Nietzsche’s Frames: Esotericism and the Art of the Preface

8/11/2019 Nietzsches Frames: Esotericism and the Art of the Preface

1/31


2/31

EnterText 6.3

5trauss, the writer res'onsible for most of the current discourse on esotericism, has done

much to detail what it means and the circumstances under which it is 'ractised. sotericism, or

writing between the lines," occurs in times that are less free, 5trauss 'ro'oses.3t is his

contention that an esoteric boo contains two se'arate and distinct teachings( one ob-ious,

'o'ular, and more traditional teaching and the true one, which is hidden to all but the most

careful readers.75ince the true teaching is often contro-ersial or e-en incendiar, it is not

t'icall found in ob-ious 'laces, such as introductions or conclusions.8

According to )eidegger, Nietzsches grand stle" em'hasises the will to 'ower, artistr,

and the necessit of creation. )eideggers conclusion that Nietzsche is an esoteric writer,

howe-er, is less 'ersuasi-e. +or e-er great thiner alwas thinksone jum' more originall

than he directlspeaks," )eidegger writes. 9ur inter'retation must therefore tr to sa what is

unsaid b him."6)eideggers reading is fairl sim'le( great writers are esoteric! Nietzsche is a

great writer! therefore, Nietzsche is an esoteric writer.

5ince )eidegger, Nietzsches esotericism has mostl been taen for granted, to the extent

that Nietzsche might call it a scholarl, if not 'hiloso'hic, 'rejudice.:Nehemas, who wrote one

of the onl boo;length treatments of Nietzsches manner of 'hiloso'hising, refers to

Nietzsches self;aggrandizing, aristocratic, esoteric manner," without gi-ing an ade%uate

ex'lanation as to wh he sees him as an esoteric writer.


3/31

EnterText 6.3

whereas =errida is sce'tical about whether an intention exists. )eidegger ex'ects

inter'retations that s'ea for Nietzsche! =errida suggests that inter'reters s'ea in 'lace of him,

because we would be silent or confounded otherwise. -en those who agree on Nietzsches

esotericism disagree as to what it means for readers and would;be inter'reters.

>am'ert, a careful reader of Nietzsche ?and 5trauss@, a''roaches the %uestion more

directl. >am'ert agrees with 5trausss definition of esotericism,but claims that the tradition of

esotericism ends with Nietzsche. A Nietzschean histor of 'hiloso'h," >am'ert submits,

brings the old esoteric 'ractices into the o'en2it ends them b bringing them into o'en and it

ends them for 'recisel the same reason that 'hiloso'h first too u' esoteric 'ractices( to

defend the 'lace of reason in the world."#B>am'ert notes that esotericism and the more recent

turn from esotericism are ex'lained b the need to sa-e 'hiloso'h. sotericism was beneficial

when 'hiloso'hers were not free, as 5trauss suggested, but now 'hiloso'h is threatened again,

this time b its reluctance or inabilit to show itself to the world.##$he first, and most im'ortant,

'art of Nietzsches 'roject is to em'hasise the solitude, honest, courage, and sm'ath2what

Nietzsche calls -irtue2that are needed to restore 'hiloso'hs -italit and rele-ance.

>am'ert is certainl correct in insisting that, according to Nietzsche, democrac ga-e rise

to a new ind of esotericism in 'hiloso'h. t did not end sim'l because freedom of s'eech has

become the norm. &et >am'ert goes on to claim, as Nehemas im'lied, that esotericism sur-i-es

in Nietzsche through the a'horism2an art of writing whose bre-it, whose thriftiness, does as

little as 'ossible for the reader."#/t also sur-i-es in enthusiasm," which Nietzsche describes as

successfull a''earing more stu'id than ou are,"#3or what >am'ert calls courtes" and

relates to the 'athos of distance."#7+inall, esotericism sur-i-es in Nietzsche in a third and

most fundamental wa," >am'ert contends. Nature lo-es to hideCD.E 5uch esotericism is

5te-en Michels( Nietzsches +rames #


4/31

EnterText 6.3

neither chosen nor surmountable. t is not a lie for our su''osed good! it is the ineluctable

hiddenness in the heart of things."#8

Although >am'erts tae on Nietzsches esotericism is more so'histicated than what we

find in )eidegger, Nehemas, and =errida, >am'ert is wrong to call it esotericism. Nowhere does

Nietzsche sa that he uses a'horisms to limit his audience. >am'ert also misconstrues the

'athos of distance" and Nietzsches -iew of courtes. Nietzsche -alued solitude, to be sure, but

onl as a tem'orar mode of existence. ecall that e-en his Farathustra had to emerge from his

mountainto' retreat. 1hat is more, that nature lo-es to hide" is not esoteric in an sense of the

term. >am'erts inter'retation of Nietzsches -iew of nature is su'erior to most others2with the

'ossible exce'tion of 5chacht#62but to sa that nature is ambiguous in Nietzsches writing is not

to sa that Nietzsche is an esoteric writer. Nietzsche does his utmost to re-eal the illusi-e

%ualities of nature, but the conclusions he draws cannot be more s'ecific than his -iew of nature

will allow.

