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偶像的黄昏

尼采

语言:
英语
状态:
完整作品
作者归属:
作者本人所著
文本状况:
文本清晰
篇幅:
约 72,800 词 · 346 个段落
引用本作品
  • APA尼采. (n.d.). 偶像的黄昏. SigPhi. https://sigphiai.com/zh/works/nietzsche/the-twilight-of-the-idols-or-how-to-philosophize-with-the-hammer-the-antichri
  • MLA尼采. "偶像的黄昏." SigPhi, https://sigphiai.com/zh/works/nietzsche/the-twilight-of-the-idols-or-how-to-philosophize-with-the-hammer-the-antichri.
  • Chicago尼采. 偶像的黄昏. SigPhi. https://sigphiai.com/zh/works/nietzsche/the-twilight-of-the-idols-or-how-to-philosophize-with-the-hammer-the-antichri.

内容简介

《偶像的黄昏》与《敌基督者》(1888)合为一卷。

背景与流传

《偶像的黄昏》是把整个尼采压进一百页,一星期写成,也是一本都没读过的人最该从这里开始。「用锤子从事哲学」不是要砸烂什么:是要敲一敲偶像,听听里面是不是空的。**注意:**《敌基督者》也作为单独的一部出现。它们不是重复条目——合卷和单行本是不同的编辑单位——两个都留。 英译本,出自奥斯卡·利维主编的全集(1909-1913),也就是进入公共领域的那一套。它有一百多年了,读得出来。原文是德文,引用应以原文为准:目录中有两部德文本,《查拉图斯特拉如是说》和《权力意志》;其余的这里只有译本。

这是编辑性背景,不是可引用的来源:与作品本身的段落不同,这些说明无法在语料库中核对。

开篇
To maintain a cheerful attitude of mind in the midst of a gloomy and exceedingly responsible task, is no slight artistic feat. And yet, what could be more necessary than cheerfulness? Nothing ever succeeds which exuberant spirits have not helped to produce. Surplus power, alone, is the proof of power.—A _transvaluation of all values,_—this note of interrogation which is so black, so huge, that it casts a shadow even upon him who affixes it,—is a task of such fatal import, that he who undertakes it is compelled every now and then to rush out into the sunlight in order to shake himself free from an earnestness that becomes crushing, far too crushing. This end justifies every means, every event on the road to it is a windfall. Above all _war._ War has always been the great policy of all spirits who have penetrated too far into themselves or who have grown too deep; a wound stimulates the recuperative powers. For many years, a maxim, the origin of which I withhold from learned curiosity, has been my motto: _ increscunt animi, virescit volnere virtus._ At other times another means of recovery which is even more to my taste, is to cross-examine idols. There are more idols than realities in the world: this constitutes my “evil eye” for this world: it is also my “evil ear.” To put questions in this quarter with a hammer, and to hear perchance that well-known hollow sound which tells of blown-out frogs,—what a joy this is for one who has ears even behind his ears, for an old psychologist and Pied Piper like myself in whose presence precisely that which would fain be silent, _must betray itself._ Even this treatise—as its title shows—is above all a recreation, a ray of sunshine, a leap sideways of a psychologist in his leisure moments. Maybe, too, a new war? And are we again cross-examining new idols?…

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