148

How poets ease life. Poets, insofar as they too wish to ease men's lives, either avert their glance from the arduous present, or else help the present acquire new colors by making a light shine in from the past. To be able to do this, they themselves must in some respects be creatures facing backwards, so that they can be used as bridges to quite distant times and ideas, to religions and cultures dying out or dead. Actually, they are always and necessarily epigones. Of course, some unfavorable things can be said about their ways of easing life: they soothe and heal only temporarily, only for the moment; they even prevent men from working on a true improvement of their conditions, by suspending and, like a palliative, relieving the very passion of the dissatisfied, who are impelled to act.

149

The slow arrow of beauty. The most noble kind of beauty is that which does not carry us away suddenly, whose attacks are not violent or intoxicating (this kind easily awakens disgust), but rather the kind of beauty which infiltrates slowly, which we carry along with us almost unnoticed, and meet up with again in dreams; finally, after it has for a long time lain modestly in our heart, it takes complete possession of us, filling our eyes with tears, our hearts with longing.
What do we long for when we see beauty? To be beautiful. We think much happiness must be connected with it. But that is an error.

150

Infusion of soul into art. Art raises its head where religions decline. It takes over a number of feelings and moods produced by religion, clasps them to its heart, and then becomes itself deeper, more soulful, so that it is able to communicate exaltation and enthusiasm, which it could not yet do before. The wealth of religious feeling, swollen to a river, breaks out again and again, and seeks to conquer new realms: but growing enlightenment has shaken the dogmas of religion and generated a thorough mistrust of it; therefore, feeling, forced out of the religious sphere by enlightenment, throws itself into art; in certain instances, into political life, too, indeed even directly into science. Wherever one perceives a loftier, darker coloration to human endeavors, one may assume that the fear of spirits, the smell of incense, and the shadow of churches have remained attached to them.

151

How meter beautifies. Meter lays a gauze over reality; it occasions some artificiality of speech and impurity of thinking; through the shadow that it throws over thought, it sometimes conceals, sometimes emphasizes. As shadow is necessary to beautify, so "muffling" is necessary in order to make clearer.
Art renders the sight of life bearable by laying over it the gauze of impure thinking.

152

Art of the ugly soul. One is limiting art much too severely when one demands that only the composed soul, suspended in moral balance, may express itself there. As in the plastic arts, there is in music and poetry an art of the ugly soul, as well as an art of the beautiful soul; and in achieving art's mightiest effects—breaking souls,¹ moving stones, and humanizing animals—-perhaps that very art has been most successful.