译言网|尼采：爱·罪·赎|《今日哲学》

尼采：爱·罪·赎 |《今日哲学》

译者： jiongcaicai 原作者：Eva Cybulska

发表时间：2011-10-18浏览量：5787评论数：4挑错数：0

2011年9月（86期）《今日哲学》带我们走进尼采那暴风雨般的灵魂中去

Nietzsche: Love, Guilt & Redemption

尼采：爱·罪·赎

Eva Cybulska peers into Friedrich Nietzsche’s stormy psyche.

Eva Cybulska 将带我们走进尼采那暴风骤雨般的灵魂中去。

Where one can no longer love, one should – pass by! Thus Spoke Zarathustra (1883), ‘Of Passing By’

不能再喜爱它的地方，就应该——走开！ （《查拉图斯特拉如是说》 “走开”，钱春绮译，三联书店，2007年。下同）

Whatever I create and how much I love it – soon I have to oppose it Thus Spoke Zarathustra, ‘Of Self-Overcoming’

不管我创造什么，不管我怎样爱它，——顷刻之间，我就必须成为它的敌对者。 （《查拉图斯特拉如是说》“崇高的人们”）

Few would associate Friedrich Nietzsche (1844-1900) with love. And yet this most passionate of philosophers wrote ‘with blood’ and only about things he loved. Characteristically, he felt an urge to oppose what he loved – moreover, he had to kill it. Redemption was for Nietzsche not a deliverance from sin, but a total affirmation of life, with all its pain, suffering and absurdity. As for the guilt – few have been burdened with more!

我们很难将弗里德里希·尼采（1844-1900）和爱联系起来。但这位充满激情的哲学家是用鲜血书写着，并且只写自己所爱的东西。他对所爱之物有一种独特的欲望，这种欲望使他不得不去反对其所爱之物，甚至是摧毁它们。救赎对尼采来说不是从罪恶中得以解脱，而是对生活的彻底肯定，包括其中的痛苦、折磨和荒诞。至于罪，很少有人比他承受过的更多了。

Paradox permeates Nietzsche’s oeuvre. To understand the contradictoriness of Nietzsche the philosopher, as well as of Nietzsche the man, one must understand the concept of coincidentia oppositorum – the coincidence of opposites. This concept originated in Heraclitus, who was much admired by Nietzsche.

尼采的作品自始至终都充满了矛盾。要理解作为哲学家的尼采和作为普通人的尼采之间的矛盾，我们必须理解“对立统一”这个概念。这个概念源自赫拉克利特，他备受尼采的推崇。

Heraclitus believed that all things were characterised by pairs of contrary properties, for example one and the same thing may be both hot and cold. As these contrary properties strive with each other they move towards unity and harmony, the concepts draw near to each other and “the path up and down is one and the same.” The battle of opposites, fuelled by his life-long mood fluctuations, became a turbulent undercurrent in Nietzsche’s philosophy. The constant tension and energy from the conflict were a source of inspiration and creativity for him: the strife led to “ever more powerful births.” His kaleidoscopic re-arrangement of opposites would at times be so rapid that existentialist Karl Jaspers commented: “you have not read Nietzsche carefully enough if you haven’t found at least two contradictions on the same page.” (Nietzsche: an Introduction to the understanding of his Philosophical Activity.) The ‘Apollonian’ and the ‘Dionysian’ became the most famous of Nietzsche’s binary concepts [see film column]; but other Heraclitus-inspired ideas are even more provocative: “pain and pleasure are not opposites”, “health and sickness are not essentially different”, “scorners are only hidden admirers”, “truth is a lie according to fixed convention”, etc. Significantly, Nietzsche’s discourse is not an exercise in Hegelian dialectics (involving a synthesis of opposite ideas), but a contrapuntal (intertwining) dance of ideas; hence it is futile to look for synthesis or a final resolution in his writings.

赫拉克利特认为，万事万物都具有一对相互对立的属性，例如有些东西同时具备冷和热。这些对立的属性在相互斗争的过程中走向统一与和谐，这些概念也会逐渐相互靠近，正如赫拉克利特所说的：“上行之路和下行之路是同一条路”。这种矛盾之间的斗争，加之尼采一生的情绪起伏，形成了尼采哲学下湍急的暗流。这种从矛盾和冲突中迸发出的持久的张力和能量，正是尼采灵感和创造力的源泉，为他提供了永恒的生命力。他如万花筒般瞬息万变地将其对立面重新归整，有时居然是如此的迅速，以至于存在主义者卡尔·雅斯贝尔斯这样评论道：“如果没有在尼采作品的同一页中找到至少两处矛盾，那就是你没有认真读”（《尼采哲学生涯入门》）。“太阳神式”和“酒神式”共存就是尼采最著名的二元观念，不过他还有其他一些受赫拉克利特启发的，听起来更挑衅的观点：“痛苦与快乐并不矛盾”，“健康与疾病并无本质区别”，“轻蔑只不过是隐藏的仰慕”，“真理只不过是固定格式下的谎言”等等。值得指出的是，尼采的这些见解并不是黑格尔辩证法的演练（包括对立统一的观点），而是一种观念的对位（交缠）之舞。因此，想从他的著述中找出一个最终答案，必然是徒劳无功的。

