Although perhaps reminiscent of Caliban in The Tempest, the quote comes from Gregor Samsa in Kafka’s “Die Verwandandlung”-or Metamorphosis as it is known in English translation. However I found the quote on an interesting and intriguing video about Nietzsche’s categories of the Apollonian and the Dionysian by Claudia Simone Dorchain.
My interest in Nietzsche has been re-awakened by seeing the new film about “Lou Andreas Salome” in Berlin-actually at Eva Lichtspiele at Blissestraße 18-which is a great old-fashioned cinema. It reminds me of another old filmhouse in Vienna-(The Bellaria Kino) which is situated behind the Volkstheatre and in turn years ago to “The Scala” in the High Street in St Ives -which is where Boots Chemist is situated today. Anyway, for those who are interested this is what it says on the Eva Lichtspiele website:-
Die ‘Eva Lichtspiele’ gelten mit der Eröffnung 1913 unter dem Namen ‘Roland Lichtspiele’ als ältestes Filmtheater im Bezirk Wilmersdorf. In den 20er Jahren, nach einem Umbau und der gleichzeitigen Umbenennung des Kinos in den heutigen Namen, wurden hier die Filme auf Vorschlag des Betreibers mit Musikbegleitung präsentiert – zuerst durch eine Violinistin und später durch ein ganzes Orchester, das durch den Einbau eines zweiten Vorführapparates pausenlos im Einsatz war. Glücklicherweise blieb das Kino während des Zweiten Weltkrieges nahezu unbeschadet, so dass der Kinobetrieb durchgehend aufrechterhalten werden konnte und noch heute viele Einzelheiten des Gebäudes (wie z.B. der schöne elegante Neonschriftzug an der Fassade) auf die lange Kinogeschichte der ‘Eva Lichtspiele’ hinweisen.
Nietzsche I find difficult to come to grips with. Probably, I have read about him rather than reading him directly. Steeped in German classical studies and Schopenhauer, he has had a huge influence on his time but like Heidegger no friend of rationalism or socialist thinking. Although both not only raised interesting questions but demonstrate the continuity of philosophical history. Neo-Thomism and Catholicism in the case of the latter, Plato and Schopenhauer-and both of course were influenced by the Jena poet, Hölderlin.
As to Salome’s influence on Rilke; here is one view relating to her Russian origin:-
“In 1899 Rilke made the first of two pivotal trips to Russia with Salome, discovering what he termed his “spiritual fatherland” in both the people and the landscape. There Rilke met Leo Tolstoy, L. O. Pasternak (father of Boris Pasternak), and the peasant poet Spiridon Droschin, whose works Rilke translated into German. These trips provided Rilke with the poetic material and inspiration essential to his developing philosophy of existential materialism and art as religion. Inspired by the lives of the Russian people, whom the poet considered more devoutly spiritual than other Europeans, Rilke’s work during this period often featured traditional Christian imagery and concepts, but presented art as the sole redeemer of humanity.” This comes from https://www.poetryfoundation.org/poems-and-poets/poets/detail/rainer-maria-rilke
In any event this film-not the first on her -see the link below to Calvini’s version- is visually appealling making fascinating use of old picture postcards and raises questions over the many radical ideas, poetry music and of course, psychoanalysis. There is a very revealing chapter on her in Lisa Appignanesi and John Forrester’s “Freud’s Women”. I do hope this becomes available soon on DVD with English subtitles just like the Stefan Zweig film currently also playing in Berlin. Zweig too has written interestingly on Nietzsche-the book below is available in English translation. Reading about her and her circle, their poetry and music certainly has a calming effect on me.
The following clip is also revealing:-