Glearl, the treatment of Nietzsches esotericism lea-es something to be desired. $he

'ur'ose of this article, therefore, is to mae a case againstNietzsches esotericism. $o write of

esotericism and to allude to ones own 'enchant for it is not the same as writing in an esoteric

manner. +or e-idence of Nietzsches esotericism, we will loo first, as 5trauss recommends, to

his 'refaces and e'ilogues2that is, the most ex'osed 'arts of his boos. f Nietzsche is an

esoteric writer, his 'refaces will show him as a cautious writer who does little for his readers.

After careful examination, howe-er, we find that these 'arts are where Nietzsche is clearest. )is

use of the extremities of his boos to frame the content within is hardl the mode of an esoteric

writer in the 5traussian sense. Although Nietzsche often alludes to his esoteric mas," he does

as much as 'ossible to aid his readers.

5te-en Michels( Nietzsches +rames #


5/31

EnterText 6.3

The Birth of the Preface

$he 'reface to The Birth of Tragedy is a dedication of sorts, in that it names 1agner as its

reci'ient. Nietzsches excitement at the wor is related, at least in 'art, to 1agner recei-ing it.

The Birth of Tragedy is more than just an ode, howe-er, for a seriousl Herman 'roblem is

faced here."#:t is not directed at e-erone, but to serious readers. TheBirth of Tragedywas

written with 1agner in mind. 1agner is Nietzsches 'rinci'al audience, for he is 'erha's the

onl one able to understand the boo, Nietzsche suggests! but this does not mean that Nietzsche

intends to exclude all others. $he 'reface also contains a brief statement on the boos thesis, that

art re'resents the highest tas and the trul meta'hsical acti-it of this life, in the sense of that

man to whom, as m sublime 'redecessor on this 'ath, wish to dedicate this essa."#


6/31

EnterText 6.3

significant and fascinating %uestion, and dee'l 'ersonal at that."/#)e goes on to describe The

Birth of Tragedyas a strange and almost inaccessible" boo.//Nietzsche admits that his first

boo confuses e-en him.

$he second, and 'erha's more interesting, 'oint concerns the reason wh The Birth of

Tragedy is found so wanting b its author. t a''ears, Nietzsche confesses, that he was too far

remo-ed from world e-ents while he was writing it. )e calls the +ranco;Irussian 1ar ?#


7/31

EnterText 6.3

cannot be recognized in the context of science," Nietzsche had originall used art to examine it.

)a-ing disco-ered, through his familiarit with 1agner, that artists too can be corru'ted,

Nietzsche turned to lifeas the standard b which science and art2and 'hiloso'h, too, for that

matter2ought to be judged.

n addition to its message and its stle, Nietzsche also dis'arages TheBirth of Tragedy

for its intended audience. )e sought to exclude right from the beginning," he admits, the

D'rofane crowdE of Jthe educated e-en more than Jthe mass or Jfol."/6ather than tring to

court intellectuals or to see them as 'otential followers, he treated almost e-erone, with the

ob-ious exce'tion of 1agner, with e%ual disdain. $his strateg, corrected in his later wors and

dramatised in the Irologue toZarathustra, meant that Nietzsche was able to s'ea in an ele-ated

tone, hone his message, and treat the greatest subjects without fear of being misunderstood. +or

Nietzsche, 'hiloso'h means attending to his 'hiloso'h, nowing full well that, if done

'ro'erl, an audience would find him.

Although Nietzsche admits to 'aing too much attention to his audience, this is one of the

areas where TheBirth of Tragedysucceeded. t had, he claims, a nac for seeing out fellow;

rha'sodizers and for luring them on to new secret 'aths and dancing 'laces." /:1hat interested

readers, he determined, was the fact that there la underneath the text some unnown Hod"2

his =ionsus. t was to this theme that he would return in his later writings. TheBirth of Tragedy

a''ealed to readers who, lie Nietzsche himself, were in search of a new Hod, one that would

re'lace the dead Ghristian deit.

$o answer the %uestion 1hat is =ionsianK" Nietzsche intimates, is to answer the

%uestion 1hat, seen in the 'ers'ecti-e of life, is the significance of moralitK"/


8/31

EnterText 6.3

1agner," Nietzsche laments, art, and notmoralit, is 'resented as the true metaphysicalacti-it

of man."/1e need not read The Birth of Tragedyin its entiret to see where it falls short. f The

Birth of Tragedyhints at elements of his later 'hiloso'h, in An Attem't at 5elf;Griticism"

Nietzsche directs the reader toBeyond Good and Evil, the 'lace where this sentiment is

ex'ressed most full.3B

$hat Nietzsches 'hiloso'h changed is most a''arent in the careful and hostile silence

with which Ghristianit is treated throughout the whole boo."3#Ghristianit, Nietzsche adds in

the new 'reface, forces moralit to become absolute and relegates art, everyart, to the realm of

lies! with its absolute standards, beginning with the truthfulness of Hod, it negates, judges, and

damns art."3/t was Ghristianit that taught Nietzsche the -alue of life as a standard for truth and

art. f Nietzsche is silent about Ghristianit in The Birth of Tragedy, he o-ercom'ensates in An