Nietzsche chose as his patron Dionysus – the god of dark unconscious forces, of excess and frenzy, of shades and shadows. Dionysian consciousness is essentially bisexual, and for Nietzsche it was precisely the lunar aspect of this consciousness, the abysmal depths of the feminine, that was both appealing and frightful. Nietzsche’s feminine side was deeply hidden behind a double-layered mask of übermensch and Zarathustra. As a ‘philosopher of masks’, Nietzsche maintained that “one must learn to speak in order to remain silent” and that saying was a form of concealment. Although often screaming at the readers through his various masks (such as the rebel, the Antichrist, the misogynist, the madman), he also spoke softly. And when he did, the silhouette of “a boy with tired hot eyes” lurked from behind the veil: pain and sorrow lay just underneath the hard surface.

尼采选择了放纵与暴戾、幻影与阴影这样的黑暗的潜意识力量，作为自己的守护神。酒神式的意识本质上是双性的，而这种意识对尼采来说却恰恰是月亮阴柔的，那种极度深邃的阴柔，迷人而可怕。尼采阴柔的一面深藏在一个由“超人”和“查拉图斯特拉”形成的双层面具之下。作为一个“戴着面具的哲人”，尼采维护着“人若想保持沉默，就必须学会说话”的宣言，此亦即一种隐藏的形式。尽管他经常通过多种面具向读者尖叫，但有时也会温柔地倾诉。当他这样做的时候，那双“男孩般疲倦而热情的眼睛”就会从面纱之后显露出来：冰冷的表面下埋藏着痛苦和悲伤。  

Love Desires, Fear Avoids

爱希冀，惧逃离

I fear you close by, I love you far away. Thus Spoke Zarathustra, ‘The Other Dancing Song’

我怕你走进我，我喜爱你离开我。 （《查拉图斯特拉如是说》“另一曲舞蹈之歌”）

Nietzsche’s craving for love was only matched by his fear of it. He seemed to embody Schopenhauer’s famous parable about the porcupines who needed to huddle together for warmth, struggling to find the optimal distance that made them feel sufficiently warm without hurting one another.

尼采渴望爱，但只当其与对爱的惧怕相匹配时才会去爱。他看起来正应了叔本华那个著名的关于豪猪的比喻：它们需要挤作一团相互取暖，但必须努力找到一个既足够温暖又不会扎到对方的最佳距离。

In The Gay Science (1882), Nietzsche argued that love was closely related to avarice; they both express the same instinct – the instinct to possess. Deeply wounded by his complicated love triangle with Lou Salom é, he warned against women who were nothing but “little beasts of prey” possessed by lust for pregnancy. He infamously advised in Zarathustra: “Are you going to women? Don’t forget the whip.” And yet, it was Lou who was brandishing the whip above the heads of Nietzsche and R ée in the famous picture, which she often displayed as her trophy. Nietzsche’s plans to get a young, attractive wife never materialised, and his two marriage were proposals rejected. Perhaps he knew well how to propose ‘safely’, mindful of Schopenhauer’s warning: “Marrying means to grasp blindfolded into a sack hoping to find out an eel out of an assembly of snakes.”

在《快乐的科学》（又译作《欢愉的知识》）中，尼采认为爱与贪婪密切相关，它们具有同一个本质——占有。由于与莎乐美那一段复杂的三角恋情深深地伤害了尼采，他继而认为女人只不过是被怀孕的欲望所驱使的“疯狂的小野兽”罢了，并以此告诫人们要远离女人。他在《查》中有句“著名”的忠告：“你要去女人那里吗？别忘了你的鞭子”。其实，反倒是莎乐美在尼采和保罗·李头上挥舞着鞭子，正如在那幅经常被她当作战利品炫耀的画中所画的那样。尼采想娶一个年轻漂亮的妻子的计划，从来都没实现过，他的两次求婚都被拒绝了。也可能其实他明知如何求婚才比较“安全”，别忘了叔本华的警告：“结婚意味着要蒙着眼睛将手伸进布袋里，从蛇堆里面抓出一条鳗鱼来。”

But Nietzsche also wrote this about love:

