Thus Spake Zarathustra: A Book for All and None

By Friedrich Nietzsche

Page 79

fleeting gleam!

Thus spake once in a happy hour my purity: "Divine shall everything be
unto me."

Then did ye haunt me with foul phantoms; ah, whither hath that happy
hour now fled!

"All days shall be holy unto me"--so spake once the wisdom of my youth:
verily, the language of a joyous wisdom!

But then did ye enemies steal my nights, and sold them to sleepless
torture: ah, whither hath that joyous wisdom now fled?

Once did I long for happy auspices: then did ye lead an owl-monster
across my path, an adverse sign. Ah, whither did my tender longing then

All loathing did I once vow to renounce: then did ye change my nigh ones
and nearest ones into ulcerations. Ah, whither did my noblest vow then

As a blind one did I once walk in blessed ways: then did ye cast
filth on the blind one's course: and now is he disgusted with the old

And when I performed my hardest task, and celebrated the triumph of
my victories, then did ye make those who loved me call out that I then
grieved them most.

Verily, it was always your doing: ye embittered to me my best honey, and
the diligence of my best bees.

To my charity have ye ever sent the most impudent beggars; around my
sympathy have ye ever crowded the incurably shameless. Thus have ye
wounded the faith of my virtue.

And when I offered my holiest as a sacrifice, immediately did your
"piety" put its fatter gifts beside it: so that my holiest suffocated in
the fumes of your fat.

And once did I want to dance as I had never yet danced: beyond all
heavens did I want to dance. Then did ye seduce my favourite minstrel.

And now hath he struck up an awful, melancholy air; alas, he tooted as a
mournful horn to mine ear!

Murderous minstrel, instrument of evil, most innocent instrument!
Already did I stand prepared for the best dance: then didst thou slay my
rapture with thy tones!

Only in the dance do I know how to speak the parable of the highest
things:--and now hath my grandest parable remained unspoken in my limbs!

Unspoken and unrealised hath my highest hope remained! And there have
perished for me all the visions and consolations of my youth!

How did I ever bear it? How did I survive and surmount such wounds? How
did my soul rise again out of those sepulchres?

Yea, something invulnerable, unburiable is with me, something that would
rend rocks asunder: it is called MY WILL. Silently doth it proceed, and
unchanged throughout the years.


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

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*Friedrich Nietzsche* *I: The Case Of Wagner* *II: Nietzsche *_Contra_* Wagner* *III: Selected Aphorisms* Translated By Anthony M.
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Or that beautiful girls most love to be saved by a knight who also happens to be a Wagnerite? (the case in the "Mastersingers").
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most famous ones, the love is no more than a refined form of _parasitism_, a making one's nest in another's soul and sometimes even in another's flesh--Ah! and how constantly at the cost of the host! We know the fate of Goethe in old-maidish moralin-corroded Germany.
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--"Whence arises all the evil in this world?" Wagner asked himself.
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And not only the ambitious, but also the _shrewd_.
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" The absence of melody is in itself sanctifying.
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women, and then to offer them to Wagner in this mythologised form as a libretto.
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--Wagner was in need of literature, in order to persuade the whole world to take his music seriously, profoundly, "because it _meant_ an infinity of things", all his life he was the commentator of the "Idea.
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{~HORIZONTAL ELLIPSIS~} The movement that Wagner created has spread even to the land of knowledge: whole sciences pertaining to music are rising slowly, out of centuries of scholasticism.
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He believed in it.
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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.
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Why should I therefore begin by clothing them in aesthetic formulae? AEsthetic is indeed nothing more than applied physiology--The fact I bring forward, my "_petit fait vrai_," is that I can no longer breathe with ease when this music begins to have its effect upon me; that my foot immediately begins to feel indignant at it and rebels: for what it needs is time, dance, march; even the young German Kaiser could not march to Wagner's Imperial March,--what my foot demands in the first place from music is that ecstasy which lies in good walking, stepping and dancing.
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" Music as the manner of accentuating, of strengthening, and deepening dramatic poses and all things which please the senses of the actor; and Wagnerian drama only an opportunity for a host of interesting attitudes!--Alongside of all other instincts he had the dictatorial instinct of a great actor in everything and, as I have already said, as a musician also.
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It was no longer a matter of walking or dancing,--we must swim, we must hover.
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How could the horned cattle of Germany know how to deal with the _delicatesses_ of such a nature!--And as to Richard Wagner, it is obvious, it is even glaringly obvious, that Paris is the very _soil_ for him, the more French music adapts itself to the needs of _l'ame moderne_, the more Wagnerian it will become,--it is far enough advanced in this direction already.
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And yet this other question can certainly not be circumvented: what business had he actually with that manly (alas! so unmanly) "bucolic simplicity," that poor devil and son of nature--Parsifal, whom he ultimately makes a catholic by such insidious means--what?--was Wagner in earnest with Parsifal? For, that he was laughed at, I cannot deny, any more than Gottfried Keller can.
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I frankly confess that I had hoped that by means of art the Germans would become thoroughly disgusted with _decaying Christianity_--I regarded German mythology as a solvent, as a means of accustoming people to polytheism.
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_--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.
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