For in an
infinite
time the course of a finite world is necessarily already completed.
Heidegger - Nietzsche - v1-2
"
And Zarathustra spoke thus to the people:
"The time has come for man to stake out his goal. The time has come for man to sow the seed of his supreme hope.
"His soil is still rich enough for that. But one day this soil will be poo~ and tame, and no tall tree will be able to flourish in it.
"Woe! The time is coming when man will no longer shoot the arrow of his longing beyond man, and the string of his bow will have forgotten how to whir!
"I say unto you: one must still have chaos in him to be able to give birth to a dancing star. I say unto you: you still have chaos in you.
"Woe! The time is coming when man will give birth to no more stars.
34 THE ETER~/\L RECURRENCE OF THE SAME
Woe! The time of the mo~t contemptible man is coming, the one who can no longer feel contempt for himself.
"Behold, I show you the Last Man. "
To this passage we ought to compare the section entitled "On the Attenuating Virtue" in Part III of Thus Spoke Zarathustra. The last man is mentioned at the conclusion of subsection 2:
"We have placed our stools in the middJe"-that is what your smirk tells me-"equidistant from dying warriors and pleasure-loving sows. "
But this is mediocrity, even though it be called moderation.
However, the fact that the last man is cited as the most contemptible man at the outset of the work, the fact that Zarathustra gives vent to his feeling of nausea at the very beginning, has in terms of the work as a whole a still more profound sense. Zarathustra is here merely at the beginning of his path, upon which he is to become the one who he is. He himself must first of all learn; among other things he must learn how to feel contempt. As long as contempt derives from nausea in the face of what is despised it is not yet supreme contempt. Such contempt based on nausea is itself contemptible. "Out of love alone should my contempt and my admonishing bird soar in me, and not out of the swamp! " (Part III, "On Passing By"). "0 my soul, I taught you the contempt that does not come gnawing like a worm; I taught you the great, the loving contempt that loves most where it most feels con- tempt" (Part III, "On the Great Longing").
When Nietzsche creates poetically the figure of Zarathustra he projects the space of that "loneliest loneliness" cited at the end of The Gay Science, the loneliness that induces the thought of thoughts. Nietzsche does so in such a way that Zarathustra resolves to follow the direction which in The Gay Science is mentioned as merely one possi- bility among others, namely, that of "becoming beneficent toward life," that is, affirming life in its extreme anguish and in its most rollicking joy.
The communication of the thought most difficult to bear, the great- est burden, first of all requires the poetic creation of the figure who will think this thought and teach it. But in such creation the doctrine itself cannot be wholly disregarded. It is in fact portrayed in the third part of
The Second Communication of the Doctrine 35
Thus Spoke Zarathustra, which was composed in 1883-84. Neverthe- less, whenever the doctrine is directly introduced, it is invoked in a poetic manner-in similes that portray the sense and the truth of the doctrine in images, that is to say, in the realm of the sensuous, so that these images are sensuous-sensible. When Nietzsche pursues the sen- suous presentation of the thought of eternal return in Thus Spoke Zarathustra he is following-among other essential motivations-a thought that he had jotted down during this same period (1882-84): "The more abstract the truth that one wishes to teach is, the more one
must begin by seducing the senses to it" (XII, 335).
However, we would be misinterpreting Zarathustra were we to ex-
trapolate the doctrine of eternal return from the work, even in the form of figures of speech, as its "theory. " For the most intrinsic task of this work is the· limning of the teacher himself and, through him, the teaching. At the same time, of course, it remains the case that the figure of the teacher can be comprehended only on the basis of the teaching, of what comes to light in its truth, and of the way in which the teaching-<:oncerning as it does beings as a whole-defines the Being of beings. The implication is that our interpretation of Thus Spoke Zarathustra as a work can proceed only on the basis of Nietz- sche's metaphysics in its entirety.
After the publication of Thus Spoke Zarathustra Nietzsche had oc- casion to rue the fact that he had risked the surrender of his most intimate and loftiest experiences. With the passage of time he learned to endure this anguish as well, knowing that the publication was a necessity and that miscomprehension is part and parcel of all such communication. Nietzsche once pinpointed this insight in the follow- ing note: "The necessary concealment of the wise man: his awareness that he is unconditionally not to be understood; his Machiavellian strategy; his icy rejection of the present" (XIII, 37; from the year 1884).
What is difficult to grasp about this work is not only its "content," if it has such, but also its very character as a work. Of course, we are quick to propose a ready-made explanation: here philosophical thoughts are presented poetically. Yet what we are now to call thinking and poetizing dare not consist of the usual notions, inasmuch as the work defines both of these anew, or rather, simply announces them.
36 THE ETERNAL RECURRENCE OF THE SAME
And when we say that this work constitutes the center of Nietzsche's philosophy, it remains nonetheless true that the work stands outside the center, is "eccentric" to it. Finally, when we emphasize the fact that this work is the highest peak attained by Nietzsche's thinking, w~ forget--or, more precisely, we are unapprised of the fact-that precise- ly after the book Thus Spoke Zarathustra, during the years 1884 to 1889, Nietzsche's thinking continued to take essential steps that brought him to new transformations of his thought.
Nietzsche provided the work entitled Thus Spoke Zarathustra with a subtitle: "A Book for Everyone and No One. " What the book says is directed to all, to everyone. Yet no one ever truly has the right, as he is, to read the book, if he does not ahead of time and in the process of his reading undergo a metamorphosis. That means that the book is for no one of us as we happen to be at the moment. A book for everyone and no one, and consequently a book that can never, dare never, be "read" complacently.
All this must be said in order for us to acknowledge how very extrin- sic, how full of reservations, our own way of proceeding will remain. For our provisional characterization of the second communication of the doctrine of return will indicate only quite briefly those "figures of speech," which, more directly than the other utterances, treat of the thought of eternal return.
6. "On the Vision and the Riddle"
The eternal return of the same is discussed quite clearly and explicitly as the fundamental teaching in the section entitled "On Redemption," toward the end of Part II of Thus Spoke Zarathustra, written in the fall of 1883. But discussion of the doctrine flourishes principally in two sections of Part III of that work, composed in January 1884.
The first of these two sections bears the title, "On the Vision and the Riddle. "* It is not a matter of just any vision or just any riddle about something or other. It is a matter of that particular riddle with which Zarathustra comes face to face, the riddle in which being as a whole lies concealed as "the vision of the loneliest one," the riddle that becomes visible only "in our loneliest loneliness. " But why a "riddle"? What the riddle conceals and contains becomes open to view whenever it is surmised. Yet surmise is essentially different from calculation. The latter discloses step by step, along the guideline of some "thread" given beforehand, something unknown from what is known. But in surmise we take a leap, without guidelines, without the rungs of any ladder which anyone can clamber up anytime. To grasp the riddle is to leap, especially when the riddle involves being as a whole. Here there is no particular being or assortment of beings from which the whole could ever be disclosed. To make surmises on this riddle we must venture a journey into the open region of what in general is concealed, into that untraveled and uncharted region which is the unconcealment (aletheia) of what is most concealed. We must venture a journey into truth. Such riddling ventures the truth of being as a whole. t For Nietzsche knows that he occupies an exceptional
• The second of the two, "The Convalescent," is treated in section 8, below.
t Dieses Raten ist ein Wagen der Wahrheit des Seienden im Ganzen. On the word
38 THE ETERNAL RECURRENCE OF THE SAME
place in the history of philosophy. During the period of The Dawn,
about 1881, he jots down the following note (XI, 159):
What is novel about the position we take toward philosophy is a conviction that no prior age shared: that we do not possess the truth. All earlier men "possessed the truth," even the skeptics.
Corresponding to this is a later utterance which also characterizes Nietzsche's own thinking within the confines of the position he takes. In the plans for Thus Spoke Zarathustra (XII, 410) Nietzsche remarks, "We are conducting an experiment with truth. Perhaps mankind will perish as a result! Splendid! "
Nevertheless, we would misunderstand the riddle and our riddling on it abysmally if we were to believe that our task is to hit upon a solution that would dissolve all that is questionable. Riddling on this riddle should rather bring us to experience the fact that as a riddle it cannot be brushed aside.
Profound aversion to reposing once and for all in any sort of totalized view of the world. The magic of the opposite kind of thinking: not letting oneself be deprived of the stimulation in all that is enigmatic (WM, 470; from the years 1885-86).
And in The Gay Science (Book V, number 375, written 1887) Nietz- sche speaks of the "addiction to knowledge, which will not let the questionmark behind all things go at a bargain price. "
Thus we must take these words "riddle" and "riddling" in their es- sential importance and scope if we are to understand why Nietzsche grants Zarathustra himself the sobriquet "riddler" (Part Ill, "On Old and New Tablets," section 3). What sort of visage, then, does the riddle which Zarathustra tells have? Again we must pay heed to the way he tells it, to the where and when and to whom, if we are to estimate the what aright. Zarathustra tells the riddle aboard ship, un-
Wagen, related to way, weight, risk, hazard, venture and adventure, see Heidegger, "Wozu Dichter? " in Holzwege (Frankfurt am Main: V. Klostermann, 1950), pp. 255 ff. , esp. pp. 259 and 275. See the English translation by Albert Hofstadter in Heidegger, Poetry, Language, Thought (New York: Harper & Row, 1971), pp. 99 ff. , esp. pp. 103-04 and 139-40. Heidegger's use of the word in his Nietzsche course antedates that in the Rilke lecture by almost a decade.
