No one would ever cry out, "Dare to be comedic men!" It just doesn't have the same ring to it. Every age and war has its own aesthetic. Tragedy outside of its time could only be catastrophe, life-denial.

God is Dead. Satan Lives. Christ is Christ.

Lessing's prophecy of a third, silent Testament is something other than second-religiousness. This is the ground that confronts Nietzsche, and every nihilist, every theologian.

Let's strip away the bullshit.
A hairless and near senseless animal has no fear-inducing physiological power. Being able to lift 10% of an ape and having 1% of its natural killing power will never be an achievement.

Take the Epimethean Pill.

Man is no animal. To see in him nothing more than a herd is to become the greatest parasite.

Anyone who disputes this just needs to read the ancient training manuals for war. They trained through hunting because animals present natural danger, higher instincts. Man training against man can only be an art form or decadence.

Two-hundred years of war and America could not generate a better theorist than a surrender-monkey who visited their country for a few weeks.
When one hears the American there is little more than an accounting of ammunition stockpiles, off on some horizon. He accumulates ammunition to the same degree that he would never bring the stockpile to use.
The American will-to-power can only be understood in this context.

Well-deserved. And the most honest thing said about America since Tocqueville.

Tocqueville retroactively refuted Nuremberg 2.0.

Sensible centrism is the clown world of the universe.

Extreme: A million monkeys on a million computers.

Sensible centre: A million monkeys on one computer.

Extreme: Conservatism has conserved nothing.

Sensible centre: 'Insert Token To Play Again' YES!

In Schmittean terms, free speech is the legal form of public opinion, the expression of active constitution-making power. The public must be present, not merely represented.
Whether or not free speech has power depends on real political struggle. As private or business calculations it has little power - even less if there is mediation and representation. What can freedom of speech be if all right to assembly has ended?

Watching the Sensible Centre come to terms with being wrong again.

https://youtu.be/hVHqTzyZ-oM

There is nothing of excess in the Iliad, nothing forced. Throughout the events, what is given is freely taken, the law of wealth is so overwhelming that it goes unnoticed. And this is true of all great poetry, everything finds its true order, a perfection in which error itself elevates, deepens the natural violence of images. One sees the same thing in the wild animal that accepts food or a leash – it is as if the hand were not even there. Everything is immediate, the first moment in which all things seem possible.
A heaviness can overcome this world of infinite possibility, in this is disappointment, which everyone knows and can also be infinite. Man is tested not only in his resistance to disappointment, his capacity to withstand pain, but also in his being free throughout the experience, to give form to pain. With Achilles we see a man of total freedom and perfection, a being who could only be destroyed by an absolute wrath that wears him away to nothing. Such a man can only be destroyed in two forms, in both the inner and outer world. For if man is only a subject his inner world must encompass the whole of the outer world, and so too all of its pain.
It is in such a conflict of worlds that Achilles finds himself. He withdraws, this is already the whole of his story. He is - in this wounded, split world - the whole of fate and decision. And here, besides wealth, we see his fate being stripped from him. He has handed his fate to Patroclus, and with him his free decision dies – wrath is one with eternal life for him, its great opponent. Here, the law of the Dioscuri is reversed, eternal life must be freely given, and shared; but now it is decided by gods who bring an end to an era. Achilles gives immortality away with his armour, he dies with Patroclus, and only a second intervention by another god can give him another life. The entirety of his wrath becomes redemption, storming the underworld. And then he is left waiting for a second death, eternally.

----

There cannot be force without a storm. Without limit or boundlessness one simply incurs upon the other world, – becomes it, free of resistance. The perspective without end is only contemplation which cannot find its end, peace. One finds only himself as an opponent, becoming more and more unknown – an incapacity to perfect and free.

Nukeable cities can never become walkable cities. True paths would be as destructive as a hydrogen bomb.

"Let Orcus hear: we are coming."
I wanted to respond fully to Fen de Villiers' thread on art. Hopefully a few comments on Goethe will be enough.

I think the whole of modern art may be understood through this line, not only the spirit of the age is in it, but how we give it form.
"Let Orcus hear: we are coming." These are not words, but the very force with which we are carried by Coachman Chronos into the underworld where we confront a broken oath. We are on a certain path to the end, time carries us in the coach but we can still give Chronos our orders.
This is no conservative image, and can never be one. Our age is a path of certain destruction, rough and dangerous. Beauty cannot be its answer, at least not formal beauty, because the oath which upheld it is gone. Art and architecture became the work of "dainty doll-painters."
"Do not let the effete doctrine of our modern esthetizisers so enfeeble you that you can no longer bear what is meaningful but rough." The broken oath of art is much like the nemesis of history, we must first find harmony with danger, something which may be powerful and unknown.

We are like Michelangelo's Prisoners, or the ghost of the child killed by the Elf King. Time is the most violent law for us moderns, it binds and frees us. We find ourselves in a world almost completely foreign, unknown. And it is left to us to reconcile the forces.
As barbaric as these forces may have been, and as refined as they seem now, there remains a wound. How do we confront the wound of time that is art? This is what "To Coachman Chronos" asks us. That the end is always already there is a common theme in Goethe's work.
This too is in Goethe's poem on war: "I know of nothing more accursed in war than not to be wounded." The combat of images which is art can only be confronted like that of conquered territory, it must be, at once, wealth and death.

This is why we move so fast through the age, as if it had already passed us by.

https://youtu.be/kxw0_tvuBjw

Another way to think of Nietzsche's philosophizing with a hammer: How do I respond when poked at with a spear?

The idea that secularism is a continuation of theology and religion is itself a secularisation. Apart from being wrong it can only damage our thought.
The secular is the "replacement of God with the mundane." It is not a weakening or continuation, but a completely other world.

What is a subject absolutely enslaved to the will?