Thus Spake Zarathustra: A Book for All and None

By Friedrich Nietzsche

Page 228

we get the best exposition in the whole book of
Nietzsche's doctrine of the Will to Power. I go into this question
thoroughly in the Note on Chapter LVII.

Nietzsche was not an iconoclast from choice. Those who hastily class him
with the anarchists (or the Progressivists of the last century) fail
to understand the high esteem in which he always held both law and
discipline. In verse 41 of this most decisive discourse he truly
explains his position when he says: "...he who hath to be a creator in
good and evil--verily he hath first to be a destroyer, and break values
in pieces." This teaching in regard to self-control is evidence enough
of his reverence for law.

Chapter XXXV. The Sublime Ones.

These belong to a type which Nietzsche did not altogether dislike, but
which he would fain have rendered more subtle and plastic. It is the
type that takes life and itself too seriously, that never surmounts the
camel-stage mentioned in the first discourse, and that is obdurately
sublime and earnest. To be able to smile while speaking of lofty things
and NOT TO BE OPPRESSED by them, is the secret of real greatness. He
whose hand trembles when it lays hold of a beautiful thing, has the
quality of reverence, without the artist's unembarrassed friendship
with the beautiful. Hence the mistakes which have arisen in regard to
confounding Nietzsche with his extreme opposites the anarchists and
agitators. For what they dare to touch and break with the impudence
and irreverence of the unappreciative, he seems likewise to touch and
break,--but with other fingers--with the fingers of the loving and
unembarrassed artist who is on good terms with the beautiful and who
feels able to create it and to enhance it with his touch. The question
of taste plays an important part in Nietzsche's philosophy, and verses
9, 10 of this discourse exactly state Nietzsche's ultimate views on the
subject. In the "Spirit of Gravity", he actually cries:--"Neither a good
nor a bad taste, but MY taste, of which I have no longer either shame or
secrecy."

Chapter XXXVI. The Land of Culture.

This is a poetical epitome of some of the scathing criticism of
scholars which appears in the first of the "Thoughts out of Season"--the
polemical pamphlet (written in 1873) against David Strauss and his
school. He reproaches his former colleagues with being sterile and
shows them that their sterility is the result of their not believing
in anything. "He who had to create, had always his presaging dreams and
astral premonitions--and believed in believing!" (See Note on Chapter
LXXVII.) In the last two verses

Last Page Next Page

Text Comparison with The Case of Wagner Complete Works, Volume 8

Page 8
Inner discord is a terrible affliction and nothing is so certain to produce that nervous irritability which is so trying to the patient as well as to the outer world, as this so-called spiritual disease.
Page 11
Once more I attended with the same gentle reverence; once again I did not run away.
Page 15
--Man is a coward in the face of all that is eternally feminine: and this the girls know.
Page 16
.
Page 20
In the second place, with regard to the over-throwing,--this belongs at least in part, to physiology.
Page 30
As an example of what I mean, let me point more particularly to _Riemann's_ services to rhythmics; he was the first who called attention to the leading idea in punctuation--even for music (unfortunately he did so with a bad word; he called it "phrasing").
Page 39
_] [Footnote 3: See "The Will to Power," vol.
Page 42
I believe it must have relief: as if all animal functions were accelerated by means of light, bold, unfettered, self-reliant rhythms; as if brazen and leaden life could lose its weight by means of delicate and smooth melodies.
Page 45
.
Page 49
.
Page 52
Those great poets, for example, such as Byron, Musset, Poe, Leopardi, Kleist, Gogol (I do not dare to mention much greater names, but I imply them), as 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 54
As to our future: we shall scarcely be found on the track of those Egyptian youths who break into temples at night, who embrace statues, and would fain unveil, strip, and set in broad daylight, everything which there are excellent reasons to keep concealed.
Page 62
Wagner's art is for those who are conscious of an essential blunder in the conduct of their lives.
Page 78
The human element which antiquity shows us must not be confused with humanitarianism.
Page 85
The poetic element: a bad expectation.
Page 89
_Cf.
Page 91
121 Its noble sense of order and systematic arrangement had rendered the Athenian state immortal.
Page 100
e.
Page 103
The youth is introduced to nature, and the sway of laws is everywhere pointed out to him; followed by an explanation of the laws of ordinary society.
Page 105
He should also be healthy, and should keep himself so, otherwise he would necessarily become distrustful of himself.