"On the Vision and the Riddle" 39
derway on a voyage to open, "unexplored" seas. And to whom does he tell it? Not to the other passengers but to the crew alone: "To you, bold searchers and researchers, and those that ever took to ship with cun- ning sails on terrifying seas. . . . " In the same vein we hear now one of the "Songs of the Outlaw Prince," appended to the second edition of The Gay Science in 1887:
Toward New Seas•
I will go there, and will confide In myself and in my steady grip. Open lies the sea; into the tide Plunges my Genuese ship.
All shines new before the mast! Space and time sleep at midday. Only your eye-unutterably vast Gazes on me, 0 infinity!
And when does Zarathustra tell the crew the riddle? Not the mo- ment he comes on board, because he keeps silent for two days. That is to say, he speaks only after they have gained open sea and only after he himself has in the meantime tested the seamen to learn whether they are the right listeners.
And what does Zarathustra relate? He tells of his ascent upon a mountain path at twilight. He stresses the atmosphere of twilight when he remarks, "Not only one sun had gone down for me. " In his narra- tive of the ascent two regions of essential imagery converge-and, in fact, Nietzsche's transposition of thought into sensuous imagery always haunts these two realms: the sea, and mountain heights.
• The German text reads:
Nach neuen Meeren
Dorthin-will ich; und ich traue Mir fortan und meinem Griff. Offen liegt das Meer, in's Blaue Treibt mein Genueser Schiff.
Alles glanzt mir neu und neuer, Mittag schlaft auf Raum und Zeit-: Nur dein Auge--ungeheuer
Blickt mich's an, Unendlichkeit!
40 THE ETERNAL RECURRENCE OF THE SAME
While ascending, Zarathustra must constantly overcome the "spirit of gravity. " The spirit of gravity pulls downward without cease, and yet for the one who climbs, the one who carries his "archenemy" into the heights with him, that spirit is no more than a dwarf.
But as he climbs the depths themselves increase and the abyss first becomes an abyss-not because the climber plunges into it, but pre- cisely because he is ascending. Depths belong to heights; the former wax with the latter. For that reason the following lines appear by way of anticipation in the first section of Part III, which conjoins the two realms of imagery, "mountain" and "sea":
"Whence come the highest mountains? " I once asked. Then I iearned that they come out of the sea.
The testimony is inscribed in their stone, and in the walls of their sum- mits. From unfathomable depths the highest must rise to its height.
In any ascent there are always way-stations where one may estimate the way up and the way down against one another. The spirit of the ascending heights and the spirit of the downward-wending path meet face to face while on the way. Zarathustra the climber versus the dwarf, the one who drags down. Thus, when climbing, it comes to a question for decision: "Dwarf! It is either You or me! " The way the issue is posed here, it seems as though the dwarf (named first and with the "You" capitalized) is to win supremacy. Soon, however, at the beginning of the second section of "On the Vision and the Riddle," matters are reversed:
"Stop, dwarf! " said I. "It is I or you! But I am the stronger of us two: you do not know my abysmal thought. That you could not bear! "
Inasmuch as Zarathustra thinks the abyss, the thought of thoughts, inasmuch as he takes the depths seriously, he rises to the heights and surpasses the dwarf.
Then something happened that made me lighter: the dwarf, being curious, sprang from my shoulder. He squatted on a rock in front of me. But at the very place we stopped there was a gateway.
Zarathustra now describes the gateway. With the description of the image of the gateway Zarathustra brings the riddle to vision.
"On the Vision and the Riddle" 41
In the gateway two long avenues meet. The one leads forward, the other leads back. They run counter to one another; they affront one another. Each extends infinitely into its eternity. Above the gateway appears the inscription "Moment. "*
The gateway "Moment," with its avenues stretching infinitely on- ward and counter to one another, is the image of time running forward and backward into eternity. Time itself is viewed from the "moment," from the "now. " Both ways find their point of departure here, one extending into the not-yet-now of the future, the other leading back into the no-longer-now of the past. To the extent that the most abys- mal thought is to be made accessible to the vision of the dwarf squat- ting at Zarathustra's side, made accessible by means of this sighting of the gateway, and to the extent that for the dwarfs vision time and eternity are obviously to be transposed into sense-images, the passage as a whole suggests that the thought of the eternal recurrence of the same will now be conflated with the realm of time and eternity. But this vision, the envisaged gateway, is a sighting of the riddle itself, not of its solution. When the "image" becomes visible and is described, the riddle draws into sight for the first time. The riddle is what our riddling must aim at.
Riddling commences by questioning. Zarathustra therefore immedi- ately directs some questions to the dwarf concerning the gateway and its avenues. The first question involves the avenues-which one, we are not told. Indeed, what Zarathustra now asks is equally pertinent to both. If anyone were to strike out on one of these avenues, and con- tinue on and on, what would happen? "Do you believe, dwarf, that these ways contradict one another eternally? "-that is to say, do the paths run away from one another eternally, are they contrary to one another?
" 'Everything straight deceives,' murmured the dwarf contemptuous-
• "Moment" unfortunately fails to capture the dramatically temporal nature of the German Augenblick, literally, the glance or flash of an eye. The drama in question has everything to do with what Heidegger in Being and Time calls "ecstatic temporality," especially in its connection with the analysis of death. (Sec, for example, section 68a, on the "authentic present. ") The gateway "Glance of an Eye" remains throughout Heideg- ger's lecture course the most compelling image of eternal return.
42 THE ETERNAL RECURRENCE OF THE SAME
ly. 'All truth is curved; time itself is a circle. ' " The dwarf resolves the
difficulty-indeed, as we are expressly told, in a "contemptuous" mur-
mur. The difficulty is not one which the dwarf would take pains with·
•·
for him it is scarcely worth even talking about. For if both ways extend to eternity, they wind up at the same place; they meet there, they link up and form one uninterrupted highway. What to us looks like two straight avenues taking off in opposite directions is in truth that seg- ment of an enormous circle which is visible to us here and now, while the circle itself perpetually revolves back upon itself. The straight is semblance. In truth, the way the avenues take is circular; that is to say, truth itself-being as it proceeds in truth-is curved. Time's circling in itself, and hence the ever-recurring same for all beings in time, is the way in which being as a whole is. It is in the way of eternal recurrence. That is how the dwarf guesses the riddle.
But Zarathustra's narrative takes a curious turn. "'You spirit of gravity,' I cried wrathfully, 'don't make things too easy for yourself! Or I'll leave you squatting where you are right now, lamefoot! -and I was the one who carried you high! '" Instead of rejoicing in the fact that the dwarf has thought his thought, Zarathustra speaks "wrathfully. " So the dwarf has not really grasped the riddle; he has made the solution too easy. Accordingly, the thought of eternal recurrence of the same is not yet thought when one merely imagines "everything turning in a cir- cle. " In his book on Nietzsche, Ernst Bertram characterizes the doc- trine of eternal return as a "deceptively aping, lunatic mysterium. ''* He appends a saying of Goethe's by way of remonstrance, obviously because he views it as a superior insight which puts to shame the thought of eternal return. Goethe's saying runs, "The more one knows and the more one comprehends, the more one realizes that everything turns in a circle. " That is precisely the thought of circling as the dwarf thinks it, the dwarf who, in Zarathustra's words, makes things too easy-inasmuch as he absolutely refuses to think Nietzsche's stupendous thought.
The thinker abandons anyone who thinks Nietzsche's keenest thought dwarfishly, leaves the lamefoot squatting where he squats.
• See page 6, above, for the reference.
"On the Vision and the Riddle" 43
Zarathustra lets the dwarf sit, even though he has carried him "high," transposed him to a height where he would see if only he could, and where he could see if he were not forever-a dwarf.
Zarathustra immediately directs a second question to the dwarf. This question refers not to the avenues but to the gateway itself, "the Mo- ment. " " 'Behold,' I went on, 'behold this Moment! ' " The entire vi- sion is to be pondered once again on the basis of the "Moment" and in relation to it. " 'From this gateway Moment a long avenue runs eter- nally rearward: behind us lies an eternity. ' " All the finite things that can hasten along that avenue and that need only a finite span in order to run their course, all these finite things must therefore have already run through this eternity, must have already come along this avenue. Nietzsche summarizes an essential thought concerning his doctrine so succinctly here, in the form of a question, that it is hardly comprehen- sible on its own, especially since the requisite presuppositions, al- though mentioned, do not really become visible. Those presupposi- tions are: first, the infinity of time in the directions of future and past; second, th~ actuality of time, which is not a "subjective" Form of
Intuition; third, the finitude of things and of their courses. On the basis of these presuppositions, everything that can in any way be must, as a being, already have been.
