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ecce homo ::: --> A picture which represents the Savior as given up to the people by Pilate, and wearing a crown of thorns.

ecce homo ::: --> A picture which represents the Savior as given up to the people by Pilate, and wearing a crown of thorns.

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   1 Friedrich Nietzsche

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   3 Friedrich Nietzsche
   2 Friedrich Nietzsche

1:How much truth does a spirit endure, how much truth does it dare? ~ Friedrich Nietzsche, Ecce Homo - How One Becomes What One Is ,

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1:How much truth does a spirit endure, how much truth does it dare? ~ Friedrich Nietzsche, Ecce Homo - How One Becomes What One Is,

2:„Još se niste tražili: umesto toga našli ste mene. Tako čine svi vernici; stoga se tako malo dobija od svih vera. Sada vas pozivam da izgubite mene i nađete sebe…“ Niče, F.W. „Ecce homo ~ Friedrich Nietzsche

3:Reading in general is one of my methods of recuperation; consequently it is a part of that which enables me to escape from myself, to wander in strange sciences and strange souls of that, about which I am no longer in earnest. Indeed, reading allows me to recover from my earnestness. ~ Friedrich Nietzsche, Ecce Homo

4:Nietzsche, like Goethe, held no high opinion of the German people,* and in other ways, too, the outpourings of this megalomaniacal genius differ from those of the chauvinistic German thinkers of the nineteenth century. Indeed, he regarded most German philosophers, including Fichte and Hegel, as “unconscious swindlers.” He poked fun at the “Tartuffery of old Kant.” The Germans, he wrote in Ecce Homo, “have no conception how vile they are,” and he came to the conclusion that “wheresoever Germany penetrated, she ruins culture.” He thought that Christians, as much as Jews, were responsible for the “slave morality” prevalent in the world; ~ William L Shirer

5:Ecce Homo A man of sorrows and with grief acquainted, He bowed His beauteous head to the rude hands Of Pilate’s hireling bands; And while beneath their cruel scourge He fainted, Forgave them, yearning through His shameful smart Even with a brother’s heart. And when upon their Roman cross they nailed Him, With mocking hatred and scorn’s bitter smile, Hark! How He prayed, the while Nature’s extremest agony assailed Him— “Father, Thy mercy unto these renew, They know not what they do.” For the great precept of His Christianity Was always, “Live in charity; yea, live To love and to forgive, That so My spirit may through all humanity Pass ever downward with a widening birth, Till peace possess the earth.” ~ Charles Harpur

6:In an incomprehensible reversal of all righteous and pious thinking, God declares himself guilty to the world and thereby extinguishes the guilt of the world. God himself takes the humiliating path of reconciliation and thereby sets the world free. God wants to be guilty of our guilt and takes upon himself the punishment and suffering that this guilt brought to us. God stands in for godlessness, love stands in for hate, the Holy One for the sinner. Now there is no longer any godlessness, any hate, any sin that God has not taken upon himself, suffered, and atoned for. Now there is no more reality and no more world that is not reconciled with God and in peace. That is what God did in his beloved Son Jesus Christ. Ecce homo — see the incarnate God, the unfathomable mystery of the love of God for the world. God loves human beings. God loves the world—not ideal human beings but people as they are, not an ideal world but the real world. ~ Dietrich Bonhoeffer

7:LI . i i i Ecce homo Cómo se llega a ser lo que se es Prólogo 1 Como preveo que dentro de poco tendré que dirigirme a la humanidad presentándole la más grave exigencia que jamás se le ha hecho, me parece indispensable decir quién soy yo. En el fondo sería lícito saberlo ya: pues no he dejado de «dar testimonio» de mí. Mas la desproporción entre la grandeza de mi tarea y la pequeñez de mis contemporáneos se ha puesto de manifiesto en el hecho de que ni me han oído ni tampoco me han visto siquiera. Yo vivo de mi propio crédito; ¿acaso es un mero prejuicio que yo vivo? Me basta hablar con cualquier «persona culta» de las que en verano vienen a la Alta Engadina para convencerme de que yo no vivo. En estas circunstancias existe un deber contra el cual se rebelan en el fondo mis hábitos y aún más el orgullo de mis instintos, a saber, el deber de decir: ¡Escuchadme, pues yo soy tal y tal. ¡Sobre todo, no me confundáis con otros! 2 Por ejemplo, yo no ~ Anonymous

