Running head: STRAUSS’ ALSP SPRACH ZARATHUSTRA 1

ANALYZING STRAUSS’ ‘ALSO SPRACH ZARATHUSTRA’ WITH NIETZSCHE

ORIGINAL TEXT

Rajdeep Nath

Independent Research
STRAUSS’ ALSP SPRACH ZARATHUSTRA 2

Table of Contents
Chapter 1 ................................................................................................................................. 3
Introduction .............................................................................................................................. 3
Research Question .................................................................................................................... 3
Chapter 2(Literature Review) .............................................................................................. 4
Introduction ............................................................................................................................... 4
The contention among various experts and researchers……………………………………………………..…………….5

Historical significance to format of tone poem........................................................................ 6

Conclusion……………………………………………………………………………………..7
Chapter3………………………………………………………………………………………7
Methodology………………………………………………………………………………….7
Chapter4…………………………………………….……………………………………… 8
Project…………………………………………………………………………………………8
The Motives in the composition and the way forward for research…………………………..8
Von de Hinterweltern……………………………………………………………………11
Von der GrossenSehnsucht……………………………………………………………….…12

Von den Freuden und Leidenschafte…………………………………………………………14

VonDerwissenshaft………………………………………………………………………..16

DerGenesende………………………………………………………………………………..17

Das Nachtwanderlid…………………………………………………………………………17

Chapter5……………………………………………………………………………………18
Conclusion …………………………………………………………………………………..18

Reference list…………………………………………………………………………………20
STRAUSS’ ALSP SPRACH ZARATHUSTRA 3

Chapter 1

Introduction

From 1883 to 1891, German philosopher Friedrich Nietzsche published perhaps his

most famous work, Thus Spoke Zarathustra: A Book for All and None. Today, it is

considered to be his most famous work, accounting for some groundbreaking philosophical

discourses, which would change the history and identity henceforth. The most prominent

themes dealt in the book included the “eternal recurrence of the same”, his most famous

parable about the “death of God”, and the “Ubermensch” sayings, the latter of which soon

gathered a lot of attention (Williamson, 1993). Richard Strauss, a German composer, was

known for his evocative compositions known for extending the possibilities of then

ubiquitous Romantic Movement of that time (Dotsey, 2018). His tone poem, “Also sprach

Zarathustra” Op. 30, was certainly influenced by the iconic philosophical/literary work in

more ways than one. However, despite being not as popular in the direct aftermath of its

composition, it eventually found its way to the mainstream audience.

Research Question

The overall narrative of “Also sprach Zarathustra” is most certainly a curious one. It

was not popular during its composer’s own lifetime, and was considered one of his lesser

works. However, after its prominent use in the groundbreaking 1968 Stanley Kubrick movie,

‘2001: A Space Odyssey’, its popularity simply exploded. This was despite the fact that most

people are aware of its opening, which directly correlates to the preamble stated in the

Nietzsche’s book about the sun rising above the mountains (Dotsey, 2018). It also represents

the light of knowledge shining upon the prophet, Zarathustra, who Nietzsche uses as a

prophetic substitute throughout the book in order to explain his concepts.

It is important to exactly correlate the tone poem at hand in order to perfectly relate

with the main research question of “Also sprach Zarathustra” delayed popularity into the
STRAUSS’ ALSP SPRACH ZARATHUSTRA 4

public consciousness. One working idea that can present a way forward for this research in

particular is the significance of Nietzsche’s philosophy upon modern society (Schrift, 2014).

To this end, it is quite necessary to explore all the literary, and commentary based works that

have been written in relation to the composition and the original book itself. This research

aims at unearthing the most prominent of these sources, and explaining as to what exactly it

pertains. It shall also help in explaining how the mode of ‘tone poems’ can provide a source

of influence, and impact upon the world at large.

To this end, it is also necessary to exactly trace the aspects of the poem in direct

conjunction with that of Nietzsche’s book. To this end, an extended musical form of analysis

is needed, which can effectively capture the feeling that Strauss was trying to evoke from the

composition. Although directly doing such a relational mapping through comparison may fall

under something that is subjective in nature, it is important to consider the art form of music

itself. Although being composed by a single authority, ‘Also sprach Zarathustra’ has been

excised, and interpreted in a multitude of different ways (Fontenoy, 2017). The works that

have been incorporated, or had somehow been influenced by are also quite widely accepted

by the public. At the end of the day, people consider music to be subjective, but through

enough considerations into the author’s insight, there can be corrective relations as a result.

