RICKARD PBRKINS, KENMORE, N, Y.

MA 628
PRELIMINARY ANALYSIS OF THE APHORISM
AND ITS PRECURSORS

A) Leading Rcmarks
There are innumerable Nietzsches: and äs a result there is no "true"
Nietzsche,1 To encounter him in his writings is to confront a fluid and
polymorphic multiplicity. To struggle with his ideas is to examine the
living tissue of perhaps the most protean of all protean thinkers. Now he
is the devoted disciple of Heraclitus and Schopenhauer and Wagner. But
now he is a Free Spirit, the defiant "Prinz Vogelfrei.* He is by turns the
Wanderer and his Shadow: by turns the Troubadour, the Madman, the
Buffoon. He is the reticent prophet Zarathustra and his three Spiritual
metamorphoses. He is the Immoralist, the Antichrist, the raging Blond

1
In WM 540 Nietzsche observes: *There are many [vielerlei] eyes. Even the Sphinx
has eye$ —: and äs a result there are many [vielerlei] 'truths', and äs a result there
is no truth.* In this demal of cven the abstract possibility of final and absolute truth
lies one of his most elementary epistemological prlnciples (see also WM 616) — his
principle of *perspectmsm." What we call "truth" or "reality* or wfact" is but a
perspectival Illusion. The world is a multiplicity: it has Äno meaning behind it, but
coundes* meanings* (WM 4SI). Yct the philosopher Nietzsche is also a multiplicity.
He himsclf is a text of no ^meaning* bcyond "countless meanings": and thus thcrc
are many Nietzsdies and no Ätruee Nictzsdic, Yet this is not to suggest that the
process and enterprise of Interpretation be reduced to an utterly crudc anardhy of
random and mcrely subjective readings. For some perspectivcs are surely far bettcr
than others» He rcmarks in a passagc from GM III 12 for example: "Thcrc is only
a perspcctiral scebg, only a penpectival 'knowing*: and the morc affccts we permit
to comment on a thing, the more ^yest different eyes, we are able to employ on the
same thing, ttic «aore complcte our *ooncept* of thb thing» ouf Objecttvity', will be.*
Comparc alio GA X, 153. Whilc the attempt to gain "objectivity" in an eye with no
focus and no dircction is iogically absurd« the attempt to gain it in one with many
focuses and dtrcctioiu is not. His very extreme thcorctical ideal is that of the
ornnivoyant tye: and his somewlut more modest practical ideal, that of the ambivoy-
ant one. Yct tvcn an absolute «umroatton of per«pe<rtive$ *— its Status ai the ulumate
and most cncoaapiiung of all jperipcctivcs 0otwitb$tanding — rcmains a pcrspectivc.
Conseöaetitly evto the *contuitivc god* of Heraclitus has eye$: and even the Sphinx
— the riddlc of the wtiversc and the would-l>e riddlcr of Oedipus — has eyc*.
Knowledge ii a pcrspmm, Nieauufet the man h thu* a tcrics of matks: and bis
, an endlest vutccv-bn of cav« behind cavr«.
206 Richard Pcrkins

Beast. Now he is Dionysos: and now the Crucified. Yet there is no "true"
Nietzsdie lurking behind dark veils to reveal or to conceal bis inner nature.
The man himself is but a series of masks: and his philosophy, but an
endless succession of caves behind caves. His name is "Legion*': for he is
many.
While the ludic doctrine pervades eadi major period and every minor
phase of Nietzsche's philosophical thought, it is genuinely accessible only
in terms of a series of masks and their perspectival expressions. Yet to the
limited extent that we are now familiär with it, his philosophy of play is
familiär exclusively in terms of the masks of Heraclitus and Zarathustra.
We are vaguely aware that "Nietzsche-Heraclitus" adopts and advances
the metaphysical image of a world-creative «ihfant Dionysos (representing
a ludic doctrine of cosmic and cosmogonic play) and that "Nietzsche-
Zarathustra" adopts and advances the physical image of a value-creätive
infant superman (representing a ludic doctrine of anthropic and hyper-
anthropic play). But in addition to the two masks which currently dom-
inate our rather rudimentary appreciation of the ludic philosophy are
several others whidi remain entirely unexplored. One of the most signif icant
among these expressions is that in terms of "Nietzsche-Freigeist."
Certainly the most comprehensive, the most compelling, and the most
crucial Suggestion of Nietzsdie's ludic ideal äs the liberated "free spirit" is
a terse apophthegm from the ninth and last division of Menschliches, All-
zumenschliches under the title "Ernst im Spiele.3' The aphorism is number.
628. In portions of the present examination, however, it will sonietimes be
both more convenient and more suitable to refer to it by the code desig-
nation "A O."2 It reads äs follows:
Ernst im Spiele. — In Genua hörte ich zur Zeit der Abenddämmerung
von einem Turme her ein langes Glodcenspiel: das wollte nicht enden
und klang wie unersättlich an sich selber, über das Geräusdi der Gassen
in den Abendhimmel und die Meerluft hinaus, so schauerlich, so kindisdi
zugleich, so wehmutsvoll. Da gedachte idi der Worte Platos und fühlte

2
Three initial diaracters of the Greek (aphorism): pronounced äs "apho."
During the eighteen-month period of gestation from its moment of private conception
to its moment of public birth the unborn aphorism passed through several textual,
contextual, and titular modifications. Its text and title took five variant forms eadi:
and its context took eight. It passed through ten different configuratiohs of these
three differential or parametric elements. So to refer to it with crude consistency äs
"Ernst im Spiele" (in whidi case only oiie of its five titles is announced) or äs "MA
628" (in whidi case only one of its eight contexts is defined) ör even äs Äour
aphorism" (in whidi case only one of its five texts is evoked) would quite pften be
utterly and even miserably inappropriate. Thus the code designation serves
merely to invoke the aphorism and its precursors without any unnecessary restriction
or delimitation of its basic textual, contextual, or titular parameters.
 ΜΑ 62& Preliminary Analysis of the Aphorism and its Precursors 207

sie auf einmal im Herzen: alles Menschliche insgesamt ist des gro en
Ernstes ηίώΐ wert; trotzdem -- 8
In niany ways it is one of his most poignant literary vignettes* The gentlest
of thoughts approadies on tender dove's feet: a reticent, reserved, reluctant
thought voicing itself in whispers and lingering silence alone, a thought
hiding and yet seeking itself through one of the simplest and most sensitive
of all lyrical sketches from the twilight interface of Nietzsche's sense and
sensibility. It is the shadowy Suggestion of creative play: a Suggestion
anticipating the stillest morning hours of his thought. With the gingerly
step of a dove, this immature and even premature ludic ideal ventures
quietly and shyly to the very brink of expression, only to retreat suddenly
and anonymously into the reflective silence of an echoing terminai ellipsis.
But going it stays. Perhaps it longs to rule the world. Perhaps it longs to
recreate the values of the worid.

B) Story and History: Comments on Textual Emergence

Behind the scenes of "Ernst im Spiele** lies a most remarkable story.4
The first edition of λί€η$ώΙιώ€$, Allzumenschliches — like subsequent
editions — consisted of a series of 638 sections grouped under nine
division headings: eVon den ersten und letzten Dingen," "Zur Geschichte
der moralischen Empfindungen, " "Das religi se Leben," "Aus der Seele der
K nstler und Schriftsteller," "Anzeichen h herer und niederer Kultur,"
"Der Mensch im Verkehr," "Weib und Kind," "Ein Blick auf den Staat,"
and "Der Mensch mit sich allein." The section on "Ernst im Spiele" was

* KGW IV 2, 366 with miaor deviations from the text of Colli and Montinari.
"Seriousness in Play. — One cvening in Gcnoa just at twilight l hcard a long carillon
chiming from a bell tower: it was ncver like to end, and rang out s if insatiable for
itseif over the nolsc of the strcets and into the evcning sky and sea air, so haunting,
and yet so dh dish, so sad. Thcn I tfaought back to the words of Plato and feit them
suddenly witEIn roy heart: *Quite everything human is unwordiy of the great
ieriouiness; but nevertheless . . ."* The following modifications derive from Sdilcdita's
renion of the text at SA I, 722:
italics substituted for spacing
"Therme* -> *Tiinne"
comma deleted after "klang"
-^ "wehmutsvoll*

mint1* *"* "insgesamt*

* -* 'gro en*
*wertli* -^ "wert"
English trjiidatiom of the aphoram and its precursort are my own,
* My principal sourcc for the story u Montinari*s volume of "Nadbberidbt zur vierten
Abteilung* io ihe KritiiA* Gcz mtauizabc (KGW IV 4). The <lcgrte of my dcbt to
his philologic^i «Jiolardiip wijj becomc morc and more evident s my own inveuiga-
tion
208 Richard Perkins

number 628 in the series. B t more to the point of our present discussion is
the evidence that Nietzsche had at one time intended it to serve s the
book's concluding aphorisrn and its acknowledged epilogue. The passage
was meant to represent the last will and testament of a free, unfettered
spirit.
In the manuscript s it was initially prepared and submitted for
publication to his publisher Schmeitzner in Chemnitz, A Φ Ο was presented
s the final aphorism of the series anci bore the closely considered title
"Epilog." But the medium yields a message. The acute emphasis urged onto
the section by its privileged title and its no less privileged position within
the author's "philosophical medium" can only suggest a comparable level
of emphasis within his "philosophical message/' Nietzsche seems to have
regarded it s an appropriate climax and culmination of the vital research
into human and all-too-human affairs undertaken by his newly liberated
spirit. He seems to have regarded it s the supreme insight and outlook of
a scrupulous and exacting diagnostician of metaphysics and morals. Yet
somewhat later he exchanged the positions of "Epilog" and "Der Wande-
rer" in the manuscript: and later still he changed the title from "Epilog" to
"Ernst im Spiele" in the proofs.
For more precise details of the story we must now consult and examine
its ultimate sources: the yariant "Vorstufen" (preliminary sketches: identi-
fied by seri l abbreviations running from "Vs1" to "Vs4" inclusive); the
"Reinschrift" (clean copy: identified by ''Rs"); the "Druckmanuskript",
considered before and after Nietzsdie's subsequent addition and final
arrangement of sections (manuscript prepared for the press: identified by

Table I Eleven Discrete Stages in the Textual Development of A Φ O5

Vs1 Vorstufe AΦO in the fim preliminary sketdi
Vs2 Vorstufe A ΦΟ in the second premilinary sketch
Vs3 Vorstufe AΦ0 in the third preliminary sketdi
Vs4 Vorstufe AΦ0 in the fourth preliminary sketdi
Rs Reinschrift AΦΟ in the final draft or cleari copy
Dm1 Druckmanuskript ΑΦΟ in the original book manuscript
Dm2 Druckmanuskript AΦ0 in the completed book manuscript
Cb1 Korrekturbogen AΦ0 in the uncorrected galley proofs
Cb2 Korrekturbogen A ΦΟ in the existing corrected proofs
Cb1 Korrekturbogen A ΦΟ in the missing corrected proofs
Ed Erstdruck AΦ0 in the first edition —«· s MA .628

