Also sprach Zarathustra: Ein Buch für Alle und Keinen

By Friedrich Nietzsche

Page 67

Güte: diese aber ist die
schöpferische. -

Reden wir nur davon, ihr Weisesten, ob es gleich schlimm ist.
Schweigen ist schlimmer; alle verschwiegenere Wahrheiten werden
giftig.

Und mag doch Alles zerbrechen, was an unseren Wahrheiten zerbrechen -
kann! Manches Haus giebt es noch zu bauen!

Also sprach Zarathustra.



Von den Erhabenen

Still ist der Grund meines Meeres: wer erriethe wohl, dass er
scherzhafte Ungeheuer birgt!

Unerschütterlich ist meine Tiefe: aber sie glänzt von schwimmenden
Räthseln und Gelächtern.

Einen Erhabenen sah ich heute, einen Feierlichen, einen Büsser des
Geistes: oh wie lachte meine Seele ob seiner Hässlichkeit!

Mit erhobener Brust und Denen gleich, welche den Athem an sich ziehn:
also stand er da, der Erhabene, und schweigsam:

Behängt mit hässlichen Wahrheiten, seiner Jagdbeute, und reich an
zerrissenen Kleidern; auch viele Dornen hiengen an ihm - aber noch sah
ich keine Rose.

Noch lernte er das Lachen nicht und die Schönheit. Finster kam dieser
Jäger zurück aus dem Walde der Erkenntniss.

Vom Kampfe kehrte er heim mit wilden Thieren: aber aus seinem Ernste
blickt auch noch ein wildes Thier - ein unüberwundenes!

Wie ein Tiger steht er immer noch da, der springen will; aber ich mag
diese gespannten Seelen nicht, unhold ist mein Geschmack allen diesen
Zurückgezognen.

Und ihr sagt mir, Freunde, dass nicht zu streiten sei über Geschmack
und Schmecken? Aber alles Leben ist Streit um Geschmack und Schmecken!

Geschmack: das ist Gewicht zugleich und Wagschale und Wägender; und
wehe allem Lebendigen, das ohne Streit um Gewicht und Wagschale und
Wägende leben wollte!

Wenn er seiner Erhabenheit müde würde, dieser Erhabene: dann erst
würde seine Schönheit anheben, - und dann erst will ich ihn schmecken
und schmackhaft finden.

Und erst, wenn er sich von sich selber abwendet, wird er über seinen
eignen Schatten springen - und, wahrlich! hinein in _seine_ Sonne.

Allzulange sass er im Schatten, die Wangen bleichten dem Büsser des
Geistes; fast verhungerte er an seinen Erwartungen.

Verachtung ist noch in seinem Auge; und Ekel birgt sich an seinem
Munde. Zwar ruht er jetzt, aber seine Ruhe hat sich noch nicht in die
Sonne gelegt.

Dem Stiere gleich sollte er thun; und sein Glück sollte nach Erde
riechen und nicht nach Verachtung der Erde.

Als weissen Stier möchte ich ihn sehn, wie er schnaubend und brüllend
der Pflugschar vorangeht: und sein Gebrüll sollte noch alles Irdische
preisen!

Dunkel noch ist sein Antlitz; der Hand Schatten spielt auf ihm.
Verschattet ist noch der Sinn seines Auges.

Seine That selber ist noch der Schatten auf ihm: die Hand verdunkelt
den Handelnden. Noch hat er seine That nicht überwunden.

Wohl liebe ich an ihm den Nacken des Stiers: aber nun will ich auch
noch das Auge des Engels sehn.

