We grow hostile to many an artist or writer, not because we finally come to see he has deceived us, but because he thought no subtler means were required to ensnare us.
The beautiful exists just as little as the true. In every case it is a question of the conditions of preservation of a certain type of man: thus the herd-man will experience the value feeling of the true in different things than will the overman.
Indeed, what forces us at all to suppose that there is an essential opposition of 'true' and 'false'? Is it not sufficient to assume degrees of apparentness and, as it were, lighter and darker shadows and shades of appearance- different 'values', to use the language of painters?
. . . an absurd problem came to the surface: 'How COULD God permit that (crucifixion of Jesus Christ)!' . . . the deranged reason of the little community found quite a frightfully absurd answer: God gave his Son for forgiveness, as a SACRIFICE . . . The SACRIFICE FOR GUILT, and just in its most repugnant and barbarous form - the sacrifice of the innocent for the sins of the guilty! What horrifying heathenism!
The machine is impersonal, it takes the pride away from a piece of work, the individual merits and defects that go along with allwork that is not done by a machine--which is to say, its little bit of humanity.
The states in which we infuse a transfiguration and a fullness into things and poetize about them until they reflect back our fullness and joy in life... three elements principally: sexuality, intoxication and cruelty all belonging to the oldest festal joys.