8:Let us finally consider how naive it is altogether to say: "Man ought to be such and such!" Reality shows us an enchanting wealth of types, the abundance of a lavish play and change of forms — and some wretched loafer of a moralist comments: "No! Man ought to be different." He even knows what man should be like, this wretched bigot and prig: he paints himself on the wall and comments, "Ecce homo!" But even when the moralist addresses himself only to the single human being and says to him, "You ought to be such and such!" he does not cease to make himself ridiculous. The single human being is a piece of fatum from the front and from the rear, one law more, one necessity more for all that is yet to come and to be. To say to him, "Change yourself!" is to demand that everything be changed, even retroactively. And indeed there have been consistent moralists who wanted man to be different, that is, virtuous — they wanted him remade in their own image, as a prig: to that end, they negated the world! No small madness! No modest kind of immodesty! Morality, insofar as it condemns for its own sake, and not out of regard for the concerns, considerations, and contrivances of life, is a specific error with which one ought to have no pity — an idiosyncrasy of degenerates which has caused immeasurable harm. We others, we immoralists, have, conversely, made room in our hearts for every kind of understanding, comprehending, and approving. We do not easily negate; we make it a point of honor to be affirmers. More and more, our eyes have opened to that economy which needs and knows how to utilize everything that the holy witlessness of the priest, the diseased reason in the priest, rejects — that economy in the law of life which finds an advantage even in the disgusting species of the prigs, the priests, the virtuous. What advantage? But we ourselves, we immoralists, are the answer. ~ Friedrich Nietzsche

9:Quant à l’oeuvre, les problèmes qu’elle soulève sont plus difficiles encore. En apparence pourtant, quoi de plus simple ? Une somme de textes qui peuvent être dénotés par le signe d’un nom propre. Or cette dénotation (même si on laisse de côté les problèmes de l’attribution) n’est pas une fonction homogène : le nom d’un auteur dénote-t-il de la même façon un texte qu’il a lui-même publié sous son nom, un texte qu’il a présenté sous un pseudonyme, un autre qu’on aura retrouvé après sa mort à l’état d’ébauche, un autre encore qui n’est qu’un griffonnage, un carnet de notes, un « papier » ? La constitution d’une oeuvre complète ou d’un opus suppose un certain nombre de choix qu’il n’est pas facile de justifier ni même de formuler : suffit-il d’ajouter aux textes publiés par l’auteur ceux qu’il projetait de donner à l’impression, et qui ne sont restés inachevés quer par le fait de la mort ? Faut-il intégrer aussi tout ce qui est brouillon, fait de la mort ? Faut-il intégrer aussi tout ce qui est brouillon, premier dessein, corrections et ratures des livres ? Faut-il ajouter les esquisses abandonnées? Et quel status donner aux lettres, aux notes, aux conversations rapportées, aux propos transcrits par les auditeurs, bref à cet immense fourmillement de traces verbales qu’un individu laisse autour de lui au moment de mourir, et qui parlent dans un entrecroisement indéfini tant de langages différents ? En tout cas le nom « Mallarmé » ne se réfère pas de la même façon aux thèmes anglais, aux trauctions d’Edgar Poe, aux poèmes, ou aux réponses à des enquêtes ; de même, ce n’est pas le même rapport qui existe entre le nom de Nietzsche d’une part et d’autre par les autobiographies de jeunesse, les dissertations scolaires, les articles philologiques, Zarathoustra, Ecce Homo, les lettres, les dernières cartes postales signées par « Dionysos » ou « Kaiser Nietzsche », les innombrables carnets où s’enchevêtrent les notes de blanchisserie et les projets d’aphorismes. En fait, si on parle si volontiers et sans s’interroger davantage de l’« oeuvre » d’un auteur, c’est qu’on la suppose définie par une certaine fonction d’expression. On admet qu’il doit y avoir un niveau (aussi profond qu’il est nécessaire de l’imaginer) auquel l’oeuvre se révèle, en tous ses fragments, même les plus minuscules et les plus inessentiels, comme l’expression de la pensée, ou de l’expérience, ou de l’imagination, ou de l’inconscient de l’auteur, ou encore des déterminations historiques dans lesquelles il était pris. Mais on voit aussitôt qu’une pareille unité, loin d’être donné immédiatement, est constituée par une opération ; que cette opération est interprétative (puisqu’elle déchiffre, dans le texte, la transcription de quelque chose qu’il cache et qu’il manifeste à la fois); qu’enfin l’opération qui détermine l’opus, en son unité, et par conséquent l’oeuvre elle-même ne sera pas la même s’il s’agit de l’auteur du Théâtre et son double ou de l’auteur du Tractatus et donc, qu’ici et là ce n’est pas dans le même sens qu’on parlera d’une « oeuvre ». L’oeuvre ne peut être considérée ni comme unité immédiate, ni comme une unité certaine, ni comme une unité homogène. ~ Michel Foucault

