Ainsi Parlait Zarathoustra

By Friedrich Nietzsche

Page 59

lumière est encore en route, parcourant sa voie stellaire, - et
quand ne sera-t-elle plus en route?

Ainsi la lumière de votre vertu est encore en route, même quand
l'oeuvre est accomplie. Que l'oeuvre soit donc oubliée et morte: son
rayon de lumière persiste toujours.

Que votre vertu soit identique à votre "moi" et non pas quelque chose
d'étranger, un épiderme et un manteau: voilà la vérité sur le fond de
votre âme, ô vertueux! -

Mais il y en a certains aussi pour qui la vertu s'appelle un spasme
sous le coup de fouet: et vous avez trop écouté les cris de ceux-là!

Et il en est d'autres qui appellent vertu la paresse de leur vice; et
quand une fois leur haine et leur jalousie s'étirent les membres, leur
"justice" se réveille et se frotte les yeux pleins de sommeil.

Et il en est d'autres qui sont attirés vers en bas: leurs démons les
attirent. Mais plus ils enfoncent, plus ils ont l'oeil brillant et
plus leur désir convoite leur Dieu.

Hélas! le cri de ceux-là parvint aussi à votre oreille, ô vertueux, le
cri de ceux qui disent: "Tout ce que je ne suis _pas_, est pour moi
Dieu et vertu!"

Et il en est d'autres qui s'avancent lourdement et en grinçant comme
des chariots qui portent des pierres vers la vallée: ils parlent
beaucoup de dignité et de vertu, - c'est leur frein qu'ils appellent
vertu.

Et il en est d'autres qui sont semblables à des pendules que l'on
remonte; ils font leur tic-tac et veulent que l'on appelle tic-tac -
vertu.

En vérité, ceux-ci m'amusent: partout où je rencontrerai de ces
pendules, je leur en remontrerai avec mon ironie; et il faudra bien
qu'elles se mettent à dodiner.

Et d'autres sont fiers d'une parcelle de justice, et à cause de cette
parcelle, ils blasphèment toutes choses: de sorte que le monde se noie
dans leur injustice.

Hélas, quelle nausée, quand le mot vertu leur coule de la bouche! Et
quand ils disent: "Je suis juste", cela sonne toujours comme: "Je suis
vengé!"

Ils veulent crever les yeux de leurs ennemis avec leur vertu; et ils ne
s'élèvent que pour abaisser les autres.

Et il en est d'autres encore qui croupissent dans leur marécage et qui,
tapis parmi les roseaux, se mettent à dire: "Vertu - c'est se tenir
tranquille dans le marécage."

Nous ne mordons personne et nous évitons celui qui veut mordre; et en
toutes choses nous sommes de l'avis que l'on nous donne."

Et il en est d'autres encore qui aiment les gestes et qui pensent: la
vertu est une sorte de geste.

Leurs genoux

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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 5
"_Solamen miseris socios habuisse malorum_.
Page 12
So much in our time is learnt from hearsay concerning prominent figures in science, art, religion, or philosophy, that it is hardly possible for anybody to-day, however badly informed he may be, to begin the study of any great writer or scientist with a perfectly open mind.
Page 19
But whether it be possible to turn German bravery into a new direction seems to me to become ever.
Page 23
All round him, he sees only needs and views similar to his own; wherever he goes, he finds himself embraced by a ring of tacit conventions concerning almost everything, but more especially matters of religion and art.
Page 25
But to foist the doubtful title of "classics" upon them, and to "edify" oneself from time to time by reading their works, means to yield to those feeble and selfish emotions which all the paying public may purchase at concert-halls and theatres.
Page 31
These clumsy creatures may, perhaps, have found what they sought in the last book; but we, who had no occasion to suspect a satanic substratum, discovered nothing of the sort, and would have felt rather pleased than not had we been able to discern even a dash of the diabolical in any part of the volume.
Page 36
Let him only be assured that what he is now about to read does not consist of older materials, which I take the opportunity of inserting here, but that these remarks have been written for their present place and purpose" (pp.
Page 37
I should like to know how a Hallelujah sung by Strauss would sound: I believe one would have to listen very carefully, lest it should seem no more than a courteous apology or a lisped compliment.
Page 40
" For our Master is a favourite of the Graces, and these have informed him that they only accompanied Beethoven part of the way, and that he then lost sight of them.
Page 65
Our Epicurean garden-god then took leave of us with the incomparable skill which he praised in Voltaire.
Page 68
I, for my part, only wish that Strauss the Writer had been more upright, for then he would have written more becomingly and have been less famous.
Page 71
On page 154 in Strauss's book we find a standard example of the didactic and scholarly style--a passage blown out after the genuine Schleiermacher manner, and made to stumble along at a true tortoise pace: "The reason why, in the earlier stages of religion, there appear many instead of this single.
Page 77
I realise ever more clearly that the scholar, in so far as he is entirely the man of his own.
Page 84
In this temptation, and in the act of resisting it, lie the dangers that threaten him--dangers arising from his disgust at the means modernity offers him of acquiring pleasure and esteem, and from the indignation provoked by the selfish ease of modern society.
Page 90
He dominates art, religion, and folklore, yet he is the reverse of a polyhistor or of a mere collecting and classifying spirit; for he constructs with the collected material, and breathes life into it, and is a _Simplifier of the Universe_.
Page 96
As soon as they would fain understand one another and unite for a common cause, the craziness of general concepts, and even of the ring of modern words, lays hold of them.
Page 101
For _incorrect feeling_ governs and drills them unremittingly, and does not even give them time to become aware of their misery.
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
His work would not have been complete had he handed it to the world only in the form of silent manuscript.
Page 127
I admire the ability which could describe the grand line of universal passion out of a confusion of passions which all seem to be striking out in different directions: the fact that this was a possible achievement I find demonstrated in every individual act of a Wagnerian drama, which describes the individual history of various characters side by side with a general history of the whole company.