of Cosmic Pulse See also: [[#Cosmic Unity]] - One has without willing to have it (II, 21) ##### Unreason See also: [[#Biology]], [[#Zoological]] - There are no more of those great decisions which concentrate the inner meaning of a whole Culture. [[#Unreason]], [[#Biology]], is beginning to dominate, and it is becoming a matter of indifference for the world - though not for the actions of the private individual - whether an event turns out thus or thus. - All great political questions are solved, as they are solved sooner or later in every Civilization, inasmuch as questions are no longer felt as questions and are not asked (II, 61) #CoreSpengler ##### Ursymbol See also: [[#Prime-Symbol]] - Primal, original form - grounded in [[Authors (Philosophy & Theory)/Johann Wolfgang von Goethe/General Biography|Goethe]] - A metaphysical underpinning to each [[#Culture]] - The price manner in which symbols are placed alongside each other and arranged within a framework of depth and space in order to form a coherent view is culturally determined: one's understanding of the world is dictated by the culture's underlying *Ursymbol.* - This Ursymbol is so all-encompassing and innate to each member of a culture that it can be found in that culture's socio-political entities, religious myths, ethics, aesthetics and so on. - Each [[#Culture]] possesses its own Ursymbol which cannot be possessed or understood by another Culture. ##### Utility ###### Utility-Cause - The assumption of utility-causes or other visible causes for phenomena found in paleontology has no support of [[#Actuality]] (II, 37) ##### Vision See also: [[#Contemplation]] - It is the Western world-feeling that has produced the idea of a limitless universe of [[#Space]] - a space of infinite star-systems and distances that far transcends all optical possibilities - and this was a creation of the _inner_ vision, incapable of all actualization through the eye, and, even as an idea, alien to and unachievable by the men of differently disposed Culture. - Overpowered by matter-of-fact feeling and mechanizing thought by the late stage man of the [[#Megalopolis]] ##### Will - [[#Will]] - that is no notion, but a name, a prime-word like God, a sign for something of which we have an immediate inward certainty but which we are forever unable to describe (394) - All the Western, [[#Faustian]], languages possess the notion of [[#Will]] (397) - [[#Will]] links the [[#Future]] to [[#The Present]], [[#Thought]] links the unlimited to the here (406) - At the very bottom, there is no distinction between [[#Space-as-Depth]] and [[#Will]]. - The word [[#God]] in antithesis to [[#World]] has always - however interpreted in this or that case - implied exactly what is implied in the world [[#Will]] with respect to [[#Soul]], viz,. the power that moves all that is within its domain (411) ###### Apollonian Will - The [[#Apollonian]] is [[#Will]]-less. The Classical idea of [[#Destiny]] and the symbol of the [[#Doric Column]] leave no doubt as to that (408) ###### Faustian Will - It is not the notion of [[#Will]], but the circumstance that we possess it while the Greeks were entirely ignorant of it, that gives it high symbolic import (408) - The enigmatic Something in the [[#Soul-Image]] that is called [[#Will]], the passion of the third dimension, is therefore quite specially a creation of the [[#Baroque]], like the [[#Perspective]] [[#Oil-Painting]] and the [[#Force-Idea]] of modern physics and the [[#Tone]]-World of [[#Instrumental Music]] (413) ###### Will-Culture - To call the [[#Faustian Culture]] a [[#Will-Culture]] is only another way of expressing the eminently historical disposition of its soul (406) - What [[#God]] is for us, God as Breadth of the world, the Universal Power, the ever-present doer and provider, that also - reflected from the space of world into the imaginary space of soul and necessarily felt as an actual presence - is [[#Will]] (411) ###### Will-Element - That which is missing from what is provided via the [[#Buddha]] or [[#Epicurus]] (448) ###### Will-to-God - A pleonasm for the [[#Faustian]] - [[#God]] (or [[#Nature]], as some say) is nothing but [[#Will]] (412) ###### Will-to-Infinity - Every [[#Faustian Science]], without exception, has besides its elementary groundwork certain "higher" regions that are inaccessible to the layman - symbols of our [[#Will-to-Infinity]] and [[#Directional Energy]] (434) - The head and front of moral modernity must ever be [[#Kant]], who (in this respect Rousseau's pupil) excludes from his ethics the motive of [[#Compassion]] and lays down the formula "Act, so