不过，关于爱情，尼采还写道：

It is night: now do all leaping fountains speak louder. And my soul too is a leaping fountain… Something unquenched, unquenchable, is in me that wants to speak out. A craving for love is in me, that itself speaks the language of love… It is night: only now do all songs of lovers awaken. And my song too is the song of a lover. Thus Spoke Zarathustra, ‘The Night Song’

夜来了：现在一切跳跃的喷泉都更加高声地说话。而我的灵魂也是一注跳跃的喷泉。 在我心中有一种不平静、无法平静之感；它要公开出来。在我心中有一种爱的渴望，它自己说着爱的语言。 夜来了：现在一切热爱者之歌才苏醒过来。而我的灵魂也是一个热爱者之歌。 （《查拉图斯特拉如是说》“夜歌”。原文二三句顺序颠倒，疑为笔误——译者注）

What were the most important loves in Nietzsche’s life? By his own admission, the composer Richard Wagner was the only man he truly loved. The other great love (and hate) of his life was Christianity. Sometimes (as we shall see) Wagner and Christianity coalesced into a single target to be attacked.

尼采一生中最重要的爱是什么呢？他自己坦言，作曲家瓦格纳是他唯一的真爱。另一个他生命中极为重要的爱（与恨）就是基督教了。有时候（下面我们会看到）瓦格纳和基督教还经常被尼采扯在一块儿，当成他炮轰的同一个目标。

The funeral of Nietzsche’s father took place when little Friedrich was less than five years of age, and his Hamletian ghost was to return to him again and again: this early loss of his father left Nietzsche with a life-long, albeit ambivalent, yearning for care and guidance. This longing – never to be fulfilled – he projected initially onto God, and later onto Wagner. As a young man, Nietzsche – still an exultant believer (his father was a Lutheran pastor) – wrote a poem, entitled To The Unknown God:

尼采的父亲是在小尼采还不到五岁时去世的，他像哈姆雷特一样，不断地被父亲的鬼魂所困扰：早年丧父给尼采留下了终生渴望照顾和保护的阴影。一开始，他将这种渴望（尽管从未实现）寄托在了上帝身上，后来转向了瓦格纳。作为年轻人，尼采还是一名狂热的教徒（他的父亲是一名路德教会的牧师），写下了一首题为《献给未知之神》的诗：

I lift up my hands to you in loneliness– you, to whom I flee, to whom in the deepest depth of my heart I have solemnly consecrated altars

我要遁逃到你的身边，孤独地高举我的双手。在我最深的内心里面，为你庄严地建立祭坛。（钱春绮 译）

Torn between faith and truth, between reason and unreason, between veneration and rage, many years later he exclaimed “Whoever wants to be a Christian should tear the eyes out of his reason” and launched a devastating attack on religion. In The Gay Science we read:

在信仰与真理之间、理性与非理性之间、敬仰和怒斥之间纠结了多年之后，他大呼：“想成为基督徒，就得撕毁自己理智的眼睛（马丁·路德语）”，接着对宗教发起了毁灭性的进攻。在《快乐的科学》中我们可以读到：

“What? A god who loves men, provided only they believe in him, and who casts an evil eye and threats upon anyone who does not believe in his love? What? A love encapsulated in if-clauses attributed to an almighty god? A love that has not even mastered the feelings of honour and vindictiveness?”

什么？上帝爱世人有一个先决条件，这就是世人要相信他；谁不相信这爱，他就给谁投去凶神恶煞似的眼神，以示威胁！什么？有附加条件的爱是万能的上帝之情感！可是，这爱从来没有遏制他的名誉心和复仇欲念啊！（《快乐的科学》，黄明嘉译，华东师范大学出版社，2007年。下同）

Nietzsche’s love for Wagner had a similar beginning, and a similar end to his love of God. As a teenager he played Wagner’s Tristan und Isolde in a piano duet; and he also played it when in a grip of madness in January 1889 in Turin. He also wrote to a friend: “Has any painter painted such a melancholy gaze of love as Wagner did with the last accents of his prelude? Something of that sort occurs in Dante – nowhere else.”

