查拉图斯特拉如是说英文全文

查拉图斯特拉如是说英文版Thus Spake Zarathustra

尼采Friedrich Nietzsche

Introduction by Mrs Forster-Nietzsche. Page 1

HOW ZARATHUSTRA CAME INTO BEING.

"Zarathustra" is my brother's most personal work; it is the history of his most individual experiences, of his friendships, ideals, raptures, bitterest disappointments and sorrows. Above it all, however, there soars, transfiguring it, the image of his greatest hopes and remotest aims. My brother had the figure of Zarathustra in his mind from his very earliest youth: he once told me that even as a child he had dreamt of him. At different periods in his life, he would call this haunter of his dreams by different names; "but in the end," he declares in a note on the subject, "I had to do a PERSIAN the honour of identifying him with this creature of my fancy. Persians were the first to take a broad and comprehensive view of history. Every series of evolutions, according to them, was presided over by a prophet; and every prophet had his 'Hazar,'--his dynasty of a thousand years."

All Zarathustra's views, as also his personality, were early conceptions of my brother's mind. Whoever reads his posthumously published writings for the years 1869-82 with care, will constantly meet with passages suggestive of Zarathustra's thoughts and doctrines. For instance, the ideal of the Superman is put forth quite clearly in all his writings during the years 1873-75; and in "We Philologists", the following remarkable observations occur:--

"How can one praise and glorify a nation as a whole?--Even among the Greeks, it was the INDIVIDUALS that counted."

"The Greeks are interesting and extremely important because they reared such a vast number of great individuals. How was this possible? The question is one which ought to be studied.

"I am interested only in the relations of a people to the rearing of the individual man, and among the Greeks the conditions were unusually favourable for the development of the individual; not by any means owing to the goodness of the people, but because of the struggles of their evil instincts.

"WITH THE HELP OF FA VOURABLE MEASURES GREAT INDIVIDUALS MIGHT BE REARED WHO WOULD BE BOTH DIFFERENT FROM AND HIGHER THAN THOSE WHO HERETOFORE HA VE OWED THEIR EXISTENCE TO MERE CHANCE. Here we may still be hopeful: in the rearing of exceptional men."

The notion of rearing the Superman is only a new form of an ideal Nietzsche already had in his youth, that "THE OBJECT OF MANKIND SHOULD LIE IN ITS HIGHEST INDIVIDUALS" (or, as he writes in "Schopenhauer as Educator": "Mankind ought constantly to be striving to produce great men--this and nothing else is its duty.") But the ideals he most revered in those days are no longer held to be the highest types of men. No, around this future ideal of a coming

humanity--the Superman--the poet spread the veil of becoming. Who can tell to what glorious heights man can still ascend? That is why, after having tested the worth of our noblest ideal--that of the Saviour, in the light of the new valuations, the poet cries with passionate emphasis in "Zarathustra":

"Never yet hath there been a Superman. Naked have I seen both of them, the greatest and the smallest man:--

All-too-similar are they still to each other. Verily even the greatest found I--all-too-human!"--

The phrase "the rearing of the Superman," has very often been misunderstood. By the word "rearing," in this case, is meant the act of modifying by means of new and higher values--values which, as laws and guides of conduct and opinion, are now to rule over mankind. In general the doctrine of the Superman can only be understood correctly in conjunction with other ideas of the author's, such as:--the Order of Rank, the Will to Power, and the Transvaluation of all Values. He assumes that Christianity, as a product of the resentment of the botched and the weak, has put in ban all that is beautiful, strong, proud, and powerful, in fact all the qualities resulting from strength, and that, in consequence, all forces which tend to promote or elevate life have been seriously undermined. Now, however, a new table of valuations must be placed over mankind--namely, that of the strong, mighty, and magnificent man, overflowing with life and elevated to his zenith--the Superman, who is now put before us with overpowering passion as the aim of our life, hope, and will. And just as the old system of valuing, which only extolled the qualities favourable to the weak, the suffering, and the oppressed, has succeeded in producing a weak, suffering, and "modern" race, so this new and reversed system of valuing ought to rear a healthy, strong, lively, and courageous type, which would be a glory to life itself. Stated briefly, the leading principle of this new system of valuing would be: "All that proceeds from power is good, all that springs from weakness is bad."