5
See KGW IV 4,111 and 240 s well s 116^117. .
 ΜΑ 628, Prelimmary Analysis of the Aphorism and its Prccursors 209

differential abbreviations "Dm1" and "Dm**); the existing "Korrekturbo-

gen** considered before and after Nietfcsche's corrections (galley proofs:
identified by differential abbreviations "Ob1" and "Cb2*); a missing "Kor-
rektur0 sent back to the printer with his final corrections (identified by
"Cb'»); and finally the «Erstdruck* (first edition: identified by "Ed"),
These are the serial stages in the textu i history of A Φ O. Employing the
expanded adaption of a more basic and general Schema suggested by
Montinari, we may formulate its progressive emergence s Vsl -» Vss -» Vs8
-* Vs4 -» Rs -» Dm1 -* Dm* -» Cb1 -» Cb2 -» Cb*1 -» Ed.6 Separate tabular
descriptions of these stages diarting the textual and titular developments
of the aphorism are provided in tables I and II above and below.
The text of Vs1 is found on page 64 of a notebook designated by the
Nietzsche-Archiv s ttN Π 3.* It reads s follows: "Alles Menschliche ins-
gesamt ist keines gro en Ernstes wert/*7 Presumably it is the earliest s well

Table II Sequential Intervals in the Titular Development of A Φ O8

Vs1 A Φ 0 untitled
Vs* A Φ 0 unticled
Vs5 A Φ Ο emitled "Alles Menschliche insgesamt"
Vs4 A Φ Ο untitled
Rs A Φ Ο entitled "Trotzdem n
Dm1 A Φ Ο entitled "Epilog"
Dm« A Φ Ο entitled "Epilog"
Cb1 A Φ Ο entitled "Epilog"
Cb« A Φ 0 entitled "Spiel und Ernst"
Cb5 A Φ Ο entitled "Ernst im Spiele"
Ed A Φ Ο entitled "Ernst im Spiele"

as the most primitive and elementary of Nietzs&e's preiiminary sketdties

for A Φ O. On die basis of internal evidence suggesting that N I I 3
belongs to the final period of his sojourn in Sorrento during the Winter of
1876-1877, we are drawn to the presumptive and therefore tentative

Cmnpare KGW IV 4r ! 16—117.

I am cxtrtmely gr teful to Professor Mazzino Montinari for providing mc with
this one fragmon not printcd» *Q ttc evcty ttng human is wortby of no great
f^ I dqjart frorn his tcxt in the following dctails:

-* "wert*
perkxt tupplird aft^r "wert*
See KGW IV 4. 240.
210 Ridiard Perkins

conclusion that Vs1 was set down before his departure from Sorrento on
8 May 1877.°
The text of Vs2 is found on page 4 of a notebook desigiiated äs a N II
2" While Vs1 merely establishes the affective dimension of "sensibiiity"
operating within A 0, Vs2 expands its original domain to establish an
effective dimension of "sense." The weary verdict of W is now linked by
apposition to diiming bells, "Hearing'* and afeeling*'begin spontaneously
to merge: and just äs spontaneously, to emerge. The fragment reads äs
follows: "Glockenspiel Abends in Genua — wehmütig schauerlich kindisch.
Plato; nichts Sterbliches ist großen Ernstes würdig/'10 In its fundamental
juxtaposition of the evening carillon to the verdict of Plato the outer
structure of A 0 is essentially complete. The entries in N II 2 (including
Vs2) may be dated between May and August 1877.u
The text of Vs3 is found on page 222 of a portfolio designated "Mp
XIV 1." It is quite obviously the most advanced of Nietzsdie's three prose
sketches (sketches Vs1 through Vs3). Yet in spite of a significant accumu-
lation of detail and the addition of a title line serving to tighteri and to
intensify the rather loose conjunction of chiming bells with Plato, the
sketdi contributes very little to the fundamental and essential structure of
the aphorism established by Vs2. It reads äs follows: "Alles Menschliche
insgesamt. Ich hörte Abends in Geiiua ein Glockenspiel von einem Kifch-
turm herab: es war etwas so Wehmütiges Schauerliches Kindisches darin,
daß idi empfand was Plato sagte: 'alles Menschliche insgesamt ist keines
großen Ernstes wertV12 Perhaps the most apparent contribution of Vs3 is
its indication of the operational medbanics of A O: its disclosure of
the major dynamic Stimulus responsible for an abrupt and unusual
transition within the aphorism compelling its antecedent effective move-
9
See KGW IV 4,103—104.
10
KGW IV 4, 240 with a minor deviation from Montinari's text. "Evening carillon in
Genoa — sad haunting diildish. Plato: nothing mortal is deserving of great serious-
ness." The single modification is: "grossen" ~» "großen".
11
See KGW IV 4, 104.
12
KGW IV 4, 240 with minor deviations from Montinari's text. "Quite Everything
Human. — One evening iii Genoa I heard a carillon diiming down from a diurch
tower: there was something about it so sad, so haunting, so diildish that I feit what
Plato said: 'Quite everything human is worthy of no great seriousness'." The following
modifications apply:
italics substituted for spacfog
"insgesammt* -*> "insgesamt*
"Kirchthurm* -» "Kirditurm"
"dassw ·-» "daß"
"insgesammt" ^» "insgesamt"
"grossen" -> "großen"
"werth" -» "wert"
 628. PreHminary Analysis pf the Aphorism and its Prccursors 211

ment ("Hearing* a cariilon: the "ich hörte") into a consequent affective

movement ("feeling" what Plato said: the "idi empfand"). It is the
melancholy, eerie, and utterly infantile character of the dbimes: a quality
prompting Nietzsche to an acute awareness of the basic triviality and the
ultimate fUtility of all human thought and action. The old designation of
Mp XIV l äs his "Sorrentine Papers* notwithstanding, much of the material
contained in the portfolio was written only after Nietzsche had left
Sorrento.18 The note V$* may with reasonable certainty be assigned to
Summer 1877.
The sketches Vsl through Vs8 are fundamentally continuous with the
linear development of A O towards Rs. The earlier phases of its
emergence may quite properly be represented äs a literary continuum whose
initial and tenninal extremes are Vs1 and Rs respectively and whose proper
intervals are Vs* and Vs8. But the preliminary sketdi Vs4 is fundamentally
discontinuous with this basic development. It represents a departure and an
interlude of creative relaxation from the train of thought conducting
Nietzsche's imagniation from Vs1 to Rs. For in Vs4 that train of thought
is deliberately side-tradked: and maybe even deliberately derailed.
The text of Vs4 is found on page 42 of NII 2. But unlike Vs1 through
Vs* it is a lyrical rather than a prose sketch: and unlike Vs1 through Vs3 it
urges no general indictment of "quite everything human/* The poem was
apparently abandoned. It reads äs follows:14
Kindisch und schaurig und wehmutsvoll
klang die Weise der Zeit mir oft:
sehet nun sing ich ihr Lied?
hört, ob das Glockenspiel
nicht sich verwandelt in Glockenernst
oder ob es klingt
hoch herab wie vom Genua-Turm
Kindisch jedoch ach schaurig
Schaurig und wehmutsvoll

« See KGW IV 4,104.

14
KG W IV 2» 482—4S3 vith a minor dcviation from the text of Colli and Mominari.
Childish and hatinting and füll of woe
the tunc of time often rang to me:
! do I now sing its long?
l Uten! whetbcr the play of beüf
doe$ not turn into sobriety
or wbcthcr it rings
down from abore a$ if from a Gcnoa towcr
Childish — alas fct haunting
ha«ntmg and füll of woe
The tingle modifkation i$: *Ge!*üa-Thttrm" -* ^
212 Ridhard Perkins

For the purposes of complete literary and philosophical exegesis it is

undoubtedly the most interesting and valuable of all Nietzsche's prelimi-
nary sketdies for A 0. It is the unique source not only for his association
of the "carillon" with the "tune of time* but also for his discrimination
between "Glockenspiel" and "Glockenernst. "15 Here he anticipates and
prepares a response in answer to the false impressions of careless and
incompetent readers who can only regard Uemd)lid)es> Allzumenschliches
äs the protracted lamentation of one condemned by his own radical
liberation from metaphysics and morals to the barren and desolate freedom
of a "philosophy of destruction" advising "pereat vita — fiat verkäs."le
His response is of focal importance for any adequate Interpretation of
A O. Thus the sketch provides a rieh and valuable resource of raw
exegetical materials: äs yet unsought, untapped, and unrefined. Like W
(also appearing in NII 2) Vs4 may be dated between May and August
1877.
The text of Rs is found on page 114 of MpXIVl. With Rs the
aphorism achieves its final and conclusive form. The only variable elements
in its evolution between Rs and Ed are title and position: the text itself
remains unchanged throughout. The title adopted in Rs is the adversative
conjunction "trotzdem." It reads äs follows:
Trotzdem. — In .Genua hörte idi zur Zeit der Abenddämmerung von
einem Turme her ein langes Glockenspiel: das wollte nicht enden und
klang wie unersättlich an sich selber, über das Geräusch der Gassen in
den Abendhimmel und die Meerluft hinaus, so schauerlich, so kindisch
15
Compare KG W VI l, 45 where Zarathustra employs a parallel play on words in
his discourse "Vom Lesen und Schreiben": "Wer auf den höchsten Berg steigt, der
lacht über alle Trauer-Spiele und Trauer-Ernste."
18
For "Philosophie der Zerstörung" see KGW IV 2, 50: "Could it be that only one way
of thinking remains, entailing despair äs a personal consequence — and äs a theo-
retical consequence a philosophy of destructipn?" In his own copy he afterwards
dianged "Zerstörung" to "Auflösung Auseinariderlösung Selbstvernichtung" (KGW
IV 4, 174). Here resembles the concluding and conclusive section of "Von den
ersten und letzten Dingen." In the aphorism called "Zur Beruhigung" (see KGW IV 2,
49) Nietzsche asks whether his philosophy becomes a tragedy, whether it becomes
hostile to Hfe, to improvement. Surely his "diemistry of concepts and sentiments"
(see KGW IV 2, 19).leads to a profound disgust with väfious past, present, and
future aspects of life. But he can imagine two distinct responses to this disgust:
a philosophy of destruction ("Philosophie der Zerstörung" — compare "Glocken-
spiel") and a philosophy of indifference ("Philosophie der Gleichgültigkeit" — com-
pare "Glodkenernst"). The former is regarded äs a consequence of bäd temperament
(portrayed by "der Grollende" in a later lyric "An Goethe"). The latter is regarded
äs a consequence of good temperament (portrayed by "der Narr"). The "stable,
gentle, esseritially joyful" soul enjoys a "free, fearless soaring above men, customs,
laws, and the traditional estimations of things." For sucii a soul the seripusness of
existence becomes a blithe "Schauspiel" pn which to feast limpid eyes "without praise,
reproadi, or ägitation."
 ΜΑ 628. Preliminary Analysis of thc Aphorism and its Prccursors 213

zugleich» so wehmutsvoll. Da gedachte ich der Worte Platos und f hlte

sie auf einmal im Herzen: alles Menschliche insgesamt ist des gro en
Ernstes nicht wert; trotzdem
Here A Φ O is textually complete. Apart from an accumulation of more
lyrical and allegorical detail, Rs surpasses and supercedes Vs8 and the other
sketches in its relative complexity of internal structure and dynamics. The
adversative conjunction governing both beginning and end of Rs introduces
a process of circulating reversal into A Φ O which is to become its
primary vehicle of expression; for here A Φ O transcends the limitations
of its literal text. Here the grasp of Nietzsche's spirit exceeds his very
readi. Like Vss (appearing in the same portion of Mp XIV 1) Rs must be
attributed to Summer 1877.
With the single exception of title lines, the texts of Dm1 and Dm2 are
identical to that of Rs: "Trotzdem* has in both instances been replaced
with "Epilog." But besides Dm1 and Dm2 (the original and final manuscript
versions respectively) an intermediate version of A Φ Ο (identified by
Dm*) must also be recognized. Hence, we must distinguish between at
least three stages in the periodic revisions of A Φ Ο in Nietzsdbe's "Druck-
manuskript.0 Borrowing once again from Montinari's method of schematic
Illustration, we may formulate these revisions s Dm1 -»Dm1 -* Dm2.

