“Most of the morals that people strongly believe in are just fads that come and go with the passing of time.”

Source: The Merry Adventures of Robin Hood

Sec. 6 (Notebook W II 2. Autumn 1887, KGW VIII, 2.237, KSA 12.571 [citations are to Nietzsche's manuscripts by archival code, and the page numbers in which the entire section can be found transcribed therefrom, in the hardcover and softcover historical-critical editions]).
The Will to Power (1888)

"Taste for Makers" http://www.paulgraham.com/taste.html, February 2002

Source: The Uncommon Reader

Source: Night

Preface of M. Quetelet
A Treatise on Man and the Development of His Faculties (1842)
Context: But is the anatomy of man not a more painful science still?—that science which leads us to dip our hands into the blood of our fellow-beings to pry with impassible curiosity into parts and organs which once palpitated with life? And yet who dreams this day of raising his voice against the study? Who does not applaud, on the contrary, the numerous advantages which it has conferred on humanity? The time is come for studying the moral anatomy of also, and for uncovering its most afflicting aspects, with the view of providing remedies.

The Expanding Universe (1963)
Context: Because of the very nature of the world as it is today our children receive in school a heavy load of scientific and analytic subjects, so it is in their reading for fun, for pleasure, that they must be guided into creativity. There are forces working in the world as never before in the history of mankind for standardization, for the regimentation of us all, or what I like to call making muffins of us, muffins all like every other muffin in the muffin tin. This is the limited universe, the drying, dissipating universe, that we can help our children avoid by providing them with “explosive material capable of stirring up fresh life endlessly.”
So how do we do it? We can’t just sit down at our typewriters an turn out explosive material. I took a course in college on Chaucer, one of the most explosive, imaginative, and far-reaching in influence of all writers. And I’ll never forget going to the final exam and being asked why Chaucer used certain verbal devices, certain adjectives, why he had certain characters behave in certain ways. And I wrote in a white heat of fury, “I don’t think Chaucer had any idea why he did any of these thing. That isn’t the way people write.”
I believe this as strongly now as I did then. Most of what is best in writing isn’t done deliberately.

Charles Dickens: The Pickwick Papers (p. 102)
More Classics Revisited (1989)

Source: Space—Time—Matter (1952), Ch. 3 "Relativity of Space and Time"<!-- p. 217 -->
Context: The scene of action of reality is not a three-dimensional Euclidean space but rather a four-dimensional world, in which space and time are linked together indissolubly. However deep the chasm may be that separates the intuitive nature of space from that of time in our experience, nothing of this qualitative difference enters into the objective world which physics endeavors to crystallize out of direct experience. It is a four-dimensional continuum, which is neither "time" nor "space". Only the consciousness that passes on in one portion of this world experiences the detached piece which comes to meet it and passes behind it as history, that is, as a process that is going forward in time and takes place in space.