Saturday, July 1, 2017

The Tightrope Walker Falls: 1889 – 1900

“For meanwhile the tightrope walker had begun his performance: he had stepped out of a small door and was walking across the rope, stretched between two towers, suspended over the street and the people. When he reached the middle of his course the small door opened once more and a fellow in motley clothes, looking like a jester, jumped out and followed the first one in quick steps. 

“...he uttered a devilish cry and jumped over the man who stood in his way. This man, however, seeing his rival win, lost his head and the rope, tossed away his pole, and plunged into the depth even faster, a whirlpool of arms and legs.” (Zarathustra, Prologue, 6) 

“The examination at Jena was essentially similar to Basel, although there are more technical details of the examination given which add little to the total picture. A 'scar' on the penis was noted which had been taken by some to indicate prior syphilis although this is a totally unjustifiable assumption. The papillary asymmetries are noted. Speech again is noted to be essentially normal, handwriting shows tremor 'when upset.' Reading abilities were normal. The major findings, as in Basel, were corrected with his mental state and behavior. He thanked the attendants for his 'splendid reception.' He did not seem to know where he was. At times he seemed to think he was in Naumberg, at times in Turin. He gesticulated a great deal and chattered continuously, often in French or Italian. (It was noted that in spite of his long residence in Italy, he did not know much Italian.) He continually tried to shake the hand of his doctor. Regarding the content of his 'flight of ideas,' he spoke of his musical compositions and sang excerpts from them, he claimed to have counseled 'legations' and to have given service to them. During his speech, he grimaced almost continuously. Even at night he engaged in almost continuous disconnected chatter. Today the patient would be said to be in a state of obvious manic psychosis. 

“The principle concern of the Jena physicians was to reduce the level of excitement. 'Calm, calm and always more calm' was Binswanger's invariable prescription to the mother when she was responsible for his care. To this end, Frau Nietzsche was not permitted to visit her son in the institution until July 29, over six months after his admission. She received regular reports, however, from Dr. Ziehen and an acquaintance, Frau Gelzer, who had information about Nietzsche's condition in the institution. For the first months of Nietzsche's commitment, he continued to exhibit agitated and incoherent behavior in frequent occasions. There was smearing of feces and drinking of urine, facts which were omitted in the first publications of the Jena record. Episodes were reported which suggest erotic or persecutor delusions; for example, on April 1 he told the warder '24 whores were with me at night'; April 17 – 'the most fearful machinery has been turned against me'; and April 19 – 'I want a revolver if the suspicion is true that the Grandduke himself has committed these Schweinerei and attacks against me.' On June 6, he broke a window in his agitation. Frau Nietzsche wrote to Overbeck's wife that she had learned that when Professor Binswanger and his wife sat their garden (he lived on the grounds), they could always hear Nietzsche's loud voice. But on other occasions, he could be quite reasonable, respond sensibly to questions, recognize his physicians and know where he was, and discuss his family. 

“By June, he seemed calmer and was able to take daily walks on the grounds. He occasionally read the newspapers, seemingly understanding what he read and remembering their contents at a later date. He often complained of headaches, reminiscent of his earlier problem with migraine. When there was still intermittent behavioral lapses (smearing feces, grimacing, urinating in his water glass), his overall condition had sufficiently improved so that his mother was permitted to visit on July 29, 1889. She had not seen him since the transport to Jena in mid-January of that year. By and large, the visit went well, Nietzsche seemed pleased to see her. There was no recurrence of the rage reaction directed against her during the trip to Jena.” (Schain, pp. 54-56) 

“Nietzsche's condition was stable during his last months at the Jena institution. He was allowed to take walks with his mother and other visitors were permitted. His old friends Peter Gast and Franz Overbeck visited him during this time and both of them spent hours walking with him. Their observations show considerable perceptiveness, revealing much more about his thought processes than the terse factual entries in the medical record. Gast visited Nietzsche on January 21, 1890. It was the first time they had seen each other in two years. Gast described the visit: 

“'He did not look very bad. I would almost like to say his mental disturbance consists only of an accentuation of the humorous side he formerly displayed when among friends in an intimate circle. He knew me at once, embraced and kissed me and was very delighted to see me, gave me his hand again and again as though he could not believe that I was really there. We spoke much of Venice and what was very surprising to me was that he has, of all things, remembered many of my more burlesque observations.' 

