history (NOT through his own
personal experience, therefore) that the scholar succeeds in bringing
himself to a respectful seriousness, and to a certain timid deference
in presence of religions; but even when his sentiments have reached the
stage of gratitude towards them, he has not personally advanced one
step nearer to that which still maintains itself as Church or as piety;
perhaps even the contrary. The practical indifference to religious
matters in the midst of which he has been born and brought up, usually
sublimates itself in his case into circumspection and cleanliness, which
shuns contact with religious men and things; and it may be just the
depth of his tolerance and humanity which prompts him to avoid the
delicate trouble which tolerance itself brings with it.--Every age has
its own divine type of naivete, for the discovery of which other ages
may envy it: and how much naivete--adorable, childlike, and boundlessly
foolish naivete is involved in this belief of the scholar in
his superiority, in the good conscience of his tolerance, in the
unsuspecting, simple certainty with which his instinct treats the
religious man as a lower and less valuable type, beyond, before, and
ABOVE which he himself has developed--he, the little arrogant dwarf
and mob-man, the sedulously alert, head-and-hand drudge of "ideas," of
"modern ideas"!

59. Whoever has seen deeply into the world has doubtless divined what
wisdom there is in the fact that men are superficial. It is their
preservative instinct which teaches them to be flighty, lightsome, and
false. Here and there one finds a passionate and exaggerated adoration
of "pure forms" in philosophers as well as in artists: it is not to be
doubted that whoever has NEED of the cult of the superficial to that
extent, has at one time or another made an unlucky dive BENEATH it.
Perhaps there is even an order of rank with respect to those burnt
children, the born artists who find the enjoyment of life only in trying
to FALSIFY its image (as if taking wearisome revenge on it), one might
guess to what degree life has disgusted them, by the extent to which
they wish to see its image falsified, attenuated, ultrified, and
deified,--one might reckon the homines religiosi among the artists, as
their HIGHEST rank. It is the profound, suspicious fear of an incurable
pessimism which compels whole centuries to fasten their teeth into a
religious interpretation of existence: the fear of the instinct