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Updated: June 3, 2025
Several facts strengthen this persistent moral appeal. It leaves out no line or wrinkle; but it adds none. The men with whom it deals are typical men. The facts it presents are typical facts. On the other hand, there are books which are depressing. Their pigments are all black. They move from the dignity of Schopenhauer's pessimism to the bedlam of Nietzsche's contempt for life and goodness.
Nietzsche's over-man is an ideal; the Mohammedan paradise is an ideal; and conduct can be modelled on them. But it is not enough to have system in conduct, irrespective of the worth of the ideal which determines the system. Some criterion is needed for deciding between competing ideals.
The spirit of adventure was the spirit that held her, was the most vital part within her, and such a spirit needed freedom to breathe in. She was fettered. She had been a coward, or almost a coward, false, perhaps, to her fortunate star. Hitherto she had always followed Nietzsche's advice and had lived perilously. Was she now to be governed by fear?
Singers, like Hedwig Reicher Kindermann, literally gave their lives for him. And no less than this did he exact from all who aspired to be his disciples and supporters. But Nietzsche's was a different character. He was Wagner's peer, and, though thirty years his junior, had his own purposes to follow. Nietzsche was, as he afterwards realized, under a delusion from the first.
The same problem may possibly face the reader on every page of this fssay: if, however, we realise Nietzsche's purpose, if we understand his struggle to be one against "Culture-Philistinism" in general, as a stemming, stultifying and therefore degenerate factor, and regard David Strauss as the author himself did, that is to say, simply as a glass, focusing the whole light of our understanding upon the main theme then the Strauss paper is seen to be one of such enormous power, and its aim appears to us so lofty, that, whatever our views may be concerning the nature of the person assailed, we are forced to conclude that, to Nietzsche at least, he was but the incarnation and concrete example of the evil and danger then threatening to overtake his country, which it was the object of this essay to expose.
Doubtless there is an older and better hero-worship than this. But the old hero was a being who, like Achilles, was more human than humanity itself. Nietzsche's Superman is cold and friendless. Achilles is so foolishly fond of his friend that he slaughters armies in the agony of his bereavement. Mr. Shaw's sad Caesar says in his desolate pride, "He who has never hoped can never despair."
But I could not stand it any longer; and I fled out of the theatre with a feeling of disgust that I have not yet forgotten." I admit I cannot read this delightful criticism without laughing; and it does not affect me painfully like Nietzsche's pernicious and morbid irony.
Enemies of Nietzsche began to whisper that he was merely Wagner's "literary lackey"; many friends frowned upon the promising young philologist, and questioned the exaggerated importance he was beginning to ascribe to the art of music and to art in general, in their influence upon the world; and all the while Nietzsche's one thought and one aim was to help the cause and further the prospects of the man who he earnestly believed was destined to be the salvation of European culture.
The immense encouragement given to really drastic, original thought by Nietzsche's writings is an evidence of the importance of what might be called cruel positivity in human thinking. Shelley has, however, an advantage over Nietzsche in his recognition of the transformative power of love.
The inevitable superficiality of the rabble is contrasted with the peaceful and profound depths of the anchorite. Here we first get a direct hint concerning Nietzsche's fundamental passion the main force behind all his new values and scathing criticism of existing values. In verse 30 we are told that pity was his greatest danger.
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