“Later, Gast listened to Nietzsche play the piano. He was amazed at his capacity to improvise, to produce a mood of 'Tristan-like finesse.' However, Gast's optimism did not last as he spent more time with the patient. He became depressed by his recognition that the old independent Nietzsche was no longer to be found. He began to feel his friend did not want to recover, that he 'would be about as grateful to his rescuers as somebody who has jumped into the water to drown himself and has been pulled out by some fool of a coastguard.' He wondered if Nietzsche was in a state which seemed to him 'horrible to say – as though he were only pretending to be insane, as though he were glad to have ended this way!' 

“Overbeck also spent long hours with Nietzsche during these last months at the Jena institution. He marveled how he could be completely lucid at one moment with even flashes of brilliancy recalling his highest moments but then suddenly sink into the most confused fantasies. He was particularly struck with how childishly compliant Nietzsche was most of the time. Like Gast, Overbeck wondered if Nietzsche was simulating madness. 'I cannot escape the horrible suspicion that arises within me at certain definite periods of observation, or at least at certain moments, namely, that his madness is simulated. The impression can only be explained by the general experiences which I have had of Nietzsche's self-concealment, of his spiritual masks. But here, too, I have bowed to facts which overrule all personal thoughts and speculations. Basically, Overbeck found no reason to alter the opinion he expressed on January 17, 1889, after he had said good-bye to Nietzsche at the train station on his way to Jena – 'It is all over with him.' 

“As Nietzsche steadily improved with respect to tractability, Frau Nietzsche rented an apartment in Jena in order to be with her son daily. He spent much of each day with her either on walks or in her apartment. His mother was pleased that he was improvising so much, but Peter Gast, who had remained in Jena, wrote: 'Nietzsche is but a mockery of his old self! My eyes fill with tears when I think of it.' The crusader for spiritual independence had become childishly docile. At no time did he ever refer in a meaningful manner to his former literary ambitions. The one feature of his old self which remained was his improvisations on the piano which were marked, according to Gast, by a remarkable profundity of expression. This did not carry over, however, to his personal interchanges.” (Schain, pp. 58-59) 

“From time to time there were still moments of 'Dionysian' euphoria. He was inclined to introduce himself as the Duke of Cumberland or the German Emperor, and as the husband of Cosima Wagner. When a certain 'Baron X' (a patient's report preserves, here, the anonymity of a fellow patient) started to play his zither, Nietzsche would leap to his feet and dance until a warder quietened him down 'He must have been a dashing dancer in his youth', the anonymous patient remarks.” (Young, page 552) 

Over time, however, Nietzsche proved himself stable enough to be released to his mother's care. He moved from Jena to Naumburg in May 1890. “The history of the next two years is one of decline into increasing apathy, with occasional bouts of liveliness. Hopes that Nietzsche might in the end be cured were reluctantly but at last completely abandoned, and Franziska's efforts were bent on keeping him as happy as possible and guarding against any untoward incidents which might lead to his being taken back to Jena – a fate she dreaded more than anything else.” (Hollingdale, page 246) 

In the fall of 1893 Nietzsche's sister, Elisabeth returned. She had visited briefly in 1890 in a desperate attempt to raise funds for her husband's anti-Semitic 'colony' in Paraguay. “Franziska Nietzsche was waiting at the Naumburg station to greet her daughter, along with Fritz, who was carrying a bouquet of roses. Although he immediately recognized his sister, calling her by his favorite nickname of 'Llama', his mother had to nudge her son to get him to hand her the bouquet. After which Fritz began to babble about his experiences in the Prussian army.” (Cate, page 558) 

“In September 1893, seeing that the game was finally up, Elisabeth liquidated what assets she had left and returned to Europe for good, determined to cash in on something far more glamorous and potentially lucrative, the Nietzsche business. Legally changing her name to Forster-Nietzsche (a contradictory combination of anti-Semitism and anti-anti-Semitism), she devoted her enormous reserves of energy, ruthless lack of scruples, and unlimited will to power to taking complete control of the Nietzsche business, to obtain sole control over both his works and what remained of his life.” (Young, page 554) 

Perhaps the greatest irony of Nietzsche's life is that the fame he pretended so desperately not to desire came to him after he went insane. Cate reports that “a second edition (with print orders of 1,000 copies) of Beyond Good and Evil, The Genealogy of Morals, and The Case of Wagner, to satisfy a demand which was steadily growing.” (page 558) 

By the time Elisabeth moved back for good, she could see the growing value in her brother's work. Lou Salomé also chose to cash in on her association with Fritz by publishing a successful biography of him in 1894. (I plan to review this biography in a future post.)  After that, Nietzsche's works were constantly being reprinted. Peter Gast, who for many years deciphered Nietzsche's handwriting to make final drafts legible for the publisher, almost completely devoted himself to publishing new editions. 

