/lit/ - Literature

>>20862372
Chad Wagner and virgin Nietzsche.

>>20533215
Many of the most innovative features of the language and themes of Zarathustra were taken from Der Ring des Nibelungen.

>'Wotan’s relationship with Siegfried is something wonderful, like no other poetry in the world: love and enforced enmity and the desire for destruction. This is highly symbolic for the understanding of Wagner’s character: love for that which redeems, judges, and destroys; but splendidly perceived!'

>The confrontation between Zarathustra (as ‘Untergehender’) and his progeny, the ‘Übermensch’, appears as a free paraphrase of the confrontation between Wotan and his progeny, ‘the man of the future’, in Siegfried, Act III, where Wotan (in Wagner’s own words) rises to the tragic height of willing his own fall. Nietzsche’s attempt to improve on the scene he described as comparable to no other poetry in the world will be evident to the student in the long excursus of ‘Zarathustra’s Vorrede’, beginning

>'What is great in man is that he is a bridge and not a goal. What can be loved in man is that he is a going-across and a going-down.'

>By availing himself of material culled from the dramatic climax of the trilogy, he prepares to deliver his own answer to the question propounded in both works.

>>20435031
Many of the most innovative features of the language and themes of Zarathustra were taken from Der Ring des Nibelungen.

>'Wotan’s relationship with Siegfried is something wonderful, like no other poetry in the world: love and enforced enmity and the desire for destruction. This is highly symbolic for the understanding of Wagner’s character: love for that which redeems, judges, and destroys; but splendidly perceived!'

>The confrontation between Zarathustra (as ‘Untergehender’) and his progeny, the ‘Übermensch’, appears as a free paraphrase of the confrontation between Wotan and his progeny, ‘the man of the future’, in Siegfried, Act III, where Wotan (in Wagner’s own words) rises to the tragic height of willing his own fall. Nietzsche’s attempt to improve on the scene he described as comparable to no other poetry in the world will be evident to the student in the long excursus of ‘Zarathustra’s Vorrede’, beginning

>'What is great in man is that he is a bridge and not a goal. What can be loved in man is that he is a going-across and a going-down.'

>By availing himself of material culled from the dramatic climax of the trilogy, he prepares to deliver his own answer to the question propounded in both works.

>>20003631
Wagner.

https://www.youtube.com/watch?v=NOc6iZtukrs

>'Wotan’s relationship with Siegfried is something wonderful, like no other poetry in the world: love and enforced enmity and the desire for destruction. This is highly symbolic for the understanding of Wagner’s character: love for that which redeems, judges, and destroys; but splendidly perceived!'

>The confrontation between Zarathustra (as ‘Untergehender’) and his progeny, the ‘Übermensch’, appears as a free paraphrase of the confrontation between Wotan and his progeny, ‘the man of the future’, in Siegfried, Act III, where Wotan (in Wagner’s own words) rises to the tragic height of willing his own fall. Nietzsche’s attempt to improve on the scene he described as comparable to no other poetry in the world will be evident to the student in the long excursus of ‘Zarathustra’s Vorrede’, beginning

>'What is great in man is that he is a bridge and not a goal. What can be loved in man is that he is a going-across and a going-down.'

>By availing himself of material culled from the dramatic climax of the trilogy, he prepares to deliver his own answer to the question propounded in both works.

https://www.youtube.com/watch?v=NOc6iZtukrs

>'Wotan’s relationship with Siegfried is something wonderful, like no other poetry in the world: love and enforced enmity and the desire for destruction. This is highly symbolic for the understanding of Wagner’s character: love for that which redeems, judges, and destroys; but splendidly perceived!'

>The confrontation between Zarathustra (as ‘Untergehender’) and his progeny, the ‘Übermensch’, appears as a free paraphrase of the confrontation between Wotan and his progeny, ‘the man of the future’, in Siegfried, Act III, where Wotan (in Wagner’s own words) rises to the tragic height of willing his own fall. Nietzsche’s attempt to improve on the scene he described as comparable to no other poetry in the world will be evident to the student in the long excursus of ‘Zarathustra’s Vorrede’, beginning

>'What is great in man is that he is a bridge and not a goal. What can be loved in man is that he is a going-across and a going-down.'

>By availing himself of material culled from the dramatic climax of the trilogy, he prepares to deliver his own answer to the question propounded in both works.

Would a world full of Nietzsches or Wagners be better, and since the answer is obvious, does this say anything about the truth in their respective views?