For in an infinite time the course of a finite world is necessarily already completed. If, therefore, " 'every- thing has already been there, what do you make of this Moment, dwarf? Must not this gateway too already have been there? ' " And if all things are knotted tight, so that the moment pulls them along behind, must not the moment also pull itself along behind? And if the moment also moves down the lane ahead, must not all things strike out along the avenue once again? The patient spider, the moonlight (cf. The
Gay Science, number 341), I and you in the gateway-" 'must we not recur eternally? '" It seems as though Zarathustra's second question repeats exactly what was contained in the dwarfs answer to the first question: Everything moves in a circle. It seems so. Yet the dwarf fails to reply to the second question. The very question is posed in such a superior fashion that Zarathustra can no longer expect an answer from the dwarf. The superiority consists in the fact that certain conditions of understanding have been brought into play, conditions the dwarf can-
44 THE ETERNAL RECURRENCE OF THE SAME
not satisfy-because he is a dwarf. These new conditions derive from the realization that the second question is based on the "Moment. " But such questioning requires that one adopt a stance of his own with- in the "Moment" itself, that is, in time and its temporality.
When that requirement appears, the dwarf vanishes. Indeed, he vanishes on account of an event that in itself is sinister and foreboding. Zarathustra relates: "I saw a young shepherd, writhing, choking in spasms, his face distorted: a thick black snake hung out of his mouth. " The snake had bitten fast there. Zarathustra pulls at the snake, in vain. "Then the cry rose out of me, 'Bite! You must bite! Bite off the head! Bite! '"
The event and the image are difficult for us to think. But they are most intimately bound up with the effort to think the thought that is hardest to bear. Right now we will pay attention to only one aspect: after Zarathustra has posed the second question there is no place left for the dwarf, who no longer belongs in the realm of this question because he cannot bear to hear it. Questioning, riddling, and thinking, as they approach ever nearer the import of the riddle, themselves become more riddlesome, loom ever more gigantic, towering over the one who is doing the questioning. Not everyone has a right to every question. Rather than expect a response from the dwarf, and rather than provide a polished reply couched in propositions, Zarathustra continues the narrative: "Thus I spoke, and ever more softly: for I feared my own thoughts and hinterthoughts. " The thought that is hardest to bear grows terrifying. Behind what one might imagine as a turning in lazy circles, it descries something altogether different. It thinks the thought in a way dwarfs never think it.
7. Zarathustra's Animals
At this point we will interrupt our interpretation of the episode "On the Vision and the Riddle. " We will consider the episode again in another context later in the course. After we have portrayed the essence of nihilism as the domain of the thought of eternal return we shall be better prepared to understand what is now to transpire in that episode. We will not consider the remaining episodes of Part Ill, but only ex- trapolate some details of the fourth-to-last section, "The Conva- lescent. "'"
Zarathustra has in the meantime returned from his sea voyage to the solitude of the mountains-to his cave and to his animals. His animals are the eagle and the serpent. These two are his animals; they belong to him in his solitude. And when Zarathustra's loneliness speaks, it is his animals who are speaking. Nietzsche writes at one point (it was in September of 1888 in Sils-Maria, at the conclusion of a preface-no longer extant-to Twilight of the Idols in which Nietzsche casts a retrospective glance at Thus Spoke Zarathustra and Beyond Good and Evil): "His love ofanimals-men have always recognized the solitary by means of this trait" (XIV, 417). However, Zarathustra's animals are not chosen arbitrarily: their essence is an image of Zarathustra's proper essence, that is to say, an image of his task-which is to be the teacher of eternal return. These animals of his, eagle and serpent, therefore do not enter on the stage at some fortuitous point. Zarathustra first espies
• "The Convalescent" is discussed in section 8, below. Heidegger returns to his inter- pretation of "The Vision and the Riddle" in section 24, "Moment and Eternal Recur- rence," after having raised the question of that thought's domain, namely, the overcoming of nihilism, in sections 21-23. Heidegger's remarks here are most important for our understanding the structure and movement of the lecture course as a whole. For further discussion, see section I of the Analysis at the end of this volume.
46 THE ETERl'\AL RECURRENCE OF THE SAME
them at glowing midday, that part of the day which throughout the work Thus Spoke Zarathustra unleashes an essential image-generating force.
When Zarathustra speaks to his heart at glowing midday he hears the piercing cry of a bird. He looks inquiringly into the sky. "And behold! An eagle soared through the air in vast circles, and a serpent hung suspended from him, not as his prey but as though she were his friend: for she had coiled about his neck" (Prologue, section 10). This magnificient emblem scintillates for all who have eyes to see! The more essentially we comprehend the work Thus Spoke Zarathustra, the more univocal yet inexhuastible the emblem becomes.
The eagle soars in vast circles high in the air. The circling is an image of eternal return. Yet it is a circling that simultaneously rises skyward and holds itself there in the heights.
The serpent hangs suspended from the eagle, coiled about his throat. Again, the coils of the serpent, wound in rings about the eagle's throat, are symbolic of the ring of eternal return. Moreover, the ser- pent winds itself about the one who wends his way in great circles in the sky-a singular and essential, yet for us still obscure, tangle of coils. Through it the graphic force of the imagery gradually displays its wealth. The serpent, not as prey pinned in the eagle's talons and so suppressed, but winding itself freely about the throat as the eagle's intimate companion, winding about him and soaring upward with him in circles! Into this sensuous imagery of the eternal return of the same -circling in a ring, and coiling in a circle-we must integrate what it is the animals themselves are.
The eagle is the proudest animal. Pride is the fully developed resolu- tion of one who maintains himself at the level of his own essential rank, a rank to which his task appoints him. Pride is the assurance of one who no longer confuses himself with anyone else. Pride is poised above, is defined by heights and elevation; yet it is essentially different from arrogance and superciliousness. The latter remain in need of a relationship with what is beneath them; they have to set themselves in relief against it and thus they remain necessarily dependent on it. For they possess nothing that would inherently enable them to imagine themselves in elevation. They can be uplifted only because they re-
Zarathustra's Animals 47
main defined by what is beneath them; they can ascend only to some-
thing that is not elevated but which they fancy to be so. Pride is differ-
ent.
The eagle is the proudest animal. He lives always in the heights, and
for them. Even when he plunges into the depths, these are depths among mountain heights, crevasses, not plains where all is flattened out and equalized.
The serpent is the most discerning animal. Discernment suggests the mastery of actual knowledge concerning the sundry ways in which knowing announces itself, holds itself in reserve, asserts itself and yet remains flexible, avoiding its own pitfalls. Proper to such discernment are the power to metamorphose and to disguise oneself-a power that cannot be reduced to vulgar falsehood-and the mastery of masks. Discernment does not betray itself. It haunts the background while playing in the foreground; it wields power over the play of Being and semblance.
Zarathustra's two animals are the proudest and most discerning of animals. They belong together and they are out on a search. That is to say, they seek someone of their own kind, one who matches their standards, someone who can hold out with them in loneliness. They seek to learn whether Zarathustra is still living, living as one who is prepared to go under. That should be enough to let us know that the eagle and serpent are not pets; we do not take them home with us and proceed to domesticate them. They are alien to all that is domestic and usual, all that is "familiar" in the petty sense of the word. These two animals define for the first time the loneliest loneliness, and it is some- thing different from what the usual view takes it to be. In the usual view, solitude is what liberates us, frees us from all things. Solitude, according to this view, is what happens after you post the "Do No! Disturb" sign. Yet in our loneliest loneliness the most hair-raising and hazardous things are loosed upon us and on our task, and these cannot be deflected onto other things or other people. They must penetrate us through and through, not that we might be rid of them once and for all, but that in authentic knowing and supreme discernment we may become aware that such things remain relevant. To know precisely
that is the knowing that is hardest to bear. All too easily such knowing
48 THE ETERNAL RECURRENCE OF' TBE SAME
flies off, or creeps away, into evasions and excuses-into sheer folly. W e must think this magnificient conception of loneliness in order to grasp both the role played by these two sensuous images-the two animals of Zarathustra the solitary-and the figure of Zarathustra him- self. We dare not falsify all this by romanticizing it. To hold out in loneliest loneliness does not mean to keep these two animals as com- pany or as a pleasant pastime; it means to possess the force that will enable one to remain true to oneself in their proximity and to prevent them from fleeing. Hence at the conclusion of the Prologue to Thus
Spoke Zarathustra we find the words:
"Thus I bid my pride always to accompany my discernment. And if my discernment should one day leave me-alas, she loves to fly off! -then let my pride fly with my folly! "
Thus began Zarathustra's downgoing.
A curious downgoing, which commences by exposing itself to the supreme possibilites of Becoming and Being. These cohere in the es- sence of will to power; that is to say, they are one.