“On the 1st October 1893 [Franziska Nietzsche] wrote that he was still looking healthy and spent much of the time sitting on the veranda; he did not give the impression of suffering in any way and he 'even makes little jokes and laughs at them with us [i.e. herself and Elisabeth] in a perfectly natural way'. He was well for Christmas of that year but in March 1894 he was very sick, shouting and singing for hours on end, although again he seemed to be suffering no pain – 'he looks quite pleased with himself' (letter of 29th March). In the same letter she says that the daily walks have now had to be given up: as soon as they turn the street corner, Nietzsche asks 'Where is our house?' and is not happy until he is back there. 

“At Easter 1894 Rohde paid his first visit to the invalid, at Elisabeth's invitation: '...he is totally apathetic, recognizes no one but his mother and sister, speaks hardly a single sentence for a month at a time; his body has become shriveled up and weak, although his face has a healthy color...But he clearly feels nothing more, neither happiness nor unhappiness.'” (Hollingdale, page 246) 

“Gast, who saw him in October, wrote to Overbeck: 'Nietzsche lies upstairs all day dressed in a flannel gown. He does not look bad, has grown very quiet and gazes ahead with a dreamy and very questioning expression...He hardly recognized me any more.' 

“On his fiftieth birthday (the 15th October 1894) Paul Deussen visited him. 'His mother led him in, I wished him happy birthday, told him he was fifty years old, and gave him a bouquet of flowers. Of all this he understood nothing. Only the flowers seemed to engage his attention for a moment, then they too lay unnoticed.' 

“Overbeck saw Nietzsche for the last time towards the end of September 1895. He describes his appearance in a letter to Rohde of the 31st December: 'Five and a half years before I was able to walk with him for hours alone through the streets of Jena, when he was able to talk about himself and knew quite well who I was; now I saw him only in his room, half crouching, like a mortally-wounded wild animal that desires only to be left in peace, and he made literally not one sound while I was there. He did not look as if he was suffering or in pain, apart perhaps for the expression of profound distaste which was visible only in his lifeless eyes. Moreover, every time I went in he seemed almost always to be struggling against falling asleep. He had been living for weeks in a condition in which a day of dreadful excitability, which rose to the pitch of roaring and shouting, alternated with a day of total prostration. It was on a day of the latter kind that I saw him.'” (pp. 246 – 247) 

“By the end of 1893, five volumes of his collected works had been printed. Unable to tolerate work not carried out under her oversight, however, Elisabeth instructed Koselitz [Gast] that his services were no longer required. 'Who made you editor, then?' she demanded, and ordered all copies of his edition pulped.” (Young, page 555) 

Elisabeth maneuvered matters such that she obtained the rights to all of Nietzsche's works from her mother (who died in 1897) and to show her brother off to a select few, turning Nietzsche's home into a living shrine. Nothing could have more anti-Nietzschean than what Elisabeth did to her brother while alive and yet no longer able to function as a human being. Nietzsche became a freak show for Europe's elite culture, which served to truly launch his popularity. You would be hard-pressed to come up with a better definition of comic absurdity. 

“Far from wishing to conceal her witless brother, Elisabeth now turned the Ville Silberblick into a kind of shrine, where 'pilgrims' were received in a long drawing-room, heated in winter by a monumental green porcelain stove, while handsome copies of Nietzsche's books were exposed in various bookcases. The most admiring and socially significant of these visitors were taken upstairs to see the mute 'thinker,' who, to simplify the irksome problem of dressing and undressing him, now spent much of his time in a white linen gown, which made him look like a guru.” (Cate, page 565) 

Peter Gast returned to assist with translating Nietzsche's horrible original handwriting. “Finally, in 1898, a third effort at a collected works, known as the Grossoktav edition on account of the size of the paper used, began under six editors, including Koselitz, whom, realizing his unrivaled qualifications, Elisabeth had lured back to the Archives. Why Koselitz succumbed to the overtures of a woman he loathed is unclear. Possibly he hoped to prevent at least the worst perversions of the texts. If he did he was unsuccessful, since the edition, which appeared, volume by volume, between 1899 and 1913, was a philological disgrace.” (Young, page 556)

