Thus Spake Zarathustra A Book for All and None

Friedrich Wilhelm Nietzsche was a nineteenth-century German philosopher. He wrote critical texts on religion, morality, contemporary culture, philosophy and science, using a distinctive German language style and displaying a fondness for aphorism. Nietzsche's influence remains substantial within and beyond philosophy, notably in existentialism and postmodernism.

Thus Spake Zarathustra (Also sprach Zarathustra), is a work composed in four parts between 1883 and 1885. Much of the work deals with ideas such as the "eternal recurrence of the same", the parable on the "death of God", and the "prophecy" of the Overman, which were first introduced in The Gay Science. Described by Nietzsche himself as "the deepest ever written", the book is a dense and esoteric treatise on philosophy and morality, featuring as protagonist a fictionalized Zarathustra. A central irony of the text is that the style of the Bible is used by Nietzsche to present ideas of his which fundamentally oppose Judaeo-Christian morality and tradition.

By : Friedrich Nietzsche (1844 - 1900), translated by Thomas Common (1850 - 1919)

00 - Zarathustra's Prologue



01 - The Three Metamorphoses



02 - The Academic Chairs of Virtue



03 - Backworldsmen



04 - Despisers of the Body



05 - Joys and Passions



06 - The Pale Criminal



07 - Reading and Writing



08 - The Tree on the Hill



09 - The Preachers of Death



10 - War and Warriors



11 - The New Idol



12 - The Flies in the Marketplace



13 - Chastity



14 - The Friend



15 - The Thousand and One Goals



16 - Neighbor-Love



17 - The Way of the Creating One



18 - Old and Young Women



19 - The Bite of the Adder



20 - Child and Marriage



21 - Voluntary Death



22 - The Bestowing Virtue



23 - The Child with the Mirror



24 - In the Happy Isles



25 - The Pitiful



26 - The Priests



27 - The Virtuous



28 - The Rabble



29 - The Tarantulas



30 - The Famous Wise Ones



31 - The Night-Song



32 - The Dance-Song



33 - The Grave-Song



34 - Self-Surpassing



35 - The Sublime Ones



36 - The Land of Culture



37 - Immaculate Perception



38 - Scholars



39 - Poets



40 - Great Event



41 - The Soothsayer



42 - Redemption



43 - Manly Prudence



44 - The Stillest Hour



45 - The Wanderer



46 - The Vision and the Enigma



47 - Involuntary Bliss



48 - Before Sunrise



49 - The Bedwarfing Virtue



50 - On the Olive Mount



51 - On Passing-by



52 - The Apostates



53 - The Return Home



54 - The Three Evil Things



55 - The Spirit of Gravity



56 - Old and New Tables



57 - The Convalescent



58 - The Great Longing



59 - The Second Dance-Song



60 - The Seven Seals



61 - The Honey Sacrifice



62 - The Cry of Distress



63 - Talk With the Kings



64 - The Leech



65 - The Magician



66 - Out of Service



67 - The Ugliest Man



68 - The Voluntary Beggar



69 - The Shadow



70 - Noon-Tide



71 - The Greeting



72 - The Supper



73 - The Higher Man



74 - The Song of Melancholy



75 - Science



76 - Among Daughters of the Desert



77 - The Awakening



78 - The Ass Festival



79 - The Drunken Song



80 - The Sign


The book chronicles the fictitious travels and speeches of Zarathustra. Zarathustra's namesake was the founder of Zoroastrianism, usually known in English as Zoroaster (Avestan: ZaraÏ‘uÅ¡tra‎). Nietzsche is clearly portraying a "new" or "different" Zarathustra, one who turns traditional morality on its head. He goes on to characterize "what the name of Zarathustra means in my mouth, the mouth of the first immoralist:"

For what constitutes the tremendous historical uniqueness of that Persian is just the opposite of this. Zarathustra was the first to consider the fight of good and evil the very wheel in the machinery of things: the transposition of morality into the metaphysical realm, as a force, cause, and end in itself, is his work. [...] Zarathustra created this most calamitous error, morality; consequently, he must also be the first to recognize it. [...] His doctrine, and his alone, posits truthfulness as the highest virtue; this means the opposite of the cowardice of the "idealist” who flees from reality [...]—Am I understood?—The self-overcoming of morality, out of truthfulness; the self-overcoming of the moralist, into his opposite—into me—that is what the name of Zarathustra means in my mouth.

— Nietzsche, Ecce Homo, "Why I Am a Destiny", §3, trans. Walter Kaufmann
Zarathustra has a simple characterisation and plot, narrated sporadically throughout the text. It possesses a unique experimental style, one that is, for instance, evident in newly invented "dithyrambs" narrated or sung by Zarathustra. Likewise, the separate Dionysian-Dithyrambs was written in autumn 1888, and printed with the full volume in 1892, as the corollaries of Zarathustra's "abundance".

