Abstract
László Krasznahorkai wrote two different texts (the second being the script of Béla Tarr’s film) from two different perspectives starting from the well-known scene in Turin, Italy, where Friedrich Nietzsche embraced a horse beaten severely by the carter. Why does the interpretation of the Nietzsche-scene change? What kind of temporal, historical or ethical relationship does the differentiation between the two texts depend on? How can the beauty of the crumbs of life be perceivable? This article argues that in these works - in contrast with the commonly assumed precognitions about apocalyptic art - life and humble living creatures are celebrated.