De grote stijl.

"Nietzsche finds his idea of organized and organizing power - central in these notions of nobility, integrity, and style - expressed at a maximum in what he calls 'the classic style' or 'the great style,' a type which he describes in deliberate antithesis to romanticism".
[George Morgan, What Nietzsche Means, pagina 229.]

"An artist cannot be measured by the 'beautiful feelings' he arouses: leave that idea to females. But according to the degree to which he approaches the grand style, to which he is capable of the grand style. This style has this in common with great passion, that it disdains to please; that it forgets to persuade; that it commands; that it wills-- To become master of the chaos one is; to compel one's chaos to become form: to become logical, simple, unambiguous, mathematics, law - that is the grand ambition here.-- It repels; such men of great force are no longer loved - a desert spreads around them, a silence, a fear as in the presence of some great sacrilege-- All the arts know such aspirants to the grand style: why are they lacking in music? No musician has yet built as that architect did who created the Palazzo Pitti-- Here lies a problem. Does music perhaps belong to that culture in which the domain of men of force of all kinds has ceased? Does the concept grand style ultimately stand in contradiction to the soul of music - to the 'woman' in our music?"
[Nietzsche, The Will to Power, paragraaf 842.]

"Wat de Arische voorstelling onderscheidt is het verheven idee van de actieve zonde als de eigenlijk Prometheïsche deugd".
[Nietzsche, De geboorte van de tragedie, hoofdstuk 9.]

"Ik heb speciaal, uit boosaardigheid jegens [Schumann], een tegen-ouverture voor de Manfred [van Byron] gecomponeerd, waarvan Hans von Bülow zei dat hij nog nooit zoiets op notenpapier had gezien: dat was verkrachting van Euterpe."
[Nietzsche, Ecce homo, "Waarom ik zo schrander ben", 4.]