This type must not be regarded as a fanciful figure: it is not a nebulous hope which is to be realised at some indefinitely remote period, thousands of years hence; nor is it a new species (in the Darwinian sense) of which we can know nothing, and which it would therefore be somewhat absurd to strive after. But it is meant to be a possibility which men of the present could realise with all their spiritual and physical energies, provided they adopted the new values.

The author of "Zarathustra" never lost sight of that egregious example of a transvaluation of all values through Christianity, whereby the whole of the deified mode of life and thought of the Greeks, as well as strong Romedom, was almost annihilated or transvalued in a comparatively short time. Could not a rejuvenated Graeco-Roman system of valuing (once it had been refined and made more profound by the schooling which two thousand years of Christianity had provided) effect another such revolution within a calculable period of time, until that glorious type of manhood shall finally appear which is to be our new faith and hope, and in the creation of which Zarathustra exhorts us to participate?

In his private notes on the subject the author uses the expression "Superman" (always in the

singular, by-the-bye), as signifying "the most thoroughly well-constituted type," as opposed to "modern man"; above all, however, he designates Zarathustra himself as an example of the Superman. In "Ecco Homo" he is careful to enlighten us concerning the precursors and prerequisites to the advent of this highest type, in referring to a certain passage in the "Gay Science":--

"In order to understand this type, we must first be quite clear in regard to the leading physiological condition on which it depends: this condition is what I call GREAT HEALTHINESS. I know not how to express my meaning more plainly or more personally than I have done already in one of the last chapters (Aphorism 382) of the fifth book of the 'Gaya Scienza'."

"We, the new, the nameless, the hard-to-understand,"--it says there,--"we firstlings of a yet untried future--we require for a new end also a new means, namely, a new healthiness, stronger, sharper, tougher, bolder and merrier than all healthiness hitherto. He whose soul longeth to experience the whole range of hitherto recognised values and desirabilities, and to circumnavigate all the coasts of this ideal 'Mediterranean Sea', who, from the adventures of his most personal experience, wants to know how it feels to be a conqueror, and discoverer of the ideal--as likewise how it is with the artist, the saint, the legislator, the sage, the scholar, the devotee, the prophet, and the godly non-conformist of the old style:--requires one thing above all for that purpose, GREAT HEALTHINESS--such healthiness as one not only possesses, but also constantly acquires and must acquire, because one unceasingly sacrifices it again, and must sacrifice it!--And now, after having been long on the way in this fashion, we Argonauts of the ideal, more courageous perhaps than prudent, and often enough shipwrecked and brought to grief, nevertheless dangerously healthy, always healthy again,--it would seem as if, in recompense for it all, that we have a still undiscovered country before us, the boundaries of which no one has yet seen, a beyond to all countries and corners of the ideal known hitherto, a world so over-rich in the beautiful, the strange, the questionable, the frightful, and the divine, that our curiosity as well as our thirst for possession thereof, have got out of hand--alas! that nothing will now any longer satisfy us!--

"How could we still be content with THE MAN OF THE PRESENT DAY after such outlooks, and with such a craving in our conscience and consciousness? Sad enough; but it is unavoidable that we should look on the worthiest aims and hopes of the man of the present day with ill-concealed amusement, and perhaps should no longer look at them. Another ideal runs on before us, a strange, tempting ideal full of danger, to which we should not like to persuade any one, because we do not so readily acknowledge any one's RIGHT THERETO: the ideal of a spirit who plays naively (that is to say involuntarily and from overflowing abundance and power) with everything that has hitherto been called holy, good, intangible, or divine; to whom the loftiest conception which the people have reasonably made their measure of value, would already practically imply danger, ruin, abasement, or at least relaxation, blindness, or temporary self-forgetfulness; the ideal of a humanly superhuman welfare and benevolence, which will often enough appear INHUMAN, for example, when put alongside of all past seriousness on earth, and alongside of all past solemnities in bearing, word, tone, look, morality, and pursuit, as their truest involuntary parody--and WITH which, nevertheless, perhaps THE GREAT SERIOUSNESS only commences, when the proper interrogative mark is set up, the fate of the soul changes, the hour-hand moves, and tragedy

begins..."