Table III Disposition of Aphorisms within the "Druckmanuskript"17

Block Code Present Sections Dm1 Dm' Dm*
a 1—425 1 1 1
β 426—437 2 2
—
Υ 438—626 2 3 3
δ 627 4 4
r (-ΑΦΟ) 628 —
4 7 5
S? 629—637 3 6 6
η 638 ' — 5 7

Details of all subsequent insertions and distributions defining the pro-

gressive levels of this emergence are provided in table III above. Howevcr
the differendal elements defining serial versions of A Φ Ο within this

*? Reconstructcd on thc ifflrmxttvc groundt of philological notcs for icctions 426 and
627 in Mominari** -critical apparatra" and on thc negative grounds of all othcr
notes, See pagcs 224 and 240 of KGW IV 4 for dctails. Headlng Dm1 dcMgnatcs thc
original vertton» Hcadiug Dml dc^ignatcs tbe btermediatc version. Heading Dm*
dcsignatcs the ficial vertion. CardinAl numbcri give the proper scqucncc of blodb in
thc monuscnpt. Sbshes todkate blcxks not yct wbmitted*
214 Richard Perkins

expanding and adjusting manuscript are neither clearly nor distinctly

apparent; for there is no textual differentiation at all between separate
versions and revisions of the aphorism. With respect to both text and title
A 0 remains absolutely unchanged. But "textual" revision is simply not
the issue. The issue is rather "contextual" revision. With respect to its ab-
solute and relative positions in the manuscript, profoundly significant
changes do indeed occur in A 0. Only in this sense and only to this
degree does the progression Dm1 -> Dm* -»Dm2 accurately map three
distinct versions of "Epilog,"
The form and content of Nietzsche's original manuscript may be
appropriately described using "block codes" adopted in table III äs
-> V -» -> .18 While the divisions frorn' "First and Last Things" to
"Man in Society" (äs well äs the author's "Glance at the State") were
complete äs they now stand, a number of present sections were äs yet
ladking from "Woman and Child" and "Man Alone with Himself." The
manuscript was sent out to Ernst Sdimeitzner in Chemnitz around the
middle of January 1878.19 The relative Position of Dm* in this series of
"Paragraphen" was last: "Epilog" was the concluding and conclusive
aphorism for the entire book. Its absolute position may be calcülated on
the basis of 'relative position and total census äs number 624.
If we may consider the expansion and adjustment of Nietzsche's
"Druckmanuskript" äs' a literary continuum whose initial and terminal
extremes are its original and final versions respectively, then the "inter-
mediate" version is to be regarded äs an accumulation of all intervening
revisions through the penultimate. Its form and content may be described
äs -* -» -> -> -» -> . The beta äs well äs the delta and eta
blocks were seht to Sdimeitzner subsequent to the original manuscript.
The beta blöde represents present sections 426-437 submitted äs a con-
tinuation and conclusion of the division on "Woman and Child."20 The
delta and eta blocks represent sections 627 ("Life and Experience") and
638 ("The Wanderer") submitted äs insertions in the division on "Man
Alone with Himself. "2* Specific directions accompanying the aphorisms
indicate that they are to be inserted immediately before the zeta block
(a coherent sequence of nine sections under the general title "On Convic-
tions and Justice") and numbered accordingly. The relative position of Dm1

18
The Schema decoded: alpha block (numbers 1—425) followed by gamma block
(numbers 438—626) followed by zeta block (numbers 629—637) followed by epsilon
block (number 628).
19
KGWIV4,41.
20
KGW IV 4, 224.
21
KGWIV4,240.
 ΜΑ 628. Preliminary Analysis of the Aphorism and its Precursors 215

within this expanded series is last, Its absolute position may be calculated
s number 638*
The form and content of Nietzsche's completed manuscript may be
described s α - » β - » γ ~ » δ - » ε ~ » ζ - * η . For at the very last moment
he directed Sduneitzner to switch the positions of "Epilog" and "Der Wan-
derer* in the series,58 This was his final manuscript revision. Through this
transposition of the epsilon and eta blocks, A Φ O is at least superf icially
degraded from its exalted position of authority and honor s the ultimate
section in the book. Here the disposition of aphorisms in Menschliches, All-
2umen$c/)lid}es reaches its finished form. The relative and absolute positions
of Dm2 within the series are of course identical to present positions.
In the "Druckmanuskript* phase of its emergence, A Φ Ο loses its
highly privileged position: and in the "Korrekturbogen0 phase, its highly
privileged title. Duplicate copies of the printer's proofs were forwarded to
Basel: one addressed to Nietzsdie and one to his friend Peter Gast.23 Each
corrected a copy. Having completed his corrections, Gast returned his copy
to Nietzsdie. Nietzsche in turn assimilated final emendations to a single
proof by transcribing his own corrections and additions onto the copy
corrected by Gast. This was subsequently returned to the printer with
Nietzsche's imprimatur. The other was retained. We must therefore
acknowledge three distinct stages of A Φ Ο in the printer's proofs: Cb1 in
the proofs preceding amendments, Cb2 in the retained copy following
amendments, and Cb! in the retumed copy following amendments. The
differential element in these versions is title.
The proof versions Ob* and Cb2 belong to Nietzsche's copy of the
"Korrekturbogen.* With Dm1 through Dm2, Cb1 shares the title * Epilog. *
But in Cb2 this is dianged to "Spiel und Ernst. * Perhaps the change in title
is a result of the earlier change in position: "Epilog** would be a most
unusual title for a section removed from the end of its series by ten f ll
positions. The "Spiel* element of its new title corresponds to the first
rnovement of the aphorism (an interval dominated by the long "Glocken-
spiel*): and the "Ernst* element, to the second movement (an interval
dominated by the grave "Worte Platos*). The Cb1 Version, however,
belongs to Gast*s copy of the "Korrektur*: the composite copy returned to
the printer and dcstroyed- Cb* is therefore aecessible only by inference
from the published version of Α Φ Ο m the first edition. Thus since
A Φ O was actually published s "Ernst im Spiele* wc can only conclude
that Cb1 bore the sanic corrected title, But whether it originatcd with the

IV 4, 240,
Sc« KGW IV 4t
216 Richard Pcrkins

Table IV Summary of Parametric Variations in the History of A Φ Ο24

Level of Emergence TeV CoV TiV
Vs 1
i 1 0
Vs2 2 2 0
Vss 3 3 1
Vs4 4 4 0
Rs 5 5 2
Dm1 5 6 3
Dm1 5 7 3
Dm2 5 8 3
Cb1 5 8 3
Cb2 5 8 4
Cb! 5 8 5
Ed 5 8 5

emendations of Nietzsche or of Gast is a moot point. Nietzsche could easily

have altered "Spiel und Ernst" to "Ernst im Spiele" in the very act of
transcription.
With the appearance of Menschliches) Allzumenschliches in early May
1878, the several textual, c ntextual, and titular revisions of Α Φ Ο readi
a natural conclusion in Ed. Its text is that established by Rs: and its con-
text and title are those established by Dm2 and Cb1 respectively. It is
done. So now the story and history of the section is complete. Table IV'
above provides a comprehensive and summary listing f the variations in
text, context, and title which define its emergence. Perhaps the title "Ernst
im Spiele" reflects an anxious willingness to disclose the ultimate implica-
tions of the aphorism. For like the adversative conjunction "trotzdem" and
its terminal ellipsis, the title suggests a beyond within. It suggests a philo-
sophical reversal and an ethical transvaluation diarged with sufficient
power and glory to shatter the old didiotomous exclusion of "seriousness"
from "play."

C) Motion and Emotion: C mments on Structural Mechanics

Prelimin ry examination of Ed (or somewhat more conventionally:
of MA 628) reveals two distinct levels of literary and philosophical ex-
24
Column TeV designates the "textual variant.* Column CoV designates the "con-
textual variant." Column TiV designates the "titular variant.* The varknts are ranked
in order of temporal emergence. For example: Dm1 possesses the fifth textual variant,
the sixth c ntextual variant, and the third titular variant of ΑΦΟ. Zeroes occuring
under TiV mean "untided.*
 628. Prelimiüary Analysis of the Aphorism and its Precursors 217

pressiert: levels dimly reflected in the titles "Spiel und Ernst" (in Cb2) and
"Ernst im Spiele" (in Cb1 and Ed) respectively. Eadi level is structurally
and dynamically bipolar. The polarity of the first "Spiel und Ernst" level
is reflected in its open juxtaposition of "Glockenspiel** to "Worte Platos"
(in Rs through Ed): and that of the second "Ernst im Spiele" level, in its
closed Contraposition of "Glockenspiel" to "Glockenernst·* (in Vs4). But
despite a brisk and rather suggestive economy, such conceptual sketches
remain too vague and impressionistic to be of mudi sound exegetical value.
They are but clouded anticipations and general hints. We must therefore
turn to a more detailed and more systematic examination of the structure
and dynamics of the aphorism.
In a letter to his sister dated 20 May 1885, Nietzsche remarks: "Alles
was ich bisher geschrieben habe, ist Vordergrund: für mich selber geht es
erst immer mit den Gedankenstrichen los.*25 Perhaps his observation is
especially applicable to A O (in Rs through Ed). Forty sections from
the aphoristic works of the middle period close with single dashes: but only
ihree with double dashes. One section is A .2 Its literal text is
assuredly a "variegated foreground/' Its message literally begins only with
the dashes. So on the basis of Nietzsche's own remarks we must be prepared
to recognize a sharp distinction between the "foreground" and the "back-
ground* structures of A O.
Its "foreground* structure is that of the literal or "manifest" text.
It consists of two basic components: an antecedent element (functioning
äs the "point" in its synthetic flux) and a consequent element (functioning
äs its "counterpoint*). The antecedent element is the long-drawn-out
carillon described in its first sentence: "In Genua hörte ich zur Zeit der
Abenddämmerung von einem Turme her ein langes Glockenspiel: das woll-
te nicht enden und klang wie unersättlich an sich selber, über das Geräusch
der Gassen in den Abendhimmel und die Meerluft hinaus, so schauerlich, so
kindisch zugleich, so wehmutsvoll.* Here the stream of consciousness
meanders through an effective dimension of sense. Its motto is the "idi
hörte.* The consequent element is the melancholy passage from Plato cited
in its second sentence: "Da gedachte ich der Worte Platos und fühlte sie
auf einmal im Herzen: alles Menschliche insgesamt ist des großen Ernstes
man wert; trotzdem * Here die stream of consciousness meanders
through an affective dimension of sensibility. Its motto is the "ich fühlte."
Now pcrhaps this visible foreground structure of the aphorism may also be
tenned its "Spie! und Ernst* smicture« For the manifest text simply con-

