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552 pages, Paperback
First published January 1, 1950
This classic is the benchmark against which all modern books about Nietzsche are measured. When Walter Kaufmann wrote it in the immediate aftermath of World War II, most scholars outside Germany viewed Nietzsche as part madman, part proto-Nazi, and almost wholly unphilosophical. Kaufmann rehabilitated Nietzsche nearly single-handedly, presenting his works as one of the great achievements of Western philosophy.
Responding to the powerful myths and countermyths that had sprung up around Nietzsche, Kaufmann offered a patient, evenhanded account of his life and works, and of the uses and abuses to which subsequent generations had put his ideas. Without ignoring or downplaying the ugliness of many of Nietzsche's proclamations, he set them in the context of his work as a whole and of the counterexamples yielded by a responsible reading of his books. More positively, he presented Nietzsche's ideas about power as one of the great accomplishments of modern philosophy, arguing that his conception of the "will to power" was not a crude apology for ruthless self-assertion but must be linked to Nietzsche's equally profound ideas about sublimation. He also presented Nietzsche as a pioneer of modern psychology and argued that a key to understanding his overall philosophy is to see it as a reaction against Christianity.
Many scholars in the past half century have taken issue with some of Kaufmann's interpretations, but the book ranks as one of the most influential accounts ever written of any major Western thinker.
Nietzsche, more than any other philosopher of the past hundred years, represents a major historical event. His ideas are of concern not only to the members of one nation or community, nor alone to philosophers, but to men everywhere, and they have had repercussions in recent history and literature as well as in psychology and religious thought. Yet Nietzsche’s way of writing – his reputation as a great stylist notwithstanding – and the excessive freedom of most translations of his work make it difficult for the contemporary reader to find out what Nietzsche himself stood for. One knows of his anticipation of psychoanalysis, of his decisive influence on Spengler and existentialism, and of the problem posed by his relations to the Nazis; but the details remain something of a mystery, and Nietzsche’s thought has been obscured rather than revealed by its impact.
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… one is bound to be asked what prompted the choice of the man to whom one devotes such a study … First, there is the scholar’s interest in correcting what he takes to be misapprehensions. Then certain aspects of Nietzsche’s critique of modern man deserve serious consideration: ever more people seem to realize that their pleasures do not add up to happiness and that their ends do not give their lives any lasting meaning. Properly understood, Nietzsche’s conception of power may represent one of the few great philosophic ideas of all time … (and) what is admirable is his deprecation of the importance of agreement and his Socratic renunciation of any effort to stifle independent thinking. Without acceding to his philosophy, one may respect his overruling passion for intellectual integrity; and his protestant perspectives are often suggestive and fruitful even when they are unacceptable.
The elusive quality of this style, which is so characteristic of Nietzsche's way of thinking and writing, might be called monadologic to crystallize the tendency of each aphorism to be self-sufficient while yet throwing light on almost every other aphorism. We are confronted with a "pluralistic universe" in which each aphorism is itself a microcosm. Almost as often as not, a single passage is equally relevant to ethics, aesthetics, philosophy of history, theory of value, psychology, and perhaps half a dozen other fields.
Our impulses are in a state of chaos. We would do this now, and another thing the next moment--and even a great number of things at the same time. We think one way and live another; we want one thing and do another. No man can live without bringing some order into this chaos. This may be done by thoroughly weakening the whole organism or by repudiating and repressing many of the impulses: but the result in that case is not a "harmony," and the physis is castrated, not "improved." Yet there is another way--namely, to "organize the chaos": sublimation allow for the achievement of an organic harmony and leads to that culture which is truly a "transfigured physis."
. . . the material upon which the form-giving and ravishing nature of this force vents itself is man himself, his . . . animalic . . . self--and not . . . other men. This secret self-ravishment, this artists' cruelty, this pleasure in giving form to oneself as a hard, recalcitrant, suffering material--burning into it a will, a critique, a contradiction, a contempt, a No--this . . . work of a soul that is willingly divided against itself and makes itself suffer--this whole activistic "bad conscience" has . . . been the real womb of all ideal and imaginative events and has this brought to light an abundance of strange new beauty and affirmation--and perhaps beauty itself.--What would be "beautiful" is contradiction had not first become self-conscious, if the ugly had not first said to itself: "I am ugly"?