Although the figure of Zarathustra and a large number of the leading thoughts in this work had appeared much earlier in the dreams and writings of the author, "Thus Spake Zarathustra" did not actually come into being until the month of August 1881 in Sils Maria; and it was the idea of the Eternal Recurrence of all things which finally induced my brother to set forth his new views in poetic language. In regard to his first conception of this idea, his autobiographical sketch, "Ecce Homo", written in the autumn of 1888, contains the following passage:--

"The fundamental idea of my work--namely, the Eternal Recurrence of all things--this highest of all possible formulae of a Yea-saying philosophy, first occurred to me in August 1881. I made a note of the thought on a sheet of paper, with the postscript: 6,000 feet beyond men and time! That day I happened to be wandering through the woods alongside of the lake of Silvaplana, and I halted beside a huge, pyramidal and towering rock not far from Surlei. It was then that the thought struck me. Looking back now, I find that exactly two months previous to this inspiration, I had had an omen of its coming in the form of a sudden and decisive alteration in my tastes--more particularly in music. It would even be possible to consider all 'Zarathustra' as a musical composition. At all events, a very necessary condition in its production was a renaissance in myself of the art of hearing. In a small mountain resort (Recoaro) near Vicenza, where I spent the spring of 1881, I and my friend and Maestro, Peter Gast--also one who had been born again--discovered that the phoenix music that hovered over us, wore lighter and brighter plumes than it had done theretofore."

During the month of August 1881 my brother resolved to reveal the teaching of the Eternal Recurrence, in dithyrambic and psalmodic form, through the mouth of Zarathustra. Among the notes of this period, we found a page on which is written the first definite plan of "Thus Spake Zarathustra":--

"MIDDAY AND ETERNITY."

"GUIDE-POSTS TO A NEW WAY OF LIVING."

Beneath this is written:--

"Zarathustra born on lake Urmi; left his home in his thirtieth year, went into the province of Aria, and, during ten years of solitude in the mountains, composed the Zend-Avesta."

"The sun of knowledge stands once more at midday; and the serpent of eternity lies coiled in its light--: It is YOUR time, ye midday brethren."

In that summer of 1881, my brother, after many years of steadily declining health, began at last to rally, and it is to this first gush of the recovery of his once splendid bodily condition that we owe not only "The Gay Science", which in its mood may be regarded as a prelude to "Zarathustra", but

also "Zarathustra" itself. Just as he was beginning to recuperate his health, however, an unkind destiny brought him a number of most painful personal experiences. His friends caused him many disappointments, which were the more bitter to him, inasmuch as he regarded friendship as such a sacred institution; and for the first time in his life he realised the whole horror of that loneliness to which, perhaps, all greatness is condemned. But to be forsaken is something very different from deliberately choosing blessed loneliness. How he longed, in those days, for the ideal friend who would thoroughly understand him, to whom he would be able to say all, and whom he imagined he had found at various periods in his life from his earliest youth onwards. Now, however, that the way he had chosen grew ever more perilous and steep, he found nobody who could follow him: he therefore created a perfect friend for himself in the ideal form of a majestic philosopher, and made this creation the preacher of his gospel to the world.

Whether my brother would ever have written "Thus Spake Zarathustra" according to the first plan sketched in the summer of 1881, if he had not had the disappointments already referred to, is now an idle question; but perhaps where "Zarathustra" is concerned, we may also say with Master Eckhardt: "The fleetest beast to bear you to perfection is suffering."

My brother writes as follows about the origin of the first part of "Zarathustra":--"In the winter of 1882-83, I was living on the charming little Gulf of Rapallo, not far from Genoa, and between Chiavari and Cape Porto Fino. My health was not very good; the winter was cold and exceptionally rainy; and the small inn in which I lived was so close to the water that at night my sleep would be disturbed if the sea were high. These circumstances were surely the very reverse of favourable; and yet in spite of it all, and as if in demonstration of my belief that everything decisive comes to life in spite of every obstacle, it was precisely during this winter and in the midst of these unfavourable circumstances that my 'Zarathustra' originated. In the morning I used to start out in a southerly direction up the glorious road to Zoagli, which rises aloft through a forest of pines and gives one a view far out into the sea. In the afternoon, as often as my health permitted, I walked round the whole bay from Santa Margherita to beyond Porto Fino. This spot was all the more interesting to me, inasmuch as it was so dearly loved by the Emperor Frederick III. In the autumn of 1886 I chanced to be there again when he was revisiting this small, forgotten world of happiness for the last time. It was on these two roads that all 'Zarathustra' came to me, above all Zarathustra himself as a type;--I ought rather to say that it was on these walks that these ideas waylaid me."