** GB V, 617: *Ev€fytiiiflg tfaat I havc prcviously writn?n is foreground s for mc it ooJy

rcdly bcgtnj witb the 4*4***»"
yi
Tbc othcr sccuoßi air WS 259 and M 201.
218 Richard Perkins

fronts the "Spiel" character of its "Glockenspiel" with the "Ernst" diaracter
of its "Worte Platos." The "Glockenspiel" is "des großen Ernstes nicht
wert."
Its "background" structure is that of the submerged or "latent** text,
It also consists of point and counterpoint components. The antecedent ele*
ment is a "practical denial" of life suggested by the manifest text: a denial
emerging from the "Glockenspiel" movement of romantic pessimism.27 Here
the stream of consciousness wanders through a somber philosophy of dusk
and the evening. Its motto is the "kindisch und schaurig und wehmutsvoll"
The consequent element is a "practical affirmation" of life generated
within its terminal ellipsis: an affirmation emerging from the "Glocken-
ernst" movement of tragic pessimism. Here' the stream of consciousness
enters into a cheerful philosophy of dawn and the forenoon. Its motto is
the "trotzdem." Now perhaps this invisible background structure of the
aphorism may also be termed its "Ernst im Spiele" structure. For its latent
text actually assimilates the "Ernst" character of its "Worte Platos" to the
"Spiel" character of its "Glockenspiel." The "Glockenspiel" becomes a
"Glockenernst."
So much for the most basic characteristics and patterns of A 0. We
may now identify three distinct bipolarities. The first polarity is that be-
tween the manifest and latent texts of the aphorism. Its field of Operation
is the unspecified and undifferentiated . For the purposes of our
present discussion it may be designated äs the "Vordergrund-Hintergrund",
polarity. The second is that between the opening and concluding sentences
of the aphorism. Its domain is the manifest text of A 0 äs specified and
differentiated by Rs through Ed. We may designate it äs the "Glocken-
spiel-Platon" polarity. The third and last is that between the literal text of
the aphorism and its reflective terminal ellipsis. Its domain is the latent
text of A 0 especially äs specified and differentiated by Vs4 and Dm1.
We may designate it äs the "Glockenspiel-Glockenernst" polarity. Like the
bony skeleton of a living and breathing organism, this pattern of bipolarities
is the f oundation and support of text and texture in Nietzsche's aphorism.
But the bipolarities go far beyond an illustrative similarity to bones
in a living and moving organism. They are quite literally bones. For the
aphorism is quite literally an organism. Through the generative act of
hermeneutical exegesis it lives and breathes. It evolves. It goes and stays:
27
"Romantic pessimism" is here contrasted with what I call "tragic pessimism." Nietz-
sche himself - calls it either "Dionysian pessimism" or "pessimism of strenget." See
FW 370 for diagnostic details. For his distinction between "praktische Weltvernei-
nung'' and "praktische Weltbejahung" see RGW IV 2, 46 (the aphorism "Vom Dufte
der Blüten berauscht").
 628. Prcliminary Analysis of thc Aphorism and its Precursors 219

and the rhythm of its going and staying falls into three general stages or
periods of development. Outwards and upwards, its life cycle expands in
wider and ever wider spirals, turning through a primary period of evolution
between the poles of its manifest text, through a secondary period of
evolution between the poles of its latent text, and through a tertiary period
of evolution between the poles of its undifferentiated text. Each period has
two phases: a "phase of tensity" in which the energy of the System is
gradually concentrated at its poles and a *phase of intensity" in which the
accumulated energy is suddenly released and reabsorbed into the System.
"Ernst im Spiele* lives through its analysis. We may therefore con-
struct the following model sequence of six "critical readings" of the
aphorism. During the first critical reading an obvious tension is established
and a charge slowly generated between elements of the "Glockenspiel-
Platon" polarity. Here the manifest problematic is raised: the question of
a necessary conjunction between the diime of bells and the quotation from
Plato. During the second reading this tension is relaxed and its energy
discharged. The poles of the dilemma suddenly collapse. The problem is
solved and resolved in a synthetic coalescence.
During the third critical reading a tension is established and a charge
generated between elements of the "Glockenspiel-Glockenernst" polarity.
Here the latent problematic is raised: the question of a transmutation or
conversion from the abnegative romantic pessimism of its "primary stage"
resolution to a radicaUy affirmative tragic pessimism. During the fourth
reading this tension increases to the absolute threshold of spiritual rupture
and then quite unexpectedly surmounts itself in a catastrophic discharge of
accumulated energy. The poles of the dilemma suddenly reverse. The
problem is solved and resolved in a transf iguring inversiön of values.
During the fifth critical reading a tension is established and a charge
generated between elements of the * Vordergrund-Hintergrund*" polarity.
Here a more and more general aesthetic and philosophical problematic is
discovered: die question of an organic continuity between the manifest and
latent texts — and even the question of an organic unity between the
Apollmian and Dionysian realms of being. During the sixth and last read-
ing this tension is fulfilled and its concentrated surdiarge of energy
reabsorbed into the pulsing tissue of the text. The poles of the dilemma
suddenly merge. The problem is solved and resolved in an ultimate
asslmilation of "reality* to "illusion* and of "seriousness* to *play.*se

** No doubl h would bc wholly gmuiuros formally to disavow any ncccs*ary or

autoniatk development through thb model $cqucßcc. Thc program of "critkal rcad-
ings* may break aown at any pomt: or h may i>cvcr evcn btgin. 1t rcqujfcs a$ a
prcconcidon dbü art and cxpcniic of thc goldtmitli appli«d to language. Or ai
220 Richard Pcrkins

Within this series of passionately attentlve and relentlessly critical

readings, the aphorism itself gradualiy passes from level to level of
significance through periodic phases of energic tensity (or surdiarge) and
energic intensity (or discharge). While turning outwards and üpwards it
lives and moves through an organic cycle of life: and finally it succeeds in
joining its end to its beginning.

GLOCKENERNST

GLOCKENSPIEL

GLOCKENSPIEL
Figure l Biological cycle of : systemic model of analysis

This is the "biolögical" Or "systemic" model of analysis for A .29,

Figure l above illustrates its pattern of resolutions by means of a sdiematic
diagram whose horizontal and vertical diameters represent the bipolar
foreground and background structures of the apophthegm respectively and
whose directional indicators S1 through S2 and S? represent the phases of
intensity marking its periods. Hence S1 is its "priinary stage" resolution of
the manifest problematic in terms of romantic pessimism. S2 is its "second-
ary stage" conversion from romantic to tragic pessimism. S3 is its "tertiary
stagew evaluation of the original problematic in terms of tragic pessimism, . .
We may also propose a more complex "bisociative" or "genetic" model
of analysis.30 The biological model maps our aphorism in a state of existence

Zarathustra challenges and implores (compare KGW VI l, 254 with Matthew 13:9 äs
well äs with certain other passages): "Wer Ohren hat, der höre!"
29
I am indebted to Professor Thomas Bärry in the Department of Classics at SUNY/
Buffalo both for his appröach to the text äs a living organic entity.and for his
distinction between its "state of existence* and astate of composition" äs mentioned
below. Professor Barry discusses these concepts in an äs yet uhpublished "analytical
hypothesis of the creation gnd transmission of ärt."
30
The model is extracted from an examination of ^bisociation and the operative field"
by Arthur Koestler found on pages 36^-53. of Insight and Outlook (Lincoln, Nebraska
 628» Preliminary Analysis of the Aphorism and its Precufsors 221

and details its vital Systems within the act of Interpretation: and the
complementary bisociative model maps it in a state of composition and
details its natural genesis within the act of creation. The biological model
approaches the aphorism äs an organism and attempts to demonstrate
*what* it is and means, The bisociative modei approaches it äs a mechanism
and attempts to demonstrate *how" it is and means. Figure 2 below

Figurc 2 Bisociatkm of operative fields: an exemplary model

illusrrates the fundamental medianics of bisociation. Intersecting planes

Ft and F2 are two distinct "operative fields" or "planes of association."
Membership in each field is governed by an undesignated "selective
operator»^ Rambling lines fi and f» are rtcurrents of association* leading
the stream of consciousness through FI and FÄ respectively. The open
dot <o) is a ÄmeinberÄ of FI functiomng äs an "associative Stimulus" or
e
ümpulsew responsible for initiaung and maintaining f t within its own
field. The closcd dot (o) is a "joint member" of fields F* and F«
functioning äs a "bisociative Stimulus* or "pivot* responsible for deflecting
f s over into ft at dbeir intersection- Consciousness advances within a
given field through die process of association and between fields through
the process of bisociation.
So rnudi for theorctical spccifications of the modcL Consider the
followiitg passage from Zarathustrafs discourse ÄVom Gesicht und Rätsel *
äs a concrete paradigm» Treadlng his inost difficult pathf hb path to

1949). Koestkr idrotiftej tHc btsoctativc proccts äs notbtng le«s than **thc batic pattern
of all original du
222 Richard Pcrkins

greatness, Zarathustra walked in an allegorical vision through the grey

death pallor of twilight, äs silent, äs gloomy, äs resolute and unrelenting
äs the twilight itself and its dim romantic philosophy of exhaustion and
weakness, climbing bis ultimate peak, his union of sumxmt and abyss,
forcing his way upwards, defying the spirit of gravity, half dwarf, half
mole, which sät lame and heavy upon him, adding immeasurably to the
weight of his greatest weight, mocking his attempt to ascend, through
radical wisdom, to a level of spiritual elevation at once high and mighty
enough to support an unqualified affirmation and assent of perennial life in
the eternal recurrence, dripping lead into his ear, thoughts like drops of
lead into his brain.31 Syllable by syllable, this "devil and archenemy" mock-
ed, lamed, and tormented him thus with the gravest of all grave "Blei-
tropf en-Gedanken": "Oh Zarathustra,... du Stein der Weisheit! Du warfst
dich hoch, aber jeder geworfene Stein muß — fallen!"32 We can very easily
and conveniently employ the basic model illustrated in figure 2 to discover
"how" the passage means through an analysis of its bisociative mechanics.
The operative fields figuratively involved are those of natural and
supernatural causalities. Let FI stand for the field of natural causality
and F2 for that supernatural causality. The selective operator of FI
is the physical law of gravity. The operator of F2 is the alchemical
principle of metallic and spiritual transmutation. Current fi is thus a
sequence of associations between mineral mass, trajectory, gravitational
force, and so forth, while f 2 is a sequence between base diaracter, noble
character, transmutation, and the rieh alchemical symbolism of regeneration,
solar energy, and gold, The associative impulse (o) establishing fi within
FI lies in the word "Stein." The bisociative pivot (o) shunting fi over
into f 2 at the intersection of FI with F2 lies in the epithet "Stein der
Weisheit." Now "Stein der Weisheit" translates literally äs "stone of wis-
dom." But it also plays süccessfully on and against "Stein der Weisen" —
the "philosophers' stone."33 On the plane of natural causality, the evil
spirit of gravity wittingly represents Zarathustra äs a "stone" which,
owing to its own immense weight, must necessarily fall back upon itself
in miserable failure, the victim of a defiant atteinpt to master the terrorof
31
Certain elements of the given scenario are derived from the preceding discourse on
"The Wanderer." Compare Nietzsche's aphorism on aThe Chimera of Dread" at
KGW IV 2, 339 with his description here of the spirit of gravity: "The diimera of
dread is that evil, apish gobiin that springs straight to a man's badt when he already
has the heaviest bürden to bear."
32
KGW VI ,1, 194: *O Zarathustra, ... you stone of wisdom, you philosophers' stone!
You threw yourself up high, but every stone that is thrown'must — fall!"
33
Kaufmann and Cowan recogtiize and reflect this pläy on words in their translations.
Tille, Gommon, and Hollingdale do not.
 628. Preiiminary Analysis of tfae Aphorism and its Precursors 223

