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By Friedrich Nietzsche
Ainsi parlait Zarathoustra « Cette oeuvre est complètement à half. Ne parlons pas ici des poètes : peut-être n'y a-t-il jamais rien ecu qui soit d'une telle surabondance de strength. Ma suggestion du dionysiaque s'est faite ici motion d'éclat ; comparé à elle, tout autre agir humain apparaît misérable et limité. Qu'un Goethe, qu'un Shakespeare ne sauraient respirer un seul immediate dans cette atmosphère de ardour et d'altitude, que Dante, auprès de Zarathoustra, ne soit qu'un croyant, et non quelqu'un qui start par créer los angeles vérité, un esprit qui gouverne le monde, un destin -, que les poètes du Véda soient des prêtres et pas même dignes de dénouer les chaussures de Zarathoustra, voilà qui n'est encore qu'une litote et ne donne aucune idée de los angeles distance, de l. a. solitude azuréenne où vit cette oeuvre » (Nietzsche, Ecce Homo, « Pourquoi j'écris de si bons livres »).
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Scotland always remained an ominous land, however, not least for him because as a child he had been lovingly instructed by his governess, Alice Cunningham, a dedicated soul who filled the child with the darkest tales and scariest bogies to be conjured by Calvinist fears of hell and damnation. Given such a beginning, one is surprised, or relieved, to find that Stevenson was destined to write one of the great parables of the eternal battle between good and evil, The Strange Case of Dr. Jekyll and Mr.
Born in Edinburgh on November 13, 1850, Stevenson contracted in his early years what was probably tuberculosis, a condition that would cause repeated bouts of illness throughout his life. But frequent confinement to the sickbed did not stifle the child舗s imagination. The young boy wrote tales based on biblical passages and Scottish history and soon gained a reputation as a storyteller. In 1867 Stevenson enrolled in Edinburgh University. His family expected that he would join the distinguished line of Stevenson engineers; instead he chose to study the law.
When Stevenson uses Marryat舗s stockade in chapter XIX, it becomes our author舗s own possession (lawyers would call it his intellectual property), because Stevenson transforms the stockade scene for his own uses, according to an ancient literary law of the rights of genius. 舡 This confession tells a lot about Stevenson, for like Shakespeare he understood the mythological power of proverbs, but more personally he would know about the sweetness of stolen waters, for he had climbed many a mountainside and drunk the clear, free mountain streams (舠burns,舡 as they are called in Scotland) tumbling down hills that legally belonged to someone else.