Thus Spake Zarathustra. Фридрих Вильгельм Ницше

or divine; to whom the loftiest conception which the people have reasonably made their measure of value, would already practically imply danger, ruin, abasement, or at least relaxation, blindness, or temporary self-forgetfulness; the ideal of a humanly superhuman welfare and benevolence, which will often enough appear INHUMAN, for example, when put alongside of all past seriousness on earth, and alongside of all past solemnities in bearing, word, tone, look, morality, and pursuit, as their truest involuntary parody – and WITH which, nevertheless, perhaps THE GREAT SERIOUSNESS only commences, when the proper interrogative mark is set up, the fate of the soul changes, the hour-hand moves, and tragedy begins…”

      Although the figure of Zarathustra and a large number of the leading thoughts in this work had appeared much earlier in the dreams and writings of the author, “Thus Spake Zarathustra” did not actually come into being until the month of August 1881 in Sils Maria; and it was the idea of the Eternal Recurrence of all things which finally induced my brother to set forth his new views in poetic language. In regard to his first conception of this idea, his autobiographical sketch, “Ecce Homo”, written in the autumn of 1888, contains the following passage: —

      “The fundamental idea of my work – namely, the Eternal Recurrence of all things – this highest of all possible formulae of a Yea-saying philosophy, first occurred to me in August 1881. I made a note of the thought on a sheet of paper, with the postscript: 6,000 feet beyond men and time! That day I happened to be wandering through the woods alongside of the lake of Silvaplana, and I halted beside a huge, pyramidal and towering rock not far from Surlei. It was then that the thought struck me. Looking back now, I find that exactly two months previous to this inspiration, I had had an omen of its coming in the form of a sudden and decisive alteration in my tastes – more particularly in music. It would even be possible to consider all ‘Zarathustra’ as a musical composition. At all events, a very necessary condition in its production was a renaissance in myself of the art of hearing. In a small mountain resort (Recoaro) near Vicenza, where I spent the spring of 1881, I and my friend and Maestro, Peter Gast – also one who had been born again – discovered that the phoenix music that hovered over us, wore lighter and brighter plumes than it had done theretofore.”

      During the month of August 1881 my brother resolved to reveal the teaching of the Eternal Recurrence, in dithyrambic and psalmodic form, through the mouth of Zarathustra. Among the notes of this period, we found a page on which is written the first definite plan of “Thus Spake Zarathustra”: —

      “MIDDAY AND ETERNITY.” “GUIDE-POSTS TO A NEW WAY OF LIVING.”

      Beneath this is written: —

      “Zarathustra born on lake Urmi; left his home in his thirtieth year, went into the province of Aria, and, during ten years of solitude in the mountains, composed the Zend-Avesta.”

      “The sun of knowledge stands once more at midday; and the serpent of eternity lies coiled in its light – : It is YOUR time, ye midday brethren.”

      In that summer of 1881, my brother, after many years of steadily declining health, began at last to rally, and it is to this first gush of the recovery of his once splendid bodily condition that we owe not only “The Gay Science”, which in its mood may be regarded as a prelude to “Zarathustra”, but also “Zarathustra” itself. Just as he was beginning to recuperate his health, however, an unkind destiny brought him a number of most painful personal experiences. His friends caused him many disappointments, which were the more bitter to him, inasmuch as he regarded friendship as such a sacred institution; and for the first time in his life he realised the whole horror of that loneliness to which, perhaps, all greatness is condemned. But to be forsaken is something very different from deliberately choosing blessed loneliness. How he longed, in those days, for the ideal friend who would thoroughly understand him, to whom he would be able to say all, and whom he imagined he had found at various periods in his life from his earliest youth onwards. Now, however, that the way he had chosen grew ever more perilous and steep, he found nobody who could follow him: he therefore created a perfect friend for himself in the ideal form of a majestic philosopher, and made this creation the preacher of his gospel to the world.

