Thus Spake Zarathustra: A Book for All and None

By Friedrich Nietzsche

Page 118

ears! And so will I shout it out
unto all the winds:

Ye ever become smaller, ye small people! Ye crumble away, ye comfortable
ones! Ye will yet perish--

--By your many small virtues, by your many small omissions, and by your
many small submissions!

Too tender, too yielding: so is your soil! But for a tree to become
GREAT, it seeketh to twine hard roots around hard rocks!

Also what ye omit weaveth at the web of all the human future; even your
naught is a cobweb, and a spider that liveth on the blood of the future.

And when ye take, then is it like stealing, ye small virtuous ones;
but even among knaves HONOUR saith that "one shall only steal when one
cannot rob."

"It giveth itself"--that is also a doctrine of submission. But I say
unto you, ye comfortable ones, that IT TAKETH TO ITSELF, and will ever
take more and more from you!

Ah, that ye would renounce all HALF-willing, and would decide for
idleness as ye decide for action!

Ah, that ye understood my word: "Do ever what ye will--but first be such

Love ever your neighbour as yourselves--but first be such as LOVE

--Such as love with great love, such as love with great contempt!" Thus
speaketh Zarathustra the godless.--

But why talk I, when no one hath MINE ears! It is still an hour too
early for me here.

Mine own forerunner am I among this people, mine own cockcrow in dark

But THEIR hour cometh! And there cometh also mine! Hourly do they become
smaller, poorer, unfruitfuller,--poor herbs! poor earth!

And SOON shall they stand before me like dry grass and prairie, and
verily, weary of themselves--and panting for FIRE, more than for water!

O blessed hour of the lightning! O mystery before noontide!--Running
fires will I one day make of them, and heralds with flaming tongues:--

--Herald shall they one day with flaming tongues: It cometh, it is nigh,

Thus spake Zarathustra.


Winter, a bad guest, sitteth with me at home; blue are my hands with his
friendly hand-shaking.

I honour him, that bad guest, but gladly leave him alone. Gladly do I
run away from him; and when one runneth WELL, then one escapeth him!

With warm feet and warm thoughts do I run where the wind is calm--to the
sunny corner of mine olive-mount.

There do I laugh at my stern guest, and am still fond of him; because he
cleareth my house of flies, and quieteth many little noises.

For he suffereth it not if a gnat wanteth to buzz, or

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

Page 1
Of course, despite their extraordinarily good health, the life of this family was not by any means all sunshine.
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In October 1868, my brother returned to his studies in Leipzig with double joy.
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But those persons would err, to whom this collection suggests no more perhaps than the antithesis of patriotic excitement and æsthetic revelry, of gallant earnestness and sportive delight.
Page 39
First of all, however, we regard the popular song as the musical mirror of the world, as the Original melody, which now seeks for itself a parallel dream-phenomenon and expresses it in poetry.
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Melody generates the poem out of itself by an ever-recurring process.
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For in order to express the phenomenon of music in pictures, the lyrist requires all the stirrings of passion, from the whispering of infant desire to the roaring of madness.
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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.
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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.
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But Plato, the thinker, thereby arrived by a roundabout road just at the point where he had always been at home as poet, and from which Sophocles and all the old artists had solemnly protested against that objection.
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But these two universalities are in a certain respect opposed to each other; for the concepts contain only the forms, which are first of all abstracted from perception,--the separated outward shell of things, as it were,--and hence they are, in the strictest sense of the term, _abstracta_; music, on the other hand, gives the inmost kernel which precedes all forms, or the heart of things.
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Euripides, who, albeit in a higher sense, must be designated as a thoroughly unmusical nature, is for this very reason a passionate adherent of the New Dithyrambic Music, and with the liberality of a freebooter employs all its effective turns and mannerisms.
Page 89
Over the widest extent of the Hellenic character, however, there raged the consuming blast of this spirit, which manifests itself in the form of "Greek cheerfulness," which we have already spoken of as a senile, unproductive love of existence; this cheerfulness is the counterpart of the splendid "naïveté" of the earlier Greeks, which, according to the characteristic indicated above, must be conceived as the blossom of the Apollonian culture growing out of a dark abyss, as the victory which the Hellenic will, through its mirroring of beauty, obtains over suffering and the wisdom of suffering.
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He dreams himself into a time when passion suffices to generate songs and poems: as if emotion had ever been able to create anything artistic.
Page 100
" And in the very circles whose dignity it might be to draw indefatigably from the Greek channel for the good of German culture, in the circles of the teachers in the higher educational institutions, they have learned best to compromise with the Greeks in good time and on easy terms, to the extent often of a sceptical abandonment of the Hellenic ideal and a total perversion of the true purpose of antiquarian studies.
Page 104
By way of return for this service, music imparts to tragic myth such an impressive and convincing metaphysical significance as could never be attained by word and image, without this unique aid; and the tragic spectator in particular experiences thereby the sure presentiment of supreme joy to which the path through destruction and negation leads; so that he thinks he hears, as it were, the innermost abyss of things speaking audibly to him.
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Of the process just set forth, however, it could still be said as decidedly that it is only a glorious appearance, namely the afore-mentioned Apollonian _illusion,_ through the influence of which we are to be delivered from the Dionysian obtrusion and excess.
Page 121
antithesis of 'Dionysian _versus_ Apollonian'--translated into metaphysics; history itself as the evolution of this 'idea'; the antithesis dissolved into oneness in Tragedy; through this optics things that had never yet looked into one another's face, confronted of a sudden, and illumined and _comprehended_ through one another: for instance, Opera and Revolution.
Page 122
"To what extent I had just thereby found the concept 'tragic,' the definitive perception of the psychology of tragedy, I have but lately stated in the _Twilight of the Idols,_ page 139 (1st edit.