Deception, flattering, lying, deluding, talking behind the back, putting up a false front, living in borrowed splendor, wearing a mask, hiding behind convention, playing a role for others and for oneself -- in short, a continuous fluttering around the solitary flame of vanity -- is so much the rule and the law among men that there is almost nothing which is less comprehensible than how an honest and pure drive for truth could have arisen among them.
In intercourse with scholars and artists one readily makes mistakes of opposite kinds: in a remarkable scholar one not infrequently finds a mediocre man; and often, even in a mediocre artist, one finds a very remarkable man.
To become the founder of a new religion one must be psychologically infallible in one's knowledge of a certain average type of souls who have not yet recognized that they belong together.
We are responsible to ourselves for our own existence; consequently we want to be the true helmsman of this existence and refuse to allow our existence to resemble a mindless act of chance.
Artists may here have a more subtle scent: they know only too well that it is precisely when they cease to act 'voluntarily' and do everything of necessity that their feeling of freedom, subtlety, fullness of power, creative placing, disposing, shaping reaches its height - in short, that necessity and 'freedom of will' are then one in them.
It seems to me that to take a book of mine into his hands is one of the rarest distinctions that anyone can confer upon himself. I even assume that he removes his shoes when he does so-not to speak of boots.
There is a stupid humility that is quite common and when a person is afflicted with it, he is once and for all disqualified for being a disciple of knowledge.
People to whom their daily life appears too empty and monotonous easily grow religious; this is comprehensible and excusable, only they have no right to demand religious sentiments from those whose daily life is not empty and monotonous.
For the purpose of knowledge we must know how to make use of the inward current which draws us towards a thing, and also of the current which after a time draws us away from it.
So long as the spectator has to figure out the meaning of this or that person, or the presuppositions of this or that conflict of inclinations and purposes, he cannot become completely absorbed in the activities and sufferings of the chief characters or feel breathless pity and fear.