Selections from “'Reason' in Philosophy," Twilight of the Idols, Friedrich Nietzsche

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At long last, let us contrast the very different manner in which we conceive the problem of error and appearance. (I say "we" for politeness' sake.) Formerly, alteration, change, any becoming at all, were taken as proof of mere appearance, as annSindication that there must be something which led us astray. Today, conversely, precisely insofar as the prejudice of reason forces us to posit unity, identity, permanence, substance, cause, thinghood, being, we see ourselves somehow caught in error, compelled into error. So certain are we, on the basis of rigorous examination, that this is where the error lies.

It is no different in this case than with the movement of the sun: there our eye is the constant advocate of error, here it is our language. In its origin language belongs in the age of the most rudimentary form of psychology. We enter a realm of crude fetishism when we summon before consciousness the basic presuppositions of the metaphysics of language, in plain talk, the presuppositions of reason. Everywhere it sees a doer and doing; it believes in will as the cause; it believes in the ego, in the ego as being, in the ego as substance, and it projects this faith in the ego-substance upon all things -- only thereby does it first create the concept of "thing." Everywhere "being" is projected by thought, pushed underneath, as the cause; the concept of being follows, and is a derivative of, the concept of ego. In the beginning there is that great calamity of an error that the will is something which is effective, that will is a faculty. Today we know that it is only a word.

Very much later, in a world which was in a thousand ways more enlightened, philosophers, to their great surprise, became aware of the sureness, the subjective certainty, in our handling of the categories of reason: they concluded that these categories could not be derived from anything empirical -- for everything empirical plainly contradicted them. Whence, then, were they derived?

And in India, as in Greece, the same mistake was made: "We must once have been at home in a higher world (instead of a very much lower one, which would have been the truth); we must have been divine, for we have reason!" Indeed, nothing has yet possessed a more naive power of persuasion than the error concerning being, as it has been formulated by the Eleatics, for example. After all, every word and every sentence we say speak in its favor. Even the opponents of the Eleatics still succumbed to the seduction of their concept of being: Democritus, among others, when he invented his atom. "Reason" in language -- oh, what an old deceptive female she is! I am afraid we are not rid of God because we still have faith in grammar.

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It will be appreciated if I condense so essential and so new an insight into four theses. In that way I facilitate comprehension; in that way I provoke contradiction.

First proposition. The reasons for which "this" world has been characterized as "apparent" are the very reasons which indicate its reality; any other kind of reality is absolutely indemonstrable.

Second proposition. The criteria which have been bestowed on the "true being" of things are the criteria of not-being, of nothingness, the "true world" has been constructed out of contradiction to the actual world: indeed an apparent world, insofar as it is merely a moral-optical illusion.

Third proposition. To invent fables about a world "other" than this one has no meaning at all, unless an instinct of slander, detraction, and suspicion against life has gained the upper hand in us: in that case, we avenge ourselves against life with a phantasmagoria of "another," a "better" life.

Fourth proposition. Any distinction between a "true" and an "apparent" world -- whether in the Christian manner or in the manner of Kant (in the end, an underhanded Christian) -- is only a suggestion of decadence, a symptom of the decline of life. That the artist esteems appearance higher than reality is no objection to this proposition. For "appearance" in this case means reality once more, only by way of selection, reinforcement, and correction. The tragic artist is no pessimist: he is precisely the one who says Yes to everything questionable, even to the terrible -- he is Dionysian.

How the “True World” Finally Became An Fable:
The History of an Error

1. The true world -- attainable for the sage, the pious, the virtuous man; he lives in it, he is it.
(The oldest form of the idea, relatively sensible, simple, and persuasive. A circumlocution for the sentence, "I, Plato, am the truth.")

2. The true world -- unattainable for now, but promised for the sage, the pious, the virtuous man ("for the sinner who repents").
(Progress of the idea: it becomes more subtle, insidious, incomprehensible -- it becomes female, it becomes Christian.)

3. The true world -- unattainable, indemonstrable, unpromisable; but the very thought of it -- a consolation, an obligation, an imperative.
(At bottom, the old sun, but seen through mist and skepticism. The idea has become elusive, pale, Nordic, Königsbergian [i.e., Kantian].)

4. The true world -- unattainable? At any rate, unattained. And being unattained, also unknown. Consequently, not consoling, redeeming, or obligating: how could something unknown obligate us?
(Gray morning. The first yawn of reason. The cockcrow of positivism.)

5. The "true" world -- an idea which is no longer good for anything, not even obligating -- an idea which has become useless and superfluous -- consequently, a refuted idea: let us abolish it!
(Bright day; breakfast; return of bon sens [“good sense”] and cheerfulness; Plato's embarrassed blush; pandemonium of all free spirits.)

6. The true world -- we have abolished. What world has remained? The apparent one perhaps? But no! With the true world we have also abolished the apparent one.
(Noon; moment of the briefest shadow; end of the longest error; high point of humanity; INCIPIT ZARATHUSTRA. [“Zarathustra begins”])