尼采对瓦格纳之爱的始末缘由，与其对上帝之爱相似。他十几岁的时候就会弹奏瓦格纳的歌剧“特里斯坦与伊索尔德”中的钢琴二重奏，甚至在他癫狂于1889年1月的都灵之时，也仍然会弹奏一曲。他还向一位朋友写道：“你见过哪个画家能将瓦格纳的序曲中最后的重音表现出来的那种忧郁的、充满爱的凝视画出来吗？也就但丁可能有这个能力，旁人肯定不行。”

Nietzsche met Wagner in Leipzig shortly before taking up his appointment to the chair of Classical Philology in Basel in1869. During the next three years he became a frequent visitor to the Wagners’ residence in Tribschen near Lucerne. This was the happiest period in Nietzsche’s life and here a paradise once lost was briefly regained. Nietzsche extolled Wagner to his friends, saying that in his presence he felt as if in the presence of the divine. Yet his private notes reveal criticisms of the master long before the end of their eight-year friendship. Later, he accused Wagner of returning to “decadent Christian values” in his last opera Parcival. In his bitter late polemic, The Wagner Case (1888), Nietzsche raged against Christianity as a “denial of the will to life”, and against Wagner as a prophet of redemption. Thus his two love-hate objects here merged into one. Yet like God, Wagner remained distant, emotionally unavailable and unresponsive to all these highly provocative insults.

尼采在1869出任巴塞尔大学古典哲学教授一职前不久，在莱比锡遇见了瓦格纳。在接下来的三年里，他成为了瓦格纳府邸（位于卢塞恩附近的布森）的常客。这是尼采一生当中最幸福的时光，使他重获了一个短暂的天堂。尼采向自己的朋友称赞瓦格纳，说他对自己来说是神一般的存在。不过据他的私人笔记看来，在结束他们长达8年的友谊之前，尼采就对瓦格纳这位大师加以批评了。后来，他指责瓦格纳在其最后的歌剧《帕西发尔》中又回到“颓废的基督教价值观”去了。在他晚期那本刻薄的论战之书《瓦格纳事件》（1888）中，尼采狂暴地攻击基督教教义，认为其是“对生命意志的否定”，并反对预言救赎的瓦格纳。至此，他的两个爱与恨的交织体合并了。不过与上帝相同的是，瓦格纳对此保持沉默，他对这些异常挑衅的侮辱毫不在意，没有任何反应。

Nietzsche’s inner solitude, fortified by pride, would render his yearnings for love unfulfilled; instead, forced joyfulness, indeed euphoria, became his response to pain. In a letter to his friend Overbeck he wrote: “The perpetual lack of a really refreshing and healing human love, the absurd isolation which it entails, making almost any residue of connection with people merely something that wounds one – that is all very bad indeed…”

尼采内心那种被骄傲强化了的孤独，反倒愈发地显示出了他那没有被满足的对爱的渴望。取而代之的是一种强迫式的快乐，其实是一种临床上所称的欣快症，成为了他对痛苦所做出的反应。他对他的朋友Overbeck写信说：“由于长期缺乏能使人恢复和痊愈的属于人类的爱，再加上这种荒谬的、强加于我的隔离，几乎使得任何与人之间的些许交流，对我来说都不过是一种伤害罢了——这些的确都很不好…”

In his last book, Dithyrambs of Dionysus (1889), Nietzsche included ‘Ariadne’s Lament’, a poem full of pain and longing:

在他最后一本书《狄奥尼索斯-酒神赞歌》（1889）中，有一首名为“阿里阿德涅的挽歌”诗，充满着痛苦与渴望：

Who still warms me, who still loves me? Offer me hot hands! Offer me coal-warmers for the heart!… He is gone! He himself has fled, My last companion, My great enemy, My unknown, My hangman-god!

谁还会温暖我，谁还会爱我？ 给我一双炙热的手吧！ 给我一颗炭火般温暖的心吧！… 他走了！ 他自己逃走了！ 我最后一个伴侣， 我最大的敌人， 我那未知的， 刽子手般的——上帝！

Nietzsche often spoke of Ariadne, a faithful companion of Theseus. She helped him when he had to venture into the Minotaur’s Labyrinth, by providing him with a thread by means of which he could fine his way back out again. While in a grip of madness, Nietzsche wrote to Cosima Wagner (Richard’s wife), “I love you Ariadne” and signed it “Dionysus.” Yet unlike Theseus, who held on to Ariadne’s thread, Nietzsche ventured into the labyrinth of his soul all by himself. But although one can get in alone, one needs the help of another human being to get out. Even Nietzsche, this advocate of ‘hardness’ and self-sufficiency, needed his Ariadne, with her love and the thread of her wisdom to anchor him in reality. Unlike Theseus, Nietzsche never returned.

