I do not know what the spirit of a philosopher could more wish to be than a good dancer. For the dance is his ideal, also his fine art, finally also the only kind of piety he knows, his 'divine service.'
Women are constituted in such a way that all truth (regarding men, love, children, society, the purpose of life) disgusts them, and in such a way that they try to revenge themselves on anyone who opens their eyes.
The architect represents neither a Dionysian nor an Apollinian condition: here it is the mighty act of will, the will which moves mountains, the intoxication of the strong will, which demands artistic expression. The most powerful men have always inspired the architects; the architect has always been influenced by power.
A letter is an unannounced visit, the postman the agent of rude surprises. One ought to reserve an hour a week for receiving letters and afterwards take a bath.
As is well known, the priests are the most evil enemies—but why? Because they are the most impotent. It is because of their impotence that in them hatred grows to monstrous and uncanny proportions, to the most spiritual and poisonous kind of hatred. The truly great haters in world history have always been priests; likewise the most ingenious haters: other kinds of spirit hardly come into consideration when compared with the spirit of priestly vengefulness.
In this state one enriches everything out of one's own fullness: whatever one sees, whatever wills is seen swelled, taut, strong, overloaded with strength. A man in this state transforms things until they mirror his power—until they are reflections of his perfection. This having to transform into perfection is—art.