Some speculate that Nietzsche intended to write about final acts of creation and destruction brought about by Zarathustra. However, the book lacks a finale to match that description; its actual ending focuses more on Zarathustra recognizing that his legacy is beginning to perpetuate, and consequently choosing to leave the higher men to their own devices in carrying his legacy forth.

Zarathustra also contains the famous dictum "God is dead", which had appeared earlier in The Gay Science. In his autobiographical work Ecce Homo, Nietzsche states that the book's underlying concept is discussed within "the penultimate section of the fourth book" of 'The Gay Science' (Ecce Homo, Kaufmann). It is the eternal recurrence of the same events.

This concept first occurred to Nietzsche while he was walking in Switzerland through the woods along the lake of Silvaplana (close to Surlej); he was inspired by the sight of a gigantic, towering, pyramidal rock. Before Zarathustra, Nietzsche had mentioned the concept in the fourth book of The Gay Science (e.g., sect. 341); this was the first public proclamation of the notion by him. Apart from its salient presence in Zarathustra, it is also echoed throughout Nietzsche's work. At any rate, it is by Zarathustra's transfiguration that he embraces eternity, that he at last ascertains "the supreme will to power". This inspiration finds its expression with Zarathustra's roundelay, featured twice in the book, once near the story's close:

O man, take care!
What does the deep midnight declare?
"I was asleep—
From a deep dream I woke and swear:—
The world is deep,
Deeper than day had been aware.
Deep is its woe—
Joy—deeper yet than agony:
Woe implores: Go!
But all joy wants eternity—
Wants deep, wants deep eternity."

Another singular feature of Zarathustra, first presented in the prologue, is the designation of human beings as a transition between apes and the "Ãœbermensch" (in English, either the "overman" or "superman"; or, superhuman or overhuman. English translators Thomas Common and R. J. Hollingdale use superman, while Kaufmann uses overman, and Parkes uses overhuman. Martin has opted to leave the nearly universally understood term as Ãœbermensch in his new translation). The Ãœbermensch is one of the many interconnecting, interdependent themes of the story, and is represented through several different metaphors. Examples include: the lightning that is portended by the silence and raindrops of a travelling storm cloud; or the sun's rise and culmination at its midday zenith; or a man traversing a rope stationed above an abyss, moving away from his uncultivated animality and towards the Ãœbermensch.

The symbol of the Ãœbermensch also alludes to Nietzsche's notions of "self-mastery", "self-cultivation", "self-direction", and "self-overcoming". Expounding these concepts, Zarathustra declares:

I teach you the overman. Man is something that shall be overcome. What have you done to overcome him?"



"All beings so far have created something beyond themselves; and do you want to be the ebb of this great flood and even go back to the beasts rather than overcome man? What is the ape to man? A laughingstock or a painful embarrassment. And man shall be just that for the overman: a laughingstock or a painful embarrassment. You have made your way from worm to man, and much in you is still worm. Once you were apes, and even now, too, man is more ape than any ape."

"Whoever is the wisest among you is also a mere conflict and cross between plant and ghost. But do I bid you become ghosts or plants?"



"Behold, I teach you the overman! The overman is the meaning of the earth. Let your will say: the overman shall be the meaning of the earth! I beseech you, my brothers, remain faithful to the earth, and do not believe those who speak to you of otherworldly hopes! Poison-mixers are they, whether they know it or not. Despisers of life are they, decaying and poisoned themselves, of whom the earth is weary: so let them go!

— Thus Spoke Zarathustra, Prologue, §3, trans. Walter Kaufmann
The book embodies a number of innovative poetical and rhetorical methods of expression. It serves as a parallel and supplement to the various philosophical ideas present in Nietzsche's body of work. He has, however, said that "among my writings my Zarathustra stands to my mind by itself" (Ecce Homo, Preface, sec. 4, Kaufmann). Emphasizing its centrality and its status as his magnum opus, Nietzsche stated that:

With [Thus Spoke Zarathustra] I have given mankind the greatest present that has ever been made to it so far. This book, with a voice bridging centuries, is not only the highest book there is, the book that is truly characterized by the air of the heights—the whole fact of man lies beneath it at a tremendous distance—it is also the deepest, born out of the innermost wealth of truth, an inexhaustible well to which no pail descends without coming up again filled with gold and goodness.

— Ecce Homo, Preface, §4, trans. Walter Kaufmann
Since many of the book's ideas are also present in his other works, Zarathustra is seen to have served as a precursor to his later philosophical thought. With the book, Nietzsche embraced a distinct aesthetic assiduity. He later reformulated many of his ideas in Beyond Good and Evil and various other writings that he composed thereafter. He continued to emphasize his philosophical concerns; generally, his intention was to show an alternative to repressive moral codes and to avert "nihilism" in all of its varied forms.

Other aspects of Thus Spoke Zarathustra relate to Nietzsche's proposed "Transvaluation of All Values". This incomplete project began with The Antichrist.

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