In Chapter 18 of Nietzsche's The Birth of Tragedy, we find a purview, and at the end, perhaps a warning.

It is an eternal phenomenon: the insatiable will always find a way to detain its creatures in life and compel them to live on, by means of an illusion spread over things. One is chained by the Socratic love of knowledge and the delusion of being able thereby to heal the eternal wound of existence; another is ensnared by art's seductive veil of beauty fluttering before his eyes; still another by the metaphysical comfort that beneath the whirl of phenomena eternal life flows on indestructibly--to say nothing of the more vulgar and almost more powerful illusions which the will always has at hand. These three stages of illusion are actually designed only for the more nobly formed natures, who actually feel profoundly the weight and burden of existence, and must be deluded by exquisite stimulants into forgetfulness of their displeasure. All that we call culture is made up of these stimulants; and, according to the proportion of the ingredients, we have either a dominantly Socratic or artistic or tragic culture; or, if historical exemplifications are permitted, there is either an Alexandrian or a Hellenic or a Buddhistic culture.

Our whole modern world is entangled in the net of Alexandrian culture. It proposes as its ideal the theoretical man equipped with the greatest forces of knowledge, and laboring in the service of science, whose archetype and progenitor is Socrates. All our educational methods originally have this ideal in view: every other form of existence must struggle on laboriously beside it, as something tolerated, but not intended. In an almost alarming manner the culture man was for a long time found only in the form of the scholar: even our poetical arts have been forced to evolve from scholarly imitations, and in the main effect, that of rhyme, we still recognize the origin of our poetic form from artificial experiments with a nonindigenous, really scholarly language. How unintelligible must Faust, the modern cultured man, who is in himself intelligible, have appeared to a true Greek--Faust, storming unsatisfied through all the faculties, devoted to magic and the devil from a desire for knowledge; Faust, whom we have but to place beside Socrates for the purpose of comparison, in order to see that modern man is beginning to divine the limits of this Socratic love of knowledge and yearns for a coast in the wide waste of the ocean of knowledge. When Goethe on one occasion said to Eckermann with reference to Napoleon: "Yes, my good friend, there is also a productiveness of deeds," he reminded us in a charmingly naïve manner that the nontheorist is something incredible and astounding to modern man; so that we again have need of the wisdom of Goethe to discover that such a surprising form of existence is not only comprehensible, but even pardonable.

Now we must not hide from ourselves what is concealed in the womb of this Socratic culture: optimism, with its delusion of limitless power. We must not be alarmed if the fruits of this optimism ripen--if society, leavened to the very lowest strata by this kind of culture, gradually begins to tremble with wanton agitations and desires, if the belief in the earthly happiness of all, if the belief in the possibility of such a general intellectual culture changes into the threatening demand for such an Alexandrian earthly happiness, into the conjuring up of a Euripidean deus ex machina.

Let us mark this well: the Alexandrian culture, to be able to exist permanently, requires a slave class, but with its optimistic view of life it denies the necessity of such a class, and consequently, when its beautifully seductive and tranquilizing utterances about the "dignity of man" and the "dignity of labor" are no longer effective, it gradually drifts toward a dreadful destruction. There is nothing more terrible than a class of barbaric slaves who have learned to regard their existence as an injustice, and now prepare to avenge, not only themselves, but all generations. In the face of such threatening storms, who dares to appeal with any confidence to our pale and exhausted religions, the very foundations of which have degenerated into scholarly religions? Myth, the necessary prerequisite of any religion, is already paralyzed everywhere, and even in this domain the optimistic spirit, which we have just designated as the germ of destruction in our society, has attained the mastery.

While the disaster gradually slumbering in the womb of theoretical culture gradually begins to frighten modern man, and he anxiously ransacks the stores of his experience for means to avert the danger, though he has no great faith in these means; while he, therefore, begins to divine the consequences of his situation--great men, universally gifted, have contrived, with an incredible amount of thought, to make use of the paraphernalia of science itself, to point out the limits and the relativity of knowledge generally, and thus to deny decisively the claim of science to universal validity and universal aims. And their demonstration diagnosed for the first time the illusory notion which pretends to be able to fathom the innermost essence of things with the aid of causality. The extraordinary courage and wisdom of Kant and Schopenhauer have succeeded in gaining the most difficult victory, the victory over the optimism concealed in the essence of logic--an optimism that is the basis of our culture. While this optimism, resting on apparently unobjectionable aeternae veritates [Eternal verities.], had believed that all the riddles of the universe could be known and fathomed, and had treated space, time, and causality as entirely unconditional laws of the most universal validity, Kant showed that these really served only to elevate the mere phenomenon, the work of maya, to the position of the sole and highest reality, as if it were the innermost and true essence of things, thus making impossible any knowledge of this essence or, in Schopenhauer's words, lulling the dreamer still more soundly asleep.

With this insight a culture is inaugurated that I venture to call a tragic culture. Its most important characteristic is that wisdom takes the place of science as the highest end--wisdom that, uninfluenced by the seductive distractions of the sciences, turns with unmoved eyes to a comprehensive view of the world, and seeks to grasp, with sympathetic feelings of love, the eternal suffering as its own.

Let us imagine a coming generation with such intrepidity of vision, with such a heroic penchant for the tremendous; let us imagine the bold stride of these dragon-slayers, the proud audacity with which they turn their back on all the weaklings' doctrines of optimism in order to "live resolutely" in wholeness and fullness: would it not be necessary for the tragic man of such a culture, in view of his self-education for seriousness and terror, to desire a new art, the art of metaphysical comfort, to desire tragedy as his own proper Helen, and to exclaim with Faust:

Should not my longing overleap the distance
 And draw the fairest form into existence?

[From Goethe's Faust, lines 7438 ff.]

But now that the Socratic culture can only hold the scepter of its infallibility with trembling hands; now that it has been shaken from two directions--once by the fear of its own consequences which it at length begins to surmise, and again because it no longer has its naïve confidence in the eternal validity of its foundation--it is a sad spectacle to see how the dance of its thought rushes longingly toward ever-new forms, to embrace them, and then, shuddering, lets them go suddenly as Mephistopheles does the seductive Lamiae [Faust, lines 7766 ff.]. It is certainly the sign of the "breach" of which everyone speaks as the fundamental malady of modern culture, that the theoretical man, alarmed and dissatisfied at his own consequences, no longer dares entrust himself to the terrible icy current of existence: he runs timidly up and down the bank. So thoroughly has he been pampered by his optimistic views that he no longer wants to have anything whole, with all of nature's cruelty attaching to it. Besides, he feels that a culture based on the principles of science must be destroyed when it begins to grow illogical, that is, to retreat before its own consequences. Our art reveals this universal distress: in vain does one depend imitatively on all the great productive periods and natures; in vain does one accumulate the entire "world-literature" around modern man for his comfort; in vain does one place oneself in the midst of the art styles and artists of all ages, so that one may give names to them as Adam did to the beasts: one still remains externally hungry, the "critic" without joy and energy, the Alexandrian man, who is at bottom a librarian and corrector of proofs, and wretchedly goes blind from the dust of books and from printers' errors.

In another book, The Nietzsche Reader, published in 2006 and edited by Keith Ansell Pearson and Duncan Large, the last sentence is translated as this particular favorite (emphasis my own):

. . . so that he might, like Adam with the animals, give them a name: he still remains eternally hungry, the weak and joyless 'critic', the Alexandrian man, who is basically a wretched librarian and proof-reader blinded by book dust and printer's errors.