No More Learning

After the Superman the doctrine of eternal re-
currence will strike us with horror: Now it is
endurable.
60
Life itself created this thought which is the most
oppressive for life. Life wishes to get beyond its
greatest obstacle!
We must desire to perish in order to arise afresh,
—from one day to the other. Wander through a
hundred souls,—let that be thy life and thy fate!
And then finally: desire to go through the whole
process once more!
61
The highest thing of all would be for us to be
able to endure our immortality.
62
The moment in which I begot recurrence is im-
mortal, for the sake of that moment alone I will
endure recurrence.


## p. 275 (#295) ############################################

NOTES ON “THUS SPAKE ZARATHUSTRA ” 275
63
The teaching of eternal recurrence — it is at first
oppressive to the more noble souls and apparently
a means of weeding them out,—then the inferior
and less sensitive natures would remain over! “This
doctrine must be suppressed and Zarathustra killed. ”
64
The hesitation of the disciples. “We are already
able to bear with this doctrine, but we should destroy
the many by means of it! ”
Zarathustra laughs : “Ye shall be the hammer : I
laid this hammer in your hands. ”
65
I do not speak to you as I speak to the people.
The highest thing for them would be to despise
and to annihilate themselves: the next highest thing
would be for them to despise and annihilate each
other.
66
“My will to do good compels me to remain silent.
But my will to the Superman bids me speak and
sacrifice even my friends. ”
”
"I would fain form and transform you, how could
I endure things otherwise ! ”
67
The history of higher man. The rearing of the
better man is incalculably more painful. The ideal
of the necessary sacrifice which it involves, as in the
case of Zarathustra, should be demonstrated: A
man should leave his home, his family and his native


## p. 276 (#296) ############################################

276 NOTES ON "THUS SPAKE ZARATHUSTRA
land. Liveunder thescorn of the prevailing morality.
The anguish of experiments and errors. The solu-
tion of all the joys offered by the older ideals (they
are now felt to be partly hostile and partly strange).
68
What is it which gives a meaning, a value, an
importance to things? It is the creative heart
which yearns and which created out of this yearning.
It created joy and woe.
It wanted to sate itself
also with woe. Every kind of pain that man or
beast has suffered, we must take upon ourselves and
bless, and have a goal whereby such suffering would
acquire some meaning.
69
Principal doctrine: the transfiguration of pain into
a blessing, and of poison into food, lies in our power.
The will to suffering.
70
Concerning heroic greatness as the only state of
pioneers. (A yearning for utter ruin as a means of
enduring one's existence. )
We must not desire one state only; we must rather
desire to be periodical creatures—like existence.
Absolute indifference to other people's opinions
(because we know their weights and measures),
but their opinions of themselves should be the
subject of pity.
71
Disciples must unite three qualities in themselves :
they must be true, they must be able and willing to


## p. 277 (#297) ############################################

NOTES ON "THUS SPAKE ZARATHUSTRA” 277
be communicative, they must have profound insight
into each other.
72
All kinds of higher men and their oppression and
blighting (as a case in point, Dühring, who was ruined
by isolation)—on the whole, this is the fate of
higher men to-day, they seem to be a species that
is condemned to die out: this fact seems to come to
Zarathustra's ears like a great cry for help. All
kinds of insane degenerations of higher natures
seem to approach him (nihilism for instance).
73
Higher Men who come to Zarathustra in Despair.
Temptations to return prematurely to the world-
thanks to the provocation of one's sympathies.
1. The rolling stone, the homeless one, the
wanderer:—he who has unlearned the love of his
people because he has learned to love many peoples,
-the good European.
2. The gloomy, ambitious son of the people, shy,
lonely, and ready for anything,—who chooses rather
to be alone than to be a destroyer,—he offers him-
self as an instrument.
3. The ugliest man, who is obliged to adorn him-
self (historical sense) and who is always in search of
a new garment: he desires to make his appearance
becoming, and finally retires into solitude in order
not to be seen, he is ashamed of himself.
4. He who honours facts (“the brain of a leech”),
the most subtle intellectual conscience, and because
he has it in excess, a guilty conscience, he wants
to get rid of himself.


