Has anyone...any distinct notion of what poets of a stronger age understood by the word inspiration? ... There is an ecstasy such that the immese strain of it is sometimes relaxed by a flood of tears, along with which one's steps either rush or involuntarily lag, alternately. There is the feeling that one is completely out of hand, with the very distinct consciousness of an endless number of fine thrills and quiverings to the very toes... Everything happens quite involuntarily, as if in a tempestuous outburst of freedom, of absoluteness, of power and divinity.
The strongest knowledge (that of the total freedom of the human will) is nonetheless the poorest in successes: for it always has the strongest opponent, human vanity.
Where the good begins.- Where the poor power of the eye can no longer see the evil impulse as such because it has become too subtle, man posits the realm of goodness; and the feeling that we have now entered the realm of goodness excites all those impulses which had been threatened and limited by the evil impulses, like the feeling of security, of comfort, of benevolence. Hence, the duller the eye, the more extensive the good. Hence the eternal cheerfulness of the common people and of children. Hence the gloominess and grief - akin to a bad conscience - of the great thinkers.
Dancing in all its forms cannot be excluded from the curriculum of all noble education; dancing with the feet, with ideas, with words, and, need I add that one must also be able to dance with the pen?
Noble and wise men once believed in the music of the spheres: noble and wise men still continue to believe in the "moral significance of existence." But one day even this sphere-music will no longer be audible to them! They will wake up and take note that their ears were dreaming.
In the end things must be as they are and have always been--the great things remain for the great, the abysses for the profound, the delicacies and thrills for the refined, and, to sum up shortly, everything rare for the rare.