Also sprach Zarathustra: Ein Buch für Alle und Keinen

By Friedrich Nietzsche

Page 175

stürzt: nach
seiner eignen Pfeife will er tanzen, die Meere zittern und hüpfen
unter seinen Fusstapfen.

Der den Eseln Flügel giebt, der Löwinnen melkt, gelobt sei dieser gute
unbändige Geist, der allem Heute und allem Pöbel wie ein Sturmwind
kommt, -

- der Distel- und Tiftelköpfen feind ist und allen welken Blättern und
Unkräutern: gelobt sei dieser wilde gute freie Sturmgeist, welcher auf
Mooren und Trübsalen wie auf Wiesen tanzt!

Der die Pöbel-Schwindhunde hasst und alles missrathene düstere
Gezücht: gelobt sei dieser Geist aller freien Geister, der lachende
Sturm, welcher allen Schwarzsichtigen, Schwärsüchtigen Staub in die
Augen bläst!

Ihr höheren Menschen, euer Schlimmstes ist: ihr lerntet alle nicht
tanzen, wie man tanzen muss - über euch hinweg tanzen! Was liegt
daran, dass ihr missriethet!

Wie Vieles ist noch möglich! So _lernt_ doch über euch hinweg lachen!
Erhebt eure Herzen, ihr guten Tänzer, hoch! höher! Und vergesst mir
auch das gute Lachen nicht!

Diese Krone des Lachenden, diese Rosenkranz-Krone: euch, meinen
Brüdern, werfe ich diese Krone zu! Das Lachen sprach ich heilig; ihr
höheren Menschen, _lernt_ mir - lachen!



Das Lied der Schwermuth

1.

Als Zarathustra diese Reden sprach, stand er nahe dem Eingange seiner
Höhle; mit den letzten Worten aber entschlüpfte er seinen Gästen und
floh für eine kurze Weile in's Freie.

"Oh reine Gerüche um mich, rief er aus, oh selige Stille um mich! Aber
wo sind meine Thiere? Heran, heran, mein Adler und meine Schlange!

Sagt mir doch, meine Thiere: diese höheren Menschen insgesammt -
_riechen_ sie vielleicht nicht gut? Oh reine Gerüche um mich! Jetzo
weiss und fühle ich erst, wie ich euch, meine Thiere, liebe."

- Und Zarathustra sprach nochmals: "ich liebe euch, meine Thiere!" Der
Adler aber und die Schlange drängten sich an ihn, als er diese Worte
sprach, und sahen zu ihm hinauf. Solchergestalt waren sie zu drei
still beisammen und schnüffelten und schlürften mit einander die gute
Luft. Denn die Luft war hier draussen besser als bei den höheren
Menschen.


2.

Kaum aber hatte Zarathustra seine Höhle verlassen, da erhob sich der
alte Zauberer, sah listig umher und sprach: "Er ist hinaus!

Und schon, ihr höheren Menschen - dass ich euch mit diesem Lob- und
Schmeichel-Namen kitzle, gleich ihm selber - schon fällt mich mein
schlimmer Trug- und Zaubergeist an, mein schwermüthiger Teufel,

- welcher diesem Zarathustra ein Widersacher ist aus dem Grunde:
vergebt es ihm! Nun will er vor euch zaubern, er hat gerade _seine_
Stunde; umsonst ringe ich mit diesem bösen Geiste.

Euch Allen, welche Ehren ihr euch mit Worten geben mögt, ob ihr
euch `die freien Geister` nennt oder `die Wahrhaftigen` oder `die
Büsser des Geistes` oder `die Entfesselten` oder `die grossen
Sehnsüchtigen` -

- euch Allen, die ihr _am_grossen_Ekel_ leidet

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Text Comparison with The Birth of Tragedy; or, Hellenism and Pessimism

