Nietzsche's Teaching: An Interpretation of "Thus Spoke Zarathustra"
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The first comprehensive interpretation of Nietzsche's Thus Spoke Zarathustra-an important and difficult text and the only book Nietzsche ever wrote with characters, events, setting, and a plot. Laurence Lampert's chapter-by-chapter commentary on Nietzsche's magnum opus clarifies not only Zarathustra's narrative structure but also the development of Nietzsche's thinking as a whole. "An impressive piece of scholarship. Insofar as it solves the riddle of Zarathustra in an unprecedented fashion, this study serves as an invaluable resource for all serious students of Nietzsche's philosophy. Lampert's persuasive and thorough interpretation is bound to spark a revival of interest in Zarathustra and raise the standards of Nietzsche scholarship in general."-Daniel W. Conway, Review of Metaphysics "A book of scholarship, filled with passion and concern for its text."-Tracy B. Strong, Review of Politics "This is the first genuine textual commentary on Zarathustra in English, and therewith a genuine reader's guide. It makes a significant and original contribution to its field."-Werner J. Dannhauser, Cornell University "This is a very valuable and carefully wrought study of a very complex and subtle poetic-philosophical work that provides access to Nietzsche's style of presenting his thought, as well as to his passionately affirmed values. Lampert's commentary and analysis of Zarathustra is so thorough and detailed. . . that it is the most useful English-language companion to Nietzsche's 'edifying' and intriguing work."-Choice Selected as one of Choice's outstanding academic books for 1988
gravity of the sacred and honored things. It is a stroke that plunges the spirit into a homeless nihilism.50 But once the lion has been formed and his single deed done, what necessity transforms it into the child? The lion cannot suffice because its destructive act leaves the spirit homeless; it is not enough to worship the PART I 35 stone. The lion spirit is transformed by the need of the spirit for a home, not the ancestral home, but one it builds for itself, against which it need not rage.
But his effort has forced failures and uncertainties on him for the first time, and in his shame he mocks the lack of aptitude which his need for effort seems to reveal. He uses Zarathustra’s words “contempt and longing” to describe his condition but laments that they grow simultaneously, thereby applying to himself Zarathustra’s image of the tree growing upward by descending downward. But what he now secretly feels threatens his ascent. Shamed by his newly experienced in capacity, he comes to
summarizes his teaching on the power of good and evil in order to draw its final imperative for creators and lovers of mankind. The work of lovers of mankind, their gift of good and evil, is defined as “the power of praise and blame” and also as “a monster” with a “thousand necks” that has never been yoked and brought under control. Yoking the powerful monster is the task of the lovers of mankind, the voice of their will to power. The thousand-and-first goal that yokes the thousand goals hitherto
“On Self-Overcoming” is not characterized by exhortation, nor is it addressed to everyone. Unlike so much of Zarathustra until now, it does not tell anyone to do anything; it simply puts before the wisest, and only the wisest, a thought regarding the riddle of their wisdom and its ground. Only at the veiy end does it suggest a task, a task of the greatest magnitude in that it involves redirecting the river mankind by reevaluating all beings and creating a new ark of values. HOUSES OF WISDOM
creative will within the unwillable (II. 2), but now he has discovered a new, less tractable prison enclosing will's power. The will cannot will backwards; that it cannot break time and time’s de sire—that is the will's loneliest melancholy. Time, personified as desiring, imprisons the will. “Time’s desire” is its inexorable movement from future possibility through present actuality to past necessity, where it enters glass coffins, visible but immutable. The creative will is situated in time’s