a gritn eternal recurrence of the same. On the plane of supernatural

causality, however, he unwittingly represents him äs the "philosophers1
stone," the sole agent and Instrument of a regenerating transmutation of
the spirit, of a transfiguration and transvaluation of that base and leaden
weight of eternal recurrence äs his "most extreme form of nihilism" into
the golden wedding ring of rings marking it äs his "supreme formula of
affirmation."34 The designation "Stein der Weisheit" is a joint member of
the operative fields and provides the mechanism for their creative bisocia-
tion.
The application of a bisociative model to A O is somewhat more
difficult. Figure 3 below illustrates the complex structure of the model,
rnapping patterns of the aphorism in its state of composition and account-
ing for how it is and how it comes to be. We may begin by delineating the
general properties and features of its diagram. The systemic and genetic

34
For "die extremste Form des Nihilismus" see Fragment WM 55 and for "diese höchste
Formel der Bejahung" see EH-Za 1. Portraying Zarathustra äs a living philosophers'
stone, Nietzsche represents him äs the one vehicle through whidi perfection in the
superman may be achieved. Consider his designation of Zarathustra at EH XIV 3 äs
"the self-overcoming of morality out of truthfulness.* Were it not for its zoomorphic
presemations äs a beast of bürden and a beast of prey, I would seriously recominend
translating * Verwandlungen" in the speeA *Von den drei Verwandlungen* äs *trans-
mutations" rather than äs "metamorphoses." In a letter to Ovcrbeck dated 25 Decem-
ber 1882 (SA III, 1198) Nietzsdie remarks: "Unless I can discover the alchemical
feat of turning even this ... filth into gold I am lost.* Turning a nihilistic expericnce
of eternal recurrencc into a ludic experience is Zarathustra's redemptive aldicmical
feat. Through a scries of sublimations and fixations, goings over and goings under,
his spirit is ^regenerated" out of its own "degeneration* — and the third work in
the "great work" is complctc. The word eBlei* in the present discoursc functions
togethcr with "Stein der Weisheit" äs a joint member of operative fields Fi and F*:
yet it only anticipates the bisociation of fields through "Stein der Weisheit." The
diagram below maps the prooess of bisociarion with reference to the prcscnt passagc
somewhat more precisely than figure 2 above. The syxnbols and 12 here designate

joint mctnbirr$ "Blei* and *5tera der Wdsheit* mpectively- Currcnt fi cOntacts tbe
intcrtcvtion of Ft and Fr at btit is iinmediately reabsorbed into the natural associat*
iom of Fi. Whcn it ccmucu tbe inurtcctioft a second time at Q the summatio/i of
cnergic Airgct accumuUtcd by and Q surpaucj the thrcihold of the synenu Thui
h overcomcs tbe *p:vot tolcraiscc* of the System and initiales (i within its ficld-
See tfee text below for complete dmlh concentmg ihe coaccpt of pivot tolerance,,
224 Richard Perkins

modcls of analysis converge in their basic attempt to apprehend and com-

prehend the rhythm of polar tensions in A Φ Ο* and yet they diverge in
approadi and emphasis. The systemic model approaches the aphorism
through a careful description of its biological cycle and places particular
emphasis on the "resolution" of tension. It is by nature a "model of
reversal" and hence tends to stress a formal discontinuity. The genetic
model approaches the aphorism through a careful description of its bi-
sociative mechanics and places far inofe emphasis on the "generati n" of
tension. It is by nature a "model of increment" and hence tends to stress
a formal continuity. But now on to its general f eatures.

Figure 3 Bisociative mediaiiics of ΑΦΟ: genetic model of analysis

The genetic model is constructed from three integrated "systems of

intersection": Systems j ' F i ' F a j and F 2 - F 8 j leading to taciturn inti-
mations of j F3 · Fj. L System | FI ' F? | relates to the foreground
structure of A Φ O and reflects the intersectipn of its α Glockenspiel'* and
"Worte Platos" planes. The two operative fields correspond to the "Glok-
kenspiel" arid "Platon" poles of the manifest text. System | F2 · F3 1
relates to the background structure of A Φ 0 and represehts the intef-
section of its "Worte Platosn and "Ernst im Spiele" planes. The two fields
correspond to the "Glockenspiel" and "Glockenernst" poles of the latent
text. System F3 ' F; relates to what we might call the "ground" structure
of A Φ O and represents the intersection of it^, "JErnst im Spiele" and
"Glockenspiel" planes. In the select context of | F3 · Fi | the two fields
correspond to the "Hintergrund" and "Vordergrund" poles of the un-
dif ferentiated text.
 628. Preliminary Analysis of the Aphorism and its Precursors 225

System | FI · P* j may be considered the foreground System in our

bisociative model of A O. FI is the * Glockenspiel * or "carillon" field.
It defines a plane of associations expanding outwards from "tolling bells"
at its center to "the tune of time* (in Vs4) at its extreme periphery and
including throughout what Nietzsche sometimes calls "black musk" (WM
59) or Braven black music" (FW 383).85 The selective operator governing
membership in the field is Nietzsche's deep Intuition and experience of
endless melody ("das wollte nicht enden*): and the associative Stimulus of
ft is the protracted and apparently insatiable chime of bells. Members of
F! through which f t wanders in reverie are the solemn tones of bells
with all their affective and cognitive associations.30 Fg is the field of
"Worte Platos" or "romantic pessimism." It defines a plane of associations
expanding outwards from the dyspeptic words of Plato (at Laws 803b and
Republic 604b) to the accusation and denial of life embodied in romantic
pessimism. The selective operator of the field is a weary metaphysics of
art and morals: and the bisociative Stimulus turning fi into f« is focused
in the phrase "wehmütig schauerlich kindisch" (in Vss) and all its subsequent
variations listed in table V below. Yet to mention only the sense and sen-
sation represented by "wehmütig schauerlich kindisch** is to simplify the
synthetic process involved in j FI · Fs j: for the expression "zur Zeit der

Table V Expressions of the Bisociative Pivot for System Ft · F2

VsÄ wehmütig schauerlich kindisch
Vs5 etwas so Wehmütiges Schauerliches Kindisches
Vs4 kindisch und schaurig und wehmutsvoll
Vs4 kindisch jedoch ach schaurig j schaurig und wehmutsvoll
Rs -* Ed so schauerlich, so kindisch zugleich, so wehmutsvoll

Abenddämmerung1* also reflects and demonstrates a joint member of the

fields, even though the bisociation of chlming bells with romantic pessimism
must await Nietzsche*s reference to the sad, haunting, diildish inflection
and mood attaching to both fields* In order to understand the precise

25
So; also WM 839 where Niet^iidic refers to *der Schlamm der düstentco graubraun-
sten Harmonien.*
*· On the cspcciaUy profound significaace of tolling belb in Niet3t$dtcf$ juvcnitia see
hls N?ovember 1862 poem *O GlockenUasg in WinternaAt1" at BAW Ht 146~-147
(consuh BAW H, 22G for evidente of thc latcr title dxangc), Thc Image of the
"Glockenspiel* äppear* to be po$itively ajsociatcd with that of the "alte Weise*
prominent in Wagner*! & und ItoUe III. i. For Nietfc*dhe** reaction to thc
of Äunendlidbe Melodie* 3fcee VM 134*
226 Richard Pcrkins

nature of this process, we must turn to an examination of the pivot tol-

erance of j FI · F2 J.
There is ordinarily a certain degree of resistance to any free inter-
change between distinct operative fields. Energy (whidi is to say: a quantum
of invested energy) is therefore necessary to divert consciousness from its
current on one plane of associations — where it tends to remain out of
sheer inertia — into an analogous current on a second plane, The degree of
resistance to be overcome may be labeled äs "pivot tolerance." Now pivot
tolerance is estimated in terms of the minimum energic charge necessary
to shunt a stream of consciousness over from one plane into another: and
the value of this minimum charge may be labeled äs "bisociative threshold."
The pivot tolerance of | FI · F 2 1 is relatively low. Thus the level of
energy to be concentrated in or by any joint member of the System allowing
it to function äs a bisociative Stimulus need not be great. But the tolerance
of | F2 * F 3 1 is rather high: and the tolerance of | F3 · FI | is all but out of
readi.
There are two distinct classes of bisociative pivots: "atomic" and
"molecular" in nature. The "atomic Stimulus" is a joint member of inter-
secting fields generating sufficient energy in and of itself to overcome the
pivot tolerance of its System. It may or may not be linked with related
joint members of subliminal potential from' which it derives additional
energy. "Stein der Weisheit" in the paradigm from Zarathustra's speech
"Vom Gesicht und Rätsel" is unquestionably an atomic Stimulus, linked in
its system with the subliminal members "Blei" and "Bleitropfen-Gedanken."
The "molecular Stimulus" is a complex of conjoint members generating
sufficient energy to overcome the pivot tolerance only collectively and not
distributively. Each and every contributing member to a molecular Stimulus
is necessarily subliminal. The bisociative pivot of system j FI · F 2 1 in A 0
appears to be a molecular Stimulus consisting of elements reflected in the
expressions "zur Zeit der Abenddämmerung" and "wehmütig schauerlich
kindisch." But perhaps we should expand this point.
Let Symbols Xi and X2 designate the joint members. of | FI · F2 :
the first may stand for "Abends" (äs in Vs2 and Vs3) and the second for
"wehmütig schauerlich kindisch." Both members are charged with a sub-
liminal degree of bisociative energy. Neither Xi nor X2 Stores enough
potential to reach and to exceed the threshold of the system. The bisociative
pivot is therefore molecular in nature, a collective or cumulative effect bf
Xi and X2. Hence pivot X in figure 3 above may be expressed analyti-
cally äs ·{ Xi + X 2 1 where X2 is the operative component which absorbs,
concentrates, and ultimately dischärges the accumulated energy öf both
members.
 628. Preliminary Analysis of the Aphorism and its Prccursors 227