10: THE (on: THE SEVEN SEALS YES AND AMEN SONG) 1 If I am a soothsayer and full of that soothsaying spirit which wanders on a high ridge between two seas, wandering like a heavy cloud between past and future, an enemy of all sultry plains and all that is weary and can neither die nor live-in its dark bosom prepared for lightning and the redemptive flash, pregnant with lightning bolts that say Yes and laugh Yes, soothsaying lightning bolts-blessed is he who is thus pregnant! And verily, long must he hang on the mountains like a dark cloud who shall one day kindle the light of the future: Oh, how should I not lust after eternity and after the nuptial ring of rings, the ring of recurrence? Never yet have I found the woman from whom I wanted children, unless it be this woman whom I love: for I love you, 0 eternity. For I love you, 0 eternity! 2 If ever my wrath burst tombs, moved boundary stones, and rolled old tablets, broken, into steep depths; if ever my mockery blew moldy words into the wind, and I came as a broom to the cross-marked spiders and as a sweeping gust to old musty tomb chambers; if ever I sat jubilating where old gods lie buried, world-blessing, world-loving, beside the monuments of old worldslanders-for I love even churches and tombs of gods, once the sky gazes through their broken roofs with its 229 pure eyes, and like grass and red poppies, I love to sit on broken churches: Oh, how should I not lust after eternity and after the nuptial ring of rings, the ring of recurrence? Never yet have I found the woman from whom I wanted children, unless it be this woman whom I love: for I love you, 0 eternity. For I love you, 0 eternity! 3 If ever one breath came to me of the creative breath and of that heavenly need that constrains even accidents to dance star-dances; if I ever laughed the laughter of creative lightning which is followed obediently but grumblingly by the long thunder of the deed; if I ever played dice with gods at the gods' table, the earth, till the earth quaked and burst and snorted up floods of fire-for the earth is a table for gods and trembles with creative new words and gods' throws: Oh, how should I not lust after eternity and after the nuptial ring of rings, the ring of recurrence? Never yet have I found the woman from whom I wanted children, unless it be this woman whom I love: for I love you, 0 eternity. For I love you, 0 eternity! 4 If ever I drank full drafts from that foaming spice and blend-mug in which all things are well blended; if my hand ever poured the farthest to the nearest, and fire to spirit, and joy to pain, and the most wicked to the most gracious; if I myself am a grain of that redeeming salt which makes all things blend well in the blend-mug-for there is a salt that unites good with evil; and even the greatest evil is worthy of being used 230 as spice for the last foaming over: Oh, how should I not lust after eternity and after the nuptial ring of rings, the ring or recurrence? Never yet have I found the woman from whom I wanted children, unless it be this woman whom I love: for I love you, 0 eternity. For I love you, 0 eternity! 5 If I am fond of the sea and of all that is of the sea's kind, and fondest when it angrily contradicts me; if that delight in searching which drives the sails toward the undiscovered is in me, if a seafarer's delight is in my delight; if ever my jubilation cried, "The coast has vanished, now the last chain has fallen from me; the boundless roars around me, far out glisten space and time; be of good cheer, old heart!" Oh, how should I not lust after eternity and after the nuptial ring of rings, the ring of recurrence? Never yet have I found the woman from whom I wanted children, unless it be this woman whom I love: for I love you, 0 eternity. For I love you, 0 eternity! 6 If my virtue is a dancer's virtue and I have often jumped with both feet into golden-emerald delight; if my sarcasm is a laughing sarcasm, at home under rose slopes and hedges of lilies-for in laughter all that is evil comes together, but is pronounced -holy and absolved by its own bliss; and if this is my alpha and omega, that all that is heavy and grave should become light; all that is body, dancer; all that is spirit, bird and verily, that is my alpha and omega: Oh, how should 231 I not lust after eternity and after the nuptial ring of rings, the fing of recurrence? Never yet have I found the woman from whom I wanted children, unless it be this woman whom I love: for I love you, 0 eternity. For I love you, 0 eternity 7 If ever I spread tranquil skies over myself and soared on my own wings into my own skies; if I swam playfully in the deep light-distances, and the bird-wisdom of my freedom came-but bird-wisdom speaks thus: "Behold, there is no above, no below Throw yourself around, out, back, you who are lightly Sing! Speak no morel Are not all words made for the grave and heavy? Are not all words lies to those who are light? Single Speak no morel" Oh, how should I not lust after eternity and after the nuptial ring of rings, the