Has any one at the end of the nineteenth century any distinct notion of what poets of a stronger age under-stood by the word inspiration? If not, I will describe it. If one had the smallest vestige of superstition in one, it would hardly be possible to set aside completely the idea that one is the mere incarnation, mouthpiece or medium of an almighty power. The idea of revelation in the sense that something becomes suddenly visible and audible with indescribable certainty and accuracy, which profoundly convulses and upsets one — describes simply the matter of fact.... Everything happens quite involuntarily, as if in a tempestuous outburst of freedom, of absoluteness, of power and divinity. The involuntariness of the figures and similes is the most remarkable thing; one loses all perception of what constitutes the figure and what constitutes the simile; everything seems to present itself as the readiest, the correctest and the simplest means of expression. It actually seems, to use one of Zarathustra's own phrases, as if all things came unto one, and would fain be similes: `Here do all things come caressingly to thy talk and flatter thee, for they want to ride upon thy back....'
Of all that is written, I love only what a person hath written with his blood. Write with blood, and thou wilt find that blood is spirit.
It is no easy task to understand unfamiliar blood; I hate the reading idlers.
He who knoweth the reader, doeth nothing more for the reader. Another century of readers — and spirit itself will stink.
Every one being allowed to Iearn to read, ruineth in the long run not only writing but also thinking.
Once spirit was God, then it became man, and now it even becometh populace.
He that writeth in blood and proverbs doth not want to be read, but learnt by heart.
In the mountains the shortest way is from peak to peak, but for that route thou must have long legs. Proverbs should be peaks, and those spoken to should be big and tall.