Elisabeth heavily edited and outright censored some of Nietzsche's writing to suit her efforts to “mythologize” her near vegetative brother. “It is quite possible that in pulling Koselitz back into into her editorial web, Elisabeth was counting on him not only to edit manuscripts but also to keep her brother musically entertained....But a moment later, when from the corridor came the sounds of rippling notes and rolling chords, as 'Pete Gast' danced with his fingers up and down the keyboard, Nietzsche's body suddenly responded with a feverish spasm of excitement and his 'transparent hands' came together to signal his applause. 

“...this was one of the last times Friedrich Nietzsche would thrill to the sound of piano music. A few weeks later he succumbed to an attack of influenza, which turned into a pneumonic inflammation of one lung. During the night of Friday to Saturday, 24-25 August, he suffered a heart attack. He died a few hours later...” (Cate, page 566) 

“At five o'clock on the afternoon of Monday, 27 August, a bizarre funeral service was held in the jam-packed Archives Room of the Villa Silberblick, amid lit candles, potted palms and heaps of flowers. The musical arrangements, hastily improvised by 'Peter Gast', included a Brahms cantata based upon a poem of Claus Groth's (one of young Fritz's favorites) and a five-voice 'Miserere' which Koselitz had personally composed in the style of Palestrina – both sung by women friends of Elisabeth. Ernest Horneffer (one of the archivists) had been asked to deliver the valedictory, but, feeling this was insufficiently grand for the occasion, Elisabeth had asked the celebrated art historian Kurt Breysig to pronounce funeral oration. Standing awkwardly by the window, he had trouble reading his lengthy text until, after a bit of hasty scrambling, he was able to place his pages on a sewing-box which, propped up against the window sill, served as a lectern. It was an interminable oration, which bored most of the listeners and exasperated one of them, the architect, Fritz Schumacher, who later wrote: 'The same sterile scholasticism against which Nietzsche had fought throughout his life followed him to the grave. If he had arisen, he would have thrown the lecturer out of the window and chased the rest of us out of his temple.' 

“Even more grotesque was the burial ceremony, which, at Elisabeth's insistence and in spite of the protests of the vicar (who boycotted the proceedings), was held the following afternoon in a graveyard of the Rocken parish church – so that Friedrich Wilhelm Nietzsche could be laid next to the coffins of his father, Pastor Ludwig, and his little brother, Joseph. A male choir, hastily recruited by Koselitz from the mass of Nietzsche and Oehler relatives who converged on the Thuringian village, provided the musical accompaniment. The solemnity of the occasion was enhanced b the ringing of the old bells which, fifty-six years and 318 days before, had joyously announced the entry into the world of Pastor Ludwig's and his wife Franziska's baby son, and which, four years later had tolled the death-knell for the piano playing pastor's premature demise.” (Cate, page 567)

Thursday, June 15, 2017

Becoming Dionysus: October 1888 - January 1889

“On his 44th birthday (the 15th October) he wrote the short passage ’An diesem vollkommnen Tage’ which he placed between the Forward and the first chapter of Ecce Homo and which is in its exalted cheerfulness the most pathetic in his works: 

‘”On this perfect day, when everything has become ripe and not only the grapes are growing brown, a ray of sunlight has fallen on to my life: I looked behind me, I looked before me, and never have I seen so many and such good things together.  Not in vain have I buried my forty-fourth year today, I was entitled to bury it – what there was of life in it is rescued, is immortal.’” (Hollingdale, page 194)

Without question, while there are flashes of brilliance, the major works of 1888 are collectively of a different taste than his writings up through the Genealogy. One great controversy about Nietzsche pertains to exactly when his mental capacities were affected by his approaching insanity.  Was it a completely sudden occurrence?  Was it there all along throughout 1888 and did all his later works bear witness to an increasingly unstable mind?

Certainly Ecce Homo contains sections which exhibit megalomania as we have touched on previously. One can safely say that the first clear manifestation of his mental instability was his elevated view of himself that emerged throughout 1888 but particularly in the last few weeks of the year.

“At the same time the tendency to megalomania, flashes of which, recall, go back to the Zarathustra period, becomes more and more pronounced.  The theme that his work will explode the history of the world into two halves since he is 'more dynamite than man' becomes more and more strident, as does the claim that he is the 'first man' of 'the century'...

