h all the sophists of the
first and second centuries, the Atticists, &c., the scholars are
imitating something purely and simply chimerical and pursuing a world
that never existed. The same trait is seen throughout antiquity . the
manner in which the Homeric heroes were copied, and all the intercourse
held with the myths, show traces of it. Gradually all Greek antiquity
has become an object of Don Quixotism. It is impossible to understand
our modern world if we do not take into account the enormous influence
of the purely fantastic. This is now confronted by the principle . there
can be no imitation. Imitation, however, is merely an artistic
phenomenon, _i.e._, it is based on appearance . we can accept manners,
thoughts, and so on through imitation; but imitation can create nothing.
True, the creator can borrow from all sides and nourish himself in that
way. And it is only as creators that we shall be able to take anything
from the Greeks. But in what respect can philologists be said to be
creators! There must be a few dirty jobs, such as knackers' men, and
also text-revisers: are the philologists to carry out tasks of this
nature?

172

What, then, is antiquity _now_, in the face of modern art, science, and
philosophy? It is no longer the treasure-chamber of all knowledge; for
in natural and historical science we have advanced greatly beyond it.
Oppression by the church has been stopped. A _pure_ knowledge of
antiquity is now possible, but perhaps also a more ineffective and
weaker knowledge.--This is right enough, if effect is known only as
effect on the masses; but for the breeding of higher minds antiquity is
more powerful than ever.

Goethe as a German poet-philologist; Wagner as a still higher stage: his
clear glance for the only worthy position of art. No ancient work has
ever had so powerful an effect as the "Orestes" had on Wagner. The
objective, emasculated philologist, who is but a philistine of culture
and a worker in "pure science," is, however, a sad spectacle.

173

Between our highest art and philosophy and that which is recognised to
be truly the oldest antiquity, there is no contradiction: they support
and harmonise with one another. It is in this that I place my hopes.

174

The main standpoints from which to consider the importance of antiquity:

1. There is nothing about it for young people, for it exhibits man with
an entire freedom from shame.

2. It is not for direct imitation,