Ainsi Parlait Zarathoustra

By Friedrich Nietzsche

Page 185

les mains de celui à qui il
s'adressait, et ses yeux débordaient de larmes, et il se comportait
tout comme si un présent ou un trésor précieux lui fût soudain tombé du
ciel. Les vaches cependant contemplaient tout cela avec étonnement.

"Ne parle pas de moi, homme singulier et charmant! répondit
Zarathoustra, en se défendant de ses caresses, parle-moi d'abord de
toi! N'est-tu pas le mendiant volontaire, qui jadis jeta loin de lui
une grande richesse, - qui eut honte de la richesse et des riches, et
qui s'enfuit chez les plus pauvres, afin de leur donner son abondance
et son coeur? Mais ils ne l'accueillirent point."

"Ils ne m'accueillirent point, dit le mendiant volontaire, tu le sais
bien. C'est pourquoi j'ai fini par aller auprès des animaux et auprès
de ces vaches."

"C'est là que tu as appris, interrompit Zarathoustra, combien il est
plus difficile de bien donner que de bien prendre, que c'est un _art_
de bien donner, que c'est la maîtrise dernière d'ingénieuse bonté."

"Surtout de nos jours, répondit le mendiant volontaire: aujourd'hui où
tout ce qui est bas s'est soulevé, farouche et orgueilleux de son
espèce: l'espèce populacière.

Car, tu le sais bien, l'heure est venue pour la grande insurrection de
la populace et des esclaves, l'insurrection funeste, longue et lente:
elle grandit et grandit toujours!

Aujourd'hui les petits se révoltent contre tout ce qui est bienfait et
aumône; que ceux qui sont trop riches se tiennent donc sur leurs gardes!

Malheur à qui, tel un flacon ventru, s'égoutte lentement par un goulot
trop étroit: - car c'est à ces flacons que l'on casse à présent
volontiers le col.

Convoitise lubrique, envie fielleuse, âpre soif de vengeance, fierté
populacière: tout cela m'a sauté au visage. Il n'est pas vrai que les
pauvres soient bienheureux. Le royaume des cieux, cependant, est chez
les vaches."

"Et pourquoi n'est-il pas chez les riches?" demanda Zarathoustra pour
l'éprouver, tandis qu'il empêchait les vaches de flairer familièrement
le pacifique apôtre.

"Pourquoi me tentes-tu? Répondit celui-ci. Tu le sais encore mieux que
moi. Qu'est-ce donc qui m'a poussé vers les plus pauvres, ô
Zarathoustra? N'était-ce pas le dégoût de nos plus riches? - de ces
forçats de la richesse, qui, l'oeil froid, le coeur dévoré de pensées
de lucre, savent tirer profit de chaque tas d'ordure - de toute cette
racaille dont l'ignominie crie vers le ciel, - de cette populace dorée
et falsifiée, dont les ancêtres avaient les doigts crochus, vautours ou
chiffonniers, de cette gent complaisante aux femmes, lubrique et
oublieuse: - car ils ne diffèrent guère des prostituées. -

Populace en haut!

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Text Comparison with Thoughts out of Season, Part I

Page 0
Thoughts Out Of Season - Part One by Friedrich Nietzsche THE COMPLETE WORKS OF FRIEDRICH NIETZSCHE The First Complete and Authorised English Translation EDITED BY DR.
Page 3
Not having been properly prepared for them, he will find the Zarathustra abstruse, the Ecce Homo conceited, and the Antichrist violent.
Page 25
At all events, the belief seems to be rife that we are in possession of a genuine culture, and the enormous incongruity of this triumphant satisfaction in the face of the inferiority which should be patent to all, seems only to be noticed by the few and the select.
Page 30
It must, however, be admitted that the provocation thereto was of an unusual character.
Page 31
In less confidential moments, however, it was just this weakness which masqueraded in the guise.
Page 45
435).
Page 49
VII.
Page 50
The very shadow of his deeds--his morality--shows us that he is a word-hero, and that he avoids everything which might induce him to transfer his energies from mere verbosity to really serious things.
Page 60
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Page 64
Then he not only exacts belief for the new Messiah, but also for himself--the new apostle.
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Page 72
And, since he generally devotes to reading those hours of the day during which his exhausted brain is in any case not inclined to offer resistance, his ear for his native tongue so slowly but surely accustoms itself to this everyday German that it ultimately cannot endure its absence without pain.
Page 84
And this is especially so with the artist, who, being born with a more than usual capacity for imitating, succumbs to the morbid multiformity of modern life as to a virulent disease of infancy.
Page 89
But let him fear who will, we shall only be the more courageous, in that we shall be permitted.
Page 102
is not openly exacted by civilised people, there is no greater evidence of this requisite relation of proportions; a striving after the agreeable dissimulation, already referred to, is on the contrary noticeable, though it is never so successful even if it be more eager than in the first instance.
Page 104
Meanwhile we must reckon the declared enemy of art as our best and most useful ally; for the object of his animosity is precisely art as understood by the "friend of art,"--he knows of no other kind! Let him be allowed to call our "friend of art" to account for the nonsensical waste of money occasioned by the building of his theatres and public monuments, the engagement of his celebrated singers and actors, and the support of his utterly useless schools of art and picture-galleries--to say nothing of all the energy, time, and money which every family squanders in pretended "artistic interests.
Page 105
The artist who happens to be moulded according to the modern pattern, however, regards the dreamy gropings and hesitating speech of his nobler colleague with contempt, and leads forth the whole brawling mob of assembled passions on a leash in order to let them loose upon modern men as he may think fit.
Page 124
His appearance in the history of art resembles nothing so much as a volcanic eruption of the united artistic faculties of Nature herself, after mankind had grown to regard the practice of a special art as a necessary rule.
Page 133
Unlike all previous musicians, there is nothing bombastic about him; for the former did not mind playing at times with their art, and making an exhibition of their virtuosity.
Page 141
XI.