What we set out to do here was to indicate briefly what the figures of Zarathustra's two animals, eagle and serpent, symbolize: first, in their circling and coiling-the circle and ring of eternal return; second, in their essential character as pride and discernment, respectively, these constituting the basic stance of the teacher of eternal return and his mode of knowledge; third, as the animals of his loneliness, being su- preme exactions on Zarathustra himself. Zarathustra's animals are all the more implacable inasmuch as we hear them-not expressing cer- tain propositions or rules or admonitions-but saying from out of their essential natures what is essential, and saying it with growing lucidity through the palpable presence of sensuous imagery. Sense-images speak only to those who possess the constructive energy to give them shape, so that they make sense. As soon as the poetic force-that is, the higher constructive energy-wanes, the emblems turn mute. They petrify, become sheer "facade" and "ornament. "
8. "The Convalescent"
The reference to Zarathustra's animals has left us not totally unpre- pared to grasp the episode that, along with "On the Vision and the Riddle," considered earlier, treats the eternal return in a more direct fashion. This episode, the fourth-to-last of Part III, entitled "The Con- valescent,'' remains in mysterious correspondence to that earlier one. In "The Convalescent" Zarathustra's animals speak to him about what they themselves symbolize: they speak of eternal return. They speak to Zarathustra, hovering about him, and remain present to his solitude until a particular moment when they leave him alone, cautiously steal- ing away. Their standing by him suggests that they are curious about him and are ever on the search for him; they want to know whether he is becoming the one he is, whether in his Becoming he finds his Being. But Zarathustra's Becoming commences with his downgoing. The downgoing itself comes to its end in Zarathustra's convalescence. Everything here is indicative of the most profound strife. Only when we grasp the various facets of the strife will we near the thought that is hardest to bear.
We shall place special emphasis on the characterization of the doc- trine of eternal return, as befits the preliminary elucidations we are now engaged in. Yet we must continue to keep to the style of the present work; we must grasp everything that happens, in the way that it happens, in terms of that work itself. We must also understand the teaching, as taught, in connection with the questions as to who Zara- thustra is, how the teacher of that teaching is, and in what way the teaching defines the teacher. That is to say, precisely where the teach- ing is most purely expressed in doctrines, the teacher, the one who teaches and speaks, dare not be forgotten.
50 THE ETERNAL RECURRENCE OF THE SAME
How do matters stand with Zarathustra at the beginning of the sec- tion entitled "The Convalescent"? What is happening here? Zarathus- tra has returned once again to his cave, home from his sea voyage. One morning soon after his arrival he leaps from his bed and cries out like a madman, gesturing frantically, "as though someone were still lying in his bed and refused to get up. " Zarathustra rages in a frightful voice in order to wake this other and to make sure that he will remain awake in the future. This other is his most abysmal thought, which, although it lies with him, still remains a stranger to Zarathustra; the other is his own ultimate recess, which Zarathustra has not yet con- ducted to his supreme height and to the most fully wakeful of lives. The thought lies beside him in bed, has not yet become one with him, is not yet incorporated in him and hence is not yet something truly thought. So saying, we indicate what is now to happen: the full import and the whole might of the thought that is hardest to bear must now rise and reveal itself. Zarathustra roars at it, calls it a "sluggish worm. " We easily discern the meaning of the image: the sluggish worm, lying as a stranger on the floor, is the counterimage to the ringed serpent who "wrings" his way to the heights, soaring there in vast circles, vigilant in friendship. When the invocation of the most abysmal thought begins, Zarathustra's animals grow fearful; they do not flee in consternation, however, but come nearer, while all the other animals about them scatter. Eagle and serpent alone remain. It is a matter of bringing to the light of wakeful day, in purest solitude, what the ani- mals symbolize.
Zarathustra invokes his ultimate recesses and so conducts himself to himself. He becomes what he is and confesses himself to be the one who he is: "the advocate of life, the advocate of suffering, the advocate of the circle. " Living, suffering, and circling are not three distinct matters. They belong together and form one: being as a whole, to which suffering, the abyss, belongs and which is inasmuch as, circling, it recurs. These three manifest their mutual affinity when they are gathered in the light of day, that is, when they are thought in their unity by Zarathustra's supreme "Yes. " In that supreme moment, when the thought is comprehended and is truly thought, Zarathustra cries, "Hail me! " Yet his "Hail me! " is at the same time a "Woe is me! "-for
"The Convalescent" 51
his is the victory that overcomes even itself as its greatest danger, the victory that grasps itself as downgoing.
Scarcely is it accomplished, when Zarathustra collapses. After he regains his senses he takes to his bed for seven days and seven nights. "But his animals did not abandon him, neither by day nor by night. " Even so, Zarathustra remains in his solitude. The eagle, the proudest animal, flies off alone to fetch all sorts of nourishment. That means to say that Zarathustra does not lose himself, that he continues to nourish his pride and to secure the certainty of his rank, even though he must lie prostrate, even though his discernment does not bother about him now, so that he cannot even tell himself what he knows. Among other things, the eagle brings him "yellow and red berries," and we recall the earlier reference to "deep yellow and fiery red" (cf. Part III, "On the Spirit of Gravity"). Taken together, these two colors conform to what Zarathustra wants to have in sight: the color of deepest falsehood, er- ror, and semblance, and the color of supreme passion, of incandescent creation.
When interpreting the two colors we have to keep in mind the fact that for will to power "error" constitutes the necessary essence of truth and that it is therefore not at all to be valued negatively. "Deep yellow" may also be interpreted as the gold of the "golden flash of the serpent vita" (WM, 577), which is "the serpent of eternity" (XII, 426). For the second interpretation "deep yellow" is the color of the eternal recur- rence of the same, "fiery red" the color of will to power. For the first interpretation the two colors display the essential structure of will to power itself, inasmuch as truth as that which fixates and art as creation constitute the conditions of the possibility of will to power. In both cases the mutual affinity of the two colors points toward the essential unity of the Being of beings as thought by Nietzsche.
But after seven days "the animals felt that the time had come to t:ilk with him. " Zarathustra is now strong enough actually to think and to express himself about his most difficult thought, his ultimate recess. For what the eagle and serpent (the loneliest loneliness) wish to talk about-the only thing they can talk about-is the thought of eternal return. In the dialogue between Zarathustra and his animals the thought of thoughts is now brought to language. It is not presented as
52 THE ETERNAL RECURRENCE OF THE SAME
a "theory"; only in conversation does it prove itself. Fot here the speak- ers themselves must venture forth into what is spoken: conversation alone brings to light the extent to which the speakers can or cannot advance, and the extent to which their conversation is only empty talk.
The two animals open the conversation. They inform Zarathustra that the world outside is like a garden that awaits him. They sense somehow that a new insight has come to him, an insight concerning the world as a whole. It must therefore be a pleasure to proceed to this newly constituted world, since all things are bathed in the light of the new insight and want to be integrated into the new dispensation. Inso- far as they are so illuminated and integrated, things corroborate the insight in a profound way; they heal the one who up to now has been a seeker, they cure him of the disease of inquiry. That is what the animals mean when they say to Zarathustra, "All things yearn for you. . . . All things want to be doctors to you! " And Zarathustra? He listens to the animals' talk, indeed gladly, although he knows that they are only jabbering. But after such solitude the world is like a garden, even when it is invoked by mere empty talk, in the sheer play of words and phrases. He knows that a cheerful loveliness and gentle humor settle over the terrifying thing that being genuinely is; that being can conceal itself behind semblances in what is talked about. In truth, of course, the world is no garden, and for Zarathustra it dare not be one, especially if by "garden" we mean an enchanting haven for the flight from being. Nietzsche's conception of the world does not provide the thinker with a sedate residence in which he can putter about unper- turbed, like the philosopher of old, Epicurus, in his "garden. " The world is not a cosmos present at hand in itself. The animals' allusion to the garden has the sense of rejecting any sedate residence; at the same time, indirectly, it has the task of referring us to the concept of world in the tragic insight. Here we must ponder an important note by Nietzsche (XII, 368, from 1882-84):
Solitude for a time necessary, in order that the creature be totally permeated --cured and hard. New form of community, asserting itself in a warlike manner. Otherwise the spirit grows soft. No "gardens" and no sheer "eva- sion in the face of the masses. " War (but without gunpowder! ) between different thoughts! and their armies!
"The Convalescent" 53
The animals talk to Zarathustra about his new insight in seductive words that tempt him to sheer intoxication. Yet Zarathustra knows that in truth these words and tones are "rainbows and sham bridges con- necting what is eternally distinct. " Where things most reminiscent of other things are named in the conversation, when it sounds as though the same is being said, then and there comes the loveliest lie: "For the smallest gap is the hardest to bridge. "
What is Zarathustra thinking about? Nothing else than the sole mat- ter under discussion, the world, being as a whole. But what response did the dwarf give to this riddle? The dwarf said that the avenues of the gateway, running counter to one another, meet in the infinite; every- thing turns in a circle and is a circle. And what did Zarathustra call himself when he thought his most difficult thought out of his ultimate recess, a thought he did not take lightly, as the dwarf did? He called himself the "advocate of the circle. " Hence the two of them, the dwarf and Zarathustra, say the same thing. Between them lies only "the smallest gap": in each case it is an other who speaks the same words. Otherwise that same word, "circle," is but a sham bridge between things that are eternally distinct.
