Also sprach Zarathustra: Ein Buch für Alle und Keinen

By Friedrich Nietzsche

Page 71

ihnen da liegen darf wie
ein Spiegel mit hundert Augen." -

Oh, ihr empfindsamen Heuchler, ihr Lüsternen! Euch fehlt die Unschuld
in der Begierde: und nun verleumdet ihr drum das Begehren!

Wahrlich, nicht als Schaffende, Zeugende, Werdelustige liebt ihr die
Erde!

Wo ist Unschuld? Wo der Wille zur Zeugung ist. Und wer über sich
hinaus schaffen will, der hat mir den reinsten Willen.

Wo ist Schönheit? Wo ich mit allem Willen _wollen_muss_; wo ich lieben
und untergehn will, dass ein Bild nicht nur Bild bleibe.

Lieben und Untergehn: das reimt sich seit Ewigkeiten. Wille zur Liebe:
das ist, willig auch sein zum Tode. Also rede ich zu euch Feiglingen!

Aber nun will euer entmanntes Schielen "Beschaulichkeit" heissen! Und
was mit feigen Augen sich tasten lässt, soll "schön" getauft werden!
oh, ihr Beschmutzer edler Namen!

Aber das soll euer Fluch sein, ihr Unbefleckten, ihr Rein-Erkennenden,
dass ihr nie gebären werdet: und wenn ihr auch breit und trächtig am
Horizonte liegt!

Wahrlich, ihr nehmt den Mund voll mit edlen Worten: und wir sollen
glauben, dass euch das Herz übergehe, ihr Lügenbolde?

Aber in _eine_ Worte sind geringe, verachtete, krumme Worte: gerne
nehme ich auf, was bei eurer Mahlzeit unter den Tisch fällt.

Immer noch kann ich mit ihnen - Heuchlern die Wahrheit sagen! ja,
meine Gräten, Muscheln und Stachelblätter sollen - Heuchlern die Nasen
kitzeln!

Schlechte Luft ist immer um euch und eure Mahlzeiten: eure lüsternen
Gedanken, eure Lügen und Heimlichkeiten sind ja in der Luft!

Wagt es doch erst, euch selber zu glauben - euch und euren
Eingeweiden! Wer sich selber nicht glaubt, lügt immer.

Eines Gottes Larve hängtet ihr um vor euch selber, ihr "Reinen": in
eines Gottes Larve verkroch sich euer greulicher Ringelwurm.

Wahrlich, ihr täuscht, ihr "Beschaulichen"! Auch Zarathustra
war einst der Narr eurer göttlichen Häute; nicht errieth er das
Schlangengeringel, mit denen sie gestopft waren.

Eines Gottes Seele wähnte ich einst spielen zu sehn in euren Spielen,
ihr Rein-Erkennenden! Keine bessere Kunst wähnte ich einst als eure
Künste!

Schlangen-Unflath und schlimmen Geruch verhehlte mir die Ferne: und
dass einer Eidechse List lüstern hier herumschlich.

Aber ich kam euch _nah_: da kam mir der Tag - und nun kommt er euch, -
zu Ende gieng des Mondes Liebschaft!

Seht doch hin! Ertappt und bleich steht er da - vor der Morgenröthe!

Denn schon kommt sie, die Glühende, - _ihre_ Liebe zur Erde kommt!
Unschuld und Schöpfer-Begier ist alle Sonnen-Liebe!

Seht doch hin, wie sie ungeduldig über das Meer kommt! Fühlt ihr den
Durst und den heissen Athem ihrer Liebe nicht?

Am Meere will sie saugen und seine Tiefe zu sich in die Höhe trinken:
da hebt sich die Begierde des Meeres mit tausend Brüsten.