Chapter 2

Literature Review

Introduction

The major point of contention, and discussion among many of the scholars regarding

Strauss’ “Also sprach Zarathustra” lies toward the connection to Nietzsche’s works. The

subtitle of Strauss’ original copy of the score carried the phrase ‘Tone poem freely after

Nietzsche’. However, in Strauss’ latter comments that the connection to Nietzsche’s

philosophy was only perfunctory in message. He stated that the composition had more in
STRAUSS’ ALSP SPRACH ZARATHUSTRA 5

relation to the man’s origins, and the development that the species underwent against time

and other challenges. However, Strauss was responsible for composing ten different tone

poems during his entire lifetime. Some of them had more in common with a literary work

than others. The scale of similarity, and adherence to the original work that “Also sprach

Zarathustra” has displayed has been received differently by authors and experts.

The Contention among various experts and researchers

For instance, Gilliam (1997) believed the explicit connection of this work to that of

the core aspects of Nietzschean philosophy. He discussed the eight specific speeches

prominently featured in the original book, which was lifted by Strauss to title the different

sections of the entire composition. Others tend to believe in a more comingling connection to

the work of Nietzsche. However, this camp severely detracts in a variety of different ways.

Many would like to believe that only the feeling, and sentiment caught by the initial stages

were ideologically implemented in the composition. Others would like to believe that the

composition came into being by combining the views of both Nietzsche and Strauss.

However, since the latter’s ideological and philosophical views have hardly been confirmed

over time (Gilliam, 1999), there is hardly any kind of consideration to the end.

This particular approach of belief has been effectively explored by Kennedy (1984)

and Youmans (1998) respectively. There is certainly a central confirmatory basis according

to the studies made by Williamson (1993) in the form of an entire book. It is certainly an

interesting study mode for proper interpretation of the composition in terms of Nietzsche’s

work. He first deals with the various sections of tone poems in a mostly straightforward way.

However, in the second aspect of the exploration of the themes, he specifically searched for

the connection through evolution of man across various stages of development of Man as a

species. This directly connects to Nietzsche’s own concepts about the evolution of man as

being the central aim, and point of existence.

STRAUSS’ ALSP SPRACH ZARATHUSTRA 6

This point of the research also effectively constitutes, and supports the fact that

Strauss’ own views might have played a part to the final composition. This formed a

continuation of exactly what Del Mar (2013) confirmed in his original works. However,

Williamson confirmed that “Also sprach Zarathustra” might have more in common with

Nietzsche’s work than Strauss himself thought, or perhaps knew but decided to avoid

probable controversies.

Historical significance to the format of Tone Poem

A tone poem, by definition, is a piece of orchestral music, which evokes and

illustrates the themes, narratives and concepts of an already finished non-musical work. Tone

poems are usually considered to be a single unbroken piece of music that changes in

accordance with that of the interpretive swings, and shifts of the source. However, that was

not always the case at hand. During the early part of the Romantic Movement in music, Tone

Poems were usually divided into specific compositions that together completed the narrative,

or the entire spectrum of the original source. This was how the originator of this form of

classical composition, Franz Liszt, and his adherents stuck to (Johns, 1997). Richard Strauss

is generally considered to be the first one to break away from this mold, composing

standalone pieces that constituted the entire work in itself (Kennedy, 1984). Perhaps the best

demonstration is through “Also sprach Zarathustra” itself.

However, in regards to this composition at hand, Strauss had a lot of liberty due to

which interpretation could be made possible. Firstly, Nietzsche’s original book read as a

parable, to be interpreted as one saw fit, lending it a great deal of subjective freedom to the

interpreter at hand. Strauss certainly recognized this, as he did not just strictly follow the

narrative like most of his predecessors had done (Del Mar, 2013). Instead, he went for a more

subjective approach to get to the core meaning of Nietzsche's speeches. By doing so, he was

able to develop a more abstract approach through which Tone Poems can be composed in the
STRAUSS’ ALSP SPRACH ZARATHUSTRA 7

future (Kennedy, 1984). It also paved the way for more Modernist works that would

immediately follow in the 20th century. The Tone Poems of Richard Strauss can also be

considered as a source through which the modern art of fil music score composing is greatly

influenced and shaped by as a result.