And Zarathustra spoke thus to the people:
"The time has come for man to stake out his goal. The time has come for man to sow the seed of his supreme hope.
"His soil is still rich enough for that. But one day this soil will be poo~ and tame, and no tall tree will be able to flourish in it.
"Woe! The time is coming when man will no longer shoot the arrow of his longing beyond man, and the string of his bow will have forgotten how to whir!
"I say unto you: one must still have chaos in him to be able to give birth to a dancing star. I say unto you: you still have chaos in you.
"Woe! The time is coming when man will give birth to no more stars.
34 THE ETER~/\L RECURRENCE OF THE SAME
Woe! The time of the mo~t contemptible man is coming, the one who can no longer feel contempt for himself.
"Behold, I show you the Last Man. "
To this passage we ought to compare the section entitled "On the Attenuating Virtue" in Part III of Thus Spoke Zarathustra. The last man is mentioned at the conclusion of subsection 2:
"We have placed our stools in the middJe"-that is what your smirk tells me-"equidistant from dying warriors and pleasure-loving sows. "
But this is mediocrity, even though it be called moderation.
However, the fact that the last man is cited as the most contemptible man at the outset of the work, the fact that Zarathustra gives vent to his feeling of nausea at the very beginning, has in terms of the work as a whole a still more profound sense. Zarathustra is here merely at the beginning of his path, upon which he is to become the one who he is. He himself must first of all learn; among other things he must learn how to feel contempt. As long as contempt derives from nausea in the face of what is despised it is not yet supreme contempt. Such contempt based on nausea is itself contemptible. "Out of love alone should my contempt and my admonishing bird soar in me, and not out of the swamp! " (Part III, "On Passing By"). "0 my soul, I taught you the contempt that does not come gnawing like a worm; I taught you the great, the loving contempt that loves most where it most feels con- tempt" (Part III, "On the Great Longing").
When Nietzsche creates poetically the figure of Zarathustra he projects the space of that "loneliest loneliness" cited at the end of The Gay Science, the loneliness that induces the thought of thoughts. Nietzsche does so in such a way that Zarathustra resolves to follow the direction which in The Gay Science is mentioned as merely one possi- bility among others, namely, that of "becoming beneficent toward life," that is, affirming life in its extreme anguish and in its most rollicking joy.
The communication of the thought most difficult to bear, the great- est burden, first of all requires the poetic creation of the figure who will think this thought and teach it. But in such creation the doctrine itself cannot be wholly disregarded. It is in fact portrayed in the third part of
The Second Communication of the Doctrine 35
Thus Spoke Zarathustra, which was composed in 1883-84. Neverthe- less, whenever the doctrine is directly introduced, it is invoked in a poetic manner-in similes that portray the sense and the truth of the doctrine in images, that is to say, in the realm of the sensuous, so that these images are sensuous-sensible. When Nietzsche pursues the sen- suous presentation of the thought of eternal return in Thus Spoke Zarathustra he is following-among other essential motivations-a thought that he had jotted down during this same period (1882-84): "The more abstract the truth that one wishes to teach is, the more one
must begin by seducing the senses to it" (XII, 335).
However, we would be misinterpreting Zarathustra were we to ex-
trapolate the doctrine of eternal return from the work, even in the form of figures of speech, as its "theory. " For the most intrinsic task of this work is the· limning of the teacher himself and, through him, the teaching. At the same time, of course, it remains the case that the figure of the teacher can be comprehended only on the basis of the teaching, of what comes to light in its truth, and of the way in which the teaching-<:oncerning as it does beings as a whole-defines the Being of beings. The implication is that our interpretation of Thus Spoke Zarathustra as a work can proceed only on the basis of Nietz- sche's metaphysics in its entirety.
After the publication of Thus Spoke Zarathustra Nietzsche had oc- casion to rue the fact that he had risked the surrender of his most intimate and loftiest experiences. With the passage of time he learned to endure this anguish as well, knowing that the publication was a necessity and that miscomprehension is part and parcel of all such communication. Nietzsche once pinpointed this insight in the follow- ing note: "The necessary concealment of the wise man: his awareness that he is unconditionally not to be understood; his Machiavellian strategy; his icy rejection of the present" (XIII, 37; from the year 1884).
What is difficult to grasp about this work is not only its "content," if it has such, but also its very character as a work. Of course, we are quick to propose a ready-made explanation: here philosophical thoughts are presented poetically. Yet what we are now to call thinking and poetizing dare not consist of the usual notions, inasmuch as the work defines both of these anew, or rather, simply announces them.
36 THE ETERNAL RECURRENCE OF THE SAME
And when we say that this work constitutes the center of Nietzsche's philosophy, it remains nonetheless true that the work stands outside the center, is "eccentric" to it. Finally, when we emphasize the fact that this work is the highest peak attained by Nietzsche's thinking, w~ forget--or, more precisely, we are unapprised of the fact-that precise- ly after the book Thus Spoke Zarathustra, during the years 1884 to 1889, Nietzsche's thinking continued to take essential steps that brought him to new transformations of his thought.
Nietzsche provided the work entitled Thus Spoke Zarathustra with a subtitle: "A Book for Everyone and No One. " What the book says is directed to all, to everyone. Yet no one ever truly has the right, as he is, to read the book, if he does not ahead of time and in the process of his reading undergo a metamorphosis. That means that the book is for no one of us as we happen to be at the moment. A book for everyone and no one, and consequently a book that can never, dare never, be "read" complacently.
All this must be said in order for us to acknowledge how very extrin- sic, how full of reservations, our own way of proceeding will remain. For our provisional characterization of the second communication of the doctrine of return will indicate only quite briefly those "figures of speech," which, more directly than the other utterances, treat of the thought of eternal return.
6. "On the Vision and the Riddle"
The eternal return of the same is discussed quite clearly and explicitly as the fundamental teaching in the section entitled "On Redemption," toward the end of Part II of Thus Spoke Zarathustra, written in the fall of 1883. But discussion of the doctrine flourishes principally in two sections of Part III of that work, composed in January 1884.
The first of these two sections bears the title, "On the Vision and the Riddle. "* It is not a matter of just any vision or just any riddle about something or other. It is a matter of that particular riddle with which Zarathustra comes face to face, the riddle in which being as a whole lies concealed as "the vision of the loneliest one," the riddle that becomes visible only "in our loneliest loneliness. " But why a "riddle"? What the riddle conceals and contains becomes open to view whenever it is surmised. Yet surmise is essentially different from calculation. The latter discloses step by step, along the guideline of some "thread" given beforehand, something unknown from what is known. But in surmise we take a leap, without guidelines, without the rungs of any ladder which anyone can clamber up anytime. To grasp the riddle is to leap, especially when the riddle involves being as a whole. Here there is no particular being or assortment of beings from which the whole could ever be disclosed. To make surmises on this riddle we must venture a journey into the open region of what in general is concealed, into that untraveled and uncharted region which is the unconcealment (aletheia) of what is most concealed. We must venture a journey into truth. Such riddling ventures the truth of being as a whole. t For Nietzsche knows that he occupies an exceptional
• The second of the two, "The Convalescent," is treated in section 8, below.
t Dieses Raten ist ein Wagen der Wahrheit des Seienden im Ganzen. On the word
38 THE ETERNAL RECURRENCE OF THE SAME
place in the history of philosophy. During the period of The Dawn,
about 1881, he jots down the following note (XI, 159):
What is novel about the position we take toward philosophy is a conviction that no prior age shared: that we do not possess the truth. All earlier men "possessed the truth," even the skeptics.
Corresponding to this is a later utterance which also characterizes Nietzsche's own thinking within the confines of the position he takes. In the plans for Thus Spoke Zarathustra (XII, 410) Nietzsche remarks, "We are conducting an experiment with truth. Perhaps mankind will perish as a result! Splendid! "
Nevertheless, we would misunderstand the riddle and our riddling on it abysmally if we were to believe that our task is to hit upon a solution that would dissolve all that is questionable. Riddling on this riddle should rather bring us to experience the fact that as a riddle it cannot be brushed aside.
Profound aversion to reposing once and for all in any sort of totalized view of the world. The magic of the opposite kind of thinking: not letting oneself be deprived of the stimulation in all that is enigmatic (WM, 470; from the years 1885-86).
And in The Gay Science (Book V, number 375, written 1887) Nietz- sche speaks of the "addiction to knowledge, which will not let the questionmark behind all things go at a bargain price. "
Thus we must take these words "riddle" and "riddling" in their es- sential importance and scope if we are to understand why Nietzsche grants Zarathustra himself the sobriquet "riddler" (Part Ill, "On Old and New Tablets," section 3). What sort of visage, then, does the riddle which Zarathustra tells have? Again we must pay heed to the way he tells it, to the where and when and to whom, if we are to estimate the what aright. Zarathustra tells the riddle aboard ship, un-
Wagen, related to way, weight, risk, hazard, venture and adventure, see Heidegger, "Wozu Dichter? " in Holzwege (Frankfurt am Main: V. Klostermann, 1950), pp. 255 ff. , esp. pp. 259 and 275. See the English translation by Albert Hofstadter in Heidegger, Poetry, Language, Thought (New York: Harper & Row, 1971), pp. 99 ff. , esp. pp. 103-04 and 139-40. Heidegger's use of the word in his Nietzsche course antedates that in the Rilke lecture by almost a decade.
