amis et les enfants d'une seule
espérance: alors je veux être auprès de vous, une troisième fois, pour
fêter, avec vous, le grand midi.
Et ce sera le grand midi, quand l'homme sera au milieu de sa route
entre la bête et le Surhumain, quand il fêtera, comme sa plus haute
espérance, son chemin qui mène à un nouveau matin.
Alors celui qui disparaît se bénira lui-même, afin de passer de l'autre
côté; et le soleil de sa connaissance sera dans son midi.
"_Tous les dieux sont morts: nous voulons, maintenant, que le surhumain
vive!_" Que ceci soit un jour, au grand midi, notre dernière volonté! -
Ainsi parlait Zarathoustra.
"_-et ce n'est que quand vous m'aurez tous renié que je reviendrai
En vérité, mes frères, je chercherai alors d'un autre oeil mes brebis
perdues; je vous aimerai alors d'un autre amour._"
_De la vertu qui donne._
L'ENFANT AU MIROIR
Alors Zarathoustra retourna dans les montagnes et dans la solitude de
sa caverne pour se dérober aux hommes, pareil au semeur qui, après
avoir répandu sa graine dans les sillons, attend que la semence lève.
Mais son âme s'emplit d'impatience et du désir de ceux qu'il aimait,
car il avait encore beaucoup de choses à leur donner. Or, voici la
chose la plus difficile: fermer par amour la main ouverte et garder la
pudeur en donnant.
Ainsi s'écoulèrent pour le solitaire des mois et des années; mais sa
sagesse grandissait et elle le faisait souffrir par sa plénitude.
Un matin cependant, réveillé avant l'aurore, il se mit à réfléchir
longtemps, étendu sur sa couche, et finit par dire à son coeur:
"Pourquoi me suis-je tant effrayé dans mon rêve et par quoi ai-je été
réveillé? Un enfant qui portait un miroir ne s'est-il pas approché de
"O Zarathoustra - me disait l'enfant - regarde-toi dans la glace!"
Mais lorsque j'ai regardé dans le miroir, j'ai poussé un cri et mon
coeur s'est ébranlé: car ce n'était pas moi que j'y avais vu, mais la
face grimaçante et le rire sarcastique d'un démon.
En vérité, je comprends trop bien le sens et l'avertissement du rêve:
ma _doctrine_ est en danger, l'ivraie veut s'appeler froment.
Mes ennemis sont devenus puissants et ils ont défiguré l'image de ma
doctrine, en sorte que mes préférés ont eu honte des présents que je
leur ai faits.
J'ai perdu mes amis; l'heure est venue de chercher ceux que j'ai
En prononçant ces mots, Zarathoustra se leva en sursaut, non comme
quelqu'un qui est angoissé par la peur, mais plutôt comme un
visionnaire et un barde dont s'empare l'Esprit. Etonnés, son
What a pity he did not know all this! What a shower of splendid additional sarcasms he would have poured over those flat-nosed Franks, had he known what I know now, that it is the eternal way of the Christian to be a rebel, and that just as he has once rebelled against us, he has never ceased pestering and rebelling against any one else either of his own or any other creed.Page 11
The wind--for there is a terrible wind blowing just now--is playing havoc with his long white Jew-beard, but this white Jew-beard of his is growing black again at the end, and even the sad eyes are still capable of quite youthful flashes, as may be noticed at this very moment.Page 15
How much Nietzsche owed to Wagner may perhaps never be definitely known; to those who are sufficiently interested to undertake the investigation of this matter, we would recommend Hans Bélart's book, _Nietzsche's Ethik_; in it references will be found which give some clue as to the probable sources from which the necessary information may be derived.Page 22
Besides, one of the few who had he right to speak to Germans in terms of reproach Publicly drew attention to the fact.Page 23
If, however, real culture takes unity of style for granted (and even an inferior and degenerate culture cannot be imagined in which a certain coalescence of the profusion of forms has not taken place), it is just possible that the confusion underlying the Culture-Philistine's error may arise from the fact that, since he comes into contact everywhere with creatures cast in the same mould as himself, he concludes that this uniformity among all "scholars" must point to a certain uniformity in German education--hence to culture.Page 24