Conclusion

The possibilities that Richard Strauss was certainly influenced by Nietzsche’s works

are certainly not in doubt. It is pretty evident that he followed the necessary dictums, and the

amount of liberty of mind required at that time. This is because Nietzsche’s works were

certainly not as well-received during Strauss’ lifetime as one might think. He also poured in a

great deal of originality that would soon go on to change the entire face of classical music for

the next century and beyond. However, there is certainly a need to explore more in terms of

the pertaining composition that requires a definitive methodology for proper long-form

analysis.

Chapter Three

Methodology

This research tackles the proper analysis of the Tone Poem at hand, “Also sprach

Zarathustra”, which is more of a subjective piece of work than just following the narrative of

the source. It would form a qualitative approach to the entire field of work, which may be

interpreted as an archival form of research (Eilifsen & Messier Jr, 2000). In this form of

qualitative methodology, various widely accepted works and studies are considered alongside

their respective points of similarities, as well as differences. Doing so would allow for a great

deal of confirmation cross-identification of correctly identifying the variant reasons, and

suppositions that one mat consider as the correct way forward.

In terms of mainly constituting the analysis of various musical passages, motifs and

sections, semiotic tools are used to identify various elements like pitch, rhythm dynamics and
STRAUSS’ ALSP SPRACH ZARATHUSTRA 8

timbre (Tochon, 1994). Upon consultation from various sources, one can derive various

forms of responses from the listeners. Under certain considerations, as the source material

happens to be philosophical in tone and core message, the user shall be experiencing a more

of an empathetic experience than an altogether active one. The variables of emotion to be

considered in this case involving empathetic listening. Certainly, the variable factors of these

considerations of these considerations of exactly what the original work meant to the listener.

Focusing upon “what” the variable forms of media is supposed to evoke (Boell & Cecez-

Kecmanovic, 2010, p. 132) is considered to be ‘hermeneutic’ in nature.

Thus, through the application of semiotic and hermeneutic analysis modes of looking

at both the musical composition and the original text, the proper modes of analysis can be

confirmed. The use of archival form of research would be used to confirm as to what forms of

analysis are applicable under any presentation of the scenario considered (Ventresca & Mohr,

2017). One of the most important factors to look after in accordance to this very end

rationalizes the legitimacy of the claims that Nietzsche’s philosophical musings are at the

core of the composition’s strengths. Finally, the research would effectively compare the

effects of Nitzschean thought upon the modern society as a whole with the impact that

Strauss’ composition had upon the culture.

Upon properly considering of all possible points of view, the perfect result can

ultimately be derived as to the research question presented above in this paper. It would also

effectively point out what classical composers can derive, and learn from the composition of

Strauss, and channel into their own original works as a result.

Chapter 4

The Project

The Motives in the Composition and the way forward for research
STRAUSS’ ALSP SPRACH ZARATHUSTRA 9

It is very important to consider all the different narrative devices used in the meaning

of both the works. In terms of Nietzsche’s original book, the main theme tackles the question

about the relationship between Man and Nature. The Nature, according to Nietzsche, does not

refer to the world outside, but the various ways presented to Man in order to achieve his

fullest potential. In the musical Tone Poem, Strauss generally utilizes the key of B when Man

is being represented, while the Nature is represented in the key of C (Alsop, 2012). However,

Strauss uses certain leitmotifs to capture certain themes of the narrative throughout the entire

composition, which can be effectively termed as being Wagnerian in nature (DePascale,

2003). Generally speaking, leitmotifs, or simply motives, are associated as being commonly

possessing a certain relation to the entire composition.

Figure 1. The Nature Motive

Figure 2. The Longing Motive

This is quite evident in the ‘Nature’ motive, which is implemented of the potential the

Nature possesses by itself in help Man attain the ultimate status of the “Ubermensch”. It

prominently features the interval between a perfect fourth and perfect fifth representing the

harmonic order of all things in nature (Alsop, 2012). The motive of ‘Longing’, which is

perhaps the most recognizable, and iconic features of the entire composition is known for its

upward ascent of three distinct notes. It quite essentially represents the continuous desire of
STRAUSS’ ALSP SPRACH ZARATHUSTRA 10

the Man to achieve a higher order in terms of his own mental, physical and emotional

capabilities.

