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223. The hybrid European--a tolerably ugly plebeian, taken all in
all--absolutely requires a costume: he needs history as a storeroom
of costumes. To be sure, he notices that none of the costumes fit him
properly--he changes and changes. Let us look at the nineteenth century
with respect to these hasty preferences and changes in its masquerades
of style, and also with respect to its moments of desperation on account
of "nothing suiting" us. It is in vain to get ourselves up as romantic,
or classical, or Christian, or Florentine, or barocco, or "national,"
in moribus et artibus: it does not "clothe us"! But the "spirit,"
especially the "historical spirit," profits even by this desperation:
once and again a new sample of the past or of the foreign is tested,
put on, taken off, packed up, and above all studied--we are the first
studious age in puncto of "costumes," I mean as concerns morals,
articles of belief, artistic tastes, and religions; we are prepared as
no other age has ever been for a carnival in the grand style, for the
most spiritual festival--laughter and arrogance, for the transcendental
height of supreme folly and Aristophanic ridicule of the world. Perhaps
we are still discovering the domain of our invention just here, the
domain where even we can still be original, probably as parodists of
the world's history and as God's Merry-Andrews,--perhaps, though nothing
else of the present have a future, our laughter itself may have a
future!

224. The historical sense (or the capacity for divining quickly
the order of rank of the valuations according to which a people, a
community, or an individual has lived, the "divining instinct" for the
relationships of these valuations, for the relation of the authority
of the valuations to the authority of the operating forces),--this
historical sense, which we Europeans claim as our specialty, has come
to us in the train of the enchanting and mad semi-barbarity into which
Europe has been plunged by the democratic mingling of classes and
races--it is only the nineteenth century that has recognized this
faculty as its sixth sense. Owing to this mingling, the past of every
form and mode of life, and of cultures which were formerly closely
contiguous and superimposed on one another, flows forth into us "modern
souls"; our instincts now run back in all directions, we ourselves are
a kind of chaos: in the end, as we have said, the spirit perceives its
advantage therein. By means of our semi-barbarity in body and in desire,
we have secret access everywhere, such as a noble age never had; we have
access above all to the labyrinth of imperfect civilizations, and to
every form of semi-barbarity that has at any time existed on earth; and
in so far as the most considerable part of human civilization hitherto
has just been semi-barbarity, the "historical sense" implies almost the
sense and instinct for everything, the taste and tongue for everything:
whereby it immediately proves itself to be an IGNOBLE sense. For
instance, we enjoy Homer once more: it is perhaps our happiest
acquisition that we know how to appreciate Homer, whom men of
distinguished culture (as the French of the seventeenth century, like
Saint-Evremond, who reproached him for his ESPRIT VASTE, and even
Voltaire, the last echo of the century) cannot and could not so easily
appropriate--whom they scarcely permitted themselves to enjoy. The very
decided Yea and Nay of their palate, their promptly ready disgust, their
hesitating reluctance with regard to everything strange, their horror of
the bad taste even of lively curiosity, and in general the averseness of
every distinguished and self-sufficing culture to avow a new desire,
a dissatisfaction with its own condition, or an admiration of what is
strange: all this determines and disposes them unfavourably even towards
the best things of the world which are not their property or could not
become their prey--and no faculty is more unintelligible to such men
than just this historical sense, with its truckling, plebeian
curiosity. The case is not different with Shakespeare, that marvelous
Spanish-Moorish-Saxon synthesis of taste, over whom an ancient Athenian
of the circle of AEschylus would have half-killed himself with laughter
or irritation: but we--accept precisely this wild motleyness, this
medley of the most delicate, the most coarse, and the most artificial,
with a secret confidence and cordiality; we enjoy it as a refinement
of art reserved expressly for us, and allow ourselves to be as little
disturbed by the repulsive fumes and the proximity of the English
populace in which Shakespeare's art and taste lives, as perhaps on
the Chiaja of Naples, where, with all our senses awake, we go our way,
enchanted and voluntarily, in spite of the drain-odour of the lower
quarters of the town. That as men of the "historical sense" we have
our virtues, is not to be disputed:--we are unpretentious, unselfish,
modest, brave, habituated to self-control and self-renunciation, very
grateful, very patient, very complaisant--but with all this we are
perhaps not very "tasteful." Let us finally confess it, that what is
most difficult for us men of the "historical sense" to grasp, feel,
taste, and love, what finds us fundamentally prejudiced and almost
hostile, is precisely the perfection and ultimate maturity in every
culture and art, the essentially noble in works and men, their moment
of smooth sea and halcyon self-sufficiency, the goldenness and coldness
which all things show that have perfected themselves. Perhaps our great
virtue of the historical sense is in necessary contrast to GOOD taste,
at least to the very bad taste; and we can only evoke in ourselves
imperfectly, hesitatingly, and with compulsion the small, short, and
happy godsends and glorifications of human life as they shine here and
there: those moments and marvelous experiences when a great power has
voluntarily come to a halt before the boundless and infinite,--when a
super-abundance of refined delight has been enjoyed by a sudden checking
and petrifying, by standing firmly and planting oneself fixedly on still
trembling ground. PROPORTIONATENESS is strange to us, let us confess it
to ourselves; our itching is really the itching for the infinite, the
immeasurable. Like the rider on his forward panting horse, we let the
reins fall before the infinite, we modern men, we semi-barbarians--and
are only in OUR highest bliss when we--ARE IN MOST DANGER.