Attem't at 5elf;Griticism." $he greatest failure of The Birth of Tragedyis not that it failed to 'ut

forth the highest elements of his teaching, Nietzsche tells us! rather, it fails to tae seriousl the

threat to life 'osed b Ghristianit. 1hen committing The Birth of Tragedyto 'a'er, the

Antichrist" had et to find his anti'odes. f The Birth of Tragedysucceeded at all, it was that it

made Nietzsche realise that the 'roblem of science is more rightfull a 'roblem of moralit. t

was onl after the 'rocess, or the ex'erience, of writing his first boo that Nietzsche was able to

a''reciate the origin and the extent of the threat that Ghristian moralit 'osed to 1estern culture.

n short, The Birth of Tragedyshould be read for the %uestions it 'oses, not for the answers it

'ro-ides.

n the final section of An Attem't at a 5elf;Griticism" Nietzsche res'onds to those who

-iew him as a nihilist and brand his 'hiloso'h as dangerous. Nietzsche recommends that such

objectors ought to learn the art of this-worldlycomfort first! ou ought to learn to laugh, m

5te-en Michels( Nietzsches +rames /3


9/31

EnterText 6.3

oung friends, if ou are hell;bent on remaining 'essimists. $hen 'erha's, as laughers, ou ma

someda dis'atch all meta'hsical comforts to the de-il2meta'hsics in front."33Ghristianit is

the 'roblem, Nietzsche reminds us. A 'hiloso'h of the future must reject Ghristian moralit and

its -iew of the afterworld.

Nietzsche concludes b in-oing that =ionsian monster" Farathustra to teach the same

lesson in a different, and slightl more 'ositi-e, wa. )e %uotes from 9n the )igher Man," a

s'eech from the +ourth Iart ofZarathustra, where Farathustra 'raises the -irtues of laughter and

of not taing oneself, or ones teaching, too seriousl. $his crown of the laughter, the rose;

wreath crown( to ou, m brothers, throw this crown. >aughter ha-e 'ronounced hol( ou

higher men, learn2to laugh*"37t is telling that the 'art Nietzsche %uotes begins a stor of

failure. t is here that Farathustra recalls his first attem't at teaching and how 'oorl it turned

out. $he same is true of the 1agnerianBirth of Tragedy. An Attem't at a 5elf;Griticism"

artfull and tactfull directs the reader from 1agner and The Birth of Tragedyto =ionsus and

Thus Spoke Zarathustra.

Beond !a"ner

f The Birth of Tragedy'oints directl to Nietzsches friend and teacher, ichard 1agner, so too

does The ase of !agner. 1hile The Birth of Tragedy'raises him in the dedication, The ase of

!agner'laces him in the title and, indeed, as the reci'ient of -icious attacs. n this sense, the

are o''osite boos.38 The Birth of Tragedybegins Nietzsches career with a gracious nod to

1agner! The ase of !agnercloses a cha'ter in Nietzsches intellectual de-elo'ment with an

unmistaable brea with him.



10/31

EnterText 6.3

9n the main title 'age, which a''ears before the 'reface, Nietzsche includes, as he does

so often, an e'igram. t is a -ariation of )orace that a''ears in >atin( $hrough what is

laughable sa what is somber." Nietzsche is warning the reader that the themes of the boo are to

be taen seriousl. Gertainl that is what Nietzsche means b somber." 1hat he means b

laughable is less clear. )e ma mean that his treatment of the themes therein ma be treated

humorousl. $his inter'retation would be consistent with his em'hasis on golden laughter" and

a crown of laughter." As he writes in the Ireface, nters'ersed with man joes, bring u' a

matter that is no joe."36Nietzsche might also mean that 1agner himself, as the subject of the

essa and the -ehicle for his 'hiloso'h, is subject to derision.

$he Ireface itself is exce'tional in its clarit. 1agner, Nietzsche ex'lains, is merel one

of DhisE sicnesses."3:$he 'roblem with 1agner, he sas, is his affinit with modernit, in

'articular modern moralit. Nietzsche mo-es %uicl from discussing his brea with 1agner to

the 'roblem of moralit. +or Nietzsche, no transition is necessar, for the two are interchangeable

in his ees. )is charge that moralit negates life" is directed at 1agner. +or Nietzsche,

modernit means 1agner. $o be 'ost;modern, in the most general sense of the term, is to be

'ost;1agner.

Nietzsche also uses the Ireface to reiterate one of the most 'rominent themes in his

writings( being a 'hiloso'her means s'eaing to, if not mo-ing beond, the s'irit of the times.3


11/31

EnterText 6.3

)owe-er much 1agner is Nietzsches intended target, Nietzsche is b no means angr

with his friend and former teacher. 1hen in this essa assert the 'ro'osition that 1agner is

harmful," Nietzsche writes, wish no less to assert for whom he is ne-ertheless indis'ensable2

for the 'hiloso'her."3f 1agner is modernit, then a 'hiloso'her needs to o-ercome him.

