Thus Spake Zarathustra: A Book for All and None

By Friedrich Nietzsche

Page 248

too as a guest to the cave.

Chapter LXVII. The Ugliest Man.

This discourse contains perhaps the boldest of Nietzsche's suggestions
concerning Atheism, as well as some extremely penetrating remarks upon
the sentiment of pity. Zarathustra comes across the repulsive creature
sitting on the wayside, and what does he do? He manifests the only
correct feelings that can be manifested in the presence of any great
misery--that is to say, shame, reverence, embarrassment. Nietzsche
detested the obtrusive and gushing pity that goes up to misery without
a blush either on its cheek or in its heart--the pity which is only
another form of self-glorification. "Thank God that I am not like
thee!"--only this self-glorifying sentiment can lend a well-constituted
man the impudence to SHOW his pity for the cripple and the
ill-constituted. In the presence of the ugliest man Nietzsche
blushes,--he blushes for his race; his own particular kind of
altruism--the altruism that might have prevented the existence of this
man--strikes him with all its force. He will have the world otherwise.
He will have a world where one need not blush for one's fellows--hence
his appeal to us to love only our children's land, the land undiscovered
in the remotest sea.

Zarathustra calls the ugliest man the murderer of God! Certainly, this
is one aspect of a certain kind of Atheism--the Atheism of the man who
reveres beauty to such an extent that his own ugliness, which outrages
him, must be concealed from every eye lest it should not be respected as
Zarathustra respected it. If there be a God, He too must be evaded. His
pity must be foiled. But God is ubiquitous and omniscient. Therefore,
for the really GREAT ugly man, He must not exist. "Their pity IS it from
which I flee away," he says--that is to say: "It is from their want of
reverence and lack of shame in presence of my great misery!" The ugliest
man despises himself; but Zarathustra said in his Prologue: "I love
the great despisers because they are the great adorers, and arrows of
longing for the other shore." He therefore honours the ugliest man: sees
height in his self-contempt, and invites him to join the other higher
men in the cave.

Chapter LXVIII. The Voluntary Beggar.

In this discourse, we undoubtedly have the ideal Buddhist, if not
Gautama Buddha himself. Nietzsche had the greatest respect for Buddhism,
and almost wherever he refers to it in his works, it is in terms of
praise. He recognised that though Buddhism is undoubtedly a religion for
decadents, its decadent values emanate from the higher and not, as in
Christianity, from the lower

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

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the limitation imposed upon him by his years.
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The paper he read disclosed his investigations on the subject of Theognis the moralist and aristocrat, who, as is well known, described and dismissed the plebeians of his time in terms of the heartiest contempt The aristocratic ideal, which was always so dear to my brother, thus revealed itself for the first time.
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He discharged his duties as a soldier with the utmost mental and physical freshness, was the crack rider among the recruits of his year, and was sincerely sorry when, owing to an accident, he was compelled to leave the colours before the completion of his service.
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of all nature here reveals itself in the tremors of drunkenness to the highest gratification of the Primordial Unity.
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of Haldane and Kemp's translation.
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From the point of view of the epos, this unequal and irregular pictorial world of lyric poetry must be simply condemned: and the solemn epic rhapsodists of the Apollonian festivals in the age of Terpander have certainly done so.
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The satyric chorus is first of all a vision of the Dionysian throng, just as the world of the stage is, in turn, a vision of the satyric chorus: the power of this vision is great enough to render the eye dull and insensible to the impression of "reality," to the presence of the cultured men occupying the tiers of seats on every side.
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Euripides is the actor with leaping heart, with hair standing on end; as Socratic thinker he designs the plan, as passionate actor he executes it.
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[17] Woe! Woe! Thou hast it destroyed, The beautiful world; With powerful fist; In ruin 'tis hurled! _Faust,_ trans.
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It rests upon this that we are able to set a poem to music as a song, or a perceptible representation as a pantomime, or both as an opera.
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It is certainly the symptom of the "breach" which all are wont to speak of as the primordial suffering of modern culture that the theoretical man, alarmed and dissatisfied at his own conclusions, no longer dares to entrust himself to the terrible ice-stream of existence: he runs timidly up and down the bank.
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Our art reveals this universal trouble: in vain does one seek help by imitating all the great productive periods and natures, in vain does one accumulate the entire "world-literature" around modern man for his comfort, in vain does one place one's self in the midst of the art-styles and artists of all ages, so that one may give names to them as Adam did to the beasts: one still continues the eternal hungerer, the "critic" without joy and energy, the Alexandrine man, who is in the main a librarian and corrector of proofs, and who, pitiable wretch goes blind from the dust of books and printers' errors.
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,--at which places the singer, now in the purely musical element, can rest himself without minding the words.
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When, therefore, the intrinsic efficiency of the higher educational institutions has never perhaps been lower or feebler than at present, when the "journalist," the paper slave of the day, has triumphed over the academic teacher in all matters pertaining to culture, and there only remains to the latter the often previously experienced metamorphosis of now fluttering also, as a cheerful cultured butterfly, in the idiom of the journalist, with the "light elegance" peculiar thereto--with what painful confusion must the cultured persons of a period like the present gaze at the phenomenon (which can perhaps be comprehended analogically only by means of the profoundest principle of the hitherto unintelligible Hellenic genius) of the reawakening of the Dionysian spirit and the re-birth of tragedy? Never has there been another art-period in which so-called culture and true art have been so estranged and opposed, as is so obviously the case at present.
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But here there took place what has always taken place in the case of factitious arts, an extraordinary rapid depravation of these tendencies, so that for instance the tendency to employ the theatre as a means for the moral education of the people, which in Schiller's time was taken seriously, is already reckoned among the incredible antiquities of a surmounted culture.
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So deep, courageous, and soul-breathing, so exuberantly good and tender did this chorale of Luther sound,--as the first Dionysian-luring call which breaks forth from dense thickets at the approach of spring.