By Friedrich Nietzsche
Nietzsche's past due works are marvelous and uncompromising, and stand as monuments to his lucidity, rigor, and magnificence. This quantity combines, for the 1st time in English, 5 of those works: The Antichrist, Ecce Homo, Twilight of the Idols, Nietzsche contra Wagner, and The Case of Wagner. Nietzsche takes on a few of his maximum adversaries in those works: conventional faith, modern tradition, and particularly, his one-time hero, Richard Wagner. His writing is at the same time severe and inventive, revealing his replacement philosophical imaginative and prescient, which, after greater than 100 years, nonetheless keeps its audacious originality.
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Example text
The A nti-Christ A Curse on Christia nity P R E FA C E This book belongs to the very few. Perhaps none o f them are even alive yet. Maybe they are the ones who will understand my Zarathustra. There are ears to hear some people - but how could I ever think there were ears to hear me? - My day won't come until the day after tomorrow. Some people are born posthumously. The conditions required to understand me, and which in turn require me to be understood, - I know them only too well. When it comes to spiritual matters, you need to be honest to the point of hardness just to be able to tolerate my seriousness, my passion.
Nietzsche on Wagner Decadence is not a univocal phenomenon, then. One can suffer from being oneself in many different ways and to many different effects. And this should arm one against thinking that Nietzsche's late writings about Wagner, in which he presents Wagner as the modern decadent par excellence, are likely to be especially one-dimensional. Indeed, it should alert one to the strong possibility that in this case, where Nietzsche's claim to be personally unembroiled is even less plausible than in the case of Christianity, his judgment may go awry.
But 'It was not music that Wagner con quered them with, it was the "Idea" : - the fact that his art . . plays hide-and-seek under a hundred symbols' (CW 10 ) . Indeed, claims Niet zsche, Wagner's elusiveness is a major source of his power to corrupt: XXXI Introduction He has an affinity for everything equivocal . . everything that in general persuades the uncertain without letting them know what they are being persuaded of. Wagner is a seducer in the grand style. There is nothing tired . .