Page 1
He scarcely had a day's illness in his life, and would certainly not have met with his end as early as he did--that is to say, before his seventieth year--if his careless disregard of all caution, where his health was concerned, had not led to his catching a severe and fatal cold.
Page 5
If Hellenism was the first strong influence which already in Pforta obtained a sway over my brother, in the winter of 1865-66, a completely new, and therefore somewhat subversive, influence was introduced into his life with Schopenhauer's philosophy.
Page 40
To practise its small wit on such compositions, and to overlook.
Page 43
And are we to own that he is the highest and purest type of spectator, who, like the Oceanides, regards Prometheus as real and present in body? And is it characteristic of the ideal spectator that he should run on the stage and free the god from his torments? We had believed in an æsthetic public, and considered the individual spectator the better qualified the more he was capable of viewing a work of art as art, that is, æsthetically; but now the Schlegelian expression has intimated to us, that the perfect ideal spectator does not at all suffer the world of the scenes to act æsthetically on him, but corporeo-empirically.
Page 46
In this sense the Dionysian man may be said to resemble Hamlet: both have for once seen into the true nature of things,--they have _perceived,_ but they are loath to act; for their action cannot change the eternal nature of things; they regard it as shameful or ridiculous that one should require of them to set aright the time which is out of joint.
Page 61
Odysseus, the typical Hellene of the Old Art, sank, in the hands of the new poets, to the figure of the Græculus, who, as the good-naturedly cunning domestic slave, stands henceforth in the centre of dramatic interest.
Page 62
But with it the Hellene had surrendered the belief in his immortality; not only the belief in an ideal past, but also the belief in an ideal future.
Page 68
But what interferes most with the hearer's pleasurable satisfaction in such scenes is a missing link, a gap in the texture of the previous history.
Page 70
It is evidently just the degree of clearness of this _knowledge,_ which distinguishes these three men in common as the three "knowing ones" of their age.
Page 71
On the other hand, however, the logical instinct which appeared in Socrates was absolutely prohibited from turning against itself; in its unchecked flow it manifests a native power such as we meet with, to our shocking surprise, only among the very greatest instinctive forces.
Page 74
Socrates, the dialectical hero in Platonic drama, reminds us of the kindred nature of the Euripidean hero, who has to defend his actions by arguments and counter-arguments, and thereby so often runs the risk of forfeiting our tragic pity; for who could mistake the _optimistic_ element in the essence of dialectics, which celebrates a jubilee in every conclusion, and can breathe only in cool clearness and consciousness: the optimistic element, which, having once forced its way into tragedy, must gradually overgrow its Dionysian regions, and necessarily impel it to self-destruction--even to the death-leap into the bourgeois drama.
Page 79
He who has experienced in himself the joy of a Socratic perception, and felt how it seeks to embrace, in constantly widening circles, the entire world of phenomena, will thenceforth find no stimulus which could urge him to existence more forcible than the desire to complete that conquest and to knit the net impenetrably close.
Page 82
In this respect it resembles geometrical figures and numbers, which are the universal forms of all possible objects of experience and applicable to them all _a priori_, and yet are not abstract but perceptiple and thoroughly determinate.
Page 84
On the other hand, image and concept, under the influence of a truly conformable music, acquire a higher significance.
Page 99
At the same time we have the feeling that the birth of a tragic age betokens only a return to itself of the German spirit, a blessed self-rediscovering after excessive and urgent external influences have for a long time compelled it, living as it did in helpless barbaric formlessness, to servitude under their form.
Page 102
Schopenhauer was such a Dürerian knight: he was destitute of all hope, but he sought the truth.
Page 111
He who wishes to test himself rigorously as to how he is related to the true æsthetic hearer, or whether he belongs rather to the community of the Socrato-critical man, has only to enquire sincerely concerning the sentiment with which he accepts.
Page 114
Even in such circumstances this metaphysical impulse still endeavours to create for itself a form of apotheosis (weakened, no doubt) in the Socratism of science urging to life: but on its lower stage this same impulse led only to a feverish search, which gradually merged into a pandemonium of myths and superstitions accumulated from all quarters: in the midst of which, nevertheless, the Hellene sat with a yearning heart till he contrived, as Græculus, to mask his fever with Greek cheerfulness and Greek levity, or to narcotise himself completely with some gloomy Oriental superstition.
Page 115
It thereby seemed to us that precisely through this discharge the middle world of theatrical procedure, the drama generally, became visible and intelligible from within in a degree unattainable in the other forms of Apollonian art: so that here, where this art was as it were winged and borne aloft by the spirit of music, we had to recognise the highest exaltation of its powers, and consequently in the fraternal union of Apollo and Dionysus the climax of the Apollonian as well as of the Dionysian artistic aims.
Page 117
How can the ugly and the discordant, the substance of tragic myth, excite an æsthetic pleasure? Here it is necessary to raise ourselves with a daring bound into a metaphysics of Art.