ring of recurrence? Never yet have I found the woman from whom I wanted children, unless it be this woman whom I love: for I love you, 0 eternity. For I love you, 0 eternity Thus Spoke Zarathustra: Fourth and Last Part Alas, where in the world has there been more folly than among the pitying? And what in the world has caused more suffering than the folly of the pitying? Woe to all who love without having a height that is above their pityl 232 Thus spoke the devil to me once: "God too has his hell: that is his love of man." And most recently I heard him say this: "God is dead; God died of his pity for man." (Zarathustra, II, p. go) TRANSLATOR'S NOTES Part Four was originally intended as an intermezzo, not as the end of the book. The very appearance of a collection of sayings is abandoned: Part Four forms a whole, and as such represents a new stylistic experiment-as well as a number of widely different stylistic experiments, held together by a unity of plot and a pervasive sense of humor. 1. The Honey Sacrifice: Prologue. The "queer fish" are not long in coming: the first of them appears in the next chapter. 2. The Cry of Distress: Beginning of the story that continues to the end of the book. The soothsayer of Part Two reappears, and Zarathustra leaves in search of the higher man. Now that he has overcome his nausea, his final trial is: pity. 3. Conversation with the Kings: The first of seven encounters in each of which Zarathustra meets men who have accepted some part of his teaching without, however, embodying the type he envisages. Their revolting and tiresome flatteries might be charged to their general inadequacy. But Zarathustra's own personality, as it emerges in chapter after chapter, poses a more serious problem. At least in part, this is clearly due to the author's deliberate malice: he does not want to be a "new idol": "I do not want to be a saint, rather even a buffoon. Perhaps I am a buffoon. And nevertheless, or rather not nevertheless-for there has never been anybody more mendacious than saints-truth speaks out of me" (Ecce Homo). Earlier in the same work he says of Shakespeare: "What must a man have suffered to have found it that necessary to be a buffoon!" In these pages Nietzsche would resemble the 233 dramatist rather than the hagiographer, and a Shakespearean fool rather than the founder of a new cult. 4. The Leech: Encounter with "the conscientious in spirit." 5. The Magician: In the magician some of Nietzsche's own features blend with some of Wagner's as conceived by Nietzsche. The poem appears again in a manuscript of a888, which bears the title "Dionysus Dithyrambs" and the motto: "These are the songs of Zarathustra which he sang to himself to endure his ultimate loneliness." In this later context, the poem is entitled "Ariadne's Lament," and a new conclusion has been added by Nietzsche: (Lightning. beauty.) Dionysus becomes DIONYSUS: visible in emerald Be clever, Ariadnel You have small ears, you have my ears: Put a clever word into them Must one not first hate each other if one is to love each other? I am your labyrinth. The song is not reducible to a single level of meaning. The outcry is (1) Nietzsche's own; and the unnamable, terrible thought near the beginning is surely that of the eternal recurrence; it is (2) projected onto Wagner, who is here imagined as feeling desperately forsaken after Nietzsche left him (note especially the penultimate stanza); it is (3) wishfully projected onto Cosima Wagner-Nietzsche's Ariadne (see my Nietzsche, i, 11)-who is here imagined as desiring and possessed by Nietzsche-Dionysus. Part Four is all but made up of similar projections. All the characters are caricatures of Nietzsche. And like the magician, he too would lie if he said: "'I did all this only as a game.' There was seriousness in it too." 6. Retired: Encounter with the last pope. Reflections on the death and inadequacies of God. 7. The Ugliest Man: The murderer of God. The sentence beginning "Has not all success . . ." reads in German: 234 War nicht aller Erfolg fisher bei den Gut-Verfolgten? Und wer gut verfolgt, lernt leicht folgen:-ist er doch einmalhinterherl 8. The Voluntary Beggar: A sermon on a mount-about cows. 9. The Shadow: An allusion to Nietzsche's earlier work, The Wanderer and His Shadow (188o). 10. At Noon: A charming intermezzo. :i. The Welcome: Zarathustra rejects his guests, though together they form a kind of higher man compared to their contemporaries. He repudiates these men of great longing and nausea as well as all those who enjoy his diatribes and denunciations and desire recognition and consideration for being out of tune with their time. What Nietzsche envisages is the creator for whom all negation is merely incidental to his great affirmation: joyous spirits, "laughing lions." 12. The Last Supper: One of the persistent themes of Part Four reaches its culmination in this chapter: Nietzsche not only satirizes the Gospels, and all hagiography generally, but he also makes fun of and laughs at himself. 