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.
While every noble morality develops from a triumphant affirmation of itself, slave morality from the outset says No to what is "outside," what is "different," what is "not itself"; and this No is its creative deed.
The overman...Who has organized the chaos of his passions, given style to his character, and become creative. Aware of life's terrors, he affirms life without resentment.
Not infrequently, we encounter copies of important human beings; and here, too, as in the case of paintings, most people prefer the copies to the originals.
But say, my brothers, what can the child do that even the lion could not do? Why must the preying lion still become a child? The child is innocence and forgetting, a new beginning, a sacred 'Yes.' For the game of creation, my brothers, a sacred 'Yes' is needed: the spirit now wills his own will, and he who had been lost to the world now conquers his own world.
One sticks to an opinion because he prides himself on having come to it on his own, and another because he has taken great pains to learn it and is proud to have grasped it: and so both do so out of vanity.