尼采经常提到阿里阿德涅，她是提修斯忠实的伴侣。当他不得不冒死进入牛头人的迷宫时，她给了他一个线团，帮他顺利地返回。癫狂之后的尼采写信给科茜玛·瓦格纳（瓦格纳的妻子）道：“我爱你，阿里阿德涅”，然后署名狄奥尼索斯。不过没有提修斯那么幸运的是，没有阿里阿德涅给尼采走迷宫用的线团，尼采只身闯入了自己的精神迷宫。尽管一个人可以单刀赴会地进入，可要出来的话还是需要另一个人的帮助。即使是尼采这样提倡坚强并自给自足的人，仍然需要他生命中的阿里阿德涅，用她的爱和智慧线团将尼采锚定在现实之中。但是，尼采不是提修斯，他再也没有回来。  

Guilt, Debt and the Pale Criminal

负罪、负债与苍白的犯罪者

Devise the love that bears not only all punishment but also the guilt! Thus Spoke Zarathustra, ‘Of the Adder’s Bite’

不仅承担一切惩罚，而且也承担一切罪过的爱，请你给我创造出来吧！ （《查拉图斯特拉如是说》“毒蛇的咬伤”）

For Nietzsche, genuine love cannot evoke guilt. In his book On the Genealogy of Morality (1887), following his customary ‘via etymologica’ [response to the derivations of words] he regards guilt primarily as a form of debt (in German die Schuld means both). For Nietzsche, for both guilt and debt, the act of giving (of love or money) must never overwhelm the receiver. So Nietzsche’s rejection of Christian doctrine was above all a rejection of Christ’s sacrifice for the sake of mankind’s redemption, which burdened humanity with a non-repayable debt, and so with ‘bad conscience’. By contrast, “the [ancient] gods served to justify man to a certain degree… they did not at that time take the punishment on themselves, but rather, as is nobler, the guilt” (Genealogy). Consequently, “A god come to earth ought to do nothing whatever but wrong; to take upon oneself not the punishment but the guilt – only that would be godlike” (Ecce Homo). In Nietzsche’s moral universe, a truly loving God would have to be a sort of devil!

对尼采来说，真爱是不能引发任何负罪感的。在他《道德的谱系》（1887）一书中，根据对词源演化的考证，他认为负罪（guilt）是负债（debt）的一种形式（德语die Schuld两个意思都有）。他认为：不论是负罪还是负债，给予（爱或金钱）这一动作都必须压倒被给予者。因此尼采对基督教义的拒绝首先针对的就是基督为了人类的救赎而做出的牺牲，使人背负着还不完的债，继而感到心中有愧。相比之下，“当时（希腊）众神就是这样在某种程度上为人的恶行作辩护，……人们不是惩罚自己，而是以更高贵的姿态惩罚犯罪”（《论道德的谱系》，周红译，三联书店，1992年。下同）。他还写到，“如果上帝来到人间，它有权干无礼之事，——不受惩罚而自己承担罪责，这才算是神”（《瞧，这个人：尼采自传》，黄敬甫、李柳明译，团结出版社，2006年。下同）。在尼采的道德世界里，值得真诚去爱的上帝必须也是一种魔鬼。

Furthermore, in The Antichrist (1888), Nietzsche portrays Jesus as a rebel who stood up against the Jewish establishment, and got what he deserved for doing so. He died for his guilt, and Nietzsche says that at another time and in another place Jesus would have been sent to Siberia as a political criminal.

此外，在《反基督》（1888）中，尼采将耶稣描写成一个抗议犹太建立反叛者，并得到了他此般作为所应得的东西。他因他的罪而死，尼采还说，在另一时间另一地点，耶稣将作为政治犯被发配西伯利亚。

‘Criminal from a sense of guilt’ appeared to have been Freud’s ingenious idea that guilt precedes – not follows – a criminal act. But this insight originally belonged to Nietzsche, who in Thus Spoke Zarathustra referred to such a guilty individual as the pale criminal. The theme of murder from a sense of guilt (or ‘debt’) was central to Dostoevsky’s writings, particularly to Crime and Punishment (1866). The image of the pale criminal brings to mind Dostoevsky’s protagonist Raskolnikov (an uncanny incarnation of the übermensch?) who, shortly before his departure to a Siberian prison for a double murder, reflects: “But why do they [mother and sister] love me so much, if I don’t deserve it? Oh, if I were alone and no one loved me and I had never loved anyone! All this would have never taken place!” The idea of the guilty pre-criminal was also given a powerful dramatic voice by Eugene O’Neill (who read Nietzsche and Dostoyevsky obsessively) in his play The Iceman Cometh. This complex drama, imbued with Christian symbolism, opens with a scene reminiscent of the last supper, absurdly taking place in a downmarket saloon. A bunch of alcoholic outcasts await the arrival of Hickey, a travelling salesman, who periodically turns up and buys them rounds. They await him as if he were a Messiah. On this occasion, however, Hickey seems different – content, liberated and sober. As the drama unfolds, he recounts how he killed his loving, ever-forgiving wife Evelyn, because “There is a limit to the guilt you can feel and the forgiveness you can take.”