## p. 278 (#298) ############################################

278 NOTES ON "THUS SPAKE ZARATHUSTRA
»
5. The poet, who at bottom thirsts for savage
freedom,-he chooses loneliness and the severity of
knowledge.
6. The discoverer of new intoxicants, the
musician, the sorcerer, who finally drops on his
knees before a loving heart and says: “Not to me
do I wish to lead you but yonder to him. ”
Those who are sober to excess and who have a
yearning for intoxication which they do not gratify.
The Supersobersides.
7. Genius (as an attack of insanity), becoming
frozen through lack of love: “I am neither a genius
nor a god. ” Great tenderness: "people must show
him more love! ”
8. The rich man who has given everything away
and who asks everybody: “Have you anything you
do not want? give me some of it! " as a beggar.
9. The Kings who renounce dominion: “we
seek him who is more worthy to rule”—against
equality”: the great man is lacking, consequently
reverence is lacking too.
10. The actor of happiness.
II. The pessimistic soothsayer who detects
fatigue everywhere.
12. The fool of the big city.
13. The youth from the mount.
14. The woman (seeks the man).
15. The envious emaciated toiler and arriviste.
16. The good,
and their mad fancy:
17. The pious,
For God,” that
18. The self-centred and
means “For me. '
saints,


## p. 279 (#299) ############################################

NOTES ON “THUS SPAKE ZARATHUSTRA” 279
74
“I gave you the most weighty thought: maybe
mankind will perish through it, perhaps also man-
kind will be elevated through it inasmuch as by
its means the elements which are hostile to life
will be overcome and eliminated. “Ye must not
chide Life, but yourselves ! ”—The destiny of higher
man is to be a creator. The organisation of higher
men, the education of the future ruler. “YE must
rejoice in your superior power when ye rule and
when ye form anew. " “Not only man but Super-
man will recur eternally! ”
75
The typical suffering of the reformer and also
his consolations. The seven solitudes.
He lives as though he were beyond all ages : his
loftiness allows him to have intercourse with the
anchorites and the misunderstood of every age.
Only his beauty is his defence. He lays his
hands on the next thousand years.
His love increases as he sees the impossibility of
avoiding the affliction of pain with it.
76
Zarathustra's mood is not one of mad impatience
for Superman! It is peaceful, it can wait: but all
action has derived some purpose from being the road
and means thither,—and must be done well and
perfectly.
The repose of the great stream! Consecration of
the smallest thing. All unrest, and violent longing,
all loathing should be presented in the third part


## p. 280 (#300) ############################################

280 NOTES ON "THUS SPAKE ZARATHUSTRA”
and be overcome! The gentleness, and mildness,
&c. , in the first and second parts are both signs of a
power which is not yet self-reliant!
With the recovery of Zarathustra, Cæsar stands
there inexorable and kind :-the gulf separating
creation, goodncss, and wisdom is annihilated.
Clearness, peace, no exaggerated craving, happi-
ness in the moment which is properly occupied and
immortalised!
77
Zarathustra, Part III. : “I myself am happy. ”-
When he had taken leave of mankind he returned
unto himself. Like a cloud it vanishes from him.
The manner in which Superman must live: like an
Epicurean God.
Divine suffering is the substance of the third part
of Zarathustra. The human state of the legislator
is only brought forward as an example.
His intense love for his friends seems to him a
disease, once more he becomes peaceful.
When the invitations come he gently evades them.
78
In the fourth part it is necessary to say precisely
why it is that the time of the great noon has come:
It is really a description of the age given by means
of visits, but interpreted by Zarathustra.
In the fourth part it is necessary to say precisely
why “a chosen people” has first to be created :-
they are the lucky cases of nature as opposed to the
unlucky (exemplified by the visitors): only to them
—the lucky cases—is Zarathustra able to express
himself concerning ultimate problems, them alone


