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This work stands alone. Do not let us mention the poets in the same breath; nothing perhaps has ever been produced out of such a superabundance of strength. My concept "Dionysian" here became the highest deed; compared with it everything that other men have done seems poor and limited. The fact that a Goethe or a Shakespeare would not for an instant have known how to take breath in this atmosphere of passion and of the heights; the[Pg 107] fact that by the side of Zarathustra, Dante is no more than a believer, and not one who first creates the truth—that is to say, not a world-ruling spirit, a Fate; the fact that the poets of the Veda were priests and not even fit to unfasten Zarathustra's sandal—all this is the least of things, and gives no idea of the distance, of the azure solitude, in which this work dwells. Zarathustra has an eternal right to say: "I draw around me circles and holy boundaries. Ever fewer are they that mount with me to ever loftier heights. I build me a mountain range of ever holier mountains." If all the spirit and goodness of every great soul were collected together, the whole could not create a single one of Zarathustra's discourses. The ladder upon which he rises and descends is of boundless length; he has seen further, he has willed further, and gone further than any other man. There is contradiction in every word that he utters, this most yea-saying of all spirits. Through him all contradictions are bound up into a new unity. The loftiest and the basest powers of human nature, the sweetest, the lightest, and the most terrible, rush forth from out one spring with everlasting certainty. Until his coming no one knew what was height, or depth, and still less what was truth. There is not a single passage in this revelation of truth which had already been anticipated and divined by even the greatest among men. Before Zarathustra there was no wisdom, no probing of the soul, no art of speech: in his book, the most familiar and most vulgar thing utters unheard-of words. The sentence quivers with passion. Eloquence has become music. Forks of[Pg 108] lightning are hurled towards futures of which no one has ever dreamed before. The most powerful use of parables that has yet existed is poor beside it, and mere child's-play compared with this return of language to the nature of imagery. See how Zarathustra goes down from the mountain and speaks the kindest words to every one! See with what delicate fingers he touches his very adversaries, the priests, and how he suffers with them from themselves! Here, at every moment, man is overcome, and the concept "Superman" becomes the greatest reality,—out of sight, almost far away beneath him, lies all that which heretofore has been called great in man. The halcyonic brightness, the light feet, the presence of wickedness and exuberance throughout, and all that is the essence of the type Zarathustra, was never dreamt of before as a prerequisite of greatness. In precisely these limits of space and in this accessibility to opposites Zarathustra feels himself the highest of all living things: and when you hear how he defines this highest, you will give up trying to find his equal.
"The soul which hath the longest ladder and can step down deepest,
"The vastest soul that can run and stray and rove furthest in its own domain,
"The most necessary soul, that out of desire flingeth itself to chance,
"The stable soul that plungeth into Becoming, the possessing soul that must needs taste of willing and longing,
"The soul that flyeth from itself, and over-taketh itself in the widest circle,
"The wisest soul that folly exhorteth most sweetly,
"The most self-loving soul, in whom all things have their rise, their ebb and flow."
But this is the very idea of Dionysus. Another consideration leads to this idea. The psychological problem presented by the type of Zarathustra is, how can he, who in an unprecedented manner says no, and acts no, in regard to all that which has been affirmed hitherto, remain nevertheless a yea-saying spirit? how can he who bears the heaviest destiny on his shoulders and whose very life-task is a fatality, yet be the brightest and the most transcendental of spirits—for Zarathustra is a dancer? how can he who has the hardest and most terrible grasp of reality, and who has thought the most "abysmal thoughts," nevertheless avoid conceiving these things as objections to existence, or even as objections to the eternal recurrence of existence?—how is it that on the contrary he finds reasons for being himself the eternal affirmation of all things, "the tremendous and unlimited saying of Yea and Amen"?... "Into every abyss do I bear the benediction of my yea to Life." ... But this, once more, is precisely the idea of Dionysus.
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What language will such a spirit speak, when he speaks unto his soul? The language of the dithyramb. I am the inventor of the dithyramb. Hearken unto the manner in which Zarathustra speaks to his soul Before Sunrise (iii. 48). Before[Pg 110] my time such emerald joys and divine tenderness had found no tongue. Even the profoundest melancholy of such a Dionysus takes shape as a dithyramb. As an example of this I take "The Night-Song,"—the immortal plaint of one who, thanks to his superabundance of light and power, thanks to the sun within him, is condemned never to love.
"It is night: now do all gushing springs raise their voices. And my soul too is a gushing spring.
"It is night: now only do all lovers burst into song. And my soul too is the song of a lover.
"Something unquenched and unquenchable is within me, that would raise its voice. A craving for love is within me, which itself speaketh the language of love.
"Light am I: would that I were night! But this is my loneliness, that I am begirt with light.
"Alas, why am I not dark and like unto the night! How joyfully would I then suck at the breasts of light!
"And even you would I bless, ye twinkling starlets and glow-worms on high! and be blessed in the gifts of your light.
"But in mine own light do I live, ever back into myself do I drink the flames I send forth.
"I know not the happiness of the hand stretched forth to grasp; and oft have I dreamt that stealing must be more blessed than taking.
"Wretched am I that my hand may never rest from giving: an envious fate is mine that I see expectant eyes and nights made bright with longing.
"Oh, the wretchedness of all them that give! Oh, the clouds that cover the face of my sun! That craving for desire! that burning hunger at the end of the feast!
"They take what I give them; but do I touch their soul? A gulf is there 'twixt giving and taking; and the smallest gulf is the last to be bridged.
"An appetite is born from out my beauty: would that I might do harm to them that I fill with light; would that I might rob them of the gifts I have given:—thus do I thirst for wickedness.
"To withdraw my hand when their hand is ready stretched forth like the waterfall that wavers, wavers even in its fall:—thus do I thirst for wickedness.
"For such vengeance doth my fulness yearn: to such tricks doth my loneliness give birth.
"My joy in giving died with the deed. By its very fulness did my virtue grow weary of itself.
"He who giveth risketh to lose his shame; he that is ever distributing groweth callous in hand and heart therefrom.
"Mine eyes no longer melt into tears at the sight of the suppliant's shame; my hand hath become too hard to feel the quivering of laden hands.