“由于罪恶感而犯罪的人”看起来好像是弗洛伊德的独创见解，他认为罪恶感是先于犯罪行为而存在的，而非犯罪之后才有的。但是这一灵感最初是属于尼采的，他在《查拉图斯特拉如是说》中认为这种有罪的人其实是苍白的犯罪者。有负罪感（或负债感）的谋杀犯，是陀思妥耶夫斯基作品的主题，尤其是在《罪与罚》（1866）中。这种苍白的犯罪者的形象印在了陀思妥耶夫斯基的主角拉斯科尔尼柯夫（“超人”的神秘化身）的心灵里。他因双重谋杀关押西伯利亚监狱，临行前他说：“不过她们（母亲和妹妹）为什么这样爱我呢，既然我不配让她们爱！啊，如果我孑然一身，谁也不爱我，我永远也不爱任何人，那该多好！那就不会有这一切了！”（《罪与罚》，非琴译，译林出版社，1993年）。这种犯罪前的罪恶感也同样出现在了尤金·奥尼尔的戏剧《送冰的人来了》中。这部复杂的戏剧，灌输了基督教的象征，以酷似“最后的晚餐”的场景开头，故事荒诞地发生在一个低档的小酒吧中。一帮酒鬼浪子在等一个叫希基（Hickey）的旅行商人，他会定期出现在他们中间做买卖，他们像等待救世主一样等着他。在这种情况下，希基看起来就与众不同了，他满足、不羁而且冷静。随着剧情的展开，他讲述了自己如何杀死自己心爱的、总是宽恕他的妻子伊芙琳（Evelyn），只因为“一个人不可能无止境地责备自己的良心，无止境地让人家宽恕、同情，总有个极限啊！”（《奥尼尔集》，汪义群等译，三联书店，1995年）  

Redemption as Joyous Affirmation of Life

以充满欢乐的肯定救赎人生

To redeem the past and to transform every ‘It was’ into an ‘I willed it thus!’ – that alone I call redemption! Thus Spoke Zarathustra, ‘Of Redemption’

拯救过去，把一切“过去是如此”变为“我要它如此”——这个我才称之为拯救！ （《查拉图斯特拉如是说》“拯救”）

The word ‘redeem’ means ‘to buy out’, and it was used specifically in reference to the purchase of a slave’s freedom. According to Christian teaching, we are redeemed from our prior condition of ‘slavery to sin’ by Christ’s death on the cross. Nietzsche vehemently rejected Christianity’s presupposed sinful wretchedness of our existence, and the eternal, non-repayable debt to the Redeemer. By engendering feelings of impotence, guilt and damnation, the Christian doctrine of original sin denigrated life on earth to waiting in an ante-chamber which led to some other-worldly existence. Furthermore, Christianity’s disparagement of passions, particularly the sexual ones, lowered the believer’s general state of vitality. In short, to Nietzsche, Christianity was an anti-life religion.

Redeem一词的意思是赎回，专指为奴隶赎身的意思。根据基督教的教义，我们是从 “被原罪奴役”，被钉在十字架上的基督之死所救赎回来的。尼采强烈地反对基督教预设的需要救赎的原罪，这种永远还不完的债是我们生存的大不幸。罪恶和诅咒使人产生一种萎靡的感觉，基督教义中的原罪是在诋毁这世上的生命，让他们在通往另一个世界的门前等待。另外，基督教还蔑视激情，尤其是与性有关的，从总体上压抑信徒的生命力。简言之，对于尼采来说，基督教是一种反对生命的宗教。

For Schopenhauer and for Wagner, ‘redemption’ (Erl?sung) was a form of release from suffering and the need to exist; a liberation from life itself. It meant an annihilation of the Will, a release from individuated existence from the prison of being oneself and dissolution into the all-embracing bliss of nothingness. In Tristan and Isolde, this release from life is achieved by the self-sacrificial love of a woman who is prepared to share her lover’s non-existence and unite with him in death. Yet what for Schopenhauer and Wagner was an annihilation of the Will and a release from suffering, for Nietzsche became Overcoming and the Will to Power: we must overcome pain and suffering – even will it: only then will we ‘become what we are’. Opposing his ‘tragic world view’ to Christian doctrine, Nietzsche reclaimed the ‘innocence of suffering’ and viewed pain and sorrow as a natural, inevitable part of human condition, and not a punishment for sins. Moreover, for him, suffering rendered existence noble. For Nietzsche, therefore, redemption was not an escape into the nothingness of Schopenhauerian Nirvana, but an inward act of joyous affirmation of life, of self, and of one’s fate. He christened this attitude ‘amor fati’. (Ironically, it was Nietzsche who led an ascetic life while neither Schopenhauer nor Wagner seemed to have practiced the ‘renunciation of the Will’!)