Figure 3. The Religion Motive

Figure 4. The Life Urge Motive

Similarly, the “Life Urge” motive is represented by a series of ascending notes in a

rapid and frantic pace, which differs quite significantly from that of the ‘Longing’. This is

quite evidently where Strauss’ genius and compositional originality comes in (Alsop, 2012).

Any particular motive is subverted to a counterpart if the message in the themes in terms of

both have something in common (Mendl, 1932). It is also represented in the ‘Science’

motive, which begins just like that of the ‘Nature, but would go on to involve all twelve

pitches representing the explorative, and holistic nature involved in this field of study.

There is also a certain ‘Dance’ motive involved, which severely differs from all the

other ones, and is a significant contribution to point out certain differences (Kobbé, 1902).

There are also several other motives that feature in the entire composition. While it is not

possible to feature every one of them, the sequential analysis of all the parts of the

composition would feature them.

However, proper analysis of each distinct section in “Also sprach Zarathustra” is

certainly needed to provide a full narrative analysis of the piece. To this end, explanation of

each such section in terms of thematic and ideological value is most certainly needed. Some

of these are connected in both of these terms to Nietzsche’s original work, and as a result,
STRAUSS’ ALSP SPRACH ZARATHUSTRA 11

their explanation given are quite obvious and direct in nature (Thiele, 1990). However, some

sections are more in terms of transitory in nature by keeping in pace with the narrative as a

result. The entirety of this piece is structured in terms of four major sections with each of

them being divided into two separate sections.

Von der Hinterweltern

The truly iconic, opening 32 bars, which forms the beginning of the entire

composition is representative of the prophet, Zarathustra, venturing out into the world. The

opening ‘section’ has several motives that would be interspersed in various forms throughout

the composition. However, immediately after the bombastic introduction ceases with fanfare

of loud, booming drums, the musical face changes giving way to what many might refer to as

‘pianissimos tremolo and basses’ (Berlioz & Strauss, 1985, p. 19). This is the first

introduction of the ‘Religion’ motive, and portrays the contrast between Man under the

influence of religion, and the Nature that came directly before it. This motive starts upon an

A ‘flat’, and gets repeated in the key of F. The music does not feature Man’s key of B until

the Longing motive until m.30.

The Longing motive continues for some time, which is then interrupted by the Credo

motive, which continues until m.35. Horns are utilized specifically used for this section, and

its accompanying connection to the aforementioned motive. It is followed by a religious

hymn section. The addition of organ serves to bolster the feeling of religious presence and

adherence. This is mostly starts and ends in the key of A-flat. However, it meanders

throughout the time in G, E-flat, A and E major respectively through patterns known as

“chromatic slide-slips”. The name of this first section of the entire composition is translated

to mean “The Blackworldsmen” who are generally referred to as Nietzsche as being people

who remove themselves from the society in order to gain spiritual awakening by reaching out

to God.
STRAUSS’ ALSP SPRACH ZARATHUSTRA 12

Such an individual removes himself from the machinations, and complexities of the

society because he is just sick of it. The world, in the case of the original text, is portrayed to

be quite ‘sick’, and “The Blackworldsmen” remove themselves out of the world than just

choosing to live in it (Gooding-Williams, 2001). The entire point of this section revolves

around the meeting of Zarathustra with such an individual in the woods. This particular

section evokes the feeling how Man utilizes religion in order to search for something above

the hardships, and sufferings that abound throughout the world. The religious themes

pervading this entire section is reinforced by a utilization of a repeated four-bar hypermeter,

which repeats the characteristic hymnal qualities of the religious section (Thiele, 1990). At

the end of the section, the music climbs higher in a crescendo to the next section that is

known as “Von der Grossen Sehnsucht”.

Von der Grossen Sehnsucht

The title named in the second section is referred to as “The Great Longing” arriving

directly after the very intense climax of the first section. The first section is greatly

augmented by an ascending viola ultimately reaching a B5, which produces an unnatural feel

altogether. It is a high-pitch sound, which is followed by the leading tone of C riding over a G

dominant-seventh chord. Instead of resolving the dominant-seventh, Strauss reinterprets it

into an augmented–sixth chord rooted in the key of B minor (Berlioz & Strauss, 1985). This

is the key of Man, which pervades through the entire section consequently. The idiosyncratic

modulation of the Man motive represents that Man currently does not wat to exist in his own

natural state.