that . . ." - All ethic in this style expresses and is meant to express the [[#Will-to-Infinity]], and this will demands conquest of the moment, the present, and the foreground of life (476) ###### Will-to-Life - It is the same creative will-to-life that was [[#Schopenhauer]]-wise denied in '[[#Tristan und Isolde]]" and Darwin-wise asserted in "Siegfried "; that was brilliantly and theatrically formulated by [[#Nietzsche]] in "Zarathustra"; that led the Hegelian Marx to an economic and the Malthusian Darwin to a biological hypothesis which together have subtly transformed the world-outlook of the Western [[#Megalopolis]]; and that produced a homogeneous series of tragedy-conceptions extending from Hebbel's "Judith" to Ibsen's "Epilogue." It has embraced, therefore, all the possibilities of a true [[#Philosophy]] - and at the same time it has exhausted them. ###### Will-to-Power - The will-to-power (to use [[#Nietzsche]]'s great formula) that from the earliest Gothic of the Eddas, the Cathedrals and Crusades, and even from the old conquering Goths and Vikings, has distinguished the attitude of the Northern [[#Soul]] to its world, appears also in the sense-transcending energy, the dynamic of Western number. - The will-to-power is intolerant - all that is [[#Faustian]] wills to reign alone. - Will-to-power even in Ethics, the passionate striving to set up a proper [[#Morale]] as a universal truth, and to enforce it upon humanity, to reinterpret or overcome or destroy everything otherwise constituted - nothing is more characteristically [[#Faustian]] than this is. - The [[#Will-to-Power]] is intolerant - all that is Faustian wills to reign alone. (450) - Represented best by the [[#Fact-Men]] of [[#George Bernard Shaw]] (460) - The actual-and-effective philosophy of the [[#Nineteenth Century]] has as its one genuine theme the [[#Will-to-Power]]. It considers this in civilized-intellectual, ethical, or social forms and presents it as [[#Will-to-Life]], as Life-Force, as practical-dynamical principle, as [[#Idea]], as dramatic figure (492) ###### Will-to-System - The will-to-system is a will to kill something living, to establish, stabilize, stiffen it, to bind it in the train of logic. - The [[#Intellect]] has conquered when it has completed the business of making rigid (II, 14) ###### Will-to-the-Future - That which is behind the [[#The Western State]]'s eye-to-the-future (181) ###### Will-to-Understand See also: [[#Understanding]] ###### World-Will - What [[#God]] becomes after the [[#Renaissance]] sheds the old sensuous and personal traits of God and comes to identify Him with [[#Infinite Space]] (412) ##### Word ###### Holy Word - Men would never have dared to improve upon the original meanings of holy words - it was simply that they did not know these meanings (II, 71) ###### Word-Meaning - Every [[#Word-Meaning]] has a [[#Light-Value]], even in the case of words like "melody," "taste," "cold," or of perfectly abstract designations (II, 9) - However definitely and distinctly a [[#Religion]] may express itself in [[#Word]]s, they are words, and the hearer puts his own sense into them (II, 67) ###### Word-Sounds - More and more often there appears, in lieu of the simple comprehension of the gross intake, a comprehension of the significances of the component [[#Sense-Impression]], which have hardly been noticed as such before. Finally these impressions themselves are discarded and replaced by the felt connotations of familiar [[#Word-Sounds]]. - The [[#Word]], originally the name of a visual thing, changes imperceptibly into the label of a mental thing, the [[#Concept]] (II, 10) - In an ambiance common to the lives and activities of both, mere [[#Word-Sounds]] suffice to evoke cognate ideas (II, 10) - It is this mode of comprehending by means of sounds at once derived and detached (abstract) from actual seeing which, however rarely we can find it definitely evidenced at the primitive level, does in fact sharply separate the generic-animal kind of waking-consciousness from the purely human kind which supervenes (II, 10) ##### Work - It is the mechanicalizing of the organic concept of [[#Deed]] that leads to the concept of [[#Work]] as commonly understood, the civilized form of [[#Faustian]] effecting (477) ##### World - The actual, i.e., [[#The Actualized]] - The *Accomplished* ###### Counterworld - As" [[#Time]]" is a counter-concept to [[#Space]], so the "[[#Soul]]" is a counterworld to "[[#Nature]]" and therefore variable in dependence upon the notion of Nature as this stands from moment to moment (395) ###### Scientific World - Scientific worlds