## p. 281 (#301) ############################################

NOTES ON "THUS SPAKE ZARATHUSTRA” 281
is he able to inspire with activity on behalf of this
theory. They are strong, healthy, hard and above
all noble enough for him to give them the hammer
with which to remould the whole world.
79
The unity in power of the creator, the lover and
the knight of knowledge.
80
Love alone shall judge—(the creative love which
forgets itself in its work).
81
Zarathustra can only dispense happiness once the
order of rank is established. Therefore this doctrine
must be taught first.
The order of rank develops into a system of
earthly dominion : the lords of the earth come last,
a new ruling caste. Here and there there arises
from them a perfectly Epicurean God, a Superman,
a transfigurer of existence.
The Superhuman's notion of the world. Dionysus.
Returning from these most strange of all pursuits
Zarathustra comes back with love to the narrowest
and smallest things,—he blesses all his experiences
and dies with a blessing on his lips.
82
From people who merely pray we must become
people who bless.
Printed at The DARIEN PRESS, Edinburgh.
19


## p. (#302) ################################################



## p. (#303) ################################################

WORKS OF
FRIEDRICH NIETZSCHE
First complete and authorised English Translation
in 18 volumes, edited by Dr OSCAR LEVY
1.
THE BIRTH OF TRAGEDY.
Translated by William A. Haussmann, B. A. , Ph. D. , with Bio-
graphical Introduction by the Author's Sister, Portrait and
Facsimile. Cr 8vo, 230 pp. , 25. 6d. net. Second Edition.
One of the most discussed of Nietzsche's works, full of sparkling
thoughts and new ideas concerning the Greek drama, Goethe,
modern music, etc.
II.
EARLY GREEK PHILOSOPHY, AND
OTHER ESSAYS.
Translated by M. A. Mügge, Ph. D. Cr 8vo, 35. 6d. net.
Essays on Greek Philosophy, the Greek Slate, the Greek Woman,
Music and Word, Truthfulness and Untruthfulness, etc.
III. THE FUTURE OF OUR EDUCATIONAL
INSTITUTIONS.
Translated by J. M. Kennedy. Cr 8vo, 25. 6d. net. Second Ed.
A series of lectures on modern European educational establish-
ments, with a comparison with those of ancient civilisation, and
suggestions for their improvement.
IV. THOUGHTS OUT OF SEASON, VOL. I.
Translated by A. M. Ludovici, with Editorial Note and General
Introduction to the Series. Cr 8vo, 25. 6d. net. Third Edition.
The essay on David Strauss is a protest against the pseudo-
culture of Germany, and the second essay is a complete analysis
of Wagner's character and abilities as man, musician, philosopher,
and writer.
V. THOUGHTS OUT OF SEASON, VOL. II.
Vol
Translated by Adrian Collins, M. A. Cr 8vo, 25. 6d. net. Second Ed.
The essay on history is a severe indictment of the over-valuation
of history. The essay on Schopenhauer was written to protect
the great pessimist fron the attacks of narrow-minded critics
and to set him up as an antidote to Hegel.
VI. HUMAN, ALL-TOO-HUMAN, VOL. I.
Translated by Helen Zimmern, with Introduction by J. M.
Kennedy. Cr 8vo, 5s. net.
Second Edition.
This book brought its author into the forefront of modern
thought. It is specially noteworthy as his first attack against
the morality of modern Europe.