Mapping this analysis of | Ft * F2 | bade onto the composition of A

we may derive the following reconstruction of Nietzsdie's basic act of
creation. The long chime of evening bells initiates a chain of associations
linked by the weary sense of endless melody, Images and impressions
ranging froin the clanging churdi bells of Röcken and Naumburg to
Wagnerian "Zukunftsmusik* and the mournful strairi of an insatiable
cosmogonic will.87 But then all at once — "auf einmal* — the "wehmütig
schauerlich kindisch* tone of the carillon impels and even compels him to an
essential recognition of the words of Plato. "Glockenspiel* äs a symbol of
condition becomes "Glockenspiel* äs a symbol of lamentation. His radical
insight into the utter futility and triviality of all things human (äs "con-
dition*) swerves suddenly into a twilight perspective of romantic pesssimism
(äs "lamentation*). The creative energy invested in A through this
bisociation remains stored äs formative and transformative tension within
the foreground structure of the aphorism. It is this tension whidi later
animates the "Glockenspiel-Platon* polarity of its literal or manifest text.
This is the first of three creative acts in Nietzsche's composition of the
tragicomic epilogue on "Ernst im Spiele.*
System J F2 · Fs j raay be considered the background System in our
genetic model. While Fs is the field of "Worte Platos* or "romantic
pessimism* Fj is the alternate field of "Ernst im Spiele* or "tragic
pessimism.* It defines a plane of associations involving innocence, in-
difference, and independence, a plane expanding outwards from the fore-
noon philosophy of dbeerful assent (marked by a spirit of ludic contem-
plation) towards the noontide philosophy of joyous affirmation (marked
by a spirit of ludic action). The selective operator of the field is an
ontology and axiology of play.*8 Members of F5 through which f 3 wanders
include the specific ludic doctrines of Heraclitus, Plato, and Sdxiller äs
well äs certain more general attitudes: and the bisociative Stimulus turning
f 2 into f& is a molecular complex consisting of the title line ("Ernist im
Spiele*) opening A and the adversative conjunction and terminal

37
The cariy Nietzsche follow$ Sdiopenhauer in regarding mu$!c äs "die Spraxhe des
Willens unmittelbar* (GT 16) atid *die eigcntlidic Idee der Welt" <GT 21): the
phenomenal worfd h "vo-kötpcrtc Mötik* to prcdsely the same extcnt äs it is "vcr-
kürpcrtir Wille* ($cc the long quotation from Schopenhauer at GT 16)· Pcrhaps
Nictzrdic quite literally *hcard** the ändern and eodless tune of time ringing down
irom s&ove *as ii from a Gcnoa towcr* ($ec V$4)* Support for my own conjccturc
that he dia have ears for ratih thlngi may b<r dr^wn from a personal notcbook cntry
(KTA IC, M9): *IA habe hoch über Wagner die Tragödie mit Mti$jk gesehen — und
kodb über Sc:opcnkii;cr die Muwk in der Tragödie d« Daseins gehört."
** Coniparc Law$ S03a—8D4c Tht theol^jr of plaf presented by Plato has both
ontological and äxiologicäl implicatioas.
228 Richard Perkins

dashes ("trotzdem ") holding it in abeyance. This pattern of bisociative

Stimulation in System {F? · FS | is fim established by Rs employiiig the
title "Trotzdem" and then maintained by Dm1 through Cb* employing
the title "Epilog." Hence pivot Ψ in figure 3 may be expressed analytically
s \ Ψχ + Ψ2 }- where the conjunction of very powerful and yet subliminal
components generates on almost explosive surpius of bisociative potential.
Mapping this analysis of [ F2 · Fs J back onto the composition of
A Φ O we may derive the following reconstruction. The grave negation
and abnegation of human life suggested by church bells ringing out long
"into the evening sky and sea air" associates with a romantic ethics,
aesthetics, and metaphysics of exhaustion, dominated by the nihilistic
"Weltschmerz" of Schopenhauer, Wagner,7and the Crucified. The dim
verdict of Plato that "everything human is unworthy of great seriousness"
comes to reveal itself s a literary transmitter and resonator of this
pessimism: and yet compressed within its "thetic" expression of romantic
resignation is an "antithetic" expression of tragic affirmation. Here the
reactive response of practical denial calls up and gives way to the active
response of practical assent. Dawn breaks. The energy invested in A Φ Ο

Table VI Elementary Divisions in the Literary Embryology of A Φ Ο39

seminal period Vs1 immaculate conception

»
2
Vs System | FI · F2 established
embryonic period Vs3
Vs4 System F2 · F3 established
Rs textual emergence complete
την Ι

Dm5
fetal period Dm8 . contextual emergence complete
1
Cb
Cb2
Cb! titular emergence complete
natal period Ed System F8 · Fj established

39
The "embryology* I am suggesting complements the "biology" pffered through my
systemic model. But while the biologic l model represents the aphorism in its state
of existente" s a fixed and independent organism with a^liiEeOf its own the embryo-
logical model represents it in its "state of coimposition'' s a mutable possession of its
genitor and prpgenitor Nietzsche. Our phprism is literally alive during the postnatal
term but only figuratively alive during the prenatal term of its history.
 ΜΑ 628* i?reliminary Analysis of the Aphorism and its Precursors 229

through this bisociation remains stored within the background structure of

the aphorism and operates under analysis to animate the "Glockenspiel-
Glockenernst" polarity oi its subnierged or latent text. This is the second
act in Nietzsdie's composition of "Ernst im Spiele."
Our medianical analysis of System | F2 · F 3 1 claims no more than to
provide an incomplete and fundamental!/ insufficient restoration of the
creative act. But it is nevertheless suggestive. There is no reason to presume
that A Φ O sprang in f ll armor from Nietzsche's Imagination* It devel-
oped. With respect to meaning s weil s to text, context, and title, it
slowly emerged. Table VI above diarts a sdiedule for semantic evolution
through the prenatal term of its history extending from the moment of
private conception s marked by Vs* to the moment of public birth s
marked by Ed. Now the earlier period of its prenatal development may
for our purposes be regarded s an "embryonic period/* Its sequence can be
illustrated using the Schema Vs* -* Vss -» Vs4. During this period the pro-
genitive energy of the aphorism forms and transforms itself through a
lingering act of composition into bipolarity Systems j FI · F2 j and | F2 · F8 .
With the conclusion of this embryonic period the composed meaning of
A Φ O is complete*40 The later period of its prenatal development may be

GLOCKENSPIEL WORTE PLATOS GLOCKENERNST GLOCKENSPIEL

VORDERGRUND HINTERGRUND

l', ·», l

GRUND
Figurc 4 SAcraatic diagram of the tlircc bipolarity Systems in ΑΦΟ

4
* Herc I distinguuh betwcen tke *compo$ed* (or pcrhap$ cvco: "gescratcd*) meaning
and ehe *«χιροι«4* (or perhap*: *rcgoiaratcdiw) meaning of the patsage. The composed
meaning — s I undcrstand it — relatcj to a recognition and resolu on of the
^Gloaittispjei-PIaton11' and eGlcxkcmpicl*Glodccjiernu* polaritics and U introduccd
by Ute autfcot into ΑΦΟ af an outcomc of bit act of creation. Tfce exposcd meaning»
on the othcr hand, rclatc* to a recognition and re^olution of the "Vordergrund-Hin-
230 Richard Pcrkins

regarded äs a "fetal period." Its sequence can be illustrated using the

schema Rs -> Dm1 -> Dm1 -* Dm2 -» Cb1 -» Ob*·-* Cb*. During this the
many textual, contextual, and titular revisions of the aphorism are ac-
complished thfough further energic formations and transformations. With
the conclusion of this fetal period the exposed meaning of
[ F3 · FI | is imminent. But it is entirely possible that Nietzsche himself
was never fully aware of its ultimate significance. It is a wise father who
knows his own chilcL
System | Fs · Ft | may be considered the ground System within our
model. It is at once the most basic and the most söphisticated of the
Systems of intersection.41 It lies below Systems FI · F 2 1 and | F2 · FÄ | äs
their ultimate ground and yet first appears High above tnem äs their azure
sky. For this reason the polar tension arising between these foreground and
background aspects of the text was the first to be recognized at the outset
of our detailed and systematic investigation into the structure and dynamics
of A 0: and for this reason also it is the last to be resolved. It can only
be reached by indirection. For it is bashful and shy like a dove. Chasing it
makes it run and fly away.
In | F3 · FI | a cumulative bisociation of the "Ernst im Spiele" and
"Glockenspiel" planes occurs and awareness returns thröugh füll compre-
hension of ludic assent to a new apprehensiön of the carillon and its tune
of time. Here the stream of consciousness flows back to its own source —
and the "Spiel" element of "Glockenspiel" first appears,42 Now current £1.23
may be regarded äs a local accumulation of fi and f 2 and f3. Therefore,
the sequence of currents expressed by f i -» f 2 -^ f3 *» f 123 may be noted äs
f i -* fg "* fs "* \ fi "* f2 "^ f3 }- where the complex \ f t -* f2 ^ f 3 }· repre-
sents a summary recapitulation of f i -»f 2 -> fs·43 The rambling line

tergrund* polarity and is introduced by the critical reader into äs an outcome

of his act of änalysis. It would also be appropriate to refer to the "composed mean-
ingÄ äs the meaning of the aphorism and the "exposed meaning" äs the meaning of
its meaning. My principal contention is that the meaning of Vs4 is already the same
äs the meaning of Ed — but that the meaning of its meaning is not.
41
Elements of the diagram offered in figure 4 here correspond to elements of the
biological cycle depicted in figure l above. The inverted Y-line leading up from
"Glockenspiel" and "Worte Platos" to "Glockenspiel" corresponds to the S1 indicator.
The U-line leading put from "Glockenspiel" over to "Glockenernst" corresponds to
the S2 indicator. The Y-line leading from "Vordergrund" and "Hintergrund" down
to "Grund" corresponds to the S8 indicator. The foreground and background structures
yield the ground structure äs their yery base.
42
Just äs the play element pf the puppet play appears in the Plato passage (see Laws
804b with its allusion to 644d and 803c).
48
It is a "summary recapitulation" in precisely the samie way that änalysis is a
"summary recapitulation." It both recapitulates and restores the process pf original
creation reflected within the antecedent sequence of associatiye currents. It even
 ΜΑ 628» Preliminary Analysis of the Aphorism and its Precursors 231

marking f m in figure 3 quite appropriately suggests a tendency towards

the conjoint intersection of planes Fs and F» with FI at the focal origin
of the diagram. We may designate this single conjoint member of our three
fields s the "base metaphor" of the aphorism.44 The bisociative pivot of
System j Fs · FI j shunting f 3 over into f 153 is A Φ Ο itself ,4δ
The bisociative threshold of J Fj · Ft j and therefore the level of
energy required to diallenge and surmount its pivot tolerance is extremely
high. Current f m is all but inaccessible. It is only when the formative and
transformarive potential governing evolution of meaning has been accumu-
lated and modulated that an Involution of meaning can occur.46 Yet no
detenninate instance of A Φ O (whether Vs4 or Dm1 or Ed) commands
sufficient power for a bisociation of F8 with FI. Each version generates
a subliminal charge: and only the summation of these charges within the
undifferentiated A Φ O achieves a threshold potential. Hence pivot Ω in
figure 3 may be expressed analytically s ] Qt + Ω* + Ω8 + Ω4 -f Ω5 4- Ωβ
-h Ω7 + Ω8 + Ω» + Ω10 4- Q|| -f Ω^ }> where Symbols Ω! through Ω12 stand
for Vs1 through Ed and where Ω12 is the operative component serving to
absorb and focus this quantum of energy.47 Here A Φ O leaps over its own
shadow — and into its own sun. Here it creates over and beyond itself.
Mapping this analysis of [ F$ · Ft J back onto the exposition of
A Φ O we may derive the following reconstruction. Expanding outwards
from its long evening carillon, the aphorism evolves through three distinct