Nietzsche is grateful, for 1agner is 'ure in his decadence and his re'resentation of all that is

modern. f 1agner is a sicness, then Nietzsche nows the cure, for Nietzsche heals, as he did

with himself. And Nietzsche could heal us, too, if we let him. 1agner is a 'laceholder for

modernit, but Nietzsche is irre'laceable. 1e should be grateful to Nietzsche, he himself

suggests, for he has shown us the 'ath from 1agner, from the decadence of modernit, a means

to esca'e our own decadence. 1e must first become a 1agnerian!" onl then can we become

Nietzschean.7B$he difficult of Nietzsches brea with his former teacher is indicated b the

manner in which he concludes The ase of !agner( he ends it with two 'ostscri'ts and an

e'ilogue. t is a short boo, and these 'ages are nearl half of it.

Nietzsche ends the main text of The ase of !agnerwith a defense of art and, with it, a

defence of what he calls 'hiloso'h. 0ut Nietzsche does not end here. $he Iostscri't begins with

him referring to the seriousness" of how he ended the wor. +or some reason it is this

seriousness that 'ermits" Nietzsche to add the Iostscri't, or at least a 'ostscri't of this sort. t is

not immediatel clear whether Nietzsche intends to continue in this tone, or if, bothered b the

seriousness of his final words on 1agner, he wishes to end on a note more consistent with his

fondness for laughter and a ga science." 5oon it becomes clear that the former is the case.

$he subtitle of the Iostscri't ought to be 9ne 'as hea-il for being one of 1agners

disci'les," for Nietzsche uses this 'hrase fi-e times in as man 'ages. t is a rare instance

2$hus s'oe Farathustra" is the most notable exce'tion2of Nietzsches stle being 'redicated



12/31

EnterText 6.3

on a re'etition of words. n its first and second usage, it is the Hermans who ha-e 'aid for their

disci'leshi'. Although the had initiall resisted 1agner, the Hermans, the delayers par

excellencein histor, are toda the most retarded ci-ilized nation in uro'e."7#f the are to be

admired at all, it is for their outh, not their o-erall health or character.

1hat of 1agners influence on cultureK t too has suffered. 1agner brought forth the

'resum'tion of the laman, the art;idiot."7/5imilarl, 1agner made others -iew education and

training as su'erfluous or e-en harmful. t was re'laced with a faith in genius or, to s'ea

'lainl, b im'udent dilettantism."731orse et, 1agnerianism meant theatrocracy2the

nonsense of a faith in theprecedenceof the theater, in the right of the theater to lord ito-er the

arts, o-er art."77+or Nietzsche, the theatre is to ser-e art, for theatre is alwas a sla-e to the

mass. n sum, 1agner brought egalitarianism into art and le-elled high culture with his

moralism. f god is dead, 1agner dragged his cor'se into the orchestra 'it.

$he sentiment of the Iostscri't is curious gi-en what Nietzsche sas of 1agner in the

Ireface. n the Ireface, Nietzsche is grateful! in the Iostscri't, Nietzsche s'eas as a lo-er

scorned. &et Nietzsche does not claim that he has 'aid for his disci'leshi'. $he Hermans, culture,

the s'irit, the oung, and women ha-e 'aid for following 1agner, but Nietzsche is grateful.

Nietzsche is not a disci'le who 'aid a great 'rice! rather, 1agner was, for Nietzsche, a means to

greatness and health. $his should not sto' others2the Hermans, 'ro'onents of culture, the

oung, and women2from des'ising 1agner. And if the do turn from 1agner, there is an

alternati-e 'ath. $his 'ath, Nietzsche claims, leads them not from 1agner to Nietzsche, but from

1agner bac to themsel-es.

Absent from this account are 'hiloso'hers2most notabl, Nietzsche himself. 1hen he

does comment on the effect that 1agner had on him, he returns to the grateful 'osture of the

5te-en Michels( Nietzsches +rames /:


13/31

EnterText 6.3

Ireface. 1hen writing of 1agners"arsifal, Nietzsche remars that he wishes that he had

written it.78Nietzsche can be grateful, but e-erone else should be angr. $hat is something that

should not be forgotten2to the extent that Nietzsche tacs it on to the end of the main text.

Nietzsche recognizes that the tone of the Iostscri't is subject to confusion, so much so

that he adds another one. M letter, it seems, it o'en to a misunderstanding," he writes.76t is

not clear whether he is referring to the entire text or merel to the Iostscri't. n either case, The

ase of !agneris incom'lete. Nietzsche is concerned that his gratitude will be misconstrued. 7:

9f course nothing would ha-e sto''ed Nietzsche from editing the text to mae this 'oint clear.

)owe-er, he chose to elucidate this fact in 'ages added to the main text2'ages left out in the

o'en for the reader to disco-er. )ence the 'roblem is not with Nietzsche or the boo he had just

finished! the 'roblem is with his audience, and it demands a uni%ue solution. Nietzsche is a

careful writer who demands attenti-e readers. Nietzsche will do his utmost to ensure that the

understand him, e-en if that means that he must lea-e them with two 'ostscri'ts and an e'ilogue.