Geküsst und

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

Page 3
There, too, very severe discipline prevailed, and much was exacted from the pupils, with the view of inuring them to great mental and physical exertions.
Page 7
These were his plans: to get his doctor's degree as soon as possible; to proceed to Paris, Italy, and Greece, make a lengthy stay in each place, and then to return to Leipzig in order to settle there as a privat docent.
Page 18
Morality itself what?--may not morality be a "will to disown life," a secret instinct for annihilation, a principle of decay, of depreciation, of slander, a beginning of the end? And, consequently, the danger of dangers?.
Page 21
, amidst the horrors and sublimities of the war which had just then broken out, that I collected myself for these thoughts.
Page 28
The essence of nature is now to be expressed symbolically; a new world of symbols is required; for once the entire symbolism of the body, not only the symbolism of the lips, face, and speech, but the whole pantomime of dancing which sets all the members into rhythmical motion.
Page 35
This very Archilochus appals us, alongside of Homer, by his cries of hatred and scorn, by the drunken outbursts of his desire.
Page 43
blasphemy to speak here of the anticipation of a "constitutional representation of the people," from which blasphemy others have not shrunk, however.
Page 46
In the consciousness of the truth he has perceived, man now sees everywhere only the awfulness or the absurdity of existence, he now understands the symbolism in the fate of Ophelia, he now discerns the wisdom of the sylvan god Silenus: and loathing seizes him.
Page 49
At bottom the æsthetic phenomenon is simple: let a man but have the faculty of perpetually seeing a lively play and of constantly living surrounded by hosts of spirits, then he is a poet: let him but feel the impulse to transform himself and to talk from out the bodies and souls of others, then he is a dramatist.
Page 58
whom wonderful myths tell that as a boy he was dismembered by the Titans and has been worshipped in this state as Zagreus:[15] whereby is intimated that this dismemberment, the properly Dionysian _suffering,_ is like a transformation into air, water, earth, and fire, that we must therefore regard the state of individuation as the source and primal cause of all suffering, as something objectionable in itself.
Page 62
But Euripides--the chorus-master--was praised incessantly: indeed, people would have killed themselves in order to learn yet more from him, had they not known that tragic poets were quite as dead as tragedy.
Page 65
To separate this primitive and all-powerful Dionysian element from tragedy, and to build up a new and purified form of tragedy on the basis of a non-Dionysian art, morality, and conception of things--such is the tendency of Euripides which now reveals itself to us in a clear light.
Page 73
Like Plato, he reckoned it among the seductive arts which only represent the agreeable, not the useful, and hence he required of his disciples abstinence and strict separation from such unphilosophical allurements; with such success that the youthful tragic poet Plato first of all burned his poems to be able to become a scholar of Socrates.
Page 77
If now some one proves conclusively that the antipodal goal cannot be attained in this direct way, who will still care to toil on in the old depths, unless he has learned to content himself in the meantime with finding precious stones or discovering natural laws? For that reason Lessing, the most honest theoretical man, ventured to say that he cared more for the search after truth than for truth itself: in saying which he revealed the fundamental secret of science, to the astonishment, and indeed, to the vexation of scientific men.
Page 78
e.
Page 87
For if it endeavours to excite our delight only by compelling us to seek external analogies between a vital or natural process and certain rhythmical figures and characteristic sounds of music; if our understanding is expected to satisfy itself with the perception of these analogies, we are reduced to a frame of mind in which the reception of the mythical is impossible; for the myth as a unique exemplar of generality and truth towering into the infinite, desires to be conspicuously perceived.
Page 91
While the evil slumbering in the heart of theoretical culture gradually begins to disquiet modern man, and makes him anxiously ransack the stores of his experience for means to avert the danger, though not believing very much in these means; while he, therefore, begins to divine the consequences his position involves: great, universally gifted natures have contrived, with an incredible amount of thought, to make use of the apparatus of science itself, in order to point out the limits and the relativity of knowledge generally, and thus definitely to deny the claim of science to universal validity and universal ends: with which demonstration the illusory notion was for the first time recognised as such, which pretends, with the aid of causality, to be able to fathom the innermost essence of things.
Page 97
He who would destroy the opera must join issue with Alexandrine cheerfulness, which expresses itself so naïvely therein concerning its favourite representation; of which in fact it is the specific form of art.
Page 104
Relying upon this noble illusion, she can now move her limbs for the dithyrambic dance, and abandon herself unhesitatingly to an orgiastic feeling of freedom, in which she could not venture to indulge as music itself, without this illusion.
Page 117
The Dionysian, with its primitive joy experienced in pain itself, is the common source of music and tragic myth.