The function of this chapter is to examine Mahler’s philosophical concept of time and the embodiment of this within the programmatic and structural model of his six-movement Symphony no. 3. This chapter shall argue that the composer’s newfound concept of time was borne out of Friedrich Nietzsche’s fundamental doctrine in his book Also Sprach Zarathustra1 (Thus Spoke Zarathustra) of 1885, from which Mahler drew directly in the fourth movement of his third symphony. It must be stated at this initial stage, however, that the contextual significance of Nietzsche’s work extends far beyond the borders of the fourth movement, instead radiating from this crucial midpoint in both directions and acting as the central anchor from which all contributory philosophical expressions in the symphony evolve. The subject of Mahler’s concept and treatment of time with regard to Nietzschean principals is but one of the ingredients exhibiting a contextual and often disguised correlation between the literary and musical works mentioned above.