Nietzsche also uses this o''ortunit to clarif his attac on 1agner and his -iew of music

in general. 1agner ma exem'lif the decadence of the times, Nietzsche argues, but he is

certainl not its cause. )is genius was in accelerating the decline. 9thers hesitated, but 1agner

did not.7


14/31

EnterText 6.3

f two 'ostscri'ts were not enough, Nietzsche adds an e'ilogue. Glearl, The ase of

!agnerfinds Nietzsche not nowing how to sa farewell. t is an o''ortunit, he notes, for us to

reco-er our breath" and for him to wash his hands," after ha-ing dealt with someone such as

1agner.8#+or Nietzsche, taing a ste' bac from 1agner means first summarising what he

means b the term modern. -er age embraces the -irtues of ascent or decline, he ex'lains! and

modernit is an age of weaness and decline. Nowhere is this more e-ident than when examining

Ghristianit and its o''osite. 1agners fault is his inabilit to a''reciate the difference between

Ghristianit and master moralit. Noble moralit, master moralit, con-ersel, is rooted in a

trium'hant &es said to oneself2it is self;affirmation, self;glorification of life," Nietzsche

writes.8/All of #eautiful, all ofgreatart belongs here( the essence of both is gratitude."83t is

the same gratitude that mars his own 'hiloso'h, he suggests. )is is beautiful and great art! its

essence is gratitude toward 1agner.

1hile 'resenting his -iew on moralit, Nietzsche maes a reference to $n the Genealogy

of %oralsin a rare footnote to the main text. t is in the Genealogy, Nietzsche claims, that the

'roblem of moralit was first detailed( 'erha's there is no more decisi-e turning 'oint in the

histor of our understanding of religion and moralit."87At the same time, he declares, $his

boo, m touchstone of what belongs to me, has the good fortune of being accessible onl to the

most high;minded and se-ere s'irits( the restlac ears for it."88)e -irtuall dares readers to see

it out.

The ase of !agneris not Nietzsches final sa on ichard 1agner, howe-er. )e thought

enough of 1agner, and indeed of his brea with him, to 'ut together&iet'sche ontra !agner,

which was com'osed of 'arts collected from his earlier wors. Nietzsche wanted there to be no

5te-en Michels( Nietzsches +rames /


15/31

EnterText 6.3

doubt that, howe-er much The Birth of Tragedystood as a testament to 1agners influence, his

own later wors brea from 1agner in a clear, decisi-e manner.

Moreo-er, Nietzsche illustrates that his brea with 1agner was anthing but recent,

noting that it began shortl after the initial 'ublication of The Birth of Tragedy. As . L.

)ollingdale 'oints out, this would ha-e mared #


16/31

EnterText 6.3

As Nietzsche maes clear, all of his boos are mere footnotes toZarathustra. $his is es'eciall

true of The Gay Science, for it was the boo Nietzsche com'leted before beginning his magnum

o'us. t was rewored and re'ublished followingBeyond Good and Evil( Gonse%uentl, The Gay

Sciencehas the distinction of being the 'relude and 'ostlude toZarathustra, and it ser-es as an

indis'ensable frame to understanding Nietzsches most im'ortant, and most difficult, wor.

$he original 'ublication of The Gay Scienceincluded an e'igram on its title 'age, which

Nietzsche had ado'ted from merson( $o the 'oet, the sage, all things are friendl and

hallowed, all ex'eriences 'rofitable, all das hol, all men di-ine."6/Nietzsche had elsewhere

remared of his fondness for merson, so this 'assage hardl seems out of 'lace, 'articularl

since it is %uite Nietzschean.631hat is noteworth, howe-er, is that merson himself had used

the term joful science" in his writings and lectures2a fact that Nietzsche ne-er acnowledged.

t is %uite 'ossible that Nietzsche did now of mersons use of this 'hrase. $he $omb 5ong"

fromZarathustracontains a 'aragra'h with reference to ga wisdom" and another 'ara'hrase

of merson2All das shall be hol to me." t is not 'roof that Nietzsche too the ga science"

from merson, but it would be a great coincidence. f Nietzsche had lifted mersons conce't for

his own boo, it is fitting that merson should be 'laced at the outset. Ierha's more interesting

is that the e'igram is remo-ed for the second 'ublication of The Gay Science and re'laced with

something from Nietzsche, also in Herman(

li-e in m own 'lace,

ha-e ne-er co'ied nobod e-en half,and at an master who lacs the grace

to laugh at himself2 laugh.

$ver the door to my house()*

5te-en Michels( Nietzsches +rames 3#


17/31

EnterText 6.3

>ines 3 and 7 reiterate the theme of the boo, but that can be said onl incidentall of the first

two. egardless of whether Nietzsche borrowed joful science" from merson, he defiantl

claims ownershi' of it on the title 'age when the boo is re-ised. $he last half of the new

e'igram ma be 'hiloso'hical, but the first half is territorial.

