Footnotes

1.: “Foreword” and “forword” would be the literal rendering of the play on words.—Tr.
2.: The allusion is to the ending of the Second Part of Goethe's Faust—“das Ewig Weibliche Zieht uns hinan!”—“The Eternal Feminine Draweth us on!”—Tr.
3.: It has been attempted to render the play on “Gewissen” and “Wissen.”—Tr.
4.: Cf. John i. 1.—Tr.
5.: The German word Mitfreude, coined by Nietzsche in opposition to Mitleid (sympathy), is untranslateable.—Tr.
6.: Herostratus of Ephesus (in 356 b.c.) set fire to the temple of Diana in order (as he confessed on the rack) to gain notoriety.—Tr.
7.: Quotation from Schiller, Don Carlos, i. 5.—Tr.
8.: This, of course, refers to Jesus and Socrates.—Tr.
9.: Queen of the Amazons, slain by Achilles in the Trojan War.—Tr.
10.: From Schiller, Wallenstein's Lager: “Wer den Besten seiner Zeit genug gethan, der hat gelebt für alle Zeiten” (“He that has satisfied the best men of his time has lived for all time”).
11.: In German Barockstil, i.e. the degenerate post-Renaissance style in art and literature, which spread from Italy in the seventeenth century.—Tr.
12.: The original word, Freizügig, means, in the modern German Empire, possessing the free right of migration, without pecuniary burdens or other restrictions, from one German state to another. The play on words in Zug zur Freiheit (“impulse to freedom”) is untranslateable.—Tr.
13.: Nietzsche seems to allude to his own case, for he ultimately contracted a myopia which bordered on blindness.—Tr.
14.: The play on bergen (shelter) and verbergen (hide) is untranslateable.—Tr.
15.: Allusion to German proverb: “Where there is nothing, the Emperor has lost his rights.”—Tr.
16.: Genesis xiii. 9.—Tr.
17.: Luke viii. 33.—Tr.
18.: The play on Freudenschaften (i.e. pleasure-giving passions) and Leidenschaften (i.e. pain-giving passions) is often used by Nietzsche, and is untranslateable.—Tr.
19.: The wife of the Stoic Thrasea Paetus, when their complicity in the great conspiracy of 65 a.d. against Nero was discovered, is reported to have said as she committed suicide, “It doesn't hurt, Paetus.”—Tr.
20.: It is interesting to compare this judgment with Carlyle's praise of Jean Paul. The dressing-gown is an allusion to Jean Paul's favourite costume.—Tr.
21.: The German copyright expires thirty years after publication.—Tr.
22.: Nietzsche himself was extremely short-sighted.—Tr.
23.: In the sixth century b.c. Pythagoras founded at Croton a “school” somewhat resembling a monastic order. Among the ordeals for novitiates was enforced silence for five years.—Tr.
24.: In the German Aufklärung there is a play on the sense “clearing up” (of weather) and “enlightenment.”—Tr.
25.: Stendhal.—Tr.
26.: A transposition of sacrifizio dell' intelletto, the Jesuit maxim.—Tr.
27.: The original, by a curious slip, has “seventh.”—Tr.
28.: Clearly autobiographical. Nietzsche, like all great men, passed through a period of modesty and doubt.—Tr.
29.: Nietzsche here alludes to his own countrymen.—Tr.
30.: An allusion to the poem “Der Wilde” (The Savage) by Säume, which ends with the line, “Sehet, wir wilden sind doch bessere Menschen” (Behold, after all, we savages are better men).—Tr.
31.: Diogenes, founder of the Cynic school, which derived its name from κυών (dog).—Tr.