Nobody, however, is more disliked by him than the man who regards him as a Philistine, and tells him what he is--namely, the barrier in the way of all powerful men and creators, the labyrinth for all who doubt and go astray, the swamp for all the weak and the weary, the fetters of those who would run towards lofty goals, the poisonous mist that chokes all germinating hopes, the scorching sand to all those German thinkers who seek for, and thirst after, a new life.Page 32
Besides, to speak quite openly in the latter, you yourself are convinced that you Possess this ability.Page 39
We, however, read on further, and even craved admission of the Doorkeeper of the New Faith to the sanctum of music.Page 48
But even in his flight he was irresponsible enough to soar beyond the very first principles of which we speak.Page 50
For does it not contain the best possible answer to the rude speech of Schopenhauer, respecting the ill-advised God who had nothing better to do than to transform Himself into this miserable world? if, for example, the Creator Himself had shared Lessing's conviction of the superiority of struggle to tranquil possession?" What!--a God who would choose _perpetual error_, together with a striving after truth, and who would, perhaps, fall humbly at Strauss's feet and cry to him, "Take thou all Truth, it is thine!"? If ever a God and a man were ill-advised, they are this Straussian God, whose hobby is to err and to fail, and this Straussian man, who must atone for this erring and failing.Page 72
I sought and sought, but my purpose remained unfulfilled.Page 74
Indeed, we allow him too much when we grant him one eye; but we do this willingly, because Strauss does not write so badly as the most infamous of all corrupters of German--the Hegelians and their crippled offspring.Page 80
Painting, versifying, acting, and music were just as much within his reach as the learning and the career of a scholar; and the superficial inquirer into this stage of his life might even conclude that he was born to be a dilettante.Page 91
" But they have been very different, and even now there are men who are far from satisfied with the existing state of affairs--the fact of Bayreuth alone demonstrates this point.Page 97
a point is reached when the morbid accumulation of its means and forms attains to such tyrannical proportions that it oppresses the tender souls of artists and converts these into slaves, so now, in the period of the decline of language, men have become the slaves of words.Page 109
_Clear-sighted and prudent, loving and unselfish at the same time_, his glance is projected downwards; and all things that are illumined by this double ray of light, nature conjures to discharge their strength, to reveal their most hidden secret, and this through bashfulness.Page 113
This society had but one idea, to use its power as hard-heartedly and as craftily as possible in order to render the impotent--the people--ever more and more serviceable, base and unpopular, and to rear the modern workman out of them.Page 116
And yet there is something still more wonderful than this work, and that is the artist himself, the man who, shortly after he had accomplished it, was able to create a picture of life so full of clashing colours as the Meistersingers of Nürnberg, and who in both of these compositions seems merely to have refreshed and equipped himself for the task of completing at his ease that gigantic edifice in four parts which he had long ago planned and begun--the ultimate result of all his meditations and poetical flights for over twenty years, his Bayreuth masterpiece, the Ring of the Nibelung! He who marvels at the rapid succession of the two operas, Tristan and the Meistersingers, has failed to understand one important side of the life and nature of all great Germans: he does not know the peculiar soil out of which that essentially German gaiety, which characterised Luther, Beethoven, and Wagner, can grow, the gaiety which other nations quite fail to understand and which even seems to be missing in the Germans of to-day--that clear golden and thoroughly fermented mixture of simplicity, deeply discriminating love, observation, and roguishness which Wagner has dispensed, as the most precious of drinks, to all those who have suffered deeply through life, but who nevertheless return to it with the smile of convalescents.Page 117
in awe from it.Page 135
that distinguishes his art from every other art of modern times, it is that it no longer speaks the language of any particular caste, and refuses to admit the distinctions "literate" and "illiterate.