Ainsi Parlait Zarathoustra

By Friedrich Nietzsche

Page 181

sais bien, ce que ressent en son âme celui qui a
tué Dieu, - le meurtrier de Dieu: Reste! Assieds-toi là auprès de moi,
ce ne sera pas en vain.

Vers qui irais-je si ce n'est vers toi? Reste, assieds-toi. Mais ne
me regarde pas! Honore ainsi - ma laideur!

Ils me persécutent: maintenant _tu_ es mon suprême refuge. _Non_
qu'ils me poursuivent de leur haine ou de leurs gendarmes: - oh! je me
moquerais de pareilles persécutions, j'en serais fier et joyeux!

Les plus beaux succès ne furent-ils pas jusqu'ici pour ceux qui furent
le mieux persécutés? Et celui qui poursuit bien apprend aisément à
_suivre_: - aussi bien n'est-il pas déjà - par derrière! Mais c'est
leur _compassion_ - c'est leur compassion que je fuis et c'est contre
elle que je cherche un refuge chez toi. O Zarathoustra, protège-moi,
toi mon suprême refuge, toi le seul qui m'aies deviné: - tu as deviné
ce que ressent en son âme celui qui a tué Dieu. Reste! Et si tu veux
t'en aller, voyageur impatient: ne prends pas le chemin par lequel je
suis venu. _Ce_ chemin est mauvais.

M'en veux-tu de ce que, depuis trop longtemps, j'écorche ainsi mes
mots? De ce que déjà je te donne des conseils? Mais sache-le, c'est
moi, le plus laid des hommes, - celui qui a les pieds les plus grands
et les plus lourds. Partout où _moi_ j'ai passé, le chemin est
mauvais. Je défonce et je détruis tous les chemins.

Mais j'ai bien vu que tu voulais passer en silence près de moi, et j'ai
vu ta rougeur: c'est par là que j'ai reconnu que tu étais Zarathoustra.

Tout autre m'eût jeté son aumône, sa compassion, du regard et de la
parole. Mais pour accepter l'aumône je ne suis pas assez mendiant, tu
l'as deviné.

Je suis trop _riche_, riche en choses grandes et formidables, les plus
laides et les plus innommables! Ta honte, ô Zarathoustra, m'a fait

A grand peine j'ai échappé à la cohue des miséricordieux, afin de
trouver le seul qui, entre tous, enseigne aujourd'hui que "la
compassion est importune" - c'est toi, ô Zarathoustra! - que ce soit la
pitié d'un Dieu ou la pitié des hommes: la compassion est une offense à
la pudeur. Et le refus d'aider peut être plus noble que cette vertu
trop empressée à secourir.

Mais c'est cette vertu que les petites gens tiennent aujourd'hui pour
la vertu par excellence, la compassion: ils n'ont point de respect de
la grande infortune,

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Text Comparison with Early Greek Philosophy & Other Essays Collected Works, Volume Two

Page 3
Page 6
Here is to be found the source of that secret wrath nourished by Communists and Socialists of all times, and also by their feebler descendants, the white race of the "Liberals," not only against the arts, but also against classical antiquity.
Page 21
With regard however to the origin of music, I have already explained that that can never lie in the Will, but must rather rest in the lap of that force, which under the form of the "Will" creates out of itself a visionary world: _the origin of music lies beyond all individuation,_ a proposition, which after our discussion on the Dionysean self-evident.
Page 22
What therefore shall we think of that awful æsthetic superstition that Beethoven himself made a solemn statement as to his belief in the limits of absolute music, in that fourth movement of the Ninth Symphony, yea that he as it were with it unlocked the portals of a new art, within which music had been enabled to represent even metaphor and idea and whereby music had been opened to the "conscious mind.
Page 31
What a gulf of ethical judgment between us and him? Because he is envious he also feels, with every superfluity of honour, riches, splendour and fortune, the envious eye of a god resting on himself, and he fears this envy; in this case the latter reminds him of the transitoriness of every human lot; he dreads his very happiness and, sacrificing the best of it, he bows before the divine envy.
Page 33
Distrustfully jealous, the great musical masters, Pindar and Simonides, stepped side by side; in rivalry the sophist, the higher teacher of antiquity meets his fellow-sophist; even the most universal kind of instruction, through the drama, was imparted to the people only under the form of an enormous wrestling of the great musical and dramatic artists.
Page 35
They must appear so, because they want to think, and because a loathsome sight and a confused noise, perhaps even mixed with the trumpet-flourishes of war-glory, disturb their thinking, and above all, because they want to _believe_ in the German character and because with this faith they would lose their strength.
Page 39
It is possible to shape the picture of a man out of three anecdotes.
Page 47
Especially powerful is the strength of Fancy in the lightning-like seizing and illuminating of similarities; afterwards reflection applies its standards and models and seeks to substitute the similarities by equalities, that which was seen side by side by causalities.
Page 57
Placing confidence in the essential part of Thales' theory, and strengthening and adding to the latter's observations, Anaximander however was not to be convinced that before the water and, as it were, after the water there was no further stage of quality: no, to him out of the Warm and the Cold the Moist seemed to form itself, and the Warm and the Cold therefore were.
Page 59
" Is not the whole world-process now an act of punishment of the Hybris? The plurality the result of a crime? The transformation of the pure into the impure, the consequence of injustice? Is not the guilt now shifted into the essence of the things and indeed, the world of Becoming and of individuals accordingly exonerated from guilt; yet at the same time are they not condemned for ever and ever to bear the consequences of guilt? 7 That dangerous word, Hybris, is indeed the touchstone for every Heraclitean; here he may show whether he has understood or mistaken his master.
Page 60
In the highest and the most perverted men the same inherent lawfulness and justice manifest themselves.
Page 62
Such men live in their own solar-system--one has to look for them there.
Page 74
With all their proofs they start from the wholly undemonstrable, yea improbable assumption that in that apprehensive faculty we possess the decisive, highest criterion of "Being" and "Not-Being," _i.
Page 75
If Motion however has such a "Being," then to Motion applies what applies to the "Existent" in general: it is increate, eternal, indestructible, without increase or decrease.
Page 88
For even though the Mind at a point causes a circular movement its continuation is only conceivable with great difficulty, especially since it is to be infinite and gradually to make all existing masses rotate.
Page 89
The Anaxagorean Mind is an artist and in truth the most powerful genius of mechanics and architecture, creating with the simplest means the most magnificent forms and tracks and as it were a mobile architecture, but always out of that irrational arbitrariness which lies in the soul of the artist.
Page 94
The secondary qualities of matter, νόμῳ, not of Matter-In-Itself.
Page 97
They are deeply immersed in illusions and dream-fancies; their eyes glance only over the surface of things and see "forms"; their sensation nowhere leads to truth, but contents itself with receiving stimuli and, so to say, with playing hide-and-seek on the back of things.
Page 108
of them, without even enforcing for himself happiness out of the abstractions; whereas he strives after the greatest possible freedom from pains, the intuitive man dwelling in the midst of culture has from his intuitions a harvest: besides the warding off of evil, he attains a continuous in-pouring of enlightenment, enlivenment and redemption.