Thus Spake Zarathustra: A Book for All and None

By Friedrich Nietzsche

Page 199

Merely poet!
A brute insidious, plundering, grovelling,
That aye must lie,
That wittingly, wilfully, aye must lie:
For booty lusting,
Motley masked,
Self-hidden, shrouded,
Himself his booty--
HE--of truth the wooer?
Nay! Mere fool! Mere poet!
Just motley speaking,
From mask of fool confusedly shouting,
Circumambling on fabricated word-bridges,
On motley rainbow-arches,
'Twixt the spurious heavenly,
And spurious earthly,
Round us roving, round us soaring,--
MERE FOOL! MERE POET!

HE--of truth the wooer?
Not still, stiff, smooth and cold,
Become an image,
A godlike statue,
Set up in front of temples,
As a God's own door-guard:
Nay! hostile to all such truthfulness-statues,
In every desert homelier than at temples,
With cattish wantonness,
Through every window leaping
Quickly into chances,
Every wild forest a-sniffing,
Greedily-longingly, sniffing,
That thou, in wild forests,
'Mong the motley-speckled fierce creatures,
Shouldest rove, sinful-sound and fine-coloured,
With longing lips smacking,
Blessedly mocking, blessedly hellish, blessedly bloodthirsty,
Robbing, skulking, lying--roving:--

Or unto eagles like which fixedly,
Long adown the precipice look,
Adown THEIR precipice:--
Oh, how they whirl down now,
Thereunder, therein,
To ever deeper profoundness whirling!--
Then,
Sudden,
With aim aright,
With quivering flight,
On LAMBKINS pouncing,
Headlong down, sore-hungry,
For lambkins longing,

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Text Comparison with The Case Of Wagner, Nietzsche Contra Wagner, and Selected Aphorisms.

Page 4
The statement in question was to the effect that many long years before these pamphlets were even projected, Nietzsche's apparent _volte-face_ in regard to his hero Wagner had been not only foreshadowed but actually stated in plain words, in two works written during his friendship with Wagner,--the works referred to being "The Birth of Tragedy" (1872), and "Wagner in Bayreuth" (1875) of which Houston Stuart Chamberlain declares not only that it possesses "undying classical worth" but that "a perusal of it is indispensable to all who wish to follow the question [of Wagner] to its roots.
Page 7
He has supplied the precious varnish wherewith to hide the dull ugliness of our civilisation.
Page 14
Wagner pondered over nothing so deeply as over salvation: his opera is the opera of salvation.
Page 17
He tilts irreverently at old god-heads.
Page 20
_ Bad enough in all conscience! We understand Latin, and perhaps we also understand which side our bread is buttered.
Page 21
" _Never let us give pleasure!_--we shall be lost if people once again think of music hedonistically.
Page 23
Only after he has the latter does he begin to seek the semiotics of tone for them.
Page 24
But apart from the Wagner who paints frescoes and practises magnetism, there is yet another Wagner who hoards small treasures: our greatest melancholic in music, full of side glances, loving speeches, and words of comfort, in which no one ever forestalled him,--the tone-master of melancholy and drowsy happiness.
Page 25
Wagner was _not_ instinctively a musician.
Page 30
{~HORIZONTAL ELLIPSIS~} 11.
Page 32
An instinct is weakened when it becomes conscious: for by becoming conscious it makes itself feeble.
Page 35
Wagner redeemed woman; and in return woman built Bayreuth for him.
Page 36
But Wagner was complete, Wagner represented thorough corruption, Wagner has had the courage, the will, and the conviction for corruption.
Page 37
Epilogue And now let us take breath and withdraw a moment from this narrow world which necessarily must be narrow, because we have to make enquiries relative to the.
Page 46
" {~HORIZONTAL ELLIPSIS~} "Disinterestedness"--principle of decadence, the will to nonentity in art as well as in morality.
Page 48
{~HORIZONTAL ELLIPSIS~} We should like to believe that "Parsifal" was meant as a piece of idle gaiety, as the closing act and satyric drama, with which Wagner the tragedian wished to take leave of us, of himself, and above all.
Page 52
they now appear, and were perhaps obliged to be: men of the moment, sensuous, absurd, versatile, light-minded and quick to trust and to distrust, with souls in which usually some flaw has to be concealed, often taking revenge with their works for an internal blemish, often seeking forgetfulness in their soaring from a too accurate memory, idealists out of proximity to the mud:--what a _torment_ these great artists are and the so-called higher men in general, to him who has once found them out! We are all special pleaders in the cause of mediocrity.
Page 57
30.
Page 59
--As it happens, I have misled the reader, the passage does not concern Wagner at all.
Page 61
_--The habit he acquired, from his earliest days, of having his say in the most important matters without a sufficient knowledge of them, has rendered him the obscure and incomprehensible writer that he is.