“Of course, the more megalomania took over, the weaker became his grasp of reality.  The tentative contacts with Brandes had made on his behalf with, save for Strindberg, quite average people – people, moreover, who were generally interested in, but hardly converts to, his philosophy – were transformed into 'a discipleship' composed solely of 'the most elevated natures: of exclusively high-placed and influential people in St. Petersburg, in Paris, in Stockholm, in Vienna, in New York'. In his mind he had become 'incredibly famous', a superstar: 'there is no name that is treated with such reverence as mine'.” (Young, page 526)

“He achieved an extraordinary measure of physical self-mastery, in contemporary and later medical views.  A strong physis, carefully nurturing with food and exercise, resisted the onset of general paralysis and made his case of syphilis bewilderingly atypical. That he had an unusual body perhaps explains why he lost neither concentration nor artistic feeling almost until the end.  Into December he was revising Ecce Homo, the transcript traveling back and forth between him and Naumann the printer, and he was also assembling Nietzsche contra Wagner.

“The handwriting slipped before the mental grip. Already in June, because of his trembling, the manuscript of The Wagner Case was illegible, with the Latin characters indistinguishable from Greek.” (Chamberlain, page 204)

“Nietzsche seems to have been aware of the encroaching madness but, to avoid the pathos of an acknowledged struggle, would not state it directly. He wore the operetta mask, telling Koselitz: 'You'll also find in my cheerful and wicked 'present state' perhaps more inspiration for 'operetta' than anywhere else: I enjoy so many silly jokes with myself and leave so many clownish private insights that now and again I'm grinning for half an hour in the street, I know no other word for it...'

“Another attack of uncontrollable grimacing and weeping happened at a concert of 2 December.  As he insisted, the outburst could be interpreted as extreme joy in the program of Beethoven, Liszt and Goldmark...”(page 205)

“In his room at least he was safe.  He enjoyed the idea of it as a temple as he had before in Nice.  That he did for once envision it as a temple and not the usual 'cave' augured well for his spirits.  He felt exalted.  On one occasion, while he was working, the jolly melodies of The Barber of Seville wafted gloriously up from the weekly concert in the Galleria Subalpina.  He signed himself 'phoenix'.  He extemporized for hours at the piano.  Out buying fruit, he engaged in cheery conversation with the proverbially unforthcoming citizens of Turin.” (page 206) 

“The first time the Finos noticed that all was not well with their tenant...was the beginning of December, 1888. Nietzsche asked them to remove all the hangings from the walls of his room since he was expecting a visit from the king and queen of Italy, and the room needed to look like a temple to receive them.” (Young, page 528)

“The megalomania...took him increasingly into the realm of political fantasy....On December 31 he writes Strindberg that he has ordered a public holiday to celebrate the execution of the young Emperor, signing the letter 'Nietzsche Caesar'.  Strindberg, who himself only narrowly escaped confinement in a psychiatric institution, replied that 'It sometimes helps to be mad.'

“By January 3 victory has been achieved and world peace established: 'Do you not see how the heavens rejoice?' he writes Meta von Salis.  'I have entered into possession of my realm. I am throwing the Pope in jail and having Wilhelm [the Emperor], Bismarck and Stoecker [the anti-Semite] shot'.  The following day (his own kind of 'final solution') he is 'just now having all anti-Semites shot'.

“All this is, of course, madness.  Yet there is method in it, a vein of fragmented sanity that runs back to the best of his writings.  There remains, first of all, a vein of political sanity, generated by his experience of the Franco-Prussian battlefields.  His remarks in the closing pages of the notebooks on the 'madness' of the dynastic squabbles which 'place the flower of youth and energy and power in the cannon's mouth', and on the madness of spending twelve billion marks a year on preserving the 'armed peace' of the Triple Alliance, a peace which is no peace at all but merely a recipe for a future war, are models of sanity.” (page 529)

“On December 31 he wrote Koselitz that he could no longer remember his street address, but added, 'Let's assume it's the Palazzo del Qurinale' (the residence, in Rome, of the King of Italy).  Many letters were signed 'The Crucified', and even more 'Dionysus'.  (One link between Jesus and Dionysus is that both overcame death.  Both were killed – Dionysus was torn to pieces by the Titans – and were then resurrected to eternal life.)