The Great Longing begins in m.75 officially with the Longing motive in the

continuous key of B minor. It is most normally accompanied by the instruments of cellos and

bassoons only, which reaches a height after being replaced by violin and flute at B5. This is

the ending of the first section, and resumes the melody that was being played by the viola.
STRAUSS’ ALSP SPRACH ZARATHUSTRA 13

However, it then shifts focus by playing in the key of B major, which is essentially a peaceful

melody, but does not persist for long. English horns come in exactly at m.82, and starts

playing the Nature motive in the Key of C. While all of this is going the second violin section

comes at V7 in B. This creates the feeling of bitonality used to effectively portray the conflict

between Man and Nature (Berlioz & Strauss, 1985). In m.84, there is a return of clarinets and

bassoons in the key of B Major, but the English horns continue with the Nature motive,

alongside an additional oboe. There is also an underlying chordal tremolo provided by violins

that changes to an E diminished triad, and ultimately shifts the entire arrangement into a

section written in D major. This section lasts for about thirteen measures.

Figure 5. Conflict between Nature and Man mm. 82-87

In the m.86, the organ introduces an entirely new motive referred to in the score as the

“Magnificat” referring to the Song of Mary in the original text. But, before the motive can

end, horns start playing the Credo motive, which eventually resolves in the Religious motive

in D major. However, this too does not last long as the English horns and oboe make a return

with greater force than before playing the Nature motive with the addition of a trumpet. It

generally refers to the conflict between Nature and Man, the latter of which extends to
STRAUSS’ ALSP SPRACH ZARATHUSTRA 14

Religion (Berlioz & Strauss, 1985). Strauss introduces the first Life-Urge Motive, which is

played in unison by English horns, clarinets, bassoons and violas against the Religious

motive, against which the Life-Urge motive has been pitted against. The Religion motive

continues in association to depict the eternal pervasiveness of Man and religion. It is cut short

by a blaring trumpet playing A c minor arpeggio to finally resolve at the Life-Urge motive

bringing the entire section to a close.

This is an important section that is one of the most essential parts of the original book.

Man is supposed be ‘longing’ for something better to attain, and themes of religion and

Nature are at direct conflict (Gooding-Williams, 2001). It is an inward presentation of

thought that is depicted for Zarathustra as opposing forces tend to lead into a great sense of

inner confusion. But, ultimately it implies that Nature in consequence with Man are forever

connected, and the longing to ‘live life to its fullest’ is what emerges as the victory aspect

within Zarathustra.

Von den Freuden und Leidenschaften

Translated to “Of Joy and Passion”, is an exposition of the possibilities of Nature, as

well as virtue and passion for creativity among Man being primary motivators. The piece

firmly establishes itself in the key of C, and plays through several leitmotifs to indicate the

innate, and connected meaning of different parts or themes. The life-urge motive, which

dominated the previous section, takes a backseat as the Passion motive engages the listener

throughout. It is accompanied by a new harmony in response to the prolonged one that came

before it.

There are chromatic inflections, however, signifying that they are passing tones, or

bringing neighbor incomplete tones and pitches to that of C minor. However, the passion

motive gets transformed, and is generally accepted to be the rise of the Virtue motive, which

is connected to its predecessor. In the latter half of the section, the key moves around to the E
STRAUSS’ ALSP SPRACH ZARATHUSTRA 15

flat major representing Man finding himself through passion and virtues. However, both c

and E flat play side by side from mm. 134-135 (Berlioz & Strauss, 1985). Then, in m. 136 the

E flat as the common tone flourished just some measures earlier has a resolution towards a

vii65 at a cadence of 6/4 into e flat. In the end section, a continuous application of applied

dominants brings the key back to C minor. Also, the end of this section is marked by several

descending chromatic notes. The final chromatic motion begins at m.158, and this marks the

entry of the Disgust motive, which eventually shifts the key from C minor to B minor of the

very next section.

Figure 6. Modulations mm. 131-138

The main point about the contrasting chapter in the original text is all about finding

one’s passion, which lead to virtues inculcated within oneself. It also insists that passion

should exist without the fear of religious influence or imposition (Gooding-Williams, 2001).

The modulation to E flat is representative of finding the virtues through pursuing the passions
STRAUSS’ ALSP SPRACH ZARATHUSTRA 16

of any individual. This is one of the core messages that forms the Nitzschean worldview. This

is also one of the most important aspects of the entire composition “Also Sprach

Zarathustra”.