## p.
(#304) ################################################

OTHER NIETZSCHEAN LITERATURE
WORKS OF FRIEDRICH NIETZSCHE
continued
VII.
HUMAN, ALL-TOO-HUMAN, VOL. II.
Translated, with Introduction, by Paul V. Cohn, B. A. 55. net.
Nietzsche has cast off the fetters of Wagner and Schopenhauer,
and is beginning to find himself. The book consists of hundreds
of finely-chiselled aphorisms, many of which, like those on
Milton, Laurence Sterne, and Shakespeare, are interesting to all
English readers.
VIII.
THE CASE OF WAGNER.
Translated by A. M. Ludovici. Cr8vo, 35. 6d. net. Third Edition.
These two pamphlets consist of Nietzsche's criticism of all that
Wagnerism meant. They are not an attack on Wagner the
man, but on Wagnerism and the Wagnerite, as symptoms of
the ill-health and degeneracy of modern Art and modern Life.
This volume likewise contains a collection of aphorisms entitled
“We Philologists,” in which Nietzsche attacks modern classical
education.
IX.
THE DAWN OF DAY.
Translated, with Introduction, by J. M. Kennedy. 408 pp. , 55. net.
Music, art, sociology, Christianity, and Indian philosophy are a
few of the subjects treated in this book, which is most important
as containing a lucid explanation of Nietzsche's theories on race
questions. There is also to be found in it one of the most
masterly pieces of criticism that Nietzsche ever penned, viz. , the
long analysis of the character of the Apostle Paul.
*X.
THE JOYFUL WISDOM.
Translated, with Introduction, by Thomas Common. Cr 8vo,
350 pp. , 5s. net.
This book shows traces of mental exuberance and depth of pene-
tration unusual even for Nietzsche. The fourth book, entitled
“Sanctus Januarius," and the fifth, entitled “We Fearless Ones,
contain some of the maturest wisdom of Nietzsche, expressed in
a most tender and delicate form.
3
*XI.
THUS SPAKE ZARATHUSTRA.
Revised Translation by T. Common, with Introduction by Mrs
Foerster-Nietzsche, and Commentary by A. M. Ludovici. Cr
8vo, 490 pp. , 6s. net.
Third Edition.
An entirely new translation of this celebrated book, in which the
constructive element of Nietzsche's philosophy begins to appear,
containing the fourth section of the work, which is little known
to English readers.


## p. (#305) ################################################

OTHER NIETZSCHEAN LITERATURE
WORKS OF FRIEDRICH
FRIEDRICH NIETZSCHE
continued
*XII. BEYOND GOOD AND EVIL.
Translated by Helen Zimmern, with Introduction by T. Common.
Cr 8vo, 276 pp. , 35. 6d. net.
Third Edition.
One of the most characteristic and most brilliant of the works of
Nietzsche, containing aphorisms, principally on the morality of
different races and nations, explaining the great distinction be-
tween master and slave morality, and developing some of the
ideas of the Zarathustra.
XIII. THE GENEALOGY OF MORALS.
Translated by Horace B. Samuel, M. A. Cr 8vo, 35. 6d. net,
232 pp.
Second Edition.
Contains Nietzsche's celebrated exposition of the origin of sin
and punishment and the gradual development of the theory of
original sin, leading up to a severe denunciation of Christian
morality.
XIV. THE WILL TO POWER, VOL. I.
Translated by A. M. Ludovici. Cr 8vo, 55. net. Third Edition.
The two volumes of “The Will to Power" were destined to be
Nietzsche's greatest theoretical and philosophical prose work,
which, unfortunately, was never completed by its author. The
criticism of Religion and Morality found in this volume gives a
proof of Nietzsche's tolerant attitude towards Christianity, which
he wished not to eradicate, but to keep within its proper limits
as a religion for the people.
*XV. THE WILL TO POWER, VOL. II.
Translated by A. M. Ludovici. Cr 8vo, 5s. net. Second Edition,
This contains Nietzsche's view of Science. The first part of this
volume contains Nietzsche's research into the “Will to Power
in Nature," and has from the date of its appearance aroused the
interest of many men of science. The second half of this volume
is one of the most valuable productions of Nietzsche, containing,
as it does, his views on breeding and discipline, eugenics and
race-regeneration. Chapters are devoted to Dionysus and the
Eternal Recurrence.
*XVI. THE TWILIGHT OF IDOLS, THE ANTI-
CHRIST, ETERNAL RECURRENCE.
Translated by A. M. Ludovici. Cr 8vo, 300 pp. , 55. net.
In “The Twilight of the Idols" Nietzsche's dexterity in com-
bating European Degeneracy reaches its zenith. “All those,
he says, “who desire to obtain a rapid sketch of how everything,
before my time, was standing on its head, should begin reading
me in this book. ” In the “Antichrist " Nietzsche tenders his,
that is to say, the Higher Man's, ultimatum to Christianity.