$he original -ersion of The Gay Sciencedid not include a 'reface. n addition to the nod

to merson, it included a Irelude in Herman hmes," which Nietzsche called Loe, Gunning,

and e-enge." t is a collection of sixt;three 'oetic a'horisms. t is assuredl the onl boo

with science" in its title to begin lie this. $his is es'eciall true because none of the -erses

seem to tae science or nowledge as their theme. 1hate-er his intention, Nietzschesfr+hliche

!issenschaftdoes not begin with science.

1hen The Gay Sciencewas re'ublished in #


18/31

EnterText 6.3

Nietzsche not onl tells that he con-alesced, but also tells of his ho'e. 5chacht is right to argue

that all of the 'refaces of #


19/31

EnterText 6.3

t is onl in the concluding 'art of the new 'reface that Nietzsche introduces the subject

of the boo. No, this bad taste, this will to truth, to Jtruth at an 'rice, this outhful madness in

the lo-e of truth, ha-e lost their charm for us( for that we are too ex'erienced, too serious, too

merr, too burned, tooprofound," he writes. $oda we consider it a matter of decenc not to

wish to see e-erthing naed, or to be 'resent at e-erthing, or to understand and Jnow

e-erthing.":3Nietzsche ends the 'reface b offering the Hrees as an exam'le of his teaching.

Nietzsche did more than twea The Gay Sciencefor its second 'ublication! he returned to

it in a substanti-e wa, adding an entire cha'ter. t is certainl the longest of his re-isions,

dwarfing e-en the weight An Attem't at a 5elf;Griticism." $he original ending of The Gay

Science, section 37/ of 0oo , entitled nci'it tragoedia," 'arallels the beginning of

Zarathustra. t is, with one minor change, the first section of what would become Farathustras

Irologue." Nietzsche clearl intended The Gay Scienceto frameZarathustra.

)is re-ision onl em'hasises this fact. Added to it was 0oo , entitled 1e +earless

9nes.":7$he e'igram for the addition is a %uotation from $urenne, a great +rench general( &ou

tremble, carcassK &ou would tremble a lot more if ou new where am taing ou." $he

e'igram introduces the major theme of 0oo ( courage. Nietzsche returns to this theme often in

the boo, most notabl in section 388. s it not the instinct of fearthat bids us to nowK"

Nietzsche ass.:8)is ga science demands, abo-e all, fearless 'ractitioners2that is,

'hiloso'hers or free s'irits"2with courage enough to li-e in an uncertain world. $o follow

Nietzsche re%uires bra-er of a militar sort.

$he first a'horism of 0oo details Nietzsches cheerfulness" at the fact that the

belief in the Ghristian god has become unbelie-able.":6$he greatest recent e-ent,"::the reason

that Farathustra fled into solitude,:


20/31

EnterText 6.3

e-er been. t is a freedom from Ghristianit, freedom for creation, that gi-es we 'hiloso'hers

and Jfree s'irits" the courage to -enture out into the o'en sea.":t seems fitting that Nietzsche

returns to The Gay Scienceto celebrate this fact, gi-en that the death of god was first announced

in its 'ages.


21/31

EnterText 6.3

Ecce Homo

$he 'refaces of #


22/31

EnterText 6.3

$he reference to 1agner in 0areuth" foreshadows what comes next( Nietzsches

treatment of ,ntimely %editations, of which the 1agner essa was a 'art. $he first section of

this cha'ter merel summarises the arguments contained in the four warlie" essas. n the

middle section Nietzsche remars that onl the essa on =a-id 5trauss had an success.B+or

Nietzsche, success meant strong sales and de-elo'ing a re'utation as an intellectual force. n

sum, it ga-e Nietzsche the freedom to de-elo' as a thiner.

n the concluding section, howe-er, Nietzsche returns to the theme he initiated in the

essa on The Birth of Tragedy( the new relationshi' he had with his teachers. Now that am

looing bac from a certain distance u'on the conditions of which these essas bear witness, do

not wish to den at bottom the s'ea onl of me. $he essa !agner in Bayreuthis a -ision of

m future, while in Schopenhauer as Educatorm innermost histor, m #ecoming, is inscribed.

Abo-e all, m 'romise*"#f the title of the latter essa is better said Nietzsche as ducator,"

Nietzsche was educating himself.

$he real 'roblem is not their subject! it is the treatment that the subjects recei-e. $hese

essas are not the wors of a 'hiloso'her, Nietzsche admits. had to be a scholar, too, for some

time."/$his echoes what he had said on the subject in an earlier text( t ma be necessar for

the education of a genuine 'hiloso'her that he himself has also once stood on all these ste's on

which his ser-ants, the scientific laborers of 'hiloso'h, remain standing."3t a''ears that these

essas are untimel" not because we are not read to recei-e them, but because Nietzsche was

not read to write them. Not sur'risingl, this boo was his onl one not to be fitted with a new

'reface and reissued. Gonse%uentl, when Nietzsche writes of these essas inEcce Homo, it is

not as a new 'reface or 'ostlude, but an e'ita'h b Nietzsche the 'hiloso'her for Nietzsche the

scholar.