13. On the Higher Man: A summary comparable to "On Old and New Tablets" in Part Three. Section 5 epitomizes Nietzsche's praise of "evir"-too briefly to be clear apart from the rest of his work-and the conclusion should be noted. The opening paragraph of section 7 takes up the same theme: Nietzsche opposes sublimation to both license and what he elsewhere calls "castratism." A fine epigram is mounted in the center of section 9. The mellow moderation of the last lines of section 15 is not usually associated with Nietzsche. And the chapter ends with a praise of laughter. 14. The Song of Melancholy: In the 3888 manuscript of the "Dionysus Dithyrambs" this is the first poem and it bears the title "Only Fooll Only Poetl" The two introductory sections of this chapter help to dissociate Nietzsche from the poem, while the subsquent references to this song show that he considered it far more depressing than it 235 appears in its context. Though his solitude sometimes flattered him, "On every parable you ride to every truth" ("The Return Home"), he also knew moments when he said to himself, "I am ashamed that I must still be a poet" ("On Old and New Tablets"). Although Zarathustra's buffooneries are certainly intended as such by the author, the thought that he might be "only" a fool, "only" a poet "climbing around on mendacious word bridges," made Nietzsche feel more than despondent. Soon it led him to abandon further attempts to ride on parables in favor of some of the most supple prose in German literature. 15. On Science: Only the origin of science is considered. The attempt to account for it in terms of fear goes back to the period of The Dawn (188i), in which Nietzsche tried to see how far he could reduce different phenomena to fear and power. Zarathustra suggests that courage is crucial -that is, the will to power over fear. i6. Among Daughters of the Wilderness: Zarathustra, about to slip out of his cave for the second time because he cannot stand the bad smell of the "higher men," is called back by his shadow, who has nowhere among men smelled better air-except once. In the following song Nietzsche's buffoonery reaches its climax. But though it can and should be read as thoroughly delightful nonsense, it is not entirely void of personal significance. Wilste means "desert" or "wilderness," and wdist can also mean wild and dissolute; and the "flimsy little fan-, flutter-, and tinsel-skirts" seem to have been suggested by the brothel to which a porter in Cologne once took the young Nietzsche, who had asked to be shown to a hotel. (He ran away, shocked; cf. my Nietzsche, 3, I.) Certainly the poem is full of sexual fantasies. But the double meaning of "date" is not present in the original. 17. The Awakening: The titles of this and the following chapter might well be reversed; for it is this chapter that culminates in the ass festival, Nietzsche's version of the Black Mass. But "the awakening' here does not refer to the moment when an angry Moses holds his people accountable 236 for their worship of the golden calf, but to the moment when "they have learned to laugh at themselves." In this art, incidentally, none of the great philosophers excelled the author of Part Four of Zarathustra. i8. The Ass Festival: Five of the participants try to justify themselves. The pope satirizes Catholicism (Luther was last made fun of at the end of the song in Chapter i6), while the conscientious in spirit develops a new theology -and suggests that Zarathustra himself is pretty close to being an ass. 19. The Drunken Song: Nietzsche's great hymn to joy invites comparison with Schiller's-minus Beethoven's music. That they use different German words is the smallest difference. Schiller writes: Suffer bravely, myriadsl Suffer for the better world Up above the firmament A great God will give rewards. Nietzsche wants the eternity of this life with all its agonies -and seeing that it flees, its eternal recurrence. As it is expressed in sections 9, io, and 3i, the conception of the eternal recurrence is certainly meaningful; but its formulation as a doctrine depended on Nietzsche's mistaken belief that science compels us to accept the hypothesis of the eternal recurrence of the same events at gigantic intervals. (See "On the Vision and the Riddle" and "The Convalescent," both in Part Three, and, for a detailed discussion, my Nietzsche, 11, II.) 20. The Sign: In "The Welcome," Zarathustra repudiated the "higher men" in favor of "laughing lions." Now a lion turns up and laughs, literally. And in place of the single dove in the New Testament, traditionally understood as a symbol of the Holy Ghost, we are presented with a whole flock. Both the lion and the doves were mentioned before ("On Old and New Tablets," section 3) as the signs for which Zarathustra must wait, and now afford Nietzsche an 237 opportunity to preserve his curious blend of myth, irony, and hymn to the very end. ~ Friedrich Nietzsche, THE SEVEN SEALS OR THE YES AND AMEN SONG

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   1 Psychology
   1 Occultism