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OTHER NIETZSCHEAN LITERATURE
WORKS OF FRIEDRICH NIETZSCHE
continued
*.
*XVII. ECCE HOMO AND POETRY.
Translated by A. M. Ludovici. Poetry rendered by Dr G. T.
Wrench, Francis Bickley, Herman Scheffauer. Cr 8vo, 6s. net.
This is the famous autobiography. Told with a clearness and a
lucidity which is classic, it is the story of single-handed fight
against the romantic idealism which the author encountered in
such overwhelming force in the world about him. It was with-
held from publication for twenty years in Germany, owing to its
strong anti-German attitude.
XVIII. SUPPLEMENTARY ESSAYS
AND INDEX.
By Robert Guppy. Cr 8vo, 450 pp. , 6s. net.
This is a very exhaustive index, such as is even at present want-
ing in the French and German editions of Nietzsche. It contains
nearly 400 pages of matter. Added to this index is a translation
of every foreign word or phrase occurring in the seventeen
volumes of the edition by Mr Paul V. Cohn, B. A. The whole
is preceded by an introductory essay by the Editor : “The
Nietzsche Movement in England-a Retrospect, a Confession,
a Prospect. "
“ Nietzsche was a great poet, a great musician, a great scholar, and
a great philosopher. He took from every part of culture, and everything
he touched was shaped and animated by his tremendous personality.
He lived as he wrote-heroically. His life, after his boyhood, was a
long battle with pain, but he never wavered. He worked on until his
brain gave way, worn out at last by his indomitable spirit; and his
work has opened out the possibilities of man's life as widely and as
surely as the work of anyone who has ever lived. It is a benefit to the
community that his work has at length been translated into the English
language. "-The Observer,
* These Volumes-X. , XI. , XII. , XV. , XVI. , and XVII. -may be
strongly recommended as containing the quintessence o Nietzsche.
Readers are advised not to approach * Thus Spake Zarathustra" until
after a perusal of the other volumes.


## p. (#307) ################################################

OTHER NIETZSCHEAN LITERATURE
THE RENAISSANCE
BY COUNT ARTHUR DE GOBINEAU
With 20 Illustrations
Translated by Paul V. Cohn, with an Introductory
Essay on Count GOBINEAU's Life and Work,
by Dr OSCAR LEVY
IOS.
(HEINEMANN)
THESE five historical dramas cover the flowering-time of
the Italian Renaissance from the rise to prominence of
Savonarola (1492) to the last days of Michael Angelo (about
1560). While grouped round the leading figures who provide
the titles-Savonarola, Cesare Borgia, Julius II. , Leo X. , and
Michael Angelo—the plays introduce almost every interesting
character of the period. Nor are we only concerned with
the great names : the author aims at catching the spirit of
the people, and the thoughts and feelings of soldier, artisan,
trader, and their womenfolk find ample voice in his pages.
The Italian Renaissance is an epoch of peculiar interest
to English readers, not least because of its profound in-
fluence on our own Elizabethan age. It is perhaps the
most many-sided period in history : even fifth-century Greece
scarcely contributed so much-or at any rate so much that
has survived to the world of politics, art, and thought.
Now while this interest is amply reflected in contemporary
literature, from the monumental work of Symonds down to
the flotsam and jetsam of everyday fiction, there is one kind
of man who more than an historian would show insight into
this age, and that is a poet.
It is as a poet's work that Gobineau's “ Historical Scenes”
recommend themselves to the public. But there are many
kinds of poets : there is the religious and moral kind, there
is the irreligious and sub-moral kind, and there is the super-
religious and super-moral kind. Only the last-named can
understand, can feel, can sympathise with such mighty
figures as Cesare Borgia and Julius II. - the religious
poet being inclined to paint them as monsters, the sub-
religious as freaks and neurotics. Similia similibus : equals
can only be recognised by their equals, and Gobineau was


