Thus Spake Zarathustra: A Book for All and None

By Friedrich Nietzsche

Page 62

perishable would be
but a lie?

To think this is giddiness and vertigo to human limbs, and even vomiting
to the stomach: verily, the reeling sickness do I call it, to conjecture
such a thing.

Evil do I call it and misanthropic: all that teaching about the one, and
the plenum, and the unmoved, and the sufficient, and the imperishable!

All the imperishable--that's but a simile, and the poets lie too much.--

But of time and of becoming shall the best similes speak: a praise shall
they be, and a justification of all perishableness!

Creating--that is the great salvation from suffering, and life's
alleviation. But for the creator to appear, suffering itself is needed,
and much transformation.

Yea, much bitter dying must there be in your life, ye creators! Thus are
ye advocates and justifiers of all perishableness.

For the creator himself to be the new-born child, he must also
be willing to be the child-bearer, and endure the pangs of the

Verily, through a hundred souls went I my way, and through a hundred
cradles and birth-throes. Many a farewell have I taken; I know the
heart-breaking last hours.

But so willeth it my creating Will, my fate. Or, to tell you it more
candidly: just such a fate--willeth my Will.

All FEELING suffereth in me, and is in prison: but my WILLING ever
cometh to me as mine emancipator and comforter.

Willing emancipateth: that is the true doctrine of will and
emancipation--so teacheth you Zarathustra.

No longer willing, and no longer valuing, and no longer creating! Ah,
that that great debility may ever be far from me!

And also in discerning do I feel only my will's procreating and evolving
delight; and if there be innocence in my knowledge, it is because there
is will to procreation in it.

Away from God and Gods did this will allure me; what would there be to
create if there were--Gods!

But to man doth it ever impel me anew, my fervent creative will; thus
impelleth it the hammer to the stone.

Ah, ye men, within the stone slumbereth an image for me, the image of my
visions! Ah, that it should slumber in the hardest, ugliest stone!

Now rageth my hammer ruthlessly against its prison. From the stone fly
the fragments: what's that to me?

I will complete it: for a shadow came unto me--the stillest and lightest
of all things once came unto me!

The beauty of the Superman came unto me as a shadow. Ah, my brethren! Of
what account now are--the Gods to me!--

Thus spake Zarathustra.


My friends, there hath arisen a satire on your friend: "Behold
Zarathustra! Walketh

Last Page Next Page

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

Page 5
His love of Hellenism certainly led him to philology; but, as a matter of fact, what concerned him most was to obtain a wide view of things in general, and this he hoped to derive from that science; philology in itself, with his splendid method and thorough way of going to work, served him only as a means to an end.
Page 6
He did not venerate him quite as other men did; Schopenhauer's _personality_ was what attracted and enchanted him.
Page 14
bravest era? And the prodigious phenomenon of the Dionysian? And that which was born thereof, tragedy?--And again: that of which tragedy died, the Socratism of morality, the dialectics, contentedness and cheerfulness of the theoretical man--indeed? might not this very Socratism be a sign of decline, of weariness, of disease, of anarchically disintegrating instincts? And the "Hellenic cheerfulness" of the later Hellenism merely a glowing sunset? The Epicurean will _counter_ to pessimism merely a precaution of the sufferer? And science itself, our science--ay, viewed as a symptom of life, what really signifies all science? Whither, worse still, _whence_--all science? Well? Is scientism perhaps only fear and evasion of pessimism? A subtle defence against--_truth!_ Morally speaking, something like falsehood and cowardice? And, unmorally speaking, an artifice? O Socrates, Socrates, was this perhaps _thy_ secret? Oh mysterious ironist, was this perhaps thine--irony?.
Page 17
Perhaps the depth of this _antimoral_ tendency may be best estimated from the guarded and hostile silence with which Christianity is treated throughout this book,--Christianity, as being the most extravagant burlesque of the moral theme to which mankind has hitherto been obliged to listen.
Page 30
" How is the Olympian world of deities related to this folk-wisdom? Even as the rapturous vision of the tortured martyr to his sufferings.
Page 40
And in saying this we have pointed out the only possible relation between poetry and music, between word and tone: the word, the picture, the concept here seeks an expression analogous to music and now experiences in itself the power of music.
Page 51
[9] An.
Page 52
eternal sea, A weaving, flowing, Life, all glowing.
Page 56
Besides, the witches' chorus says: "Wir nehmen das nicht so genau: Mit tausend Schritten macht's die Frau; Doch wie sie auch sich eilen kann Mit einem Sprunge macht's der Mann.
Page 58
And it is only this hope that sheds a ray of joy upon the features of a world torn asunder and shattered into individuals: as is symbolised in the myth by Demeter sunk in eternal sadness, who _rejoices_ again only when told that she may _once more_ give birth to Dionysus In the views of things here given we already have all the elements of a profound and pessimistic contemplation of the world, and along with these we have the _mystery doctrine of tragedy_: the fundamental knowledge of the oneness of all existing things, the consideration of individuation as the primal cause of evil, and art as the joyous hope that the spell of individuation may be broken, as the augury of a restored oneness.
Page 71
_ In this totally abnormal nature instinctive wisdom only appears in order to hinder the progress of conscious perception here and there.
Page 74
Socrates, the dialectical hero in Platonic drama, reminds us of the kindred nature of the Euripidean hero, who has to defend his actions by arguments and counter-arguments, and thereby so often runs the risk of forfeiting our tragic pity; for who could mistake the _optimistic_ element in the essence of dialectics, which celebrates a jubilee in every conclusion, and can breathe only in cool clearness and consciousness: the optimistic element, which, having once forced its way into tragedy, must gradually overgrow its Dionysian regions, and necessarily impel it to self-destruction--even to the death-leap into the bourgeois drama.
Page 79
Even the sublimest moral acts, the stirrings of pity, of self-sacrifice, of heroism, and that tranquillity of soul, so difficult of attainment, which the Apollonian Greek called Sophrosyne, were derived by Socrates, and his like-minded successors up to the present day, from the dialectics of knowledge, and were accordingly designated as teachable.
Page 90
All that we call culture is made up of these stimulants; and, according to the proportion of the ingredients, we have either a specially _Socratic_ or _artistic_ or _tragic culture_: or, if historical exemplifications are wanted, there is either an Alexandrine or a Hellenic or a Buddhistic culture.
Page 102
Gliding back from these hortative tones into the mood which befits the contemplative man, I repeat that it can only be learnt from the Greeks what such a sudden and miraculous awakening of tragedy must signify for the essential basis of a people's life.
Page 111
While the critic got the upper hand in the theatre and concert-hall, the journalist in the school, and the press in society, art degenerated into a topic of conversation of the most trivial kind, and æsthetic criticism was used as the cement of a vain, distracted, selfish and moreover piteously unoriginal sociality, the significance of which is suggested by the Schopenhauerian parable of the porcupines, so that there has never been so much gossip about art and so little esteem for it.
Page 113
The ruin of tragedy was at the same time the ruin.
Page 114
The contrary happens when a people begins to comprehend itself historically and to demolish the mythical bulwarks around it: with which there is usually connected a marked secularisation, a breach with the unconscious metaphysics of its earlier existence, in all ethical consequences.
Page 117
Is it not possible that by calling to our aid the musical relation of dissonance, the difficult problem of tragic effect may have meanwhile been materially facilitated? For we now understand what it means to wish to view tragedy and at the same time to have a longing beyond the viewing: a frame of mind, which, as regards the artistically employed dissonance, we should simply have to characterise by saying that we desire to hear and at the same time have a longing beyond the.
Page 121
"This beginning is singular beyond measure.