Umano, troppo umano
- Lingua:
- inglese
- Stato:
- Opera completa
- Autorialità:
- Scritta dall'autore
- Stato del testo:
- Nessun rumore di scansione rilevato (misura automatica su tutto il testo, non verificata a mano)
- Estensione:
- ~98.100 parole · 466 passi
Cita quest'opera
- APANietzsche. (n.d.). Human, All-Too-Human A Book for Free Spirits, Part 1 [Umano, troppo umano]. Digital reproduction: SigPhi. https://sigphiai.com/it/works/nietzsche/human-all-too-human-a-book-for-free-spirits-part-1
- MLANietzsche. Human, All-Too-Human A Book for Free Spirits, Part 1 [Umano, troppo umano]. Digital reproduction, SigPhi, https://sigphiai.com/it/works/nietzsche/human-all-too-human-a-book-for-free-spirits-part-1.
- ChicagoNietzsche. Human, All-Too-Human A Book for Free Spirits, Part 1 [Umano, troppo umano]. Digital reproduction, SigPhi. https://sigphiai.com/it/works/nietzsche/human-all-too-human-a-book-for-free-spirits-part-1.
Riferimento all’edizione riprodotta. SigPhi è la riproduzione digitale. Anno, editore e traduttore compaiono quando noti; «n.d.» indica un anno sconosciuto.
Di che cosa tratta
Umano, troppo umano (1878), parte 1: il libro in cui Nietzsche rompe con Wagner, con Schopenhauer e con sé stesso.
Contesto e storia
Cambia tutto: dal trattato all'aforisma, dal romanticismo al sospetto, dalla metafisica alla psicologia. Il metodo nuovo consiste nel chiedersi da dove venga un sentimento nobile invece di ammirarlo, e di lì viene tutta la critica della morale successiva. Traduzione inglese dall'edizione completa curata da Oscar Levy (1909-1913), quella di pubblico dominio. Ha più di un secolo e si sente. L'originale è TEDESCO e le citazioni vanno fatte sull'originale, ma di quest'opera qui c'è solo la traduzione.
Contesto editoriale, non una fonte citabile: a differenza dei passi dell'opera, questi dati non si possono verificare sul corpus.
of all have good reasons for mockery, as soon as the appreciation of unpretentious truths, and the scientific spirit, begin to obtain the mastery; but only because their eye has either not yet recognised the charm of the _simplest_ form, or because men educated in that spirit are not yet completely and inwardly saturated by it, so that they still thoughtlessly imitate old forms (and badly enough, as one does who no longer cares much about the matter). Formerly the spirit was not occupied with strict thought, its earnestness then lay in the spinning out of symbols and forms. This is changed; that earnestness in the symbolical has become the mark of a lower culture. As our arts themselves grow evermore intellectual, our senses more spiritual, and as, for instance, people now judge concerning what sounds well to the senses quite differently from how they did a hundred years ago, so the forms of our life grow ever more _spiritual,_ to the eye of older ages perhaps _uglier,_ but only because it is incapable of perceiving how the kingdom of the inward, spiritual beauty constantly grows deeper and wider, and to what extent the inner intellectual look may be of more importance to us all than the most beautiful bodily frame and the noblest architectural structure. 4. ASTROLOGY AND THE LIKE.--It is probable that the objects of religious, moral, æsthetic and logical sentiment likewise belong only to the surface of things, while man willingly believes that here, at least, he has touched the heart of the world; he deceives himself, because those things enrapture him so profoundly, and make him so profoundly unhappy, and he therefore shows the same pride here as in astrology. For astrology believes that the firmament moves round the destiny of man; the moral man, however, takes it for granted that what he has essentially at heart must also be the essence and heart of things. 5. MISUNDERSTANDING OF DREAMS.…