Critical history

Here it becomes clear how a third method of analyzing the past is quite often necessary for human beings, alongside the monumental and the antiquarian: the critical method. Once again this is in the service of living. A person must have the power and from time to time use it to break a past and to dissolve it, in order to be able to live. He manages to do this by dragging the past before the court of justice, investigating it meticulously, and finally condemning it...

…It is always a dangerous process, that is, a dangerous process for life itself. And people or ages serving life in this way, by judging and destroying a past, are always dangerous and in danger. For since we are now the products of earlier generations, we are also the products of their aberrations, passions, mistakes, and even crimes. It is impossible to loose oneself from this chain entirely. When we condemn that confusion and consider ourselves released from it, then we have not overcome the fact that we are derived from it…

The dangers of history

When the historical sense reigns unchecked and drags with it all its consequences, it uproots the future, because it destroys illusions and takes from existing things the atmosphere in which they alone can live. Historical justice, even if it is practiced truly and with a purity of conviction, is therefore a fearful virtue, because it always undermines living and brings about its downfall. Its judgment is always an annihilation. If behind the historical drive no constructive urge is at work, if things are not destroyed and cleared away so that a future, something already alive in hope, builds its dwelling on the liberated ground, if justice alone rules, then the creative instinct is enfeebled and disheartened…

In effects like this, history is opposed by art. And only when history takes it upon itself to turn itself into an art work and thus to become a purely artistic picture can it perhaps maintain the instincts or even arouse them. Such historical writing, however, would thoroughly go against the analytical and inartistic trends of our time; indeed, they would consider it counterfeit. But history which only destroys, without an inner drive to build guiding it, makes its implements permanently blasé and unnatural. For such people destroy illusions, and "whoever destroys illusions in himself and others is punished by the strongest tyrant, nature."

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