of receiving lessons from them; they think that only those sentiments which have received the stamp of the Universities have the right to manifest themselves in poetry. Like industry, art has never adapted itself to the demands of theorists; it always upsets their plans of social harmony, and humanity has found the freedom of art far too satisfactory ever to think of allowing it to be controlled by the creators of dull systems of sociology. The Marxists are accustomed to seeing the ideologists look at things the wrong way round, and so, in contrast to their enemies, they should look upon art as a reality which begets ideas and not as an application of ideas.
B. To the values created by the master type, Nietzsche opposed the system constructed by sacerdotal castes—the ascetic ideal against which he has piled up so much invective. The history of these values is much more obscure and complicated than that of the preceding ones. Nietzsche tries to connect the origin of asceticism with psychological reasons which I will not examine here. He certainly makes a mistake in attributing a preponderating part to the Jews. It is not at all evident that antique Judaism had an ascetic character; doubtless, like the other Semitic religions, it attached importance to pilgrimages, fasts, and prayers recited in ragged clothes. The Hebrew poets sang the hope of revenge which existed in the heart of the persecuted, but, until the second century of our era, the Jews looked to be revenged by arms:[1] on the other hand, family life, with them, was too strong for the monkish ideal ever to become important.
Imbued with Christianity as our civilisation may be, it is none the less evident that, even in the Middle Ages, it submitted to influences foreign to the Church, with the result that the old ascetic values were gradually transformed. The values to which the contemporary
- ↑ It is always necessary to remember that the resigned Jew of the Middle Ages was more like the Christians than his ancestors.
