Friedrich Wilhelm Nietzsche - Ecce Homo, and the Antichrist

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““Nietzsche is the most sarcastic son of a bitch ever to set foot on this
earth. Just say that; then write whatever else you want, like he would.” —
— So my friend Werner Timmermann tells me, with a gleam in his eye.
He helped with my translation of Thus Spake Zarathustra, a four-year-long
labor of love, so he knows what he is talking about. Zarathustra (1885)
was Nietzsche’s magnum opus; everything before it was preparation,
everything after it expatiation and elucidation.
But, for some, the question remains: Why Nietzsche? Friedrich
Nietzsche (1844-1900) was quite simply one of the most original and
influential philosophers who ever lived; in addition, his writing style was
brilliant, epigrammatic, idiosyncratic [“It is my ambition to say in ten
sentences what everyone else says in a book — what everyone else does
not say in a book.”] The language dances, prances, whirls and twirls; it
ranges from ghetto-verbalizations and vulgarizations to high art, from
lyricism to sardonicism, from satyr-play to passion play. No one really
writes like Nietzsche, though the number of his stylistic apes and
imitators is legion (especially in the ranks of academe). Nietzsche, by the
way, had nothing but contempt for academics; he considered them sterile
mediocrities, puffed-up frogs in need of a pinpricking. So much for
professional philosophers and their “definitive” translations of Nietzsche;
their footnotes are good and with one glaring exception (Zarathustra)
their translations are even pretty good.
But pretty good is often not good enough when it comes to
Nietzsche. In the new translations that comprise this volume, every
sentence, every sentiment is prized: every ellipsis, every parenthesis,
every italicized phrase and exclamation point is retained as a part and
parcel of his literary notation, his philosophical-musical score, if you
will. Rhythm and word choice are everything…”






TERIMA KASIH buanyak

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