“As 1888 turned into 1889, then, Nietzsche in a confused way, 'becomes' the god Dionysus.  And with this new identity comes the intensification of the mood of holy joy that he has inhabited since his arrival in Turin at the end of September.  'Sing me a new song: the world is transfigured and all the heavens rejoice', he commands Koselitz, reverting to the New Testament language of his upbringing.” (page 530)

“As he was leaving his lodgings on the morning of the 3rd January 1889 Nietzsche saw a cabman beating his horse at the cab rank in the Piazza Carlo Alberto. With a cry he flung himself across the square and threw his arms about the animal's neck.  Then he lost consciousness and slid to the ground, still clasping the tormented horse.  A crowd gathered, and his landlord, attracted to the scene, recognized his lodger and had him carried back to his room. For a long time he lay unconscious. When he awoke he was no longer himself: at first he sang and shouted and thumped on the piano, so that the landlord, who had already called a doctor, threatened to call a policeman too; then he quieted down, and began writing the famous series of epistles to the courts of Europe and to his friends announcing his arrival as Dionysus and the Crucified.” (Hollingdale, page 237)

Julian Young believes Nietzsche's famous horse hug is more myth than fact.  Regardless, the “doctor” to which Hollingdale previously refers was a psychiatrist. Nietzsche refused to see the shrink, but was fooled by the Finos into thinking the doctor was just a friend of the family. Nietzsche was given bromide to tranquilize him.

“Meanwhile, in Basel, Burckhardt, much perturbed by the 'I'd rather be a Basel professor than God' letter, visited Overbeck on January 6.  The latter, who had been worried about Nietzsche's mental condition for several weeks, consulted with his colleague Ludwig Wille, professor of psychiatry at the university and director of the local psychiatric clinic.  The latter advised him to bring Nietzsche back to Basel immediately, lest he find himself incarcerated in some dubious Italian institution.  

“On the afternoon of January 7, Overbeck arrived at Nietzsche's lodgings, to the great relief of Davide Fino, who, soft-hearted but desperate, had been on the point of calling the police.  Overbeck found his old friend, a shadow of his former self, sitting in the corner of a sofa,” (Young, page 532)

Richard Schain quotes a letter by Overbeck at length: “'I saw Nietzsche in a sofa corner, crouched down and reading – as it turned out, the last proof reading of N. contra Wagner – he looked horribly decrepit; recognizing me, he threw himself upon me and embraced me strongly, breaking into a torrent of tears, then sinking back into the sofa.  I too could hardly stand upright from the shock.  Had he at this moment recognized the abyss opening in front of him or in which he was actually plunged?  In any case, the moment did not return.  The whole Fino family was present. Scarcely had he started moaning an quivering again when he was given some bromine water that stood on the table. In a moment, he was calm again and smiling, he began to speak of a great reception that was preparing for the evening.  So he was in the grip of delusional ideas which never left while I was with him.  He broke forth in loud singing and frenzied piano playing, fragments out of the mental world in which he had been recently living and interspersed and indescribably uttered expressions, sublime, wonderfully insightful and unspeakably horrible things about himself as the successor to a dead God, all punctuated by chords from the piano after which convulsions and outbursts of unspeakable suffering followed – yet as I said, these occurred for only brief moments when I was there; in general, they were outweighed by the profession of his vocation to be the comic character of the new eternity, although he, the incomparable master of expression, was incapable of expressing the rapture of his happiness other than trivial expressions or comical dancing and jumping.  At the same time, the childish inoffensiveness never left him even during the three nights during which his outbursts kept the whole house awake.'

“It appears that Nietzsche danced naked, evoking the antique conception of holy sexual frenzies.  Overbeck might not have read The Gay Science, or if he had, he might have forgotten s. 381 where Nietzsche says, 'I don't know what the spirit of the philosopher would wish for more than to be a good dancer.  The dance is really his ideal, also his art, and in the end, his unique piety, his 'service to God.'” (Schain, pp. 44-45)

“On January 11, 1889, Franz Overbeck informed Nietzsche's only other remaining human contact, Heinrich Koselitz, that the previous day he had delivered Nietzsche, 'or more exactly the rubble of what only a friend would recognize as him, to the psychiatric clinic [in Basel].  He suffers from delusions of infinite grandeur, but also from much else - it's hopeless.  I have never seen such a horrific picture of destruction.' He delivered him to the care of Dr. Ludwig Wille...” (Young, page 550)

