Ainsi Parlait Zarathoustra

By Friedrich Nietzsche

Page 182

de la grande laideur, de la grande difformité.

Mon regard passe au-dessus de tous ceux-là, comme le regard du chien
domine les dos des grouillants troupeaux de brebis. Ce sont des êtres
petits, gris et laineux, pleins de bonne volonté et d'esprit moutonnier.

Comme un héron qui, la tête rejetée en arrière, fait planer avec mépris
son regard sur de plats marécages: ainsi je jette un coup d'oeil
dédaigneux sur le gris fourmillement des petites vagues, des petites
volontés et des petites âmes.

Trop longtemps on leur a donné raison, à ces petites gens: et c'est
_ainsi_ que l'on a fini par leur donner la puissance - maintenant ils
enseignent: "Rien n'est bon que ce que les petites gens appellent bon."

Et ce que l'on nomme aujourd'hui "vérité", c'est ce qu'enseigne ce
prédicateur qui sortait lui-même de leurs rangs, ce saint bizarre, cet
avocat des petites gens qui témoignait de lui-même "je - suis la

C'est ce présomptueux qui est cause que depuis longtemps déjà les
petites gens se dressent sur leurs ergots - lui qui, en enseignant "je
suis la vérité", a enseigné une lourde erreur.

Fit-on jamais réponse plus courtoise à pareil présomptueux? Cependant,
ô Zarathoustra, tu passas devant lui en disant: "Non! Non! Trois fois

Tu as mis les hommes en garde contre son erreur, tu fus le premier à
mettre en garde contre la pitié - parlant non pas pour tout le monde ni
pour personne, mais pour toi et ton espèce.

Tu as honte de la honte des grandes souffrances; et, en vérité, quand
tu dis: "C'est de la compassion que s'élève un grand nuage, prenez
garde, ô humains!" - quand tu enseignes: "Tous les créateurs sont durs,
tout grand amour est supérieur à sa pitié": ô Zarathoustra, comme tu me
sembles bien connaître les signes du temps!

Mais toi-même - garde-toi de ta -propre- pitié! Car il y en a beaucoup
qui sont en route vers toi, beaucoup de ceux qui se noient et qui
gèlent. -

Je te mets aussi en garde contre moi-même. Tu as deviné ma meilleure
et ma pire énigme, - qui j'étais et ce que j'ai fait. Je connais la
cognée qui peut t'abattre.

Cependant - il _fallut_ qu'il mourût: il voyait avec des yeux qui
voyaient _tout_, - il voyait les profondeurs et les abîmes de l'homme,
toutes ses hontes et ses laideurs cachées.

Sa pitié ne connaissait pas de pudeur: il fouillait les replis les plus
immondes de mon être. Il fallut que mourût ce curieux, entre tous les
curieux, cet indiscret, ce miséricordieux.

Il me voyait sans

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Text Comparison with Thoughts out of Season, Part I David Strauss, the Confessor and the Writer - Richard Wagner in Bayreuth.

Page 4
For this is what you are, dear Englishmen, and however well you brave, practical, materialistic John Bulls and Sancho Panzas may know this world, however much better you may be able to perceive, to count, to judge, and to weigh things than your ideal German Knight: there is an eternal law in this world that the Sancho Panzas have to follow the Don Quixotes; for matter has to follow the spirit, even the poor spirit of a German philosopher! So it has been in the past, so it is at present, and so it will be in the future; and you had better prepare yourselves in time for the eventuality.
Page 12
In the attack on Strauss he will immediately detect the germ of the whole of Nietzsche's subsequent attitude towards too hasty contentment and the foolish beatitude of the "easily pleased"; in the paper on Wagner he will recognise Nietzsche the indefatigable borer, miner and underminer, seeking to define his ideals, striving after self-knowledge above all, and availing himself of any contemporary approximation to his ideal man, in order to press it forward as the incarnation of his thoughts.
Page 18
Page 21
Culture is, before all things, the unity of artistic style, in every expression of the life of a people.
Page 28
On such occasions it often happens that a great deal comes to light which would otherwise have been most stead-fastly concealed, and one of them may even be heard to blurt out the most precious secrets of the whole brotherhood.
Page 42
At all events, the "becoming modesty" of which Strauss speaks in the above-mentioned passage, where he is referring to Beethoven, can only be a stylistic and not a moral manner of speech.
Page 46
In order, however, to adduce the most striking instance of this dissolute vulgarity of sentiment, let it suffice, here, to observe that Strauss knows no other means of accounting for the terribly serious negative instinct and the movement of ascetic sanctification which characterised the first century of the Christian era, than by supposing the existence of a previous period of surfeit in the matter of all kinds of sexual indulgence, which of itself brought about a state of revulsion and disgust.
Page 49
Wherever neutrality is abandoned in this respect, it is owing to an anthropomorphic attitude of mind which allows reason to exceed its proper bounds.
Page 53
However painfully this unanimity may strike the true friend of German culture, it is his duty to be unrelenting in his explanation of it as a phenomenon, and not to shrink from making this explanation public.
Page 67
Strauss the Genius goes gadding about the streets in the garb of lightly equipped goddesses as a classic, while Strauss the Philistine, to use an original expression of this genius's, must, at all costs, be "declared to be on the decline," or "irrevocably dismissed.
Page 69
" And, in truth, if one turn to the latest periodicals, one will find German philologists and grammarians already giving expression to the view that our classics can no longer serve us as examples of style, owing to the fact that they constantly use words, modes of speech, and syntactic arrangements which are fast dropping out of currency.
Page 90
In the person of Wagner I recognise one of these anti-Alexanders: he rivets and locks together all that is isolated, weak, or in any way defective; if I may be allowed to use a medical expression, he has an _astringent_ power.
Page 93
Nevertheless, it demands silence of us as long as it keeps us in view; for art does not serve the purposes of war, but is merely with us to improve our hours of respite, before and during the course of the contest,--to improve those few moments when, looking back, yet dreaming of the future, we seem to understand the symbolical, and are carried away into a refreshing reverie when fatigue overtakes us.
Page 102
The naturalists endeavour to classify the animal outbreaks of violence, ruse and revenge, in the present relations between nations and individual men, as immutable laws of nature.
Page 112
Modern art.
Page 116
He who is worthy of knowing what took place in him at that time or what questions were thrashed out in the darkest holy of holies in his soul--and not many are worthy of knowing all this--must hear, observe, and experience Tristan and Isolde, the real _opus metaphysicum_ of all art, a work upon which rests the broken look of a dying man with his insatiable and sweet craving for the secrets of night and death, far away from life which throws a horribly spectral morning light, sharply, upon all that is evil, delusive, and sundering: moreover, a drama austere in the severity of its form, overpowering in its simple grandeur, and in harmony with the secret of which it treats--lying dead in the midst of life, being one in two.
Page 117
For the present they only brought him the warrant that his great work could be entrusted to the care and charge of faithful men, men who would watch and be worthy to watch over this most magnificent of all legacies to posterity.
Page 121
The Ring of the Nibelung is a huge system of thought without the usual abstractness of the latter.
Page 123
For in real life passions do not speak in sentences, and the poetical element often draws suspicion upon their genuineness when it departs too palpably from reality.
Page 128
Like Demosthenes, he conceals his art.