Thus Spake Zarathustra by Friedrich Nietzsche (ebook reader color screen .TXT) 📕
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Thus Spake Zarathustra was Friedrich Nietzsche’s favorite of the books he wrote, and has been his most popular amongst general readers. Yet some scholars dislike it because of its unphilosophical nature: it eschews jargon and the scaffolding of arguments, which engage only the intellect, in favor of an artistic approach that engages the whole mind.
After ten years of solitude in a cave high in the mountains, Zarathustra wishes to share with humanity the wisdom he has accumulated during this time. He reaches the nearest town and addresses the crowd on the marketplace. He tells them of the Overman: the next step in human evolution, a being who creates their own values, freed from the weight of tradition and morality, and who takes responsibility for their own successes and failures. But the crowd doesn’t understand him; his discourse is met only with rude ignorance. Zarathustra then decides to gather a small group of disciples and share his wisdom with them.
The bulk of the book is Zarathustra’s speeches on topics such as morality, society, individualism, religion, and how suffering and its overcoming are what give meaning to our existence. While already wiser than most, Zarathustra still learns from those he talks to, re-evaluating his thoughts as he deals with disappointment (such as when his disciples prove to be mere followers), and confronting his own doubts. His greatest challenge, though, comes when he faces the existential test of the eternal recurrence of the same: the thought that our lives could repeat indefinitely without the minutest of change.
The inspiration for Zarathustra came to Nietzsche during one of the long hikes he often indulged in despite his failing health. It was a decade of solitude: his physical condition had worsened to the point of forcing him to retire from his position at the University of Basel, and each change of season prompted him to relocate to kinder climes in Switzerland, France, or Italy. The book took two years to write. Each of its four parts was written in a ten-day period of creative effervescence followed by months of gloom, plagued by terrible, debilitating migraines.
Zarathustra was initially received with indifference at best and frustration at worst. It’s a work of philosophy as much as aesthetics: the language is modeled after the Luther Bible and contains numerous references to Homer, Heraclitus, Plato, Goethe, Emerson, and Wagner, to name a few. Later Nietzsche attempted to address the book’s lack of popularity by framing the same concepts in a more traditional, approachable manner in his following book, Beyond Good and Evil, but that book also struggled to find an audience.
With his health steadily deteriorating, Nietzsche’s mind broke down in 1889 and never recovered. His body would live on for 11 more years, and he ended up in the care of his sister, Elisabeth. A stalwart nationalist and anti-Semite, she saw in her brother’s illness the opportunity to turn him into a German hero. Despite her brother’s firm opposition to nationalism, anti-Semitism, and power politics, she perverted his work by promoting it for her own ends. Scores of commentators partook in her lie and enthusiastically used Nietzsche’s work to buttress their own contrary views. Doing so requires one to selectively ignore half the content of the book: Zarathustra’s discourses regularly touch on a priori dark and violent themes, but they also clearly state that these are to be directed towards oneself. Reaching the Overman requires us to know ourselves, and such introspection, given the darker side of human nature, leads to contempt. This contempt for ourselves, says Nietzsche, should be embraced as the first step towards awareness of what we could be. Cruelty, likewise, stems from that knowledge as a necessity to hammer ourselves into the proper shape. Such commentators also conveniently ignored Zarathustra’s many remarks about love: love for ourselves, he says, is what can prevent us from spreading resentment around us during this difficult process of change.
The first English translation of Zarathustra was by Alexander Tille, a German scholar who had emigrated to Scotland. English wasn’t his first language and his work suffered from it. Thomas Common, a Scottish scholar, used Tille’s work as the base for his own translation. Bringing Zarathustra to the English-speaking world was no easy task given Nietzsche’s stylistic idiosyncrasies. Just like Nietzsche, Common took risks: because the book is written in the style of the Luther Bible, Common decided to emulate the style of the King James Bible; he also tried to reproduce the musicality of the language and the new words coined by Nietzsche, some of which have been updated over time—e.g. Common’s “Superman” is nowadays known as “Overman.” While his choices have been controversial, he produced a landmark translation that faithfully tried to convert the unique flavor of Zarathustra into English. Published in 1909, it would take four decades until the next translation by Walter Kaufman in 1954.
But Zarathustra didn’t find its scholarly fame limited to Europe: soon after its publication, it reached Asia, where it was received with enthusiasm, particularly in China and Japan where it influenced the famous Kyoto School. Zarathustra has also received special attention from the music world. Nietzsche loved music and poetry, and it was his wish that this book be taken as music. No fewer than 87 pieces have been inspired by the book, in part or as a whole. The best known are Richard Strauss’ Also Sprach Zarathustra, the fourth movement of Gustav Mahler’s Symphony No. 3, and Frederick Delius’ A Mass of Life.
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- Author: Friedrich Nietzsche
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As a white ox would I like to see him, which, snorting and lowing, walketh before the ploughshare: and his lowing should also laud all that is earthly!