5te-en Michels( Nietzsches +rames 3:


23/31

EnterText 6.3

Nietzsches earlier, %uasi;academic wors should be contrasted with his later boos,

'articularl Thus Spoke Zarathustra. Nietzsche re-eals here that The Gay Sciencewas written in

the time between his disco-er of eternal recurrence and com'osing Zarathustra. Nietzsche then

%uotes at length from an a'horism entitled $he great health," from 0oo of The Gay Science,

the cha'ter added afterZarathustrahad been com'leted. Nietzsche 'resentsZarathustraas the

'innacle of human accom'lishment( $his wor stands altogether a'art. >ea-ing aside the 'oets(

'erha's nothing has e-er been done from an e%ual excess of strength. M conce't of the

J=ionsian here became asupreme deed! measured against that, all the rest of human acti-it

seems 'oor and relati-e."

7

Nietzsche is unambiguous that the eternal recurrence is the teaching

and the highest element ofZarathustra. 1hat is more, this essa is one of the few 'laces in

Nietzsches writings where he draws a 'arallel between himself and the main character.

Farathustra once defines, %uite strictl, his tas2it is mine, too2and there is no mistaing its

meaning( he sas &es to the 'oint of justifing, of redeeming e-en all of the 'ast."8Nietzsche

uses Farathustra as a mouth'iece for his own 'hiloso'h. +romZarathustraonward, all of

Nietzsches writings were onl fish hoos."6As >am'ert notes concisel, Zarathustrabegins

where the later wors end.":

lsewhere Nietzsche is not so clear. +or exam'le, he ends the central essa in $n the

Genealogy of %oralsb sto''ing short in describing this element of his teaching.


24/31

EnterText 6.3

absent from his other boos. $he doctrine of eternal recurrence, for exam'le, is stated here more

clearl than it is inZarathustra( $he doctrine of the Jeternal recurrence,2that is, of the

unconditional and infinitel re'eated circular course of all things."#BBt is with good reason that

5tauth and $urner -iewEcce Homoas a last testament and the definite 'roclamation of the

'roject of re-aluation."#B#5imilarl, 5teinbuch writes( all of DNietzschesE writings occur as an

outcome of his self;transformation. 0ecause of this his autobiogra'h DEcce HomoE stands in a

uni%ue relationshi' to the rest of his writings, in that it identifies what were the beginning and

end 'oints of that self;transformation.Ecce Homois central in Nietzsches cor'us."#B/Nietzsche

sto's himself not because he doesnt want to be understood, but because he wants the readers to

ex'erience his teaching. Ihiloso'h is not a lo-e of truth! it is a lo-e of 'rocess, for truth is not a

destination.

Nietzsche sas as much in the Ireface toEcce Homo. Although the title2literall,

behold the man"2'oints to himself, the Ireface ends with the first of man references to or

lines fromZarathustra.#B3t is from the final s'eech in Iart 9ne, where Farathustra instructs his

disci'les to lea-e him. 9ne re'as a teacher badl if one alwas remains nothing but a 'u'il,"

he sas.#B71e should ex'ect Nietzsches biogra'h to be a testament to himself, but instead, it is

another sign'ost directing readers to his belo-edZarathustra. am one thing, m writings are

another matter," he writes.#B8Nietzsches ad hominema''roach to 'hiloso'h maes an authors

biogra'h essential.Ecce Homois about Nietzsche onl incidentall! it is 'rimaril about his

boos.Ecce Homois not a retros'ecti-e or farewell( it is a roadma' to what had come before it.

$he fact that Nietzsche too the title of his autobiogra'h from the famous words of Iontius

Iilate sas as much about his contem't for Ghristianit as it does about his sense of self;worth.

5te-en Michels( Nietzsches +rames 3


25/31

EnterText 6.3

Conc#$sion: Nietzsches Esotericism

Nietzsche does not a''ear to be esoteric, at least in the wa 5trauss means. )e does not ha-e two

distinct teachings( one for the few and one for the man. nstead, Nietzsche is full ali-e to the

fact that his untimel" 'hiloso'h will not ha-e a mass audience among all;too;modern men.

)is is a stle, as the subtitle ofZarathustraindicates, for all and none."

Although he does not intentionall limit his audience, certainl not e-erone is ca'able of

com'rehending his message. 0ut there is a big difference between writing intentionall to

exclude the masses and Nietzsches brand of esotericism, which results solel from the difficult

and radical nature of his 'hiloso'h. As he writes(

$he difference between the exoteric and the esoteric, formerl nown to 'hiloso'hers2among the ndians as among the Hrees, Iersians, and Muslims, in short where-er one

belie-ed in an order of ran and notin e%ualit and e%ual rights2does not so much

consist in this, that the exoteric a''roach comes from outside and sees, estimates,measures, and judges from the outside, not the inside( what is much more essential is

that the exoteric a''roach sees things from below, the esoteric loos down from a#ove.#B6

n sum, Nietzsches esotericism stems from theperspectivethat no;one else shares. )is teaching

ma re%uire a'horisms, songs, riddles, and other ambiguous stles, but Nietzsche uses just as

man tools to assist his readers, clarifing his intent to whoe-er is able to understand him. )e

new that, des'ite his best efforts, he will still be understood b onl a few. )is 'hiloso'h is a

'ers'ecti-e that must be ex'erienced to be a''reciated. Nietzsche is a brilliant writer, but he was

aware of his limitations! he can onl tae his readers so far.