recreates the scqtsence. Now the tack implication of this view is that the final
currcat of associatioos generated by ΑΦΟ is an analytical current: and i t is for this
reasoa that the ground System of bisociation is formally established only with the
publication of the aphorism* In tcrrns of its scmantic content we may correlate the
*fneaning* of ΑΦΟ with f i -*· it -fr f« and the meaning of its meaning* with fis«.
44
I am once again indebted to Professor Thomas Barry and the "analytical hypothesis*
for his conception of the base mctaphor of a work or art. See the text below for
dctails conccrning the base mctaphor of ΑΦΟ.
45
Support for this contcntion may pcrhaps be dra^wn from Vs4: for here ΑΦΟ begins
to cxaminc the meaning of its own meaning, The question prcscntcd in line three —
"sehet nun sing ich ihr Lied?* — appcars to rcflcct a reversion and a recollection
through which ΑΦΟ hfots ac the most perfect transcendcnce of evcn its submcrged
text. But the adverb 'nun" represents an uncertain reading of Nietzsche** manuscript
(see KGW IV 4, 435).
α
The Vrohidon" of meaning (belonging to the composiuon of ΑΦΟ) ii illustrated by
our sdbema f i -* ft -fr fa* The ^involution* of meaning (belonging to the exposition
of ΑΦΟ) is illustrated by ftt^
17
My assumpt ort here is that an cxhaustivc rea4ing of "Ernst im Spiele* must always
include an cxarnina on of it$ precur$ors, By an *<rxhaustivc reading1" I mean a
reading whldi exhaustj the Systems of energic formation and tramformation dcfining
both tic nructure and the dynamlcs of our aphoriim. But pcrhaps I am wrong.
Perfesps sotneone »omewhere ca« acttt y gra^p j FI * Ft j without reading beyond
"Ernst im Spiele* itself.
232 Richard Pcrkins

levels of response. On the first wc "hear" the endless and aimless tune of
time. On the second we "feel" the wcary yerdict of Plato. On the third
we "know" the divine seriousness of play. But this is not the end; for here
the aphorism turns from evolution to Involution. By gathering and concen-
trating all the energy from its embryonic and fetal periods it turns to an
analytical condensation and transformation of its basic energic patterns.
Suddenly we hear the tune of time äs a triumphant hymn of joy.48 The
"Glockenspiel" äs an expression of aimless and even meaningless condition,
like the analogous "Glockenspiel" äs an expression of melandioly lam-
entation, suddenly becomes a "Glockenernst." For äs romantic pessimism
turns into a tragic pessimism of strength, so also the infinite triviality of
existence turns into its greatest, most divine/seriousness. Here we first dis-
cover an identification of "reality" with "illusion" and of "seriousness"
with "play."49 The distinction between "mask" and "truth" is abolished:
and Dionysos appears äs the god who appears. The energy invested in
A 0 through this bisociation structures and animates the "Vordergrund-
Hintergrund" polarity of the unspecified or indeterminate text. This is the
third and concluding act in the creation of "Ernst im Spiele" and the open-
ing act in its analysis.
Here our technical examination of the structural organics and medi-
anics of A 0 draws to a traiisitional conclusion. Our attention must now
be turned to its base metaphor. But one ciosing comment. The vicissitudes
of A 0 are the vicissitudes of Nietzsche's thought "in nuce*" Resolution
of the manifest problematic emerging from the "Glockenspiel-Platon"
polarity of System | FI · F 2 1 corresponds to the "play pathetic" or "ludic
passion" found in his first philosophical period. Resolution of the more
latent problematic emerging from the "Glockenspiel-Glockenernst" polarity
of System F2 · F3 corresponds to the "play eidetic" or "ludic contempla-
tion" found in his second period. Resolution of the essential problematic
emerging from the "Vordergrund-Hintergrund" polarity of System F3 · FI
corresponds to the "play ethic" or "ludic action" found in his third period.
Or äs Zarathustra says: "On every parable you ride to every truth."50

D) Vision and Revision: Comments on Physical Projection

The focal origin of our genetic model of analysis (äs well äs of our
sytemic model) may be regarded äs the base metaphor of A 0. In the
48
Mudi äs the shepherd's melody in Tristan und Isolde HI. i. dianges from a mournful
to a merry mood. See also the allusion to this diange in GT 21.
49
Compare GD IV where Nietisdie explains how the "true wörld" finally became a
fable.
60
See KGW VI l, 227.
 628. Prclimmary Analysis of the Aphorism and its Prccursors 233

context of our present discussion we may define it äs System FI · F8 · F8 .

It is the ultimate source of the aphorism and of the energy which patterns
and animates it, It is the inner form or soul which generates the indeter-
minate A O äs its waxing incarnation and "Ernst im Spiele" äs its
immutable outer form, For the aphorism äs a semantic process is nothing
except the encirclement of its center. Here System j FI · Fg · F3 | spins
j FI · FÄ j into existence together with j Fs · F 8 1 and j F3 · FI J. Out of
dusty words it creates its bones and all its vital Systems. Out of dusty words
it calls itself to life.
Far the most elegant and economical expression of | FI · F2 · Fs j is
found in Vss where it appears äs Glockenspiel Abends in Genua." The
metaphor is composed of three distinct and discontinuous facets. The f irst
of these facets is established in the term „Glockenspiel." It designates the
essential nature of the metaphor (its "whatness") and produces the opera-
tive field FI äs its physicai projection. The second facet is established in
the term "Abend." It designates the temporal coordination of the metaphor
(its "whenness") and produces field F2 äs its physicai projection. The
third facet is established within the term "Genua." It designates the spatial
coordination of the metaphor (its "whereness") and produces field F3 äs
its physicai projection. In order to grasp how the base metaphor of A
projects itself into these intersecting operative fields we must now consider
the aroot significance" that Nietzsche attaches to each of its three facets.
The root significance of "Glockenspiel" derives from its basic potential
äs a symbol of the world. It reflects both the existence of the world äs
multiplicity in unity and unity in multiplicity and its essence äs a double
aspect identity of intension and extension. It reflects the nature of Nietz-
sche's world. But here we must turn to a brief discussion of his most sub-
lime cosmogonic myth, the myth of the divine diild. Two versions of the
myth must be examined: a romantic pessimistic version concerning the
universal distnemberment of Dionysos-Zagreus and a tragic pessimistic
version concerning the universal play of Zeus-Aion. Each version delivers
its own verdict on the extended world of multiplicity,
His romantic pessimistic myth of Dionysos-Zagreus derives from the
Orphic mysteries*51 Zagrcus was the son of Zeus and Demeter.&2 Despite
his infanc>% his father aimaunced him äs the sovereign heir and true

»* SeeKGWIII 1,68—69.
12
My stkcttvc account of thc veraon corresponds in csscocc and Operation to an
Account suggcocd by Xieassdb« at thc t*ginmng of GT IC. See WM 1052 for a
somewlm latcr olluwon to the rendbg of Diony«H. For inore complctc dttails on
dib veiMon of tbc myth coasult W.K.C Ctahric in Qtpktui And G r eck Religion
(London, 1952). Zagrcu^ u gcncrally tupposcd to be tb« > of Zeus an4
234 Richard Perkins

succcssor to his throne and presented him with the sceptre of dominion oyer
all the world. But this was soon to end. One day the ancient Titans brought
him gifts: a ball, a mirror, a top, and several other toys. Then äs he
played with the mirror, distracting himself with his own reflected image,
they attacked and dismembered him. His mother was overcome by grief
for her murdered infant son and sank deep into eternal sorrow. Only the
promise that she might once more give him birth relieved her of her pain
and gave her joy. Now in the cruel dismemberment of Dionysos, Nietzsche
sees a symbol for the transformations of primal unity into earth, water, air,
and fire: so within this "romantic Version* he regards multiplicity äs the
original source of all suffering and consequently äs inherently objectionable.
Zagreus is the fragmented condition of the/extended world and Demeter
is its endless lamentation. Here the myth of the divine diild delivers a
romantic judgment of "guilt" on existence.
His more familiär tragic pessimistic myth of Zeus-Aion derives from
Heraclitus.53 The world is a diild.54 His näme is Zeus — and his substance
and structure are fire and time respectively. Out of a need for play and
play alone he transforms himself into water and earth. For like a mortal
diild at the seashore, he longs to heap up and trample down elaborate
castles of sand. Now here too Nietzsche sees a symbol for the fragmenting
transformations of primal unity, and yet within this "tragic version" he
regards multiplicity äs the alternately constructive and destructive play of
a sovereign cosmic diild and therefore äs beyond the scope of moral
attribution. Zeus is at once the impulse to play and the absorbing game
it plays with itself. He is both the perfect unity of the intended world and
the absolute multiplicity of the extended world. He is both the dancer and
the dance. Here the myth of the divine diild delivers a tragic judgment of
"innocence" on existence.
The facet represented by "Glockenspiel" is marked by its basic double
aspect unity. For the term "Glockenspiel" signifies both the melody played
manually or medianically upon a chromatic arrangement of bells and the
arrangement of bells itself. Hence it assumes two conjoined modes öf
signifciance for Nietzsche: an "extensive" mode answering to its melodic

63
See KGW III l, 149.
54
My selective account of the Version corresppnds in essence and Operation to the
account suggested by Nietzsche towards the end of GT 24. For his most explicit
examination and endorsement of the Zeus myth see § 10 of his university lecture
on "Die vorplatonischen Philosophen'* (GA XIX, 167—188) and §§7—8 of his
early fragment on "Philosophie im tragischen Zeitalter der Griechen" (GA X, 41—47):
and for more complete details consult Ferdinand Lassalle's study of Heraclitean play
theology in § 11 of Die Philosophie Herakleitos des Dunklen von Ephesos (Berlin,
1858). Nietzsche again alludes to the cosmic diild at ÜB III 4 and GM II 16.
 628. Prcliminary Analysis of the Aphorism and its Precursors 235

sense and an "intensive* mode änswering to its instrumental sense. In its

extensive mode äs "Spiel** it can be either Zeus, Zagreus, or Demeter, either
the innocence of extension äs a condition, the guilt of extension äs a con-
dition, or the moral experience of extension äs a lamentation. In its
intensive mode äs "Glocken" it can be either the young Zeus or the old
Titans, either the aesthetic impulse to play or the senseless thirst for
existence and more existence. In terms of cosmic intention "Glockenspiel**
is perceived äs a "Trauerspiel* and * Glockenernst" äs a "Kinderspiel.** But
who can teil the "Glocken" from the "Spiel**? It is this double aspect unity
of the facet whidi underlies its projection into field FI establishing the
"Glockenspiel** associations of A .
The facet represented by "Abend** is marked by its fundamental
ambiguity. For the term "Abend** suggests both the perfection of the day
and its dreary disintegration. Hence it assumes two antithetic modes of
significance for Nietzsche: a "positive** mode relating to its association with
ripeness and a "negative** mode relating to its association with decay. The
negative mode with its haunting spirit of romantic pessimism tends for the
most part to dominate while the positive mode tends to recede.55 It is this
essential ambiguity of the facet whidi underlies its projection into field F2
establishing the "Worte Platos** associations of A O.
The facet represented by "Genua** is marked by its allegorical fertility.
For the term "Genua** invokes Images of the South, of the sea, and of
Columbus. Hence it assumes three interrelated modes of significance for
Nietzsche: an "affirmative1* mode attadbing to the more cheerful disposition
of southern regions, a "prospective** mode attaching to the infinite possibil-
ities suggested by the sea, and a "generative** mode attadbing to the dis-
covery of a "new worid.* Its prominence äs the city of Columbus — and
hence the symbolic port of departure for any westward voyage through
nihilism to the East — is of particular importance.5* It is this allegorical
fertility of the facet which underlies its projection into field F8 establishing
the "Ernst izn Spiele" associations of A O.
From the energic tension arising between these three facets of system
[ F! · Fj · PI \ comes all the energy involved in A O: and from their
discrcte physical projections into operative fields FI and F^ and F« comes

