《查拉图斯特拉如是说·第二部》第20节
But that I am fond of Wisdom, and often too fond, is because she remindeth me very strongly of Life! She hath her eye, her laugh, and even her golden angle-rod: am I responsible for it that both are so alike? And when once Life asked me: “Who is she then, this Wisdom?”—then said I eagerly: “Ah, yes! Wisdom! One thirsteth for her and is not satisfied, one looketh through veils, one graspeth through nets. Is she beautiful? What do I know! But the oldest carps are still lured by her. Changeable is she, and wayward; often have I seen her bite her lip, and pass the comb against the grain of her hair. Perhaps she is wicked and false, and altogether a woman; but when she speaketh ill of herself, just then doth she seduce most.” When I had said this unto Life, then laughed she maliciously, and shut her eyes. “Of whom dost thou speak?” said she. “Perhaps of me? And if thou wert right—is it proper to say THAT in such wise to my face! But now, pray, speak also of thy Wisdom!” Ah, and now hast thou again opened thine eyes, O beloved Life! And into the unfathomable have I again seemed to sink.— Thus sang Zarathustra. But when the dance was over and the maidens had departed, he became sad. “The sun hath been long set,” said he at last, “the meadow is damp, and from the forest cometh coolness. An unknown presence is about me, and gazeth thoughtfully. What! Thou livest still, Zarathustra? Why? Wherefore? Whereby? Whither? Where? How? Is it not folly still to live?— Ah, my friends; the evening is it which thus interrogateth in me. Forgive me my sadness! Evening hath come on: forgive me that evening hath come on!” Thus sang Zarathustra.
注释摘要
查拉图斯特拉在这段舞之歌的尾声里，将此前与少女共舞时的欢愉轻盈，骤然转入一种深沉的独白。前面他以歌谣的方式与生命本身对话，将生命和智慧都拟人化为女性，两个形象在言谈中几乎难以分辨——都有诱惑的眼眸、嘲弄的笑、金色的钓竿。这种混淆正是问题的核心：智慧之所以让他依恋，恰恰因为她太像生命，那种无法被概念穷尽的、变幻莫测的丰盈。查拉图斯特拉对智慧的描述几乎是感官化…