Nietzsches use of 'refaces, e'ilogues, and other addenda to frame his writings are all

attem'ts to assist the reader. $he 'reface is, for exam'le, in man was, the e a'horism. &et

the 'reface is not merel the first a'horism! it does more than bat lead;off. $he 'reface

introduces the reader to the main e-ent, gi-ing the reader a -aluable 'ers'ecti-e2the 'ers'ecti-e

Nietzsche wishes the reader to ha-e in order to -iew 'ro'erl the remainder of the wor. t is

5te-en Michels( Nietzsches +rames 7B


26/31

EnterText 6.3

here that he maes clearest his intention to the reader. f Nietzsche uses his 'refaces to gi-e the

reader a certain 'ers'ecti-e, then he uses afterwords, e'ilogues, and 'ostscri'ts in the same wa.

)is stle re%uires him to frame his 'hiloso'h to mae his intent as clear as 'ossible to the

reader.#B:n star contrast to what 5trauss sas of esotericism, Nietzsche is rather trans'arent in

his 'hiloso'hising.

1h would a reader want to readThe Birth of Tragedy after reading An Attem't at a

5elf;Griticism"K we might as. 1hat -alue is there in a wor that has been abandoned b its

authorK According to Magnus, 5tewart, and Mileur, Nietzsche im'licitlC indicates that, since

the world alread has Thus Spoke Zarathustra, it does not need a re-ised -ersion of The Birth of

Tragedy."#B< $his -iew is not entirel accurate, for Nietzsche ne-er com'letel abandonedhis

first boo. nstead, he returned to it a number of times, the two most 'rominent being An

Attem't at a 5elf;Griticism" and the essa on it inEcce Homo. +or Nietzsche, no wor is e-er

de-oid of -alue! e-en the New $estament and"arsifalha-e a 'ur'ose.

ather than constantl changing and editing his texts, howe-er, Nietzsche reframed his

wors b adding 'refaces, e'ilogues, and inter'retations of them in his later boos. )e tended to

his wors lie a garden2watering, 'runing, and 'ulling u' weeds. As he wrote in the 'reface

added toay#reak, $his 'reface is late but not too late2what, after all, do fi-e or six ears

matterK A boo lie this, a 'roblem lie this, is in no hurr."#BNietzsche considered his boos

im'ortant enough to ee' returning to them. As obert G. 5olomon notes, Nietzsches own

writing is a lifelong and totall absorbing exercise in self;creation and self;-alidation."##B0

adding to them without changing a word, Nietzsche was able to de-elo' a sort of text;

o-ercoming, while 'reser-ing the 'ath that he ho'ed others would follow. )is boos return

eternall the same, howe-er much their author might change. n this sense, his aim was ne-er to

5te-en Michels( Nietzsches +rames 7#


27/31

EnterText 6.3

mae them 'erfect, for that is an im'ossible and undesirable goal. nstead, Nietzsche reframed

them to reflect the new 'ers'ecti-e he had ac%uired b ha-ing gone 'ast them.

5te-en Michels( Nietzsches +rames 7/


28/31

EnterText 6.3

Notes

5te-en Michels( Nietzsches +rames 73


29/31

1+riedrich Nietzsche, The Gay Science, trans. 1alter 4aufmann ?New &or, N&( intage 0oos, #:7@, 3


30/31

49bid.50bid.51bid., 'ilogue.52bid.53bid.54bid.55bid.56. L. )ollingdale,&iet'sche/ The %an and His "hilosophy?New &or( Gambridge Oni-ersit Iress, #@, /#B.57+riedrich Nietzsche, Nietzsche Gontra 1agner" in The "orta#le &iet'sche, trans. 1alter 4aufmann ?New &or( Ienguin0oos, #


31/31

97>aurence >am'ert,&iet'sche5s Teaching/ .n 1nterpretation of $hus 5'oe Farathustra ?New )a-en, G$( &ale Oni-ersit

Iress, #ise an 0oxel ?5outh 0end, N( 5t. Augustines Iress,

/[email protected] Magnus, 5tanle 5tewart, and Lean;Iierre Mileur,&iet'sche5s ase/ "hilosophy .s8and 3iterature?0oca aton,

+>( outledge, #/@, B.109+riedrich Nietzsche,ay#reak/ Thoughts on the "re9udices of %orality, trans. . L. )ollingdale ?New &or( Gambridge

Oni-ersit Iress, #:@.

110obert G. 5olomon, ntroduction,"6eading &iet'sche, ed. obert G. 5olomon and 4athleen M. )iggins ?New &or(9xford Oni-ersit Iress, #B@, #B.

Nietzsche’s Frames: Esotericism and the Art of the Preface

Documents

Transcript of Nietzsche’s Frames: Esotericism and the Art of the Preface