Auch seinen Helden-Willen muss er noch

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

Page 3
Grandfather Oehler was the first who seems to have recognised the extraordinary talents of his eldest grandchild.
Page 6
My brother was the first who ever manifested such enthusiastic affection for Schopenhauer and Wagner, and he was also the first of that numerous band of young followers who ultimately.
Page 10
This polyphony of different talents, all coming to utterance together and producing the richest and boldest of harmonies, is the fundamental feature not only of Nietzsche's early days, but of his whole development.
Page 12
Profound suspicions about morality (--it is part and parcel of the world of appearance).
Page 21
Upon a real perusal of this essay, such readers will, rather to their surprise, discover how earnest is the German problem we have to deal with, which we properly place, as a vortex and turning-point, in the very midst of German hopes.
Page 38
For this one thing must above all be clear to us, to our humiliation _and_ exaltation, that the.
Page 44
An art indeed exists also here, as in certain novels much in vogue at present: but let no one pester us with the claim that by this art the Schiller-Goethian "Pseudo-idealism" has been vanquished.
Page 47
Schiller is right also with reference to these beginnings of tragic art: the chorus is a living bulwark against the onsets of reality, because it--the satyric chorus--portrays existence more truthfully, more realistically, more perfectly than the cultured man who ordinarily considers himself as the only reality.
Page 68
Accordingly he placed the prologue even before the exposition, and put it in the mouth of a person who could be trusted: some deity had often as it were to guarantee the particulars of the tragedy to the public and remove every doubt as to the reality of the myth: as in the case of Descartes, who could only prove the reality of the empiric world by an appeal to the truthfulness of God and His inability to utter falsehood.
Page 77
For if the artist in every unveiling of truth always cleaves with raptured eyes only to that which still remains veiled after the unveiling, the theoretical man, on the other hand, enjoys and contents himself with the cast-off veil, and finds the consummation of his pleasure in the process of a continuously successful unveiling through his own unaided efforts.
Page 80
In order to qualify the singularity of this assertion, and, on the other hand, to disclose the source of this insight of ours, we must now confront with clear vision the analogous phenomena of the present time; we must enter into the midst of these struggles, which, as I said just now, are being carried on in the highest spheres of our present world between the insatiate optimistic perception and the tragic need of art.
Page 89
In the Old Tragedy one could feel at the close the metaphysical comfort, without which the delight in tragedy cannot be explained at all; the conciliating tones from another world sound purest, perhaps, in the Œdipus at Colonus.
Page 90
One is chained by the Socratic love of knowledge and the vain hope of being able thereby to heal the eternal wound of existence; another is ensnared by art's seductive veil of beauty fluttering before his eyes; still another by the metaphysical comfort that eternal life flows on indestructibly beneath the whirl of phenomena: to say nothing of the more ordinary and almost more powerful illusions which the will has always at hand.
Page 94
The recitative must be defined, according to this description, as the combination of epic and lyric delivery, not indeed as an intrinsically stable combination which could not be attained in the case of such totally disparate elements, but an entirely superficial mosaic conglutination, such as is totally unprecedented in the domain of nature and experience.
Page 95
The "good primitive man" wants his rights: what paradisiac prospects! I here place by way of parallel still another equally obvious confirmation of my view that opera is built up on the same principles as our Alexandrine culture.
Page 96
[22] "Nature and the ideal," he says, "are either objects of grief, when the former is represented as lost, the latter unattained; or both are objects of joy, in that they are represented as real.
Page 100
It may be weighed some day before an impartial judge, in what time and in what men the German spirit has thus far striven most resolutely to learn of the Greeks: and if we confidently assume that this unique praise must be accorded to the noblest intellectual efforts of Goethe, Schiller, and Winkelmann, it will certainly have to be added that since their time, and subsequently to the more immediate influences of these efforts, the endeavour to attain to culture and to the Greeks by this path has in an incomprehensible manner grown feebler and feebler.
Page 102
Schopenhauer was such a Dürerian knight: he was destitute of all hope, but he sought the truth.
Page 107
Music, however, speaks out of this heart; and though countless phenomena of the kind might be passing manifestations of this music, they could never exhaust its essence, but would always be merely its externalised copies.
Page 109
Never since Aristotle has an explanation of the tragic effect been proposed, by which an æsthetic activity of the hearer could be inferred from artistic circumstances.