## p. (#308) ################################################

OTHER NIETZSCHEAN LITERATURE
a
THE RENAISSANCE-continued
himself a type of the Renaissance flung by destiny into an age
of low bourgeois and socialist ideals. In a century swayed
by romanticism and democracy, Gobineau was a classic and
an aristocrat. He is a forerunner of Nietzsche ("the only
European spirit I should care to converse with," said
Nietzsche of him in a letter), and as such is peculiarly fitted
to deal with one of the few periods that was not dominated
by the moral law. For this reason Gobineau cannot fail to
attract the large and ever-growing circle of students of
Nietzsche in this country and America.
“I can only add that this is a volume of serious import, worth reading from
cover to cover, a book which even a jaded reviewer closes with a sigh of regret
that he has not got to read it all over again. "-G. S. LAYARD in the Bookman.
“No book that we can recall tells so vividly and in such brilliant style the
story of the finest period of Italy as this 'Renaissance' of Gobineau's. The
glory and the shame of the revival of art and letters, the covetousness, the
cruelties, the licence, mixed up inextricably with the triumphs of painters,
architects, and poets; the passionate desire for self-expression and for mastery
in natures that shrank from no crime, and cast morality and decency, honour
and fidelity to the dogs—these things, the visible demonstrations of the spirit of
that age, are brought out conspicuously by the author's genius, and the men
and women, in whom were the characteristic qualities of the time, live and move
before us on Gobineau's stage. "-Yorkshire Post.
“We scarcely know whether to be more struck with the truth or liveliness of
these portraits. Savonarola, for example, is something more than the Savonarola
of history and tradition. Not only is the character of the man subtly brought
out; not only are we made aware, for the first time, adequately, of that devour.
ing egotism which could see nothing but self as God's instrument, self as the
scourge of Florence, self as the inspired prophet; but beneath all this and
vouching for it is the consciousness of the reality of the man, the consciousness
that his cries of distress are real cries, and his moments of fierce aspiration and
black despair genuine experiences. More touching and even more lifelike is the
figure of Michael Angelo, a figure in the main familiar to us, but endowed with
advancing years with a peace of mind, a lucidity of intelligence, and a breadth
of sympathy such as were foreign to its young and stormy epoch. The last
scene between Michael Angelo and Vittoria Colonna is a noble one, and can be
read more than once with pleasure. ”—The Morning Post.
“A debt is due to Dr Oscar Levy for bringing before English readers this
translation of that great work of Count Gobineau, in which, through the medium
of the drama, he reveals his reverence for the spirit that inspired the Italian
Renaissance. The plays constituting the book are five in number, 'Savonarola,'
*Cesare Borgia,' Julius II. , 'Leo X. ,' and 'Michael Angelo'-and nothing
more brilliant has appeared in recent times. In scope we can only compare
with it Mr Hardy's Dynasts,' but no more striking contrast could be con-
ceived than the creations of these two geniuses. Through the pages of these
plays moves the whole glittering pageant of the fifteenth and sixteenth cen.
turies, a mob of soldiers, priests, artists, men and women, slaying, plundering,
preaching, poisoning, painting, rioting, and loving, while out of the surgent
mass rise the figures of the splendid three, Borgia, Julius, and Michael Angelo,
dominating all by the sheer greatness of their ideas and their contempt for other
men's opinions. They are the great aristocrats of their time, and the five plays-
really one in conception-are an assertion of the saving grace of aristocracy, of
the glory of race, at a time when the democratic food, whose source is
Christianity, was beginning to pour over Europe, to the overwhelming of all
greatness of thought and art. The translation, which is excellent, is by Paul
V. Cobn. - Glasgow Herald.


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OTHER NIETZSCHEAN LITERATURE
NIETZSCHE AND ART
BY ANTHONY M. LUDOVICI
45. 6d.
(CONSTABLE & Co. )
In this work the reader will find all the matter included in Mr Ludo-
vici's stimulating course of lectures recently delivered at University
College, Gower Street, and a good deal more besides. “I have done
two things,” says the author in his preface; “I have given a detailed
account of Nietzsche's general art doctrine, and I have also applied
this doctrine to the graphic arts of to-day and of antiquity. ”
"The finest art, or the ruler art, as he calls it, is that in which the aristocratic
principles of culture, selection, precision, and simplicity are upheld, and this
art can be the flower
and product only of a society in which an aristocratic order
is observed.