对叔本华和瓦格纳来说，救赎是一种从痛苦和生存需要中解脱的方式，是一种生命的自我释放。这就意味着意志的湮灭，从个体存在的监狱中释放，并溶解在包容一切的虚无之风中。在瓦格纳歌剧“特里斯坦与伊索尔德”中，生命的的释放是由一个女人自我牺牲的爱来完成的，她准备好分享她所爱之人的虚无，并与他在死亡中结合。意志的湮灭和痛苦的解脱之于叔本华和瓦格纳，正如尼采在《克服（虚无主义）》和《权力意志》中所述的：我们必须克服痛苦与折磨，甚至驾驭它：只有这样我们才能成为我们自己。用“悲剧的世界观”来反对基督教义，尼采挽救了“无辜的蒙难”，并将痛苦与磨难视为一种自然的、不可避免的人类状况的一部分，而无须因罪受罚。磨难方显存在之高贵，因此对他来说，救赎并不能带我们逃离叔本华那种重生的虚无，而是对个人命运及其生命的一种发自内心的、充满欢乐的肯定。他将这种态度命名为“爱命运（amor fati）”（具有讽刺意味的是，正是尼采自己过着、并实践着，叔本华和瓦格纳所谓的那种“放弃意志”的禁欲主义式生活！）

The ‘Eternal Return of the Same’ (that is, cyclical time), became for Nietzsche the ultimate redemptive, life-affirming formula. By celebrating the present moment, it allowed man to walk tall, once again. “My formula for greatness in being is amor fati: that one wishes nothing to be different, not forward, not backward, not in all eternity. Not merely to endure what happens of necessity… but love it” (Ecce Homo).

“相同者地永恒回归” （轮回）成为了尼采的终极救赎和生存准则，使得众生可以重新挺直腰杆做人。“对于人类的伟大，我言简意赅地说就是热爱命运：一个人不要除此之外的其他东西，未来不要，过去不要，永远都不要。不仅要忍受必然性，……而要热爱它” （《瞧，这个人：尼采自传》）

It was early in August of 1881 in Sils-Maria in the Swiss Alps, “6000 feet beyond man and time,” when Nietzsche’s deeply-felt sorrow transfigured itself into a moment of ecstasy and culminated in this enigmatic idea. The previous winter had been probably the most awful in his life; plagued by ill health and deep melancholy, he even forgot his own birthday! Nietzsche was 36 years old at the time – the age his father died, the age he often feared he would die too.

1881年8月初，在瑞士阿尔卑斯山的锡尔斯·玛利亚，“高于人类和时间6000英尺”，当尼采那深深的悲伤蜕变成了瞬间的狂喜，继而到达了这种神秘想法的顶峰。前一个冬天也许是他生命之中最可怕的冬天；被疾病和深度忧郁症困扰着的他，甚至忘记了自己的生日！尼采当时年方三十六岁——也是他父亲去世时的年龄，他经常怕自己也在这一年死去。

The hauntingly beautiful scenery of Sils-Maria has an air of Hades about it, not least because of a large pyramidal boulder at the edge of the lake that looks as if it has been just dropped by Sisyphus, that infernal hero of the absurd. Not surprisingly, Nietzsche made several references to Dante’s Inferno during that period. As he descended the wooded slope towards Lake Silvaplana, “in the middle of life and so encircled by death”, the memories of happier, yet irretrievably perished times returned to him, crushing him down (as Dante said, “there is no greater sorrow than to remember happy time in misery”). It was by that Sisyphean boulder at the edge of the Lake, where the path of pain intersected with the path of elation, that the thought of Eternal Return was born:

在锡尔斯·玛利亚那萦绕于尼采心头的美景中，却藏着冥王哈德斯的影子，尤其是因为那颗巨大的坐落在湖边的金字塔形的大圆石，看起来好像是刚刚被那可笑的恶魔科林斯王扔下的那块。那一时期的尼采参考了一些但丁《神曲》的地狱篇，这毫不奇怪。当他从树木丛生的山坡向西瓦普澜纳湖走下来时，“在被死亡包围着的生命的中心”，那些快乐的记忆数次被唤起，却又无可挽回地走向了灭亡，直到将他击倒（正如但丁所言：“人最大的痛苦，莫过于在不幸的时候回忆幸福的时光”）。 正是在湖边那象征徒劳的圆石旁，在痛苦之路与快乐之路交叉的十字路口，“永恒回归”的想法诞生了：