“In this crisis Overbeck was aided by the German consul, who recommended a German dentist named Bettmann, well known for his talent in calming hysterical patients. Bettmann, who turned out to be Jewish - as though Fate or Fortune had intervened to help the vehemently anti-antisemitic Nietzsche in this moment of distress – lived up to his reputation.  While Overbeck spent a hectic Wednesday morning cramming many of his friend's manuscripts, letters and notebooks into several trunks, Nietzsche obstinately refused to leave his bed.  But when Bettmann told him that he had to get up to take part in the festivities that were being prepared in Torino, Nietzsche, as docile as a child, obeyed him and got dressed.  There was a tearful farewell with Davide Fino, to whom Nietzsche he become most attached, but also a comic moment when the departing tenant insisted on 'borrowing' his landlord's paplina - the Italian word for 'nightcap' probably suggesting something ludicrously 'papal'.

“There was further trouble at the Turin railway station, where Nietzsche wanted to embrace every passer-by. Bettmann again rose to the occasion, pointing out that such behavior was unseemly on the part of a grand seigneur.  As the train pulled out of the station, the now totally uninhibited professor broke into a Venetian gondoliers' song.  During the all-night trip to Basel Overbeck and Bettmann kept feeding Nietzsche sedatives to calm him. Here again the astute dentist proved his extraordinary competence by explaining to need for this nerve-racking trip: a festive crowd had gathered in Basel to offer the 'returning hero' a triumphant welcome.” (Cate, page 553)    

“Nietzsche's little party was greeted by Dr. Wille at the entry area of Friematt, the mental institution directed by Dr. Wille.  Overbeck thought that Nietzsche had no idea where he was and was fearful what might happen when Nietzsche learned the truth of his circumstances.  However, Nietzsche in his most urbane manner approached Wille directly saying he knew he had seen him before  but could not recollect his name.  'I am Wille' was the response.  In the calmest of tones, Nietzsche responded, 'Wille?  You are an asylum doctor.  I had a conversation with you some years ago about religious delusions.  The occasion was an insane person, Adolf Vischer who lived here or in Basel at the time.'  Wille listened silently and nodded in agreement. Overbeck was amazed at Nietzsche's detailed recollection of events occurring seven years ago but also his complete denial that he himself was now a patient of the Irrenarzt. It was another example, as Overbeck himself put it, 'of the annihilating split in his personality.'” (Schain, page 49)

“Nietzsche's eight days in Friedmatt were characterized by alternating manic excitement and sleeping as a consequence of sulfonal administration. At times he would converse quite normally but then lapse into confused delusional thoughts or singing and joking.  According to a later communication by Wille to Elisabeth Forster-Nietzsche, there was considerable erotic ideation in his flight of ideas.  He continued to express a euphoric state of mind in which he felt strong, healthy, lucky, and capable of anything.  It was noted that he would be calm while he was confined to his bed, but upon rising, the wild excitement would return.  However, on balance, it was thought that the manic behavior was gradually decreasing during his stay at Friedmatt." (Schain, page 50)

“On the 14th Nietzsche's mother visited him.  He recognized her conducted a perfectly rational conversation about family matters until he suddenly cried: 'Behond in me the tyrant of Turin!. And the interview had to be cut short.” (Hollingdale, page 239)

“Nietzsche's mother wanted to take her son home to Naumburg.  She was convinced that under her ministrations, he could become well again.  However, Wille believed this to be inadvisable and would not agree to discharge Nietzsche to his mother's care. Finally, a compromise was worked out; Nietzsche would be transferred to the state psychiatric institution at Jena, which was only a short distance from Naumburg.” (Schain, pp. 50 – 51)

“On January 17, he left Basel in the company of his mother, an attendant from the Basel institution, and a young doctor named Ernst Mahly who had been a former student of Nietzsche's.  He is described as leaving the institution at night, 'closely flanked by both escorts, silent, his face like a mask, and in an unnaturally stiff posture, Nietzsche climbed into the train.'  He was quiet during the first part of the trip, eating rolls his mother provided and reading newspapers with interest.  However, shortly before arriving in Frankfurt where a change of trains was required, Nietzsche fell into a rage, apparently directed at his mother.  It was necessary for her to complete the trip in another compartment.” (page 51) 

Thursday, June 1, 2017

"Dionysus Comes To The River Po"

Note: The following excerpts are taken from Chapter 10 of Leslie Chamberlain's Nietzsche in Turin, which I have referenced before.  In this chapter, Chamberlain addresses the onset of Nietzsche's madness and specifically his Dionysus Dithyrambs - the final poems of his life. It affords us a glimpse into the intimate state of Nietzsche's mental decline with appropriate emphasis upon the neurotic obsession for all things associated with Richard Wagner that haunted Nietzsche's final semi-lucid days. It also serves to illuminate Nietzsche's (self-denied) mediocrity as a poet, his intensely felt isolation, his personal affinity (elevated valuation) for ancient Greek culture, and is additionally a reflection of Nietzsche's continuing undercurrent of eroticism.

