Page 206 - beyond-good-and-evil

themselves writers, poets, intermediaries and blenders of
the arts and the senses (Wagner, as musician is reckoned
among painters, as poet among musicians, as artist gener-
ally among actors); all of them fanatics for EXPRESSION ‘at
any cost’—I specially mention Delacroix, the nearest relat-
ed to Wagner; all of them great discoverers in the realm of
the sublime, also of the loathsome and dreadful, still greater
discoverers in effect, in display, in the art of the show-shop;
all of them talented far beyond their genius, out and out
VIRTUOSI, with mysterious accesses to all that seduces, al-
lures, constrains, and upsets; born enemies of logic and of
the straight line, hankering after the strange, the exotic, the
monstrous, the crooked, and the self-contradictory; as men,
Tantaluses of the will, plebeian parvenus, who knew them-
selves to be incapable of a noble TEMPO or of a LENTO
in life and action— think of Balzac, for instance,—unre-
strained workers, almost destroying themselves by work;
antinomians and rebels in manners, ambitious and insatia-
ble, without equilibrium and enjoyment; all of them finally
shattering and sinking down at the Christian cross (and
with right and reason, for who of them would have been
sufficiently profound and sufficiently original for an ANTI-
CHRISTIAN philosophy?);—on the whole, a boldly daring,
splendidly overbearing, high-flying, and aloft-up-dragging
class of higher men, who had first to teach their century-and
it is the century of the MASSES—the conception ‘higher
man.’ … Let the German friends of Richard Wagner advise
together as to whether there is anything purely German in
the Wagnerian art, or whether its distinction does not con-

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