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Updated: June 3, 2025
I suggest that the last verse in this paragraph strongly confirms the view that Nietzsche's teaching was always meant by him to be esoteric and for higher man alone. Par. 9. In the last verse, here, another shaft of light is thrown upon the Immaculate Perception or so-called "pure objectivity" of the scientific mind. "Freedom from fever is still far from being knowledge."
He saw in man nothing but an animal and in that animal the highest virtue he recognized was "The Will to Power" a will which should know no let or hindrance, no restraint or limitation. Nietzsche's philosophy would convert the world into a ferocious conflict between beasts, each brute trampling ruthlessly on everything in his way.
He never appears to have asked himself what was behind the eye trouble. The evidence relating to Nietzsche's endocrine personality is derived from some of the data he collected, as well as from the two volume life of the philosopher written by his sister, and the other biographies of him extant.
Wagner would often declare that the beautiful music in the third act of Siegfried was to be ascribed to Nietzsche's influence over him; he also adopted the young man's terminology in art matters, and the concepts implied by the words "Dionysian" and "Apollonian" were borrowed by him from his friend's discourses.
Yet it is impossible to read his writings without recognising his penetrating insight as well as his abundance of virile passion. Besides, in spite of all his extravagances or, perhaps, because of them he is symptomatic of certain tendencies of the age. Nietzsche's demand is for nothing less than a revision of the whole moral code and a reversal of its most characteristic provisions.
The steady march of a moralized civilization, presenting united front to the cosmos, is infinitely more glorious than the futile, aimless, and petty struggles of an anarchic immorality. Our half-disciplined life is already far richer and more romantic than the life of Nietzsche's "supermen" could be; and we are only a little way along the road of moral progress.
Every composer has his aura; the aura of Arnold Schoenberg is, for me, the aura of subtle ugliness, of hatred and contempt, of cruelty, and of the mystic grandiose. He is never petty. He sins in the grand manner of Nietzsche's Superman, and he has the courage of his chromatics. If such music-making is ever to become accepted, then I long for Death the Releaser.
As regards Nietzsche's hostility to the theatocracy of Wagner, I share it fully. This business of substituting the theatre for the church, and teaching philosophy singing, seems ridiculous to me. I am also out of patience with the wooden dragons, swans, stage fire, thunder and lightning. Although it may sound paradoxical, the fact is that all this scenery is in the way.
For the genius stands midway between man and Beyond-man: in Nietzsche's phrase, "Man is a bridge and not a goal." Of all the writers on the subject of genius, Schopenhauer is the most illuminating, perhaps because he suffered from it so. According to him, the essence of genius lies in the perfection and energy of its perceptions.
Watts's rhymes, and Nietzsche's Gay Science, and Ingersoll's Mistakes of Moses, and the speeches and pamphlets of the people who want us to make war on Germany, and the Noodle's Orations and articles of our politicians and journalists, must all be tolerated not only because any of them may for all we know be on the right track but because it is in the conflict of opinion that we win knowledge and wisdom.
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