"Nietzsche's art, which had become the art of life, fought a tremendous battle with sickness.  He was like the outcast Trojan priest Laocoon, resisting the punishing sea serpents to the last breath.  Thinking of the meaning of that classical statue, depicting terror and resignation, Nietzsche considered Laocoon's fate showed the Apollonian forces yielding to Dionysus. The statue could have worn his face. No wonder he called it pathetic.  His mental health late in 1888 was giving way; he was sinking into some putative collective unconscious.  His last resistance was to use his Apollonian gift to depict the chaotic material of an individual life ending.

"The terrifying mythical figure known as Dionysus Zagreus specifically betokened disintegration. Nietzsche gave Zagreus form, so that he could to the last see his fate beyond himself.  He went out to meet that fate as if he finally met his Platonic other half, ideally loved.  This was his last demonstration of amor fati, to shape his final destiny in the mould of the Orphic god who was destroyed and reborn.

"It was a last artistic interpretation of himself, and we understand from it the limits of his artistic impulse, that a sense of 'not-self' was hard won.  He wrote even as a young man that other people were as shadows in his Platonic cave.  He alone was real.  Artistic interpretation was the only way he could conceive of an 'other', a not-I.  Thus a Turin Zagreus was born." (page 182)

"Ecce Homo was a self-portrait in this tragic vein.  Yet it still had the limitations of a literary work.  Using mostly the colors of the contemporary world, Nietzsche framed his autopicture with such philosophy and politics as furnished his unique self-justifications a cultural revolutionary.  He began that process of turning himself into a modern myth, which proceeded apace after his death.  If the myth which then took shape was more violent, less subtle, and ignorant of his religious sensibility, the fault was partly Nietzsche's. Having associated 'the pictorial man' with fanaticism, he denied in Ecce Homo that he was a fanatic, though nothing was more true of his mode of operation in the last days. With pictures of himself as a warrior, an iconoclast and an inexhaustible ego he chased an image and won an idolatrous following. These were his projections in life and he needed to sustain his self-belief.

"But he needed pictures of a different order to depict his life's conclusion.  His greatest moment, sinking into eternal night, was going to be his Dionysian answer to Socrates' irony.  The truly Dionysian pictures abound in the poetry. There the symbolic images are still autobiographical, but removed from historical time. They portray Nietzsche's emotional relationships and his will to Greek religion.  They embody the history of a soul never fully unveiled to us. Nietzsche, like an imagined category of women he despised, was coy. The poems contain riddles to which willfully he never supplied the key.

"'Dionysus Zagreus come to the River Po', however, which Nietzsche set down on a few sheets of grey-edged Turin paper around Christmas, was a picture in prose, and all too clear.  It showed Dionysus wandering amongst a valedictory assembly of friends and family.  It could have been Nietzsche's parting arrow shot into posterity, a scene echoing Odysseus's descent to the Underworld, and one which might have been painted by Claude.  Only to this creation Elisabeth threw away the lock and the door as well as the key.  She took exception to Dionysus's view of the family and, pretending the deed was done by her mother, destroyed those sheets of handmade paper. It was another demonstration of family willfulness, manifesting itself differently in brother and sister." (page 185)

"Elisabeth wrote: 'At this period [surmised to be the last days on 1888] ...he covered some sheets of paper with the wildest fantasies, mingling the legend of Dionysus Zagreus with the story of the Passion and with the history of people whom he knew.  The god, torn to pieces by his enemies, rises again and walks along the banks of the Po, seeing all that he has ever loved, his ideals, the ideals of the present age, far beneath them.  His nearest and dearest have become enemies, who have torn him to pieces.  These sheets of paper, which were addressed to my husband in Paraguay, and to our mother, contain attacks on Wagner, Schopenhauer, Bismarck, the Emperor