** Comparc the end of "Das Tanzlied* at KGW VI l, 137: *Why? Whcrefore? Wbcre-
by? Whiiker? Wherc? How? I» it not folly to go Hving? — Alas, my friends, it
is cvcning that asks such qutstioni through tnc, Forgivc ine my sadncss! Evening has
come: forgjve me that everung Ha« come!*
w
In a lencr to Rohde dattd 22 Fcbroary 18S4 (SA HI, 1215) Nicty^dbe wriw:
"Meanwaüc I go iny tt^ay: actoally it is a voyage, a *ca voyage — and »ot m vaiii
kare I Hved for yean in the city of
236 Richard Perkins

all the conscious space through whidh this power flows. Figure 5 below
provides a diagram of the base metaphor and sketches a dynamic parallel
between the modal sequence of its f acets and the associative and bisoeiative
peregrinations of consciousness through bipolarity Systems pattermng the
manifest, latent, and unspecified texts of A Φ Ο. Segments forming the
peripheral band represent modes of significant expression for eadi facet.
Segments BMi and BM2 are the extensive and intensive niodalitifcs
reflecting the double aspect unity of ° "Glockenspiel/* The order here is
hypothetical Segments BM3 and BM4 are the positive and negative
modalities reflecting the ambiguity of "Abend. * Segments BM·* and BM6
are the affirmative and prospective modalities while segment BM7 is the

Figure 5 Facets of the base metaphor: Resources of energy in ΑΦΟ

generative modality reflecting the fertility of "Genua." Oscillation and

modulation of F! · F2 · F3 j through BMi ** BM2 ^ BM3 -> BM4 -* BM5 -*
BM6 -^ BMy -» BMi acc mpanies and perhaps even stimulates the parallel
progression of A Φ 0 through f i *^ f% -> f3 -> fi2 . For the base metaphor
represented by "Glockenspiel Abends in Genua" is Nietzsdie's' original
vision of seriousness in play and the creative power forming and trans-
forming A Φ 0 into its final revisioii in "Ernst im Spiele."
Our preliminary analysis of the aphorism and its precursors is now
complete. It is firiished. Through regirous applicatipii of the systemic and
genetic models of analysis we have revealed "what" and "h w" A Φ Ο
means: and through brief discussion of its base metaphor we have s ggested
"why." The models, ta;bles, figures, discussipns, n tes, and all the technical
apparatus of notation, sdiem tization, and style myst now be discarded.
 628. Preliminary Analysis of the Aphorism and its Precursors 237

Our demolition and reconstruction of A O required such a scaffold and

scaffolding. But this critical phase of "explosive" or "fissive" textual
Interpretation (answering to the crucifixion of a son of god) is over. The
rüde scaffold and scaffplding has served its analytic purpose. What is
needed now is a synthetic phase of "implosive* or "fusive" textual Inter-
pretation (answering to the resurrection of a son of man). It is finished.57
But it is only just begun.58
It would be difficult to overestimate the crucial significance of A O.
We have already adduced ample evidence to substantiate the claim that
Nietzsche had at one time intended to present it äs the final aphorism and
the acknowledged epilogue of his "Buch für freie Geister": throughout the
original and intermediate versions of the "Druckmanuskript" (äs Dm1 and
Dm1) it served äs the concluding and conclusive section in the series, and
in both the "Druckmanuskript" (äs Dm1 through Dm2) and the uncorrected
"Korrekturbogen" (äs Cb1) it bore the explicit title "Epilog." He seems to
have regarded it äs the climax and culmination of the diemical research
into "human and all-too-human" affairs undertaken by his fledgling free
spirit, Yet an unpublished note from August-September 1885 yields even
more profound evidence concerning the significance of "Ernst im Spiele."
It is found in a ponfolio designated äs "Mp XVII 2a." Here it is:59
I darauf: "Freidenker*
Drittletztes II "der freie Geist* und die Einsamkeit
III 2 (Am Ende) Der starke Geist

The final words of Christ from the cross (see John 19:30). Textual analysis has its
vocal and voluble opponents. For thcm the current fatc of is without doubt
ehe regreuable fate o? Humpty Dumpty. But for me it is the archetypic fate of a
dying and risrng god — Osiris or Dionysos or Christ. My position is the position
of W. B. Ycats at the conclusion of "Crazy Jane Talks with the Bishop*:
For nothing can be sole or whole
That has not been rent.
Under the suggestive influence of Barry's "analytical hypothesis* I have come to
regard the creation and transmission of art äs a bastc analogue to the mystery of
divine mcarnaiion. Thus the inception, composition, expression, analysis, and synthc-
sls of an *art object" corretponds to the annunciation, advcnt, nativity, crucifixion,
and resurrection of a hanged god.
The present study represents the initial section of a mudi more complete and com*
prchcmivc Interpretation of "Ernst im Spiele9* currcntly under consideration.
KGW VII 3, 431 witb several minor deviations from the text of Cölli and Montinari*
* aficr&xrdt: *frce tbmker* l ihird Uti in II *the frce spirit* and solitudc j III 2 (at
tke end) the *tron% spirit l IV conclusion: In Genua: Ö, my friendi, do you under-
thi* 'neverthclcss*? —* — * Modiftcations and emcndauom occur in the following
iulicf substttuted for spacing
pcriod after "Freuode" dhanged to comma

that KietzsAe dtd not undcrscorc the four Roman nuincral&.

238 Richard Ferkln*

IV Schluß: In Genua: Oh meine Freunde, versteht

ihr dies "Trotzdem"?
It follows a catalogue of reflections on each of the nine divisions of
Menschliches, Allzumenschliches. But what does it mean? The key to this
riddle — and to the extended Involution of A O — appears to lie in its
System of reference citations.
My own conjecture is that the Roman numerals refer to parts of
Nietzsche's "Buch für Alle und Keinen."60 He is apparently mapping cate-
gories of Menschliches, Allzumenscbliches onto Zarathustra. The designation
" with "darauf" specifies "Die Reden Zarathustras" in "Erster Teil"
"Zarathustras Vorrede" is evidently excluded. Here we find an example
of the "libre penseur" in Zarathustra's lectures to his disciples.61 The desig-
nation "II" with "Drittletztes" marks the discourse "Von der Erlösung"
in "Zweiter Teil." Here we notice an example of the "esprit libre"
in the lonely prophet who longs to escape his dungeon of past events
by a redemptive and transfiguring act of will.62 The designation
"III" with "2 (am Ende)" indicates the conclusion of the second
sub-section of "Vom Gesicht und Rätsel" in "Dritter Teil." Here we find an
example of the "esprit fort" in Zarathustra's parable and prophesy of the
young shepherd into whose mouth a heavy black snake has crawled.63 The
designation "IV" with. "Schluß" denotes "Das Zeichen" in "Vierter und
letzter Teil." Here we find an example of "seriousness in play" in the
supreme image of Zarathustra attended by the laughing Hon and his flock
of doves.64 The third and final metamorphosis of the spirit is referred back
to the ground and background structures of A 0.
In his speech "Von alten und neuen Tafeln" Zarathustra appears äs a
herald and precursor of the superhuman diildren of his highest hope: "Ein

60
Forty copies of the fourth and last part of Zarathustra were printed for private
distribution at Nietzsche's own expense in early 1885. I support my conjecture äs
follows. The precise and specific pattern pf its reference citations (for example: "111.2
[am Ende]") suggests that the passage represents an analysis rather than a plan. Now
both Unzeitgemässe Betrachtungen and Zarathustra were written in four parts.
Citations such äs "Drittletztes II" and "IV Schluß" are applicable to either: but inter-
pretations such äs "der freie Geist" and "der starke Geist" are applicable only to
relevant passages from Zaratbustra. See my continuation in the text below for details.
01
See KGW VI l, 25—98. For a remark on the "free thinker" in Menschliaes see KGW
IV 2, 320.
62
See KGW VI l, 173—178. For discussion of the "free spirit" in Menschliches see
KGW IV 2, 46 äs well äs 124, 147, 193, 194, 195, 197, 235, 288, 289, 290, 292
and 352. * '.
63
See KGW VI l, 197—198. For comments ön the "strong spirit" in Menschliches see
KGW IV 2,197.
64
See KGW VI l, 401—404.
 628. Preliminary Analysis of the Aphorism and its Precursors 239

Vorspiel bin ich besserer Spieler, oh meine Brüder! Ein Beispiel!"05 Sur-
rounded by shattered tables of values, yearning to go under like the sun,
he sits alone in his den of solitude* growing ripe and ready for the great
noontide and waiting for the sign that his hour is at band, the hour of his
final descent to man« But in "Das Zeichen'* he appears äs an imminent
duld himself: "... meine Kinder sind nahe .. /'ce Emerging from his den,
glowing and strong äs a morning sun, he is greeted by a laughing Hon and
his flock of doves, the sign that he has at long last become ripe, the sign
that the moment for his transformation into a superhuman child has come.
The ultimate prophesy of "Von den drei Verwandlungen" is fulfilled. Now
the key is ripeness. But what constitutes ripeness? Nietzsche anticipates our
question with the following definition: ÄReife des Mannes: das heißt den
Ernst wiedergefunden haben, den man als Kind hatte beim Spiel/'67 Ripeness
is seriousness in play* is thus far more than the climax and con-
clusion of his diemical analysis of concepts and sentiments äs "Nietzsdie-
Freigeist*n Far more indeed. For it also anticipates the climax and culmi-
nation of his aldiemical transmutation of the spirit äs aNietzsdhie-2arathu-

See KCW VI l, 258 (cnd of $ 20). *J am a prdude to bmcr playcr$f oh my

broihcn! an exarnplel* Tbc scenano i$ dcrivcd from thts discourtc«
See KGW VI l, 404. *. , . my Aildrcu are »ear . * ." Tbc $c«rario ii derived from tfaif

See JGB 94 {GA VII, 101). "Tlic immrity of a mani to havc rcdÜbcovcrcd the
$criouÄn«s cnc had a* a cbild at pjay** TTie word "Hcffe* mcans both
and *matt«riiy.*