Thus Spake Zarathustra: A Book for All and None

By Friedrich Nietzsche

Page 92

they recognise with the greatest
surprise that it was Zarathustra; for they had all seen him before
except the captain himself, and they loved him as the people love: in
such wise that love and awe were combined in equal degree.

"Behold!" said the old helmsman, "there goeth Zarathustra to hell!"

About the same time that these sailors landed on the fire-isle, there
was a rumour that Zarathustra had disappeared; and when his friends were
asked about it, they said that he had gone on board a ship by night,
without saying whither he was going.

Thus there arose some uneasiness. After three days, however, there came
the story of the ship's crew in addition to this uneasiness--and
then did all the people say that the devil had taken Zarathustra. His
disciples laughed, sure enough, at this talk; and one of them said even:
"Sooner would I believe that Zarathustra hath taken the devil." But at
the bottom of their hearts they were all full of anxiety and longing: so
their joy was great when on the fifth day Zarathustra appeared amongst

And this is the account of Zarathustra's interview with the fire-dog:

The earth, said he, hath a skin; and this skin hath diseases. One of
these diseases, for example, is called "man."

And another of these diseases is called "the fire-dog": concerning HIM
men have greatly deceived themselves, and let themselves be deceived.

To fathom this mystery did I go o'er the sea; and I have seen the truth
naked, verily! barefooted up to the neck.

Now do I know how it is concerning the fire-dog; and likewise concerning
all the spouting and subversive devils, of which not only old women are

"Up with thee, fire-dog, out of thy depth!" cried I, "and confess how
deep that depth is! Whence cometh that which thou snortest up?

Thou drinkest copiously at the sea: that doth thine embittered eloquence
betray! In sooth, for a dog of the depth, thou takest thy nourishment
too much from the surface!

At the most, I regard thee as the ventriloquist of the earth: and ever,
when I have heard subversive and spouting devils speak, I have found
them like thee: embittered, mendacious, and shallow.

Ye understand how to roar and obscure with ashes! Ye are the best
braggarts, and have sufficiently learned the art of making dregs boil.

Where ye are, there must always be dregs at hand, and much that is
spongy, hollow, and compressed: it wanteth to have freedom.

'Freedom' ye all roar most eagerly: but I have unlearned the belief in
'great events,' when there is much roaring and

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

Page 11
The first-named would have the vision it conjures up _eternal_: in its light man must be quiescent, apathetic, peaceful, healed, and on friendly terms with himself and all existence; the second strives after creation, after the voluptuousness of wilful creation, _i.
Page 12
But even the portion it represents was originally designed upon a much larger scale than the present one; the reason probably being, that Nietzsche desired only to be of service to Wagner.
Page 14
Page 22
Page 28
In the Dionysian dithyramb man is incited to the highest exaltation of all his symbolic faculties; something never before experienced struggles for utterance--the annihilation of the veil of Mâyâ, Oneness as genius of the race, ay, of nature.
Page 42
_ I shall not be charged with absurdity in saying that the problem of this origin has as yet not even been seriously stated, not to say solved, however often the fluttering tatters of ancient tradition have been sewed together in sundry combinations and torn asunder again.
Page 46
Knowledge kills action, action requires the veil of illusion--it is this lesson which Hamlet teaches, and not the cheap wisdom of John-a-Dreams who from too much reflection, as it were from a surplus of possibilities, does not arrive at action at all.
Page 52
In this sense the dialogue is a copy of the Hellene, whose nature reveals itself in the dance, because in the dance the greatest energy is merely potential, but betrays itself nevertheless in flexible and vivacious movements.
Page 55
be sure, he had to atone by eternal suffering.
Page 72
"[18] But then it seemed to Socrates that tragic art did not even "tell the truth": not to mention the fact that it addresses.
Page 83
This relation may be very well expressed in the language of the schoolmen, by saying: the concepts are the _universalia post rem,_ but music gives the _universalia ante rem,_ and the real world the _universalia in re.
Page 85
Page 92
With this knowledge a culture is inaugurated which I venture to designate as a tragic culture; the most important characteristic of which is that wisdom takes the place of science as the highest end,--wisdom, which, uninfluenced by the seductive distractions of the sciences, turns with unmoved eye to the comprehensive view of the world, and seeks to apprehend therein the eternal suffering as its own with sympathetic feelings of love.
Page 93
The listener, who insists on distinctly hearing the words under the music, has his wishes met by the singer in that he speaks rather than sings, and intensifies the pathetic expression of the words in this half-song: by this intensification of the pathos he facilitates the understanding of the words and surmounts the remaining.
Page 95
The man incapable of art creates for himself a species of art precisely because he is the inartistic man as such.
Page 100
If there be any one at all in these circles who has not completely exhausted himself in the endeavour to be a trustworthy corrector of old texts or a natural-history microscopist of language, he perhaps seeks also to appropriate Grecian antiquity "historically" along with other antiquities, and in any case according to the.
Page 104
I have only to address myself to those who, being immediately allied to music, have it as it were for their mother's lap, and are connected with things almost exclusively by unconscious musical relations.
Page 105
the veins of the world, would he not collapse all at once? Could he endure, in the wretched fragile tenement of the human individual, to hear the re-echo of countless cries of joy and sorrow from the "vast void of cosmic night," without flying irresistibly towards his primitive home at the sound of this pastoral dance-song of metaphysics? But if, nevertheless, such a work can be heard as a whole, without a renunciation of individual existence, if such a creation could be created without demolishing its creator--where are we to get the solution of this contradiction? Here there interpose between our highest musical excitement and the music in question the tragic myth and the tragic hero--in reality only as symbols of the most universal facts, of which music alone can speak directly.
Page 116
Tragic myth, in so far as it really belongs to art, also fully participates in this transfiguring metaphysical purpose of art in general: What does it transfigure, however, when it presents the phenomenal world in the guise of the suffering hero? Least of all the "reality" of this phenomenal world, for it says to us: "Look at this! Look carefully! It is your life! It.
Page 123
While the translator flatters himself that this version of Nietzsche's early work--having been submitted to unsparingly scrutinising eyes--is not altogether unworthy of the original, he begs to state that he holds twentieth-century English to be a rather unsatisfactory vehicle for philosophical thought.