"On the Vision and the Riddle" 39
derway on a voyage to open, "unexplored" seas. And to whom does he tell it? Not to the other passengers but to the crew alone: "To you, bold searchers and researchers, and those that ever took to ship with cun- ning sails on terrifying seas. . . . " In the same vein we hear now one of the "Songs of the Outlaw Prince," appended to the second edition of The Gay Science in 1887:
Toward New Seas•
I will go there, and will confide In myself and in my steady grip. Open lies the sea; into the tide Plunges my Genuese ship.
All shines new before the mast! Space and time sleep at midday. Only your eye-unutterably vast Gazes on me, 0 infinity!
And when does Zarathustra tell the crew the riddle? Not the mo- ment he comes on board, because he keeps silent for two days. That is to say, he speaks only after they have gained open sea and only after he himself has in the meantime tested the seamen to learn whether they are the right listeners.
And what does Zarathustra relate? He tells of his ascent upon a mountain path at twilight. He stresses the atmosphere of twilight when he remarks, "Not only one sun had gone down for me. " In his narra- tive of the ascent two regions of essential imagery converge-and, in fact, Nietzsche's transposition of thought into sensuous imagery always haunts these two realms: the sea, and mountain heights.
• The German text reads:
Nach neuen Meeren
Dorthin-will ich; und ich traue Mir fortan und meinem Griff. Offen liegt das Meer, in's Blaue Treibt mein Genueser Schiff.
Alles glanzt mir neu und neuer, Mittag schlaft auf Raum und Zeit-: Nur dein Auge--ungeheuer
Blickt mich's an, Unendlichkeit!
40 THE ETERNAL RECURRENCE OF THE SAME
While ascending, Zarathustra must constantly overcome the "spirit of gravity. " The spirit of gravity pulls downward without cease, and yet for the one who climbs, the one who carries his "archenemy" into the heights with him, that spirit is no more than a dwarf.
But as he climbs the depths themselves increase and the abyss first becomes an abyss-not because the climber plunges into it, but pre- cisely because he is ascending. Depths belong to heights; the former wax with the latter. For that reason the following lines appear by way of anticipation in the first section of Part III, which conjoins the two realms of imagery, "mountain" and "sea":
"Whence come the highest mountains? " I once asked. Then I iearned that they come out of the sea.
The testimony is inscribed in their stone, and in the walls of their sum- mits. From unfathomable depths the highest must rise to its height.
In any ascent there are always way-stations where one may estimate the way up and the way down against one another. The spirit of the ascending heights and the spirit of the downward-wending path meet face to face while on the way. Zarathustra the climber versus the dwarf, the one who drags down. Thus, when climbing, it comes to a question for decision: "Dwarf! It is either You or me! " The way the issue is posed here, it seems as though the dwarf (named first and with the "You" capitalized) is to win supremacy. Soon, however, at the beginning of the second section of "On the Vision and the Riddle," matters are reversed:
"Stop, dwarf! " said I. "It is I or you! But I am the stronger of us two: you do not know my abysmal thought. That you could not bear! "
Inasmuch as Zarathustra thinks the abyss, the thought of thoughts, inasmuch as he takes the depths seriously, he rises to the heights and surpasses the dwarf.
Then something happened that made me lighter: the dwarf, being curious, sprang from my shoulder. He squatted on a rock in front of me. But at the very place we stopped there was a gateway.
Zarathustra now describes the gateway. With the description of the image of the gateway Zarathustra brings the riddle to vision.
"On the Vision and the Riddle" 41
In the gateway two long avenues meet. The one leads forward, the other leads back. They run counter to one another; they affront one another. Each extends infinitely into its eternity. Above the gateway appears the inscription "Moment. "*
The gateway "Moment," with its avenues stretching infinitely on- ward and counter to one another, is the image of time running forward and backward into eternity. Time itself is viewed from the "moment," from the "now. " Both ways find their point of departure here, one extending into the not-yet-now of the future, the other leading back into the no-longer-now of the past. To the extent that the most abys- mal thought is to be made accessible to the vision of the dwarf squat- ting at Zarathustra's side, made accessible by means of this sighting of the gateway, and to the extent that for the dwarfs vision time and eternity are obviously to be transposed into sense-images, the passage as a whole suggests that the thought of the eternal recurrence of the same will now be conflated with the realm of time and eternity. But this vision, the envisaged gateway, is a sighting of the riddle itself, not of its solution. When the "image" becomes visible and is described, the riddle draws into sight for the first time. The riddle is what our riddling must aim at.
Riddling commences by questioning. Zarathustra therefore immedi- ately directs some questions to the dwarf concerning the gateway and its avenues. The first question involves the avenues-which one, we are not told. Indeed, what Zarathustra now asks is equally pertinent to both. If anyone were to strike out on one of these avenues, and con- tinue on and on, what would happen? "Do you believe, dwarf, that these ways contradict one another eternally? "-that is to say, do the paths run away from one another eternally, are they contrary to one another?
" 'Everything straight deceives,' murmured the dwarf contemptuous-
• "Moment" unfortunately fails to capture the dramatically temporal nature of the German Augenblick, literally, the glance or flash of an eye. The drama in question has everything to do with what Heidegger in Being and Time calls "ecstatic temporality," especially in its connection with the analysis of death. (Sec, for example, section 68a, on the "authentic present. ") The gateway "Glance of an Eye" remains throughout Heideg- ger's lecture course the most compelling image of eternal return.
42 THE ETERNAL RECURRENCE OF THE SAME
ly. 'All truth is curved; time itself is a circle. ' " The dwarf resolves the
difficulty-indeed, as we are expressly told, in a "contemptuous" mur-
mur. The difficulty is not one which the dwarf would take pains with·
•·
for him it is scarcely worth even talking about. For if both ways extend to eternity, they wind up at the same place; they meet there, they link up and form one uninterrupted highway. What to us looks like two straight avenues taking off in opposite directions is in truth that seg- ment of an enormous circle which is visible to us here and now, while the circle itself perpetually revolves back upon itself. The straight is semblance. In truth, the way the avenues take is circular; that is to say, truth itself-being as it proceeds in truth-is curved. Time's circling in itself, and hence the ever-recurring same for all beings in time, is the way in which being as a whole is. It is in the way of eternal recurrence. That is how the dwarf guesses the riddle.
But Zarathustra's narrative takes a curious turn. "'You spirit of gravity,' I cried wrathfully, 'don't make things too easy for yourself! Or I'll leave you squatting where you are right now, lamefoot! -and I was the one who carried you high! '" Instead of rejoicing in the fact that the dwarf has thought his thought, Zarathustra speaks "wrathfully. " So the dwarf has not really grasped the riddle; he has made the solution too easy. Accordingly, the thought of eternal recurrence of the same is not yet thought when one merely imagines "everything turning in a cir- cle. " In his book on Nietzsche, Ernst Bertram characterizes the doc- trine of eternal return as a "deceptively aping, lunatic mysterium. ''* He appends a saying of Goethe's by way of remonstrance, obviously because he views it as a superior insight which puts to shame the thought of eternal return. Goethe's saying runs, "The more one knows and the more one comprehends, the more one realizes that everything turns in a circle. " That is precisely the thought of circling as the dwarf thinks it, the dwarf who, in Zarathustra's words, makes things too easy-inasmuch as he absolutely refuses to think Nietzsche's stupendous thought.
The thinker abandons anyone who thinks Nietzsche's keenest thought dwarfishly, leaves the lamefoot squatting where he squats.
• See page 6, above, for the reference.
"On the Vision and the Riddle" 43
Zarathustra lets the dwarf sit, even though he has carried him "high," transposed him to a height where he would see if only he could, and where he could see if he were not forever-a dwarf.
Zarathustra immediately directs a second question to the dwarf. This question refers not to the avenues but to the gateway itself, "the Mo- ment. " " 'Behold,' I went on, 'behold this Moment! ' " The entire vi- sion is to be pondered once again on the basis of the "Moment" and in relation to it. " 'From this gateway Moment a long avenue runs eter- nally rearward: behind us lies an eternity. ' " All the finite things that can hasten along that avenue and that need only a finite span in order to run their course, all these finite things must therefore have already run through this eternity, must have already come along this avenue. Nietzsche summarizes an essential thought concerning his doctrine so succinctly here, in the form of a question, that it is hardly comprehen- sible on its own, especially since the requisite presuppositions, al- though mentioned, do not really become visible. Those presupposi- tions are: first, the infinity of time in the directions of future and past; second, th~ actuality of time, which is not a "subjective" Form of
Intuition; third, the finitude of things and of their courses. On the basis of these presuppositions, everything that can in any way be must, as a being, already have been.
