_The Distrustful and their Style._—We say the strongest things simply, provided people are about us who believe in our strength:—such an environment educates to "simplicity of style." The distrustful, on the other hand, speak emphatically; they make things emphatic.
_Fallacy, Fallacy._—He cannot rule himself; therefore that woman concludes that it will be easy to rule him, and throws out her lines to catch him;—the poor creature, who in a short time will be his slave.
_Against Mediators._—He who attempts to mediate between two decided thinkers is rightly called mediocre: he has not an eye for seeing the unique; similarising and equalising are signs of weak eyes.
_Obstinacy and Loyalty._—Out of obstinacy he holds fast to a cause of which the questionableness has become obvious,—he calls that, however, his "loyalty."
_Lack of Reserve._—His whole nature fails to _convince_—that results from the fact that he has never been reticent about a good action he has performed.
_The "Plodders."_—Persons slow of apprehension think that slowness forms part of knowledge.
_Dreaming._—Either one does not dream at all, or one dreams in an interesting manner. One must learn to be awake in the same fashion:—either not at all, or in an interesting manner.
_The most Dangerous Point of View._—What I now do, or neglect to do, is as important _for all that is to come_, as the greatest event of the past: in this immense perspective of effects all actions are equally great and small.
_Consolatory Words of a Musician._—"Your life does not sound into people's ears: for them you live a dumb life, and all refinements of melody, all fond resolutions in following or leading the way, are concealed from them. To be sure you do not parade the thoroughfares with regimental music,—but these good people have no right to say on that account that your life is lacking in music. He that hath ears let him hear."
_Spirit and Character._—Many a one attains his full height of character, but his spirit is not adapted to the elevation,—and many a one reversely.
_To Move the Multitude._—Is it not necessary for him who wants to move the multitude to give a stage representation of himself? Has he not first to translate himself into the grotesquely obvious, and then _set forth_ his whole personality and cause in that vulgarised and simplified fashion!