Von der Wissenschaft

This subsection is quite certainly divided into two sub-parts, which can be

differentiated quite succinctly upon hearing. This takes the movement of fugue, which moves

slowly from the keys of B to C denoting the connecting points between Nature and Man. The

very differing second section utilizes motives in the key of B, instead of C. These motives are

normally referred to be a part of the ‘Tanzlied’ section (Schrift, 2014). The main reason for

the existence of the section is in order to denote the contradiction stated by Nietzsche that

Zarathustra had with a musician, Tanzlied.

In the first section, the motives that evoke the confluence of Man and Nature at work,

and in harmony revolves around all twelve available pitch classes sequentially. These

sequences are augmented by open-fifths, B minor, E flat major, A major, and D flat major

triads respectively. However, throughout the section Strauss avoids sequencing by including

what is commonly referred to as an H transformation to bring the key to E flat major.

Figure 7. “Von der Wissenschaft” Fugues mm. 201-2016

STRAUSS’ ALSP SPRACH ZARATHUSTRA 17

The overall transformation from B to C represents Man’s attempts about controlling

his fear of Nature through Science. The latter section quite effectively portrays Man

achieving control over Nature. This section is quite light in terms of musical identity, and in

m. 241 a new transformative melody derived from the Longing motive eventually comes in.

It is played in B major, and contrasts the plaintive feel of the vision of Science allowing Man

to control Nature in every possible way. The section eventually ends with Disgust motive

bringing the entire section to a definitive close.

Der Genesende

This part specifically explores the themes about convalescence and recovery. It starts

upon the key of E, and continues with the fugue movement that came beforehand in the

previous section. However, the key eventually changes back to C. However, it should be

stated that the Science motive, which had been only partially played in the previous section is

given the full-fledged treatment in this one.

The fugal treatment is abandoned by m.308, and would eventually appear only in

fragments in the latter sections. The science theme is also not present, and a rising figure of

low brass, woodwinds and strings descend sequentially at every two beats by half-steps

(Berlioz & Strauss, 1985). The Disgust motive is also prominently featured later showing

Zarathustra at being fully ‘disgusted’ with the world. However, the Nature motive is played

in unison upon a C at m. 329, indicating that Zarathustra has been successful in his recovery.

It would eventually lead to the very last major section of the composition, which depicts

unbridled joy of the main character in the narrative.

Das Nachtwanderlied

The transformation from the tumult of the previous section to this one is depicted by

the return of the Tanzleid. However, it is just a segment before the actual section starts in

earnest, representing the ideals existing in society. The title is referring to the joyous dance of
STRAUSS’ ALSP SPRACH ZARATHUSTRA 18

Zarathustra, and is the longest part of the entire composition. The chords in this particular

section depicts the return of the C/D octatonic collection. The sonorities alternate between

dominant-sevenths and major triads. However, it is important to note that the instruments are

constantly shifted between various groups of instruments. Many of the motives also make a

return in this very section, and is filled with an uplifting mood that perfectly suits Nietzsche’s

final sayings in the original text.

Chapter 5

Conclusion

One of the most prominent aspects of Nietzschean philosophy is how popular, and

commonplace it became during the 20th century. It followed, and reinforced many of the

beliefs in the strange obsession of humanity to move forward with goals, which is truly

unprecedented. One of the most important discussions, and theories were regularly featured

in the political, social and even individual concerns. To say that the field of philosophy got

transformed due to Nietzsche would be an understatement. Simply speaking, the presentation

of Nitzschean thought not only brought about an immense sense of progress that led mankind

to discover nuclear power and the computer, but it also brought about great amount

destruction and sufferings.

One of the more obvious aspects is the sheer appropriateness, and the actual

subjective of adherence in Richard Strauss’ in “Also sprach Zarathustra”. Similar to

Nietzsche’s philosophical teachings passing under the radar before coming into prominence

deep into the 20th century, the composition also was a late-burner. But, it exactly translated to

the innate feelings gripping mankind during the time. The limitless possibilities that man

might progress toward a greater state of evolution decidedly came to the forefront. One can

also compare whether both media of the same source material is better translating in the

evocation of the content. Not only they are effectively carry the message themselves, but the
STRAUSS’ ALSP SPRACH ZARATHUSTRA 19

context around which they are presented with are depicted as mankind getting to something

that is ‘next level’ to become absolutely perfect.

STRAUSS’ ALSP SPRACH ZARATHUSTRA 20

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