Writings from the Early Notebooks by Friedrich Nietzsche, Raymond Geuss, Alexander Nehamas,

By Friedrich Nietzsche, Raymond Geuss, Alexander Nehamas, Ladislaus Löb

Nietzsche's unpublished notes are notable in either quantity and curiosity, and imperative to a whole figuring out of his lifelong engagement with the basic questions of philosophy. This quantity contains an in depth number of the notes he saved in the course of the early years of his profession. They handle the philosophy of Schopenhauer, the character of tragedy, the connection of language to track, the significance of Classical Greek tradition for contemporary existence, and the price of the unfettered pursuit of fact and data which Nietzsche suggestion used to be a critical function of western tradition because it was once first brought via Plato. They include startling and unique solutions to the questions which have been to occupy Nietzsche all through his lifestyles and show the extraordinary balance and consistency of his primary issues. they're offered the following in a brand new translation via Landislaus Löb, and an advent via Alexander Nehamas units them of their philosophical and old contexts.

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In 48 I use the letter 'b' to distinguish the notebook in question, included in vol. 8 of KSA, from a notebook that bears the same number in vol. 7. 49 Friedrich Nietzsche, Human, All Too Human: A Book for Free Spirits, trans. R. J. Hollingdale (Cambridge University Press, 1996), sec. 3, p. 13. XXXlV Introduction their place, forgetting, itself shorn of metaphysical garb, provides a nat­ ural mechanism for art's transfiguration of the only world we all inhabit. Forgetting has already become for Nietzsche 'not just a vis inertiae, as superficial people suppose, but .

But he also expected more from them than just earnest agreement since nothing, including seriousness, is ever good or bad in itself (23b[152]). As we follow him through his notes' labyrinthine paths and leave him just as they have led him to the threshold of his greatest accom­ plishments, we can do no better than keep with us, as our own version of Ariadne's thread, the world of the very last note included in this volume: Shame on this lofty semi-idiotic seriousness! Are there no little lines around your eyes?

Nietzsche, however, was not so charitable and he focused on its errors more than its greatness. One such error, he makes it very clear, was his overvaluation of tragedy and drama in general: 'Dramatists are constructive geniuses, not original finders like epic poets. Drama is lower than the epic - coarser audience - democratic' (27 [19]). And along with his rejection of drama comes his final renunci­ ation of \Vagner, whom he now demotes - rather cruelly, perhaps from 'musician' (or, in Wagner's own terms, 'dramatist of reality' - a drama­ tist whose raw material is music and whose subject is the world beyond appearance) to 'dramatist' (someone who, in the end, is only capable of representing everyday reality without discerning the fissures through which different alternatives to it appear possible): 'His soul does not sing, it speaks, but it speaks as the supreme passion does.

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