are superficial worlds, practical, soulless and purely extensive worlds. - The ideas of Buddhism, of Stoicism, and of Socialism alike rest upon them (465) - [[#Life]] is no longer to be lived as something self-evident - hardly a matter of consciousness, let alone choice - or to be accepted as God-willed [[#Destiny]], but is to be treated as a problem, presented as the intellect sees it, judged by "utilitarian" or "rational" criteria (465) - The brain rules because the [[#Soul]] abdicates (465) ##### World-Around - A [[#Microcosm]]'s environment (II, 2) ##### World-as-History Contra: [[#World-as-Nature]] - Conceived, viewed and given form from out of its opposite [[#World-as-Nature]] - here is a new aspect of human existence on this earth (5). - That which [[#Goethe]] called _Living_ _Nature_ is exactly that which we are calling here world-history, [[#World-as-History]] - Here, [[#Life]] makes use of critical understanding. It has the [[#Eye]] under command, the felt pulsation becomes the inwardly imagined wave-train, and the shattering spiritual experience becomes pictured as the epochal peak (II, 25) - The seer within is giving himself up to the never-to-be-repeated facts (II, 26) - The supreme generalization possible to each Culture as a major being is a primary and, for it, symbolical image of its. own [[#World-as-History]], and all self-attunements of the [[#Individual]] - or of the group livingly effective as individual - are with reference to that image (II, 30) ##### World-as-Nature Contra: [[#World-as-History]] - That which has hitherto been almost the only theme of philosophy (5). - Every [[#Culture]] possesses a wholly individual way of looking at and comprehending the world-as-Nature; or it *has* its own peculiar Nature which no other sort of man can possess in exactly the same form. - We see the world around us, and since every free-moving being must for its own safety understand the world, the accumulating daily detail of technical and empirical experience becomes a stock of permanent data which man, as soon as he is proficient in speech, collects into an [[#Image]] of what he understands (395) - This is the [[#World-as-Nature]] - Here, [[#Thought]] itself rules, and its causal criticism turns life into a rigorous process, the living content of a [[#Fact]] into an abstract [[#Truth]], and [[#Tension]] into Formula (II, 25). - The seer is striving to catch [[#Truth]]s for an ever-valid [[#System]] (II, 26) ##### World-Building - This is the opposition of the [[#Destiny Idea]] and the [[#Causality Principle]] - an opposition which, it is safe to say, has never hitherto been recognized for what it is, the necessary foundation of [[#World-Building]]. ##### World-Consciousness - One condition of this higher world-consciousness is the possession of language, meaning thereby not mere human utterance but a [[#Culture-Language]], and such is non-existent for [[#Primitive Man]] and existent but not accessible in the case of [[#The Child]]. ###### Apollonian World-Consciousness - In the world-consciousness of the Hellenes all experience, not merely the personal but the common past, was immediately transmuted into a timeless, immobile, mythically-fashioned background for the particular momentary present - In the Classical world-consciousness all Past was absorbed in the instant Present. ###### Faustian World-Consciousness - Maintains a sense of time-distances so strong that we habitually and unquestioningly speak of so many years before or after Christ, to reproduce in ourselves. ##### World-Fear - It is the deep World-Fear of the child - which never leaves the higher man, the believer, the poet, the artist - that makes him so infinitely lonely in the presence of the [[#Alien]] powers that loom, threatening in the dawn, behind the screen of sense-phenomena. - The element of [[#Direction]], too, which is inherent in all "becoming," is felt owing to its inexorable irreversibility to be something [[#Alien]] and hostile, and the human will-to-understanding ever seeks to bind the inscrutable by the spell of a name. - This world-fear is assuredly the most creative of all prime feelings. Man owes to it the ripest and deepest forms and images, not only of his conscious inward life, but also of the infinitely-varied external culture which reflects this life. - Like a secret melody that not every ear can perceive, it runs through the [[#Form-Language]] of every true art-work, every inward philosophy, every important deed, and, although those who can perceive it in that domain are the very few, it lies at the root of the great problems of mathematics. - The