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Includes: 15 Colored Illustrations and Biography
Thus Spoke Zarathustra: A Book for All and None (German: Also sprach Zarathustra: Ein Buch f�r Alle und Keinen, also translated as Thus Spake Zarathustra) is a philosophical novel by German philosopher Friedrich Nietzsche, composed in four parts between 1883 and 1885 and published between 1883 and 1891. Much of the work deals with ideas such as the "eternal recurrence of the same", the parable on the "death of God", and the "prophecy" of the �bermensch, which were first introduced in The Gay Science.
Thus Spoke Zarathustra was conceived while Nietzsche was writing The Gay Science; he made a small note, reading "6,000 feet beyond man and time," as evidence of this. More specifically, this note related to the concept of the eternal recurrence, which is, by Nietzsche's admission, the central idea of Zarathustra; this idea occurred to him by a "pyramidal block of stone" on the shores of Lake Silvaplana in the Upper Engadine, a high alpine region whose valley floor is at 6,000 feet (1,800 m). Nietzsche planned to write the book in three parts over several years. He wrote that the ideas for Zarathustra first came to him while walking on two roads surrounding Rapallo, according to Elisabeth F�rster-Nietzsche in the introduction of Thomas Common's early translation of the book.
Although Part Three was originally planned to be the end of the book, and ends with a strong climax, Nietzsche subsequently decided to write an additional three parts; ultimately, however, he composed only the fourth part, which is viewed to constitute an intermezzo.
Nietzsche commented in Ecce Homo that for the completion of each part: "Ten days sufficed; in no case, neither for the first nor for the third and last, did I require more" (trans. Kaufmann). The first three parts were first published separately, and were subsequently published in a single volume in 1887. The fourth part remained private after Nietzsche wrote it in 1885; a scant forty copies were all that were printed, apart from seven others that were distributed to Nietzsche's close friends. In March 1892, the four parts were finally reprinted as a single volume. Since then, the version most commonly produced has included all four parts.
The original text contains a great deal of word-play. An example of this is the use of words beginning �ber ("over" or "above") and unter ("down" or "below"), often paired to emphasise the contrast, which is not always possible to bring out in translation, except by coinages. An example is Untergang, literally "down-going" but used in German to mean "setting" (as of the sun), which Nietzsche pairs with its opposite �bergang (going over or across). Another example is �bermensch (overman or superman), discussed later in this article.
- Sales Rank: #590572 in eBooks
- Published on: 2015-08-13
- Released on: 2015-08-13
- Format: Kindle eBook
Review
, also translated as Thus Spoke Zarathustra. Treatise by Friedrich Nietzsche, written in four parts and published in German between 1883 and 1885 as Also sprach Zarathustra. The work is incomplete, but it is the first thorough statement of Nietzsche's mature philosophy and the masterpiece of his career. It received little attention during his lifetime but its influence since his death has been considerable, in the arts as well as philosophy. Written in the form of a prose narrative, Thus Spake Zarathustra offers the philosophy of its author through the voice of Zarathustra (based on the Persian prophet Zoroaster) who, after years of meditation, has come down from a mountain to offer his wisdom to the world. It is this work in which Nietzsche made his famous (and much misconstrued) statement that "God is dead" and in which he presented some of the most influential and well-known (and likewise misunderstood) ideas of his philosophy, including those of the Ubermensch ("overman" or "superman") and the "will to power." Though this is essentially a work of philosophy, it is also a masterpiece of literature. The book is a combination of prose and poetry, including epigrams, dithyrambs, and parodies as well as sections of pure poetry. -- The Merriam-Webster Encyclopedia of Literature
Language Notes
Text: English, German (translation)
About the Author
Nietzsche has been proclaimed the seminal figure of modern philosophy as well as one of the most creative and critically influential geniuses in the history of secular thought.
Most helpful customer reviews
199 of 211 people found the following review helpful.
Talk about translations!
By A Customer
I only want to say one thing here, and I say it primarily because I already love this work. This is the translation to buy. Everyone seems to adore Kaufmann, but the truth is he's much more obtuse and difficult to read (and I don't believe it's necessary, as some may say). Hollingdale gets it right. I'll defend myself with one example from a class I took, where Kaufmann's translation was the required text. I had read both translations (cover-to-cover), and sold my copy of Kaufmann's translation, keeping only my Hollingdale. So, needless to say, I wasn't about to buy Kaufmann again, and went to class with Hollingdale. Slowly, but surely, as the other students read bits of the translation I had, or heard when I spoke pieces aloud, they overwhelmingly agreed with me: Hollingdale is simply more clear, more beautiful, more powerful (less academic, shall we say, which is pure Nietzsche). Ok, over and out, enjoy.
