Beauty is for the artist something outside all orders of rank, because in beauty opposites are tamed; the highest sign of power, namely power over opposites; moreover, without tension: - that violence is no longer needed: that everything follows, obeys, so easily and so pleasantly - that is what delights the artist's WILL TO POWER.
Man is the cruelest animal. At tragedies, bullfights, and crucifixions he has so far felt best on earth; and when he invented hell for himself, behold, that was his very heaven.
With the unknown, one is confronted with danger, discomfort, and care; the first instinct is to abolish these painful states. First principle: any explanation is better than none. . . . The causal instinct is thus conditional upon, and excited by, the feeling of fear. The "why?" shall, if at all possible, not give the cause for its own sake so much as for a particular kind of cause -- a cause that is comforting, liberating, and relieving.
The drive toward the formation of metaphors is the fundamental human drive, which one cannot for a single instant dispense with in thought , for one would thereby dispense with man himself.
I know my fate. One day my name will be associated with the memory of something tremendous — a crisis without equal on earth, the most profound collision of conscience, a decision that was conjured up against everything that had been believed, demanded, hallowed so far. I am no man, I am dynamite.
Truth is a mobile army of metaphors, metonyms, anthropomorphisms, in short a sum of human relations which have been subjected to poetic and rhetorical intensification, translation and decoration […]; truths are illusions of which we have forgotten that they are illusions, metaphors which have become worn by frequent use and have lost all sensuous vigour […]. Yet we still do not know where the drive to truth comes from, for so far we have only heard about the obligation to be truthful which society imposes in order to exist" from, "On Truth and Lying in a Non-Moral Sense".