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80 to all eternity, in its work, even as a mother in her child. It is not in them that there grew the bad conscience, that is elementary—but it would not have grown without them, repulsive growth as it was, it would be missing, had not a tremendous quantity of freedom been expelled from the world by the stress of their hammer-strokes, their artist violence, or been at any rate made invisible and, as it were, latent. This instinct of freedom forced into being latent—it is already clear—this instinct of freedom forced back, trodden back, imprisoned within itself, and finally only able to find vent and relief in itself; this, only this, is the beginning of the "bad conscience."

18.

Beware of thinking lightly of this phenomenon, by reason of its initial painful ugliness. At bottom it is the same active force which is at work on a more grandiose scale in those potent artists and organisers, and builds states, where here, internally, on a smaller and pettier scale and with a retrogressive tendency, makes itself a bad conscience in the "labyrinth of the breast," to use Goethe's phrase, and which builds negative ideals; it is, I repeat, that identical instinct of freedom (to use my own language, the will to power): only the material, on which this force with all its constructive and tyrannous nature is let loose, is here man himself, his whole old animal self—and not as in the case of that more grandiose and sensational phenomenon, the other man, other men. This secret self-tyranny, this cruelty of the artist, this delight in giving a form to one's self as a piece of difficult,