Powrót: najwyższa formuła mówienia „tak”

I now wish to relate the history of Zarathustra. The fundamental idea of the work, the Eternal Recurrence, the highest formula of a Yea-saying to life that can ever be attained, was first conceived in the month of August 1881. I made a note of the idea on a sheet of paper, with the postscript: "Six thousand feet beyond man and time." That day I happened to be wandering through the woods alongside of the Lake of Silvaplana, and I halted not far from Surlei, beside a huge rock that towered aloft like a pyramid. It was then that the thought struck me. Looking back now, I find that exactly two months before this inspiration I had an omen of its coming in the form of a sudden and decisive change in my tastes--more particularly in music. The whole of Zarathustra might perhaps be classified under the rubric music. At all events, the essential condition of its production was a second birth within me of the art of hearing. In Recoaro, a small mountain resort near Vicenza, where I spent the spring of 1881, I and my friend and maestro, Peter Gast--who was also one who had been born again, discovered that the phœnix music hovered over us, in lighter and brighter plumage than it had ever worn before. If, therefore, I now calculate from that day forward the sudden production of the book, under the most unlikely circumstances, in February 1883,--the last part, out of which I quoted a few lines in my preface, was written precisely in the hallowed hour when Richard Wagner gave up the ghost in Venice,--I come to the conclusion that the period of gestation covered eighteen months. This period of exactly eighteen months, might suggest, at least to Buddhists, that I am in reality a female elephant The interval was devoted to the Gaya Scienza, which contains hundreds of indications of the proximity of something unparalleled; for, after all, it shows the beginning of Zarathustra, since it presents Zarathustra's fundamental thought in the last aphorism but one of the fourth book. To this interval also belongs that Hymn to Life (for a mixed choir and orchestra), the score of which was published in Leipzig two years ago by E. W. Fritsch, and which gave perhaps no slight indication of my spiritual state during this year, in which the essentially yea-saying pathos, which I call the tragic pathos, completely filled me heart and limb. One day people will sing it to my memory. The text, let it be well understood, as there is some misunderstanding abroad on this point, is not by me; it was the astounding inspiration of a young Russian lady, Miss Lou von Salome, with whom I was then on friendly terms. He who is in any way able to make some sense of the last words of the poem, will divine why I preferred and admired it: there is greatness in them. Pain is not regarded as an objection to existence: "And if thou hast no bliss now left to crown me--Lead on! Thou hast thy Sorrow still."