The first part of "Zarathustra" was written in about ten days--that is to say, from the beginning to about the middle of February 1883. "The last lines were written precisely in the hallowed hour when Richard Wagner gave up the ghost in Venice."

With the exception of the ten days occupied in composing the first part of this book, my brother often referred to this winter as the hardest and sickliest he had ever experienced. He did not, however, mean thereby that his former disorders were troubling him, but that he was suffering from a severe attack of influenza which he had caught in Santa Margherita, and which tormented him for several weeks after his arrival in Genoa. As a matter of fact, however, what he complained of most was his spiritual condition--that indescribable forsakenness--to which he gives such

heartrending expression in "Zarathustra". Even the reception which the first part met with at the hands of friends and acquaintances was extremely disheartening: for almost all those to whom he presented copies of the work misunderstood it. "I found no one ripe for many of my thoughts; the case of 'Zarathustra' proves that one can speak with the utmost clearness, and yet not be heard by any one." My brother was very much discouraged by the feebleness of the response he was given, and as he was striving just then to give up the practice of taking hydrate of chloral--a drug he had begun to take while ill with influenza,--the following spring, spent in Rome, was a somewhat gloomy one for him. He writes about it as follows:-- "I spent a melancholy spring in Rome, where I only just managed to live,-- and this was no easy matter. This city, which is absolutely unsuited to the poet-author of 'Zarathustra', and for the choice of which I was not responsible, made me inordinately miserable. I tried to leave it. I wanted to go to Aquila--the opposite of Rome in every respect, and actually founded in a spirit of enmity towards that city (just as I also shall found a city some day), as a memento of an atheist and genuine enemy of the Church--a person very closely related to me,--the great Hohenstaufen, the Emperor Frederick II. But Fate lay behind it all: I had to return again to Rome. In the end I was obliged to be satisfied with the Piazza Barberini, after I had exerted myself in vain to find an anti-Christian quarter. I fear that on one occasion, to avoid bad smells as much as possible, I actually inquired at the Palazzo del Quirinale whether they could not provide a quiet room for a philosopher. In a chamber high above the Piazza just mentioned, from which one obtained a general view of Rome and could hear the fountains plashing far below, the loneliest of all songs was composed--'The Night-Song'. About this time I was obsessed by an unspeakably sad melody, the refrain of which I recognised in the words, 'dead through immortality.'"

We remained somewhat too long in Rome that spring, and what with the effect of the increasing heat and the discouraging circumstances already described, my brother resolved not to write any more, or in any case, not to proceed with "Zarathustra", although I offered to relieve him of all trouble in connection with the proofs and the publisher. When, however, we returned to Switzerland towards the end of June, and he found himself once more in the familiar and exhilarating air of the mountains, all his joyous creative powers revived, and in a note to me announcing the dispatch of some manuscript, he wrote as follows: "I have engaged a place here for three months: forsooth, I am the greatest fool to allow my courage to be sapped from me by the climate of Italy. Now and again I am troubled by the thought: WHA T NEXT? My 'future' is the darkest thing in the world to me, but as there still remains a great deal for me to do, I suppose I ought rather to think of doing this than of my future, and leave the rest to THEE and the gods."

The second part of "Zarathustra" was written between the 26th of June and the 6th July. "This summer, finding myself once more in the sacred place where the first thought of 'Zarathustra' flashed across my mind, I conceived the second part. Ten days sufficed. Neither for the second, the first, nor the third part, have I required a day longer."