For in an infinite time the course of a finite world is necessarily already completed. If, therefore, " 'every- thing has already been there, what do you make of this Moment, dwarf? Must not this gateway too already have been there? ' " And if all things are knotted tight, so that the moment pulls them along behind, must not the moment also pull itself along behind? And if the moment also moves down the lane ahead, must not all things strike out along the avenue once again? The patient spider, the moonlight (cf. The
Gay Science, number 341), I and you in the gateway-" 'must we not recur eternally? '" It seems as though Zarathustra's second question repeats exactly what was contained in the dwarfs answer to the first question: Everything moves in a circle. It seems so. Yet the dwarf fails to reply to the second question. The very question is posed in such a superior fashion that Zarathustra can no longer expect an answer from the dwarf. The superiority consists in the fact that certain conditions of understanding have been brought into play, conditions the dwarf can-
44 THE ETERNAL RECURRENCE OF THE SAME
not satisfy-because he is a dwarf. These new conditions derive from the realization that the second question is based on the "Moment. " But such questioning requires that one adopt a stance of his own with- in the "Moment" itself, that is, in time and its temporality.
When that requirement appears, the dwarf vanishes. Indeed, he vanishes on account of an event that in itself is sinister and foreboding. Zarathustra relates: "I saw a young shepherd, writhing, choking in spasms, his face distorted: a thick black snake hung out of his mouth. " The snake had bitten fast there. Zarathustra pulls at the snake, in vain. "Then the cry rose out of me, 'Bite! You must bite! Bite off the head! Bite! '"
The event and the image are difficult for us to think. But they are most intimately bound up with the effort to think the thought that is hardest to bear. Right now we will pay attention to only one aspect: after Zarathustra has posed the second question there is no place left for the dwarf, who no longer belongs in the realm of this question because he cannot bear to hear it. Questioning, riddling, and thinking, as they approach ever nearer the import of the riddle, themselves become more riddlesome, loom ever more gigantic, towering over the one who is doing the questioning. Not everyone has a right to every question. Rather than expect a response from the dwarf, and rather than provide a polished reply couched in propositions, Zarathustra continues the narrative: "Thus I spoke, and ever more softly: for I feared my own thoughts and hinterthoughts. " The thought that is hardest to bear grows terrifying. Behind what one might imagine as a turning in lazy circles, it descries something altogether different. It thinks the thought in a way dwarfs never think it.
7. Zarathustra's Animals
At this point we will interrupt our interpretation of the episode "On the Vision and the Riddle. " We will consider the episode again in another context later in the course. After we have portrayed the essence of nihilism as the domain of the thought of eternal return we shall be better prepared to understand what is now to transpire in that episode. We will not consider the remaining episodes of Part Ill, but only ex- trapolate some details of the fourth-to-last section, "The Conva- lescent. "'"
Zarathustra has in the meantime returned from his sea voyage to the solitude of the mountains-to his cave and to his animals. His animals are the eagle and the serpent. These two are his animals; they belong to him in his solitude. And when Zarathustra's loneliness speaks, it is his animals who are speaking. Nietzsche writes at one point (it was in September of 1888 in Sils-Maria, at the conclusion of a preface-no longer extant-to Twilight of the Idols in which Nietzsche casts a retrospective glance at Thus Spoke Zarathustra and Beyond Good and Evil): "His love ofanimals-men have always recognized the solitary by means of this trait" (XIV, 417). However, Zarathustra's animals are not chosen arbitrarily: their essence is an image of Zarathustra's proper essence, that is to say, an image of his task-which is to be the teacher of eternal return. These animals of his, eagle and serpent, therefore do not enter on the stage at some fortuitous point. Zarathustra first espies
• "The Convalescent" is discussed in section 8, below. Heidegger returns to his inter- pretation of "The Vision and the Riddle" in section 24, "Moment and Eternal Recur- rence," after having raised the question of that thought's domain, namely, the overcoming of nihilism, in sections 21-23. Heidegger's remarks here are most important for our understanding the structure and movement of the lecture course as a whole. For further discussion, see section I of the Analysis at the end of this volume.
46 THE ETERl'\AL RECURRENCE OF THE SAME
them at glowing midday, that part of the day which throughout the work Thus Spoke Zarathustra unleashes an essential image-generating force.
When Zarathustra speaks to his heart at glowing midday he hears the piercing cry of a bird. He looks inquiringly into the sky. "And behold! An eagle soared through the air in vast circles, and a serpent hung suspended from him, not as his prey but as though she were his friend: for she had coiled about his neck" (Prologue, section 10). This magnificient emblem scintillates for all who have eyes to see! The more essentially we comprehend the work Thus Spoke Zarathustra, the more univocal yet inexhuastible the emblem becomes.
The eagle soars in vast circles high in the air. The circling is an image of eternal return. Yet it is a circling that simultaneously rises skyward and holds itself there in the heights.
The serpent hangs suspended from the eagle, coiled about his throat. Again, the coils of the serpent, wound in rings about the eagle's throat, are symbolic of the ring of eternal return. Moreover, the ser- pent winds itself about the one who wends his way in great circles in the sky-a singular and essential, yet for us still obscure, tangle of coils. Through it the graphic force of the imagery gradually displays its wealth. The serpent, not as prey pinned in the eagle's talons and so suppressed, but winding itself freely about the throat as the eagle's intimate companion, winding about him and soaring upward with him in circles! Into this sensuous imagery of the eternal return of the same -circling in a ring, and coiling in a circle-we must integrate what it is the animals themselves are.
The eagle is the proudest animal. Pride is the fully developed resolu- tion of one who maintains himself at the level of his own essential rank, a rank to which his task appoints him. Pride is the assurance of one who no longer confuses himself with anyone else. Pride is poised above, is defined by heights and elevation; yet it is essentially different from arrogance and superciliousness. The latter remain in need of a relationship with what is beneath them; they have to set themselves in relief against it and thus they remain necessarily dependent on it. For they possess nothing that would inherently enable them to imagine themselves in elevation. They can be uplifted only because they re-
Zarathustra's Animals 47
main defined by what is beneath them; they can ascend only to some-
thing that is not elevated but which they fancy to be so. Pride is differ-
ent.
The eagle is the proudest animal. He lives always in the heights, and
for them. Even when he plunges into the depths, these are depths among mountain heights, crevasses, not plains where all is flattened out and equalized.
The serpent is the most discerning animal. Discernment suggests the mastery of actual knowledge concerning the sundry ways in which knowing announces itself, holds itself in reserve, asserts itself and yet remains flexible, avoiding its own pitfalls. Proper to such discernment are the power to metamorphose and to disguise oneself-a power that cannot be reduced to vulgar falsehood-and the mastery of masks. Discernment does not betray itself. It haunts the background while playing in the foreground; it wields power over the play of Being and semblance.
Zarathustra's two animals are the proudest and most discerning of animals. They belong together and they are out on a search. That is to say, they seek someone of their own kind, one who matches their standards, someone who can hold out with them in loneliness. They seek to learn whether Zarathustra is still living, living as one who is prepared to go under. That should be enough to let us know that the eagle and serpent are not pets; we do not take them home with us and proceed to domesticate them. They are alien to all that is domestic and usual, all that is "familiar" in the petty sense of the word. These two animals define for the first time the loneliest loneliness, and it is some- thing different from what the usual view takes it to be. In the usual view, solitude is what liberates us, frees us from all things. Solitude, according to this view, is what happens after you post the "Do No! Disturb" sign. Yet in our loneliest loneliness the most hair-raising and hazardous things are loosed upon us and on our task, and these cannot be deflected onto other things or other people. They must penetrate us through and through, not that we might be rid of them once and for all, but that in authentic knowing and supreme discernment we may become aware that such things remain relevant. To know precisely
that is the knowing that is hardest to bear. All too easily such knowing
48 THE ETERNAL RECURRENCE OF' TBE SAME
flies off, or creeps away, into evasions and excuses-into sheer folly. W e must think this magnificient conception of loneliness in order to grasp both the role played by these two sensuous images-the two animals of Zarathustra the solitary-and the figure of Zarathustra him- self. We dare not falsify all this by romanticizing it. To hold out in loneliest loneliness does not mean to keep these two animals as com- pany or as a pleasant pastime; it means to possess the force that will enable one to remain true to oneself in their proximity and to prevent them from fleeing. Hence at the conclusion of the Prologue to Thus
Spoke Zarathustra we find the words:
"Thus I bid my pride always to accompany my discernment. And if my discernment should one day leave me-alas, she loves to fly off! -then let my pride fly with my folly! "
Thus began Zarathustra's downgoing.
A curious downgoing, which commences by exposing itself to the supreme possibilites of Becoming and Being. These cohere in the es- sence of will to power; that is to say, they are one.
