Ainsi Parlait Zarathoustra

By Friedrich Nietzsche

Page 225

moins empressées
dans leur amour que le lion, et, chaque fois qu'une colombe voltigeait
sur le nez du lion, le lion secouait la tête avec étonnement et se
mettait à rire.

En voyant tout cela, Zarathoustra ne dit qu'une seule parole: "_Mes
enfants sont proches, mes enfants_", - puis il devint tout à fait muet.
Mais son coeur était soulagé, et de ses yeux coulaient des larmes qui
tombaient sur ses mains. Et il ne prenait garde à aucune chose, et il
se tenait assis là, immobile, sans se défendre davantage contre les
animaux. Alors les colombes voletèrent çà et là, se placèrent sur son
épaule, en caressant ses cheveux blancs, et elles ne se fatiguèrent
point dans leur tendresse et dans leur félicité. Le vigoureux lion,
cependant, léchait sans cesse les larmes qui tombaient sur les mains de
Zarathoustra en rugissant et en grondant timidement. Voilà ce que
firent ces animaux. -

Tout cela dura longtemps ou bien très peu de temps: car véritablement
il n'y a _pas_ de temps sur la terre pour de pareilles choses. - Mais
dans l'intervalle les hommes supérieurs s'étaient réveillés dans la
caverne de Zarathoustra, et ils se préparaient ensemble à aller en
cortège au devant de Zarathoustra, afin de lui présenter leur
salutation matinale: car en se réveillant ils avaient remarqué qu'il
n'était déjà plus parmi eux. Mais lorsqu'ils furent arrivés à la porte
de la caverne, précédés par le bruit de leurs pas, le lion dressa les
oreilles vivement et, se détournant tout à coup de Zarathoustra, sauta
vers la caverne, avec des hurlements furieux; les hommes supérieurs
cependant, en l'entendant hurler, se mirent tous à crier d'une seule
voix et, fuyant en arrière, ils disparurent en un clin d'oeil.

Mais Zarathoustra lui-même, abasourdi et distrait, se leva de son
siège, regarda autour de lui, se tenant debout, étonné, il interrogea
son coeur, réfléchit et demeura seul. "Qu'est-ce que j'ai entendu?
dit-il enfin, lentement, que vient-il de m'arriver?"

Et déjà le souvenir lui revenait et il comprit d'un coup d'oeil tout ce
qui s'était passé entre hier et aujourd'hui. "Voici la pierre, dit-il
en se caressant la barbe, c'est _là_ que j'étais assis hier matin: et
c'est là que le devin s'est approché de moi, c'est là que j'entendis
pour la première fois le cri que je viens d'entendre, c'est _votre_
détresse que me prédisait hier matin ce vieux devin, - c'est vers votre
détresse qu'il voulut me conduire pour me tenter: ô Zarathoustra,
m'a-t-il dit, je viens pour t'induire à ton dernier péché.

A mon dernier péché? s'écria Zarathoustra en riant

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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
aren't you accustomed to criticism on the part of German philosophers? Is it not the ancient and time-honoured privilege of the whole range of them from Leibnitz to Hegel--even of German poets, like Goethe and Heine--to call you bad names and to use unkind language towards you? Has there not always been among the few thinking heads in Germany a silent consent and an open contempt for you and your ways; the sort of contempt you yourselves have for the even more Anglo-Saxon culture of the Americans? I candidly confess that in my more German moments I have felt and still feel as the German philosophers do; but I have also my European turns and moods, and then I try to understand you and even excuse you, and take your part against earnest and thinking Germany.
Page 11
For the eyes of the old Jew, apparently so dreamy and so far away, have suddenly become fixed upon something in the distance yonder.
Page 15
All his hope for the future of Germany and Europe cleaved, as it were, to this highest manifestation of their people's life, and gradually he began to invest his already great friend with all the extra greatness which he himself drew from the depths of his own soul.
Page 17
Nietzsche's infatuation we have explained; the consequent idealisation of the object of his infatuation he himself has confessed; we have also pointed certain passages which we believe show beyond a doubt that almost everything to be found in _The Case of Wagner_ and _Nietzsche contra Wagner_ was already subconscious in our author, long before he had begun to feel even a coolness towards his hero: let those who think our interpretation of the said passages is either strained or unjustified turn to the literature to which we have referred and judge for themselves.
Page 25
But, in order to be able thus to misjudge, and thus to grant left-handed veneration to our classics, people must have ceased to know them.
Page 27
From this time forward he began to allow every one, and even himself, to reflect, to investigate, to æstheticise, and, more particularly, to make poetry, music, and even pictures--not to mention systems philosophy; provided, of course, that everything were done according to the old pattern, and that no assault were made upon the "reasonable" and the "real"--that is to say, upon the Philistine.
Page 29
His spirit, however, lacked hardness.
Page 63
"Lightly equipped," and "intentionally so," thus Strauss himself speaks of his own book.
Page 70
" If any one attempted to compose a positive grammar out of the international German style of to-day, and wished to trace the unwritten and unspoken laws followed by every one, he would get the most extraordinary notions of style and rhetoric.
Page 71
He treats us to a simile, covering a page and a half, drawn from modern road-improvement work; a few pages farther back he likens the world to a machine, with its wheels, stampers, hammers, and "soothing oil" (p.
Page 74
It is really a painful sight to see a fine old language, possessed of classical literature, being botched by asses and ignoramuses!" Thus Schopenhauer's holy anger cries out to us, and you cannot say that you have not been warned.
Page 76
Page 80
The small world within the bounds of which he grew up was not of the kind we should choose to be the home of an artist.
Page 85
From a novice trying his strength, Wagner became a thorough master of music and of the theatre, as also a prolific inventor in the preliminary technical conditions for the execution of art.
Page 88
And it was this highest self which exacted _from his versatile spirit.
Page 109
What has hitherto been invisible, the inner life, seeks its salvation in the region of the visible; what has hitherto been only visible, repairs to the dark ocean of sound: _thus Nature, in trying to conceal herself, unveils the character of her contradictions_.
Page 112
Every subsequent stage in Wagner's development may be distinguished thus, that the two fundamental powers of his nature drew ever more closely together: the aversion of the one to the other lessened, the higher self no longer condescended to serve its more violent and baser brother; it loved him and felt compelled to serve him.
Page 122
All these are things which have entered the language through sin and depravity.
Page 123
When, however, the language of a people is already in a state of decay and deterioration, the word-dramatist is tempted to impart an undue proportion of new colour and form both to his medium and to his thoughts; he would elevate the language in order to make it a vehicle capable of conveying lofty feelings, and by so doing he runs the risk of becoming abstruse.
Page 129
No one will ever be able to appreciate what severity evenness of will, and self-control the artist required during his development, in order, at his zenith, to be able to do the necessary thing joyfully and freely.