He often used to speak of the ecstatic mood in which he wrote "Zarathustra"; how in his walks over hill and dale the ideas would crowd into his mind, and how he would note them down hastily in a note-book from which he would transcribe them on his return, sometimes working till midnight. He says in a letter to me: "You can have no idea of the vehemence of such

composition," and in "Ecce Homo" (autumn 1888) he describes as follows with passionate enthusiasm the incomparable mood in which he created Zarathustra:--

"--Has any one at the end of the nineteenth century any distinct notion of what poets of a stronger age understood by the word inspiration? If not, I will describe it. If one had the smallest vestige of superstition in one, it would hardly be possible to set aside completely the idea that one is the mere incarnation, mouthpiece or medium of an almighty power. The idea of revelation in the sense that something becomes suddenly visible and audible with indescribable certainty and accuracy, which profoundly convulses and upsets one--describes simply the matter of fact. One hears-- one does not seek; one takes--one does not ask who gives: a thought suddenly flashes up like lightning, it comes with necessity, unhesitatingly--I have never had any choice in the matter. There is an ecstasy such that the immense strain of it is sometimes relaxed by a flood of tears, along with which one's steps either rush or involuntarily lag, alternately. There is the feeling that one is completely out of hand, with the very distinct consciousness of an endless number of fine thrills and quiverings to the very toes;--there is a depth of happiness in which the painfullest and gloomiest do not operate as antitheses, but as conditioned, as demanded in the sense of necessary shades of colour in such an overflow of light. There is an instinct for rhythmic relations which embraces wide areas of forms (length, the need of a wide-embracing rhythm, is almost the measure of the force of an inspiration, a sort of counterpart to its pressure and tension). Everything happens quite involuntarily, as if in a tempestuous outburst of freedom, of absoluteness, of power and divinity. The involuntariness of the figures and similes is the most remarkable thing; one loses all perception of what constitutes the figure and what constitutes the simile; everything seems to present itself as the readiest, the correctest and the simplest means of expression. It actually seems, to use one of Zarathustra's own phrases, as if all things came unto one, and would fain be similes: 'Here do all things come caressingly to thy talk and flatter thee, for they want to ride upon thy back. On every simile dost thou here ride to every truth. Here fly open unto thee all being's words and word-cabinets; here all being wanteth to become words, here all becoming wanteth to learn of thee how to talk.' This is MY experience of inspiration. I do not doubt but that one would have to go back thousands of years in order to find some one who could say to me: It is mine also!--"

英语翻译方法和技巧归纳

英语翻译方法和技巧归纳 一、词汇方面 ㈠.词义选择 大多数英语词汇是多义的，翻译时必须选择正确的词义。词义选择的方法有三:根据上下文和词的搭配选择、根据词类选择、根据专业选择。 ㈡.词义转换 在理解英文词汇的原始意义基础上，翻译时可根据汉语的习惯按引伸义译出；或用反义词语译出，即所谓的正文反译、反文正译。 ㈢.词类转换

英语中很多由动词转化而成的名词、以及动名词、非谓语动词等，汉译时可将它们转换成动词。 ㈣.补词 是指原文已有某种含义但未用词汇直接表达，译文中需将这些含义补充进去，这样才更通顺易读，如：英语中数词与名词之间没有量词，而译成汉语时可酌情增加。 ㈤.省略 是指原文中某些词在译文中省略不译，只要并不影响意义的完整。如：上面讲的汉语“量词”，译成英语时则可以省略；又如：英语中大量使用物主代词而汉语中往往省略不用。 ㈥.并列与重复

英语在表达重复含义的并列结构中常采用共享、替代、转换等形式来避免重复，而汉语却常常有意重复表达以加强文字的力度，如：英语的物主代词替代前面的名词，短语动词只重复介词而省略主动词，汉译时可考虑重复表达。 二、句子结构方面 子结构方面的翻译技巧，主要有三种类型：语序类、组合类和转换类。 ㈠.语序类 1. 顺译法与逆译法 英语时间状语可前可后。不仅如此，英语在表达结果、条件、说明等定语从句、状语从句也很灵活，既可以先述也可以后述。而汉语

表达往往是按时间或逻辑的顺序进行的，因此，顺译法也罢逆译法也罢，其实都是为了与汉语的习惯相一致。英语表达与汉语一致的就顺译，相反的则逆译。 有时候顺译法与逆译法的差别,就象前面谈的正译与反译,依译者的爱好而定。 2. 前置法 英语中较短的限定性定语从句、表身份特征等的同位语在译成汉语时，往往可以提到先行词（中心词）的前面。 3. 分起总叙与总起分叙 长句子和句子嵌套现象在英语中比较普遍，这是因为英语的连词、关系代词、关系副词等虚词比较活跃、生成能力强，可构成并列句、复合句以及它们的组合形式。

川普胜选演讲双语

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总结报告-英文报告格式 精品

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