world-fear is stilled when an intellectual [[#Form-Language]] hammers out brazen vessels in which the mysterious is captured and made comprehensible. ##### World-Feeling - In the civilized man the tragic world-feeling succumbs to the mechanizing intellect See also: - [[#Apollonian World-Feeling]] - [[#Arabian World-Feeling]] - [[#Classical World-Feeling]] - [[#Egyptian World-Feeling]] - [[#Faustian World-Feeling]] - [[#Magian World-Feeling]] **Micro World-Feelings** ###### Gothic World-Feeling - The [[#Gothic]] world-view with its struggle of will and reason is in fact an expression of the [[#Life-Feeling]] of the men of the Crusades, of the Hohenstaufen empire, of the great [[#Cathedrals]]. These men saw the soul thus, because they were thus (406) ##### World-Formation - Man has before him two possibilities of World-Formation - [[#Nature]]: the shape in which the man of higher Cultures synthesizes and interprets the immediate impressions of his senses. - [[#History]]: that from which his imagination seeks comprehension of the living existence of the world in relation to his own life, which he thereby invests with a deeper reality. - Whether he is capable of creating these shapes, which of them it is that dominates his [[#Waking-Consciousness]], is a primordial problem of all human existence. ##### World-History - An ordered presentation of the past, an inner postulate, the expression of a capacity for feeling form. - But a feeling for [[#Form]], however definite, is not the same as form itself. No doubt we feel world-history, experience it, and believe that it is to be read just as a map is read. But it is only forms of it that we know and not *the* form of it, which is the mirror-image of our *own inner life* (19) - The lay-out of world-history is an unproved and subjective notion that has been handed down from generation to generation and stands badly in need of a little skepticism (19) - It is a quite indefensible method of presenting world-history to begin by giving rein to one's own religious, political or social convictions and endowing the sacrosanct three-phase system with tendencies that will bring it exactly to one's own standpoint. (25) - "I see world-history as a picture of endless formations and transformations, of the marvellous waxing and waning of organic forms." (27) ###### Apollonian World-History [[#Classical Man]] only saw himself and his fortunes as statically present with himself, and did not ask "whence" or "whither" (478) - Universal history for him was an impossible notion. This is the static way of looking at history. ###### Faustian World-History - [[#Faustian]] man sees in history a tense unfolding towards an [[#Aim]]; its "ancient-medieval-modern" sequence is a dynamic image (478) - He cannot picture history to himself in any other way. - It is the image of [[#World-History]] as it is conceived in the [[#Faustian Style]] (478) - It begins to be true and consistent with the beginning of the [[#Western Culture]] and ceases with its ceasing; and [[#Socialism]] in the highest sense is logically the crown of it, the form of its conclusive state that has been implicit in it from [[#Gothic]] onwards (479) - The Faustian picture of [[#World-History]], again, prepared in advance by the existence of a [[#Christian Chronology]], came into being suddenly, with an immense extension and deepening of the [[#Magian]] picture which the Western Church had taken over, an extension and deepening that was to give [[#Joachim of Floris]] in the high Gothic the basis of his wonderful interpretation of all world-destinies as a sequence of three æons under the aspects of the Father, the Son, and the Holy Ghost (II, 32) ###### Magian World-History - [[#Magian]] man sees it as the great cosmic drama of creation and foundering, the struggle between [[#Soul]] and [[#Spirit]], [[#Good]] and [[#Evil]], God and Devil - a strictly defined happening with, as its culmination, one single [[#Peripeteia]] - the appearance of the Savior (478) ##### World-Horizon - The boundless [[#World-Horizon]] is [[#Distance-Become]], the [[#Historic-Future]] is [[#Distance-Becoming]] (406) - This is the meaning of the [[#Faustian Depth-Experience]] ##### World-Idea ###### Copernican World-Idea - The strong up-springing of the Copernican world-idea - which belongs exclusively to [[#Faustian]] Culture and (to risk an assertion that even now may seem paradoxical) would be and will be _deliberately_ _forced_ _into_ _oblivion_ whenever the [[#Soul]] of a coming [[#Culture]] shall feel itself endangered by it - was founded on the certainty that the corporeal-static, the