      Whether my brother would ever have written “Thus Spake Zarathustra” according to the first plan sketched in the summer of 1881, if he had not had the disappointments already referred to, is now an idle question; but perhaps where “Zarathustra” is concerned, we may also say with Master Eckhardt: “The fleetest beast to bear you to perfection is suffering.”

      My brother writes as follows about the origin of the first part of “Zarathustra”: – “In the winter of 1882-83, I was living on the charming little Gulf of Rapallo, not far from Genoa, and between Chiavari and Cape Porto Fino. My health was not very good; the winter was cold and exceptionally rainy; and the small inn in which I lived was so close to the water that at night my sleep would be disturbed if the sea were high. These circumstances were surely the very reverse of favourable; and yet in spite of it all, and as if in demonstration of my belief that everything decisive comes to life in spite of every obstacle, it was precisely during this winter and in the midst of these unfavourable circumstances that my ‘Zarathustra’ originated. In the morning I used to start out in a southerly direction up the glorious road to Zoagli, which rises aloft through a forest of pines and gives one a view far out into the sea. In the afternoon, as often as my health permitted, I walked round the whole bay from Santa Margherita to beyond Porto Fino. This spot was all the more interesting to me, inasmuch as it was so dearly loved by the Emperor Frederick III. In the autumn of 1886 I chanced to be there again when he was revisiting this small, forgotten world of happiness for the last time. It was on these two roads that all ‘Zarathustra’ came to me, above all Zarathustra himself as a type; – I ought rather to say that it was on these walks that these ideas waylaid me.”

      The first part of “Zarathustra” was written in about ten days – that is to say, from the beginning to about the middle of February 1883. “The last lines were written precisely in the hallowed hour when Richard Wagner gave up the ghost in Venice.”

      With the exception of the ten days occupied in composing the first part of this book, my brother often referred to this winter as the hardest and sickliest he had ever experienced. He did not, however, mean thereby that his former disorders were troubling him, but that he was suffering from a severe attack of influenza which he had caught in Santa Margherita, and which tormented him for several weeks after his arrival in Genoa. As a matter of fact, however, what he complained of most was his spiritual condition – that indescribable forsakenness – to which he gives such heartrending expression in “Zarathustra”. Even the reception which the first part met with at the hands of friends and acquaintances was extremely disheartening: for almost all those to whom he presented copies of the work misunderstood it. “I found no one ripe for many of my thoughts; the case of ‘Zarathustra’ proves that one can speak with the utmost clearness, and yet not be heard by any one.” My brother was very much discouraged by the feebleness of the response he was given, and as he was striving just then to give up the practice of taking hydrate of chloral – a drug he had begun to take while ill with influenza, – the following spring, spent in Rome, was a somewhat gloomy one for him. He writes about it as follows: – “I spent a melancholy spring in Rome, where I only just managed to live, – and this was no easy matter. This city, which is absolutely unsuited to the poet-author of ‘Zarathustra’, and for the choice of which I was not responsible, made me inordinately miserable. I tried to leave it. I wanted to go to Aquila – the opposite of Rome in every respect, and actually founded in a spirit of enmity towards that city (just as I also shall found a city some day), as a memento of an atheist and genuine enemy of the Church – a person very closely related to me, – the great Hohenstaufen, the Emperor Frederick II. But Fate lay behind it all: I had to return again to Rome. In the end I was obliged to be satisfied with the Piazza Barberini, after I had exerted myself in vain to find an anti-Christian quarter. I fear that on one occasion, to avoid bad smells as much as possible, I actually inquired at the Palazzo del Quirinale whether they could not provide a quiet room for a philosopher. In a chamber high above the Piazza just mentioned, from which one obtained a general view of Rome and could hear the fountains plashing far below, the loneliest of all songs was composed – ‘The Night-Song’. About this time I was obsessed by an unspeakably sad melody, the refrain of which I recognised