- nous les avons trouvées tout seuls à nous deux! C'est
pourquoi il faut que nous nous aimions l'un l'autre!
Et si même nous ne nous aimons pas du fond du coeur, - faut-il donc
s'en vouloir, quand on ne s'aime pas du fond du coeur?
Et que je t'aime, que je t'aime souvent de trop, tu sais cela: et la
raison en est que je suis jaloux de ta sagesse. Ah! cette vieille folle
Si ta sagesse se sauvait une fois de toi, hélas! vite mon amour, lui
aussi, se sauverait de toi." -
Alors la vie regarda pensive derrière elle et autour d'elle et elle dit
à voix basse: "O Zarathoustra, tu ne m'es pas assez fidèle!
Il s'en faut de beaucoup que tu ne m'aimes autant que tu le dis; je
sais que tu songes à me quitter bientôt.
Il y a un vieux bourdon, lourd, très lourd: il sonne la nuit là-haut,
jusque dans ta caverne: - quand tu entends cette cloche sonner les
heures à minuit, tu songes à me quitter entre une heure et minuit: - tu
y songes, ô Zarathoustra, je sais que tu veux bientôt m'abandonner!" -
"Oui, répondis-je en hésitant, mais tu le sais aussi -" Et je lui dis
quelque chose à l'oreille, en plein dans ses touffes de cheveux
embrouillées, dans ses touffes jaunes et folles.
"Tu _sais_ cela, ô Zarathoustra? Personne ne sait cela -"
Et nous nous sommes regardés, nous avons jeté nos regards sur la vertre
prairie, où passait la fraîcheur du soir, et nous avons pleuré
ensemble. - Mais alors la vie m'était plus chère que ne m'a jamais été
toute ma sagesse. -
Ainsi parlait Zarathoustra.
O homme prends garde!
Que dit minuit profond?
"J'ai dormi, j'ai dormi -,
"D'un rêve profond je me suis éveillé: -
"Le monde est profond,
"Et plus profond que ne pensait le jour.
"Profonde est sa douleur -,
"La joie - plus profonde que l'affliction.
"La douleur dit: Passe et finis!
"Mais toute joie veut l'éternité -
" - veut la profonde éternité!"
LES SEPT SCEAUX
(_ou: Le chant de L'Alpha et de L'Oméga_)
Si je suis un devin et plein de cet esprit divinatoire qui chemine sur
une haute crête entre deux mers, - qui chemine entre le passé et
l'avenir, comme un lourd nuage, - ennemi de tous les étouffants
bas-fonds, de tout ce qui est fatigué et qui ne peut ni mourir ni
vivre: prêt à l'éclair dans le sein obscur, prêt au rayons de clarté
rédempteur, gonflé d'éclairs affirmateurs! qui se rient de leur
affirmation! prêt à des foudres divinatrices: - mais bienheureux celui
But as Nietzsche no longer belongs to the Quixotic class, as Germany seems to emerge with him from her youthful and cranky nebulosity, you will not even have the.Page 8
have been embraced with much more fervour by other nations than by that in which they originated.Page 15
Nietzsche, as a matter of fact, had neither the spite nor the meanness requisite for the purely personal attack.Page 25
Owing to this lack of self-knowledge, he is convinced that his "culture" is the consummate manifestation of real German culture; and, since he everywhere meets with scholars of his own type, since all public institutions, whether schools, universities, or academies, are so organised as to be in complete harmony with his education and needs, wherever he goes he bears with him the triumphant feeling that he is the worthy champion of prevailing German culture, and he frames his pretensions and claims accordingly.Page 29
No, in their desire to acquire an historical grasp of everything, stultification became the sole aim of these philosophical admirers of "nil admirari.Page 43
" For our Master is a favourite of the Graces, and these have informed him that they only accompanied Beethoven part of the way, and that he then lost sight of them.Page 52
At this stage, and in this embarrassing position, Strauss even suggests a metaphysical hypothesis--the driest and most palsied ever conceived--and, in reality, but an unconscious parody of one of Lessing's sayings.Page 68
" With this we have betrayed a secret.Page 72
"If the existing state of affairs continues," he says, "in the year 1900 German classics will cease to be understood, for the simple reason that no other language will be known, save the trumpery jargon of the noble present, the chief characteristic of which is impotence.Page 73
Hence the tutti unisono with which, despite the general lethargy and sickliness, every fresh solecism is greeted; it is with such impudent corruptions of the language that her hirelings are avenged against her for the incredible boredom she imposes ever more and more upon them.Page 76
" That is why they so unanimously hate every firmitas, because it bears testimony to a kind of health quite different from theirs; hence their one wish to throw suspicion upon all austerity and terseness, upon all fiery and energetic movement, and upon every full and delicate play of muscles.Page 80
"I had only you to turn to," he said, "when I sought those who I thought would be in sympathy with my plans,-- you who are the most personal friends of my own particular art, my work and activity: only you could I invite to help me in my work, that it might be presented pure and whole to those who manifest a genuine interest in my art, despite the fact that it has hitherto made its appeal to them only in a disfigured and adulterated form.Page 83
There was, however, an ante-dramatic period in Wagner's life--his childhood and youth-- which it is impossible to approach without discovering innumerable problems.Page 89
For the exceptional character of such conduct to be appreciated fully, it should be compared with that of Goethe,-- he who, as a student and as a sage, resembled nothing so much as a huge river-basin, which does not pour all its water into the sea, but spends as much of it on its way there, and at its various twists and turns, as it ultimately disgorges at its mouth.Page 104
Behind all our artistic pastimes-- theatres, museums, concerts, and the like--that aforementioned "friend of art" is to be found, and he it is who must be suppressed: the favour he now finds at the hands of the State must be changed into oppression; public opinion, which lays such particular stress upon the training of this love of art, must be routed by better judgment.Page 111
For this reason, we others are in much greater need of art; because.Page 119
And then only, with this terrible change in his environment and in his soul, there begins that period of the great man's life over which as a golden reflection there is stretched the splendour of highest mastery.Page 126
All these are things which have entered the language through sin and depravity.Page 130
and primitive stages in the development of music.Page 138
Their dialectics is constantly interrupted, and their course is more retarded than accelerated by outbursts of feeling; a certain reluctance on the part of the writer seems to hang over them like a pall, just as though the artist were somewhat ashamed of speculative discussions.