imagined preponderance of the [[#Plastic]] _earth,_ was henceforth eliminated from the Cosmos. - Now it was [[#Space]] that ruled the universe. - [[#World]] signifies space, and the stars are hardly more than mathematical points, tiny balls in the immense, that as material no longer affect the [[#World-Feeling]] (438) ##### World-Imagined - [[#Thought]] created the fateful opposition between the [[#Light-World]] of the [[#Eye]], described as figment and an illusion, and the [[#World-Imagined]], in which the [[#Concept]]s, with their faint but ineffaceable tinge of light-coloration, live and do business (II, 11) - Henceforth for man, so long as he "thinks," this is the true world, the world-in-itself (II, 11) ##### World-Knowing - For the man of the higher Cultures a need, seen as a duty, of expressing his own essence (131) ##### World-Longing - In the [[#Destiny Idea]] the soul reveals its world-longing, its desire to rise into the light, to accomplish and actualize its vocation. - To no man is it entirely alien, and not before one has become the unanchored 'late" man of the megalopolis is original [[#Vision]] quite overpowered by matter-of-fact feeling and mechanizing thought. ##### World-Picture - [[#Skepticism]] is the expression of a pure [[#Civilization]]; and it dissipates the [[#World-Picture]] of the Culture that has gone before. - For, in the historical as in the natural [[#World-Picture]], there is found nothing, however small, that does not embody in itself the entire sum of fundamental tendencies. - [[#Goethe]]'s "living nature" is a historical world-picture. - The more decidedly a particular [[#World-Picture]] shows the traits of [[#Nature]], the more unconditionally law and number prevail in it; and the more purely intuitive the picture of the world as eternally [[#Becoming]], the more alien to numbers its manifold and intangible elements. - As a [[#Becoming]] always lies at the base of the become, and as the [[#World-Picture]] representative of becoming is that which [[#History]] gives us, therefore **history is the original world-form**, and Nature - the fully elaborated world-mechanism - is the _late_ world-form that only the men of a mature [[#Culture]] can completely actualize. - It is to present, without accretions, that form of the [[#World-Picture]] which to the individual in each case is proper and significant, and for him (so long as he does not _compare)_ is in fact "the" [[#World]]. - **Faustian World-Picture** - The [[#Pure-Space]] of the Faustian World-Picture is not mere [[#Extension]], but efficient Extension into the [[#Distance]], as an overcoming of the merely sensuous, as a strain and tendency, as a spiritual [[#Will-to-Power]] (409) - We may say that the [[#Faustian]] world-picture is an actualizing of an infinite space in which things visible appear very nearly as realities of a lower order, limited in the presence of the illimitable. - The basic element of the [[#Faustian]] [[#World-Picture]] is not the [[#Attitude]] but the [[#Deed]] and, mechanically considered, the [[#Process]], and this law merely puts the mathematical character of these processes into form as variables and constants (556) ###### Historical World-Picture - Always the [[#Law]] contains in abstract form the [[#World-Picture]] of its author, and every [[#Historical World-Picture]] contains a political-economic _tendency_ dependent, not upon what this man or that thinks, but upon what is practically intended by the class which in fact commands the power and, with it, the legislation (II, 78) ##### World-Principle ###### Apollonian World-Principle - The [[#Euclidean]] [[#World-Principle]] is carried to its extreme in the anatomically convincing [[#Naked Body]] of [[#Apollonian Art]] (343) ##### World-Volume - The single world-volume, be it conceived as [[#Cavern]] or as [[#Space]], demands the single god of [[#Magian]] or Western Christianity. ##### Zoological - The [[#Individual]] belongs by birth to the particular [[#High Culture]] on the one hand and to the type [[#Man]] on the other - there is no third unit of being for him. His [[#Destiny]] must lie either in the zoological or in the world-historical field (II, 59). #CoreSpengler - A void of the [[#History of Higher Men]]. All that remains is the struggle for mere power, for [[#Animal]] advantage per se. - Whereas previously [[#Power]], even when to all appearance destitute of any inspiration, was always serving the [[#Idea]] somehow or other, in the [[#Late Civilization]] even the most convincing illusion of an idea is only the mask for purely zoological strivings (II, 60) ---