‘He thinks he is placed as a spectator and auditor before the great pantomime and concert of life; he calls his nature a contemplative nature, and thereby overlooks the fact that he himself is also a real creator, and continuous poet of life, – that he no doubt differs greatly from the actor in this drama, the so-called practical man, but differs still more from a mere onlooker or spectator before the stage. There is certainly vis contemplativa, and re-examination of his work peculiar to him as poet, but at the same time, and first and foremost, he has the vis creativa, which the practical man or doer lacks, whatever appearance and current belief may say to the contrary. It is we, who think and feel, that actually and unceasingly make something which did not before exist: the whole eternally increasing world of valuations, colours, weights, perspectives, gradations, affirmations and negations. This composition of ours is continually learnt, practised, and translated into flesh and actuality, and even into the commonplace, by the so-called practical men (our actors, as we have said). Whatever has value in the present world, has not it in itself, by its nature, – nature is always worthless: – but a value was once given to it, bestowed upon it and it was we who gave and bestowed! We only have created the world which is of any account to man! But it is precisely this knowledge that we lack, and when we get hold of it for a moment we have forgotten it the next: we misunderstand our highest power, we contemplative men, and estimate ourselves at too low a rate, – we are neither as proud nor as happy as we might be.’ [The Joyful Science, aphorism 301].