204 of 221 people found the following review helpful.
Review for the non-philosopher
By Andy Gill
There seem to be plenty of reviews debating the philosophical principles of Nietszche and the statements he makes, so, for the non-philosophy students present (i.e. ME) I'll rate it for the layman.
`TSZ' is very longwinded, and as the introduction states, filled with `excess', but that does not make it a bad book. Every sentence is imbued with its own iconic poetry, and, philosophy aside, the metaphors and similes alone make this book worth reading. It is clear that Nietszche, or perhaps his translator, had a mind better suited to creative expression than most philosophers, or indeed today's authors, and it is in this that lies the book's real strength. Through its use of imagery it not only makes an interesting, inspirational, conjectural read (apart from a few really boring parts that seemed written only to slow down the pace), it makes its message easy to understand and backs it up with surrealistic examples. Whereas sometimes in philosophy, the use of allegory can confuse the issue (More's `Utopia' - mockery of idealism, framework for perfect society, or rambling tale?), in `Zarathustra' the reader, no matter whether they are new to the field or not, cannot fail to discern the message that Man is not a goal but a bridge, a rope over an abyss. As philosophy, and as literature, it succeeds in conveying its point, setting up a platform for discussion or merely to digest individually. Admittedly, some refuse to read Nietszche because of his view of women (`shallow waters'), and because of how his ideas for the Superman allegedly inspired Hitler's Aryan vision for the world, but such people deprive themselves of an interesting viewpoint that defines the meaning of life in human rather than spiritual terms.
One potential problem for the newcomer to philosophy is the storyline. For a man remembered for the statement `God is dead', Nietszche obviously drew inspiration from the Bible, for Zarathustra is strongly reminiscent of Jesus, recruiting disciples and disappearing into the wilderness with a frequency that Bigfoot would be proud of. The problem with an allegorical tale is the reader's propensity for bringing western narrative expectations to it - `Zarathustra' is a text-book, not a story, but sometimes you do find yourself waiting for the climax, the big show-down, the cinematic denouement. So long as you remember that it is philosophy, not a novel, and so long as you appreciate each segment as an expressive point and not part of a conventional plot, there should be no troubles. I'll leave you with a sample of Nietzsche's verbal wizardry:
`It is the stillest words which bring the storm. Thoughts that come on doves' feet guide the world.'
45 of 46 people found the following review helpful.
Caution
By Stephen R. Dominick
This is the Thomas Common translation of the text. I was redirected here from the much more widely acclaimed Parkes translation. I don't know if this was a mistake or deliberate subterfuge. But FYI, here is what Wikipedia has to say about the various translations available (this entry accords with common scholarly opinion on the translations):
English translations of Zarathustra differ according to the sentiments of each translators. The Thomas Common translation favors a classic English approach, in the style of Shakespeare or the King James Version of the Bible. Common's poetic interpretation of the text, which renders the title Thus Spake Zarathustra, received wide acclaim for its lambent portrayal. Common reasoned that because the original German was written in a pseudo-Luther-Biblical style, a pseudo-King-James-Biblical style would be fitting in the English translation.
The Common translation, which improved on Alexander Tille's earlier attempt,[10] remained widely accepted until the more critical translations, titled Thus Spoke Zarathustra, separately by R.J. Hollingdale and Walter Kaufmann, which are considered to convey more accurately the German text than the Common version. Kaufmann's introduction to his own translation included a blistering critique of Common's version; he notes that in one instance, Common has taken the German "most evil" and rendered it "baddest", a particularly unfortunate error not merely for his having coined the term "baddest", but also because Nietzsche dedicated a third of The Genealogy of Morals to the difference between "bad" and "evil".[10] This and other errors led Kaufmann to wonder whether Common "had little German and less English".[10] The translations of Kaufmann and Hollingdale render the text in a far more familiar, less archaic, style of language, than that of Common.
Clancy Martin's 2005 translation opens with criticism and praise for these three seminal translators, Common, Hollingdale, and Kaufmann. He notes that the German text available to Common was considerably flawed, and that the German text from which Hollingdale and Kaufmann worked was itself untrue to Nietzsche's own work in some ways. Martin criticizes Kaufmann for changing punctuation, altering literal and philosophical meanings, and dampening some of Nietzsche's more controversial metaphors.[11] Kaufmann's version, which has become the most widely available, features a translator's note suggesting that Nietzsche's text would have benefited from an editor; Martin suggests that Kaufmann "took it upon himself to become his [Nietzsche's] editor".[11]
Graham Parkes describes his own 2005 translation as trying "above all to convey the musicality of the text (which was not a priority for Walter Kaufmann or R.J. Hollingdale, authors of the best English translations so far)."[12]
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