But in the very fact that the ascetic ideal has meant so much to man, lies expressed the fundamental feature of man's will, his horror vacui: he needs a goal—and he will sooner will nothingness than not will at all.—Am I not understood?—Have I not been understood?—"Certainly not, sir?"—Well, let us begin at the beginning.
2.
What is the meaning of ascetic ideals? Or, to take an individual case in regard to which I have often been consulted, what is the meaning, for example, of an artist like Richard Wagner paying homage to chastity in his old age? He had always done so, of course, in a certain sense, but it was not till quite the end, that he did so in an ascetic sense. What is the meaning of this "change of attitude," this radical revolution in his attitude—for that was what it was? Wagner veered thereby straight round into his own opposite. What is the meaning of an artist veering round into his own opposite? At this point (granted that we do not mind stopping a little over this question), we immediately call to mind the best, strongest, gayest, and boldest period, that there perhaps ever was in Wagner's life: that was the period, when he was genuinely and deeply occupied with the idea of "Luther's Wedding." Who knows what chance is responsible for our now having the Meistersingers instead of this wedding music? And how much in the latter is perhaps just an echo of the former? But there is no doubt but that the theme would have dealt with the praise of chastity. And certainly it would also have dealt with the praise of sensuality, and even so, it would seem quite in order, and even so, it would have been equally Wagnerian. For there is no necessary antithesis between chastity and sensuality: every good marriage, every authentic heart-felt love transcends this antithesis. Wagner would, it seems to me, have done well to have brought this pleasing reality home once again to his Germans, by means of a bold and graceful "Luther Comedy," for there were and are among the Germans many revilers of sensuality; and perhaps Luther's greatest merit lies just in the fact of his having had the courage of his sensuality (it used to be called, prettily enough, "evangelistic freedom "). But even in those cases where that antithesis between chastity and sensuality does exist, there has fortunately been for some time no necessity for it to be in any way a tragic antithesis. This should, at any rate, be the case with all beings who are sound in mind and body, who are far from reckoning their delicate balance between "animal" and "angel," as being on the face of it one of the principles opposed to existence—the most subtle and brilliant spirits, such as Goethe, such as Hafiz, have even seen in this a further charm of life. Such "conflicts" actually allure one to life. On the other hand, it is only too clear that when once these ruined swine are reduced to worshipping chastity—and there are such swine—they only see and worship in it the antithesis to themselves, the antithesis to ruined swine. Oh what a tragic grunting and eagerness! You can just think of it—they worship that painful and superfluous contrast, which Richard Wagner in his latter days undoubtedly wished to set to music, and to place on the stage! "For what purpose, forsooth?" as we may reasonably ask. What did the swine matter to him; what do they matter to us?
3.
At this point it is impossible to beg the further question of what he really had to do with that manly (ah, so unmanly) country bumpkin, that poor devil and natural, Parsifal, whom he eventually made a Catholic by such fraudulent devices. What? Was this Parsifal really meant seriously? One might be tempted to suppose the contrary, even to wish it—that the Wagnerian Parsifal was meant joyously, like a concluding play of a trilogy or satyric drama, in which Wagner the tragedian wished to take farewell of us, of himself, above all of tragedy, and to do so in a manner that should be quite fitting and worthy, that is, with an excess of the most extreme and flippant parody of the tragic itself, of the ghastly earthly seriousness and earthly woe of old—a parody of that most crude phase in the unnaturalness of the ascetic ideal, that had at length been overcome. That, as I have said, would have been quite worthy of a great tragedian; who like every artist first attains the supreme pinnacle of his greatness when he can look down into himself and his art, when he can laugh at himself. Is Wagner's Parsifal his secret laugh of superiority over himself, the triumph of that supreme artistic freedom and artistic transcendency which he has at length attained. We might, I repeat, wish it were so, for what can Parsifal, taken seriously, amount to? Is it really necessary to see in it (according to an expression once used against me) the product of an insane hate of knowledge, mind, and flesh? A curse on flesh and spirit in one breath of hate? An apostasy and reversion to the morbid Christian and obscurantist ideals? And finally a self-negation and self-elimination on the part of an artist, who till then had devoted all the strength of his will to the contrary, namely, the highest artistic expression of soul and body. And not only of his art; of his life as well. Just remember with what enthusiasm Wagner followed in the footsteps of Feuerbach. Feuerbach's motto of "healthy sensuality" rang in the ears of Wagner during the thirties and forties of the century, as it did in the ears of many Germans (they dubbed themselves "Young Germans"), like the word of redemption. Did he eventually change his mind on the subject? For it seems at any rate that he eventually wished to change his teaching on that subject ... and not only is that the case with the Parsifal trumpets on the stage: in the melancholy, cramped, and embarrassed lucubrations of his later years, there are a hundred places in which there are manifestations of a secret wish and will, a despondent, uncertain, unavowed will to preach actual retrogression, conversion, Christianity, mediævalism, and to say to his disciples, "All is vanity! Seek salvation elsewhere!" Even the "blood of the Redeemer" is once invoked.
4.
Let me speak out my mind in a case like this, which has many painful elements—and it is a typical case: it is certainly best to separate an artist from his work so completely that he cannot be taken as seriously as his work. He is after all merely the presupposition of his work, the womb, the soil, in certain cases the dung and manure, on which and out of which it grows—and consequently, in most cases, something that must be forgotten if the work itself is to be enjoyed. The insight into the origin of a work is a matter for psychologists and vivisectors, but never either in the present or the future for the æsthetes, the artists. The author and creator of Parsifal was as little spared the necessity of sinking and living himself into the terrible depths and foundations of mediæval soul-contrasts, the necessity of a malignant abstraction from all intellectual elevation, severity, and discipline, the necessity of a kind of mental perversity (if the reader will pardon me such a word), as little as a pregnant woman is spared the horrors and marvels of pregnancy, which, as I have said, must be forgotten if the child is to be enjoyed. We must guard ourselves against the confusion, into which an artist himself would fall only too easily (to employ the English terminology) out of psychological "contiguity"; as though the artist himself actually were the object which he is able to represent, imagine, and express. In point of fact, the position is that even if he conceived he were such an object, he would certainly not represent, conceive, express it. Homer would not have created an Achilles, nor Goethe a Faust, if Homer had been an Achilles or if Goethe had been a Faust. A complete and perfect artist is to all eternity separated from the "real," from the actual; on the other hand, it will be appreciated that he can at times get tired to the point of despair of this eternal "unreality" and falseness of his innermost being—and that he then sometimes attempts to trespass on to the most forbidden ground, on reality, and attempts to have real existence. With what success? The success will be guessed—it is the typical velleity of the artist; the same velleity to which Wagner fell a victim in his old age, and for which he had to pay so dearly and so fatally (he lost thereby his most valuable friends). But after all, quite apart from this velleity, who would not wish emphatically for Wagner's own sake that he had taken farewell of us and of his art in a different manner, not with a Parsifal, but in more victorious, more self-confident, more Wagnerian style—a style less misleading, a style less ambiguous with regard to his whole meaning, less Schopenhauerian, less Nihilistic?...
5.
What, then, is the meaning of ascetic ideals? In the