What we set out to do here was to indicate briefly what the figures of Zarathustra's two animals, eagle and serpent, symbolize: first, in their circling and coiling-the circle and ring of eternal return; second, in their essential character as pride and discernment, respectively, these constituting the basic stance of the teacher of eternal return and his mode of knowledge; third, as the animals of his loneliness, being su- preme exactions on Zarathustra himself. Zarathustra's animals are all the more implacable inasmuch as we hear them-not expressing cer- tain propositions or rules or admonitions-but saying from out of their essential natures what is essential, and saying it with growing lucidity through the palpable presence of sensuous imagery. Sense-images speak only to those who possess the constructive energy to give them shape, so that they make sense. As soon as the poetic force-that is, the higher constructive energy-wanes, the emblems turn mute. They petrify, become sheer "facade" and "ornament. "
8. "The Convalescent"
The reference to Zarathustra's animals has left us not totally unpre- pared to grasp the episode that, along with "On the Vision and the Riddle," considered earlier, treats the eternal return in a more direct fashion. This episode, the fourth-to-last of Part III, entitled "The Con- valescent,'' remains in mysterious correspondence to that earlier one. In "The Convalescent" Zarathustra's animals speak to him about what they themselves symbolize: they speak of eternal return. They speak to Zarathustra, hovering about him, and remain present to his solitude until a particular moment when they leave him alone, cautiously steal- ing away. Their standing by him suggests that they are curious about him and are ever on the search for him; they want to know whether he is becoming the one he is, whether in his Becoming he finds his Being. But Zarathustra's Becoming commences with his downgoing. The downgoing itself comes to its end in Zarathustra's convalescence. Everything here is indicative of the most profound strife. Only when we grasp the various facets of the strife will we near the thought that is hardest to bear.
We shall place special emphasis on the characterization of the doc- trine of eternal return, as befits the preliminary elucidations we are now engaged in. Yet we must continue to keep to the style of the present work; we must grasp everything that happens, in the way that it happens, in terms of that work itself. We must also understand the teaching, as taught, in connection with the questions as to who Zara- thustra is, how the teacher of that teaching is, and in what way the teaching defines the teacher. That is to say, precisely where the teach- ing is most purely expressed in doctrines, the teacher, the one who teaches and speaks, dare not be forgotten.
50 THE ETERNAL RECURRENCE OF THE SAME
How do matters stand with Zarathustra at the beginning of the sec- tion entitled "The Convalescent"? What is happening here? Zarathus- tra has returned once again to his cave, home from his sea voyage. One morning soon after his arrival he leaps from his bed and cries out like a madman, gesturing frantically, "as though someone were still lying in his bed and refused to get up. " Zarathustra rages in a frightful voice in order to wake this other and to make sure that he will remain awake in the future. This other is his most abysmal thought, which, although it lies with him, still remains a stranger to Zarathustra; the other is his own ultimate recess, which Zarathustra has not yet con- ducted to his supreme height and to the most fully wakeful of lives. The thought lies beside him in bed, has not yet become one with him, is not yet incorporated in him and hence is not yet something truly thought. So saying, we indicate what is now to happen: the full import and the whole might of the thought that is hardest to bear must now rise and reveal itself. Zarathustra roars at it, calls it a "sluggish worm. " We easily discern the meaning of the image: the sluggish worm, lying as a stranger on the floor, is the counterimage to the ringed serpent who "wrings" his way to the heights, soaring there in vast circles, vigilant in friendship. When the invocation of the most abysmal thought begins, Zarathustra's animals grow fearful; they do not flee in consternation, however, but come nearer, while all the other animals about them scatter. Eagle and serpent alone remain. It is a matter of bringing to the light of wakeful day, in purest solitude, what the ani- mals symbolize.
Zarathustra invokes his ultimate recesses and so conducts himself to himself. He becomes what he is and confesses himself to be the one who he is: "the advocate of life, the advocate of suffering, the advocate of the circle. " Living, suffering, and circling are not three distinct matters. They belong together and form one: being as a whole, to which suffering, the abyss, belongs and which is inasmuch as, circling, it recurs. These three manifest their mutual affinity when they are gathered in the light of day, that is, when they are thought in their unity by Zarathustra's supreme "Yes. " In that supreme moment, when the thought is comprehended and is truly thought, Zarathustra cries, "Hail me! " Yet his "Hail me! " is at the same time a "Woe is me! "-for
"The Convalescent" 51
his is the victory that overcomes even itself as its greatest danger, the victory that grasps itself as downgoing.
Scarcely is it accomplished, when Zarathustra collapses. After he regains his senses he takes to his bed for seven days and seven nights. "But his animals did not abandon him, neither by day nor by night. " Even so, Zarathustra remains in his solitude. The eagle, the proudest animal, flies off alone to fetch all sorts of nourishment. That means to say that Zarathustra does not lose himself, that he continues to nourish his pride and to secure the certainty of his rank, even though he must lie prostrate, even though his discernment does not bother about him now, so that he cannot even tell himself what he knows. Among other things, the eagle brings him "yellow and red berries," and we recall the earlier reference to "deep yellow and fiery red" (cf. Part III, "On the Spirit of Gravity"). Taken together, these two colors conform to what Zarathustra wants to have in sight: the color of deepest falsehood, er- ror, and semblance, and the color of supreme passion, of incandescent creation.
When interpreting the two colors we have to keep in mind the fact that for will to power "error" constitutes the necessary essence of truth and that it is therefore not at all to be valued negatively. "Deep yellow" may also be interpreted as the gold of the "golden flash of the serpent vita" (WM, 577), which is "the serpent of eternity" (XII, 426). For the second interpretation "deep yellow" is the color of the eternal recur- rence of the same, "fiery red" the color of will to power. For the first interpretation the two colors display the essential structure of will to power itself, inasmuch as truth as that which fixates and art as creation constitute the conditions of the possibility of will to power. In both cases the mutual affinity of the two colors points toward the essential unity of the Being of beings as thought by Nietzsche.
But after seven days "the animals felt that the time had come to t:ilk with him. " Zarathustra is now strong enough actually to think and to express himself about his most difficult thought, his ultimate recess. For what the eagle and serpent (the loneliest loneliness) wish to talk about-the only thing they can talk about-is the thought of eternal return. In the dialogue between Zarathustra and his animals the thought of thoughts is now brought to language. It is not presented as
52 THE ETERNAL RECURRENCE OF THE SAME
a "theory"; only in conversation does it prove itself. Fot here the speak- ers themselves must venture forth into what is spoken: conversation alone brings to light the extent to which the speakers can or cannot advance, and the extent to which their conversation is only empty talk.
The two animals open the conversation. They inform Zarathustra that the world outside is like a garden that awaits him. They sense somehow that a new insight has come to him, an insight concerning the world as a whole. It must therefore be a pleasure to proceed to this newly constituted world, since all things are bathed in the light of the new insight and want to be integrated into the new dispensation. Inso- far as they are so illuminated and integrated, things corroborate the insight in a profound way; they heal the one who up to now has been a seeker, they cure him of the disease of inquiry. That is what the animals mean when they say to Zarathustra, "All things yearn for you. . . . All things want to be doctors to you! " And Zarathustra? He listens to the animals' talk, indeed gladly, although he knows that they are only jabbering. But after such solitude the world is like a garden, even when it is invoked by mere empty talk, in the sheer play of words and phrases. He knows that a cheerful loveliness and gentle humor settle over the terrifying thing that being genuinely is; that being can conceal itself behind semblances in what is talked about. In truth, of course, the world is no garden, and for Zarathustra it dare not be one, especially if by "garden" we mean an enchanting haven for the flight from being. Nietzsche's conception of the world does not provide the thinker with a sedate residence in which he can putter about unper- turbed, like the philosopher of old, Epicurus, in his "garden. " The world is not a cosmos present at hand in itself. The animals' allusion to the garden has the sense of rejecting any sedate residence; at the same time, indirectly, it has the task of referring us to the concept of world in the tragic insight. Here we must ponder an important note by Nietzsche (XII, 368, from 1882-84):
Solitude for a time necessary, in order that the creature be totally permeated --cured and hard. New form of community, asserting itself in a warlike manner. Otherwise the spirit grows soft. No "gardens" and no sheer "eva- sion in the face of the masses. " War (but without gunpowder! ) between different thoughts! and their armies!
"The Convalescent" 53
The animals talk to Zarathustra about his new insight in seductive words that tempt him to sheer intoxication. Yet Zarathustra knows that in truth these words and tones are "rainbows and sham bridges con- necting what is eternally distinct. " Where things most reminiscent of other things are named in the conversation, when it sounds as though the same is being said, then and there comes the loveliest lie: "For the smallest gap is the hardest to bridge. "
What is Zarathustra thinking about? Nothing else than the sole mat- ter under discussion, the world, being as a whole. But what response did the dwarf give to this riddle? The dwarf said that the avenues of the gateway, running counter to one another, meet in the infinite; every- thing turns in a circle and is a circle. And what did Zarathustra call himself when he thought his most difficult thought out of his ultimate recess, a thought he did not take lightly, as the dwarf did? He called himself the "advocate of the circle. " Hence the two of them, the dwarf and Zarathustra, say the same thing. Between them lies only "the smallest gap": in each case it is an other who speaks the same words. Otherwise that same word, "circle," is but a sham bridge between things that are eternally distinct.