Dark is still his countenance; the shadow of his hand danceth upon it. O’ershadowed is still the sense of his eye.
His deed itself is still the shadow upon him: his doing obscureth the doer. Not yet hath he overcome his deed.
To be sure, I love in him the shoulders of the ox: but now do I want to see also the eye of the angel.
Also his hero-will hath he still to unlearn: an exalted one shall he be, and not only a sublime one:—the ether itself should raise him, the will-less one!
He hath subdued monsters, he hath solved enigmas. But he should also redeem his monsters and enigmas; into heavenly children should he transform them.
As yet hath his knowledge not learned to smile, and to be without jealousy; as yet hath his gushing passion not become calm in beauty.
Verily, not in satiety shall his longing cease and disappear, but in beauty! Gracefulness belongeth to the munificence of the magnanimous.
His arm across his head: thus should the hero repose; thus should he also surmount his repose.
But precisely to the hero is beauty the hardest thing of all. Unattainable is beauty by all ardent wills.
A little more, a little less: precisely this is much here, it is the most here.
To stand with relaxed muscles and with unharnessed will: that is the hardest for all of you, ye sublime ones!
When power becometh gracious and descendeth into the visible—I call such condescension, beauty.
And from no one do I want beauty so much as from thee, thou powerful one: let thy goodness be thy last self-conquest.
All evil do I accredit to thee: therefore do I desire of thee the good.
Verily, I have often laughed at the weaklings, who think themselves good because they have crippled paws!
The virtue of the pillar shalt thou strive after: more beautiful doth it ever become, and more graceful—but internally harder and more sustaining—the higher it riseth.
Yea, thou sublime one, one day shalt thou also be beautiful, and hold up the mirror to thine own beauty.
Then will thy soul thrill with divine desires; and there will be adoration even in thy vanity!
For this is the secret of the soul: when the hero hath abandoned it, then only approacheth it in dreams—the superhero.—
Thus spake Zarathustra.
XXXVI The Land of CultureToo far did I fly into the future: a horror seized upon me.
And when I looked around me, lo! there time was my sole contemporary.
Then did I fly backwards, homewards—and always faster. Thus did I come unto you, ye present-day men, and into the land of culture.
For the first time brought I an eye to see you, and good desire: verily, with longing in my heart did I come.
But how did it turn out with me? Although so alarmed—I had yet to laugh! Never did mine eye see anything so motley-coloured!
I laughed and laughed, while my foot still trembled, and my heart as well. “Here forsooth, is the home of all the paintpots,”—said I.
With fifty patches painted on faces and limbs—so sat ye there to mine astonishment, ye present-day men!
And with fifty mirrors around you, which flattered your play of colours, and repeated it!
Verily, ye could wear no better masks, ye present-day men, than your own faces! Who could—recognise you!
Written all over with the characters of the past, and these characters also pencilled over with new characters—thus have ye concealed yourselves well from all decipherers!
And though one be a trier of the reins, who still believeth that ye have reins! Out of colours ye seem to be baked, and out of glued scraps.
All times and peoples gaze diverse-coloured out of your veils; all customs and beliefs speak diverse-coloured out of your gestures.
He who would strip you of veils and wrappers, and paints and gestures, would just have enough left to scare the crows.
Verily, I myself am the scared crow that once saw you naked, and without paint; and I flew away when the skeleton ogled at me.
Rather would I be a day-labourer in the netherworld, and among the shades of the bygone!—Fatter and fuller than ye, are forsooth the netherworldlings!
This, yea this, is bitterness to my bowels, that I can neither endure you naked nor clothed, ye present-day men!
All that is unhomelike in the future, and whatever maketh strayed birds shiver, is verily more homelike and familiar than your “reality.”
For thus speak ye: “Real are we wholly, and without faith and superstition”: thus do ye plume yourselves—alas! even without plumes!
Indeed, how would ye be able to believe, ye diverse-coloured ones!—ye who are pictures of all that hath ever been believed!
Perambulating refutations are ye, of belief itself, and a dislocation of all thought. Untrustworthy ones: thus do I call you, ye real ones!
All periods prate against one another in your spirits; and the dreams and pratings of all periods were even realer than your awakeness!
Unfruitful are ye: therefore do ye lack belief. But he who had to create, had always his presaging dreams and astral premonitions—and believed in believing!—
Half-open doors are ye, at which gravediggers wait. And this is your reality: “Everything deserveth to perish.”
Alas, how ye stand there before me, ye unfruitful ones; how lean your ribs! And many of you surely have had knowledge thereof.
Many a one hath said: “There hath surely a God filched something from me secretly whilst I slept? Verily, enough to make a girl for himself therefrom!
“Amazing is the poverty of my ribs!” thus hath spoken many a present-day man.
Yea, ye are laughable unto me, ye present-day men! And especially when ye marvel at yourselves!
And woe unto me if I could not laugh at your marvelling, and had to swallow all that is repugnant in your platters!
As it is, however, I will make lighter of you, since I have to carry what is
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