“What if, some day or night, a demon were to steal after you into your loneliest loneliness and say to you: ‘This life as you now live it and have lived it, you will have to live once more and innumerable times more; and there will be nothing new in it, but every pain and every joy and every thought and sigh and everything unutterably small or great in your life will have to return to you, all in the same succession and sequence…’ If this thought were to gain possession of you it would change you as you are, or perhaps crush you. The question in each and everything, ‘Do you desire this once more and innumerable times more?’ would lie upon your actions as the greatest weight.” ——The Gay Science, aphorism 341

“假如恶魔在某一天或某个夜晚闯入你最难耐的孤寂中，并对你说：‘你现在和过去的生活，就是你今后的生活。它将周而复始，不断重复，绝无新意，你生活的每种痛苦、欢乐、思想、叹息，以及一切大大小小、无可言说的事情皆会在你身上重现，会以同样的顺序降临，……’如果这想法压倒了你，恶魔就会改变你，说不定会把你碾得粉碎。‘你是否还要这样回答，并且，一直这样回答呢？’这是人人必须回答的问题，也是你行为的着重点！” （《快乐的科学》第341条）

Nietzsche entitled this aphorism ‘The Greatest Weight’, and he shuddered whenever he spoke about the idea. Perhaps it was more of a damnation than a redemption, after all.

尼采将这一段命名为“最重的分量”，每当提及这一理念时他都会战栗。说到底，这不是一种救赎，而是一个诅咒。  

Lucifer as Redeemer?

撒旦是救世主？

Nietzsche’s name has often been associated with Nazi ideology, much of that owing to his Machiavellian sister Elisabeth, who invited Hitler to her brother’s shrine in Weimar in 1934, and made an offering of his philosophy. Ideas such as übermensch and Will to Power had an instantaneous appeal for the Führer. But did not Nietzsche court this destiny? “I know my fate.” he wrote. “One day there will be associated with my name the recollection of something horrific – a crisis like no other before on earth, of the profoundest collision of conscience, of a decision evoked against everything that until then had been believed in, demanded, sanctified. I am not a man, I am dynamite.” This prescient passage comes from Ecce Homo, Nietzsche’s penultimate book (1888) and self-styled autobiography. The words ‘Ecce Homo’ (‘Behold the man’) originate from Pontius Pilate, who presented Jesus Christ bound and crowned with thorns, to a hostile crowd, shortly before his crucifixion. While on the verge of a total mental eclipse, Nietzsche signed several of his letters the Crucified, and Karl Jaspers believed that he saw himself in rivalry with Christ, unconsciously trying to supersede him. However, by taking upon himself not the punishment but the guilt, Nietzsche may instead have become like Milton’s Lucifer, who would rather “reign in Hell than serve in Heaven” (Paradise Lost). And perhaps this was the essence of Nietzsche’s Antichrist, a contrapuntal figure par excellence.

人们常将尼采的名字与纳粹的意识形态联系在一起，多半是因为他那阴谋政治家妹妹伊丽莎白的缘故。她于1934年邀请希特勒去参拜他哥哥在魏玛的灵位，并向其介绍了他的哲学。像“超人”“权力意志”这些理念，瞬间就吸引住了这位元首。不过这难道不是尼采自己的命运吗？“我知道我的命运”他写道，“总有一天，我的名字要同那些对非凡的事情的回忆连在一起，——对那空前未有的危机的回忆连在一起，对那最深刻的良心矛盾的回忆连在一起，对那些做出与至今为止一切被信仰的、被要求的、被神圣化的东西进行斗争的决定的回忆连在一起。我不是人，我是炸药。”这种有预见的篇章来自于《瞧，这个人》，尼采的倒数第二本书，带有自传性质。“瞧，这个人”（Ecce Homo）这一词源自于彼拉多，那个在充满敌意的人群面前，将耶稣缚住并冠以荆棘，然后钉死在十字架上的人。在精神彻底崩溃之时，尼采在几封信上的署名是：“被钉在十字架上之人”，卡尔·雅斯贝尔斯认为，尼采能看到自己在与基督竞争，并下意识地想取而代之。但是，他承担的不是惩罚而是罪恶，尼采或许更像弥尔顿笔下的撒旦那样“宁在地狱称王，不在天堂为仆”（《失乐园》）。也许这才是尼采反基督的本质，一种卓越的对位舞蹈步法。  

Dr Eva Cybulska 2011

Eva Cybulska is an independent scholar and writer living in London. Formerly a psychiatrist, she is currently working on her book Nietzsche: A Hero’s Journey into Night.

Eva Cybulska 是一位住在伦敦的独立学者兼作家。之前是一名精神病医生，她目前正在致力于写一本名为《尼采：前往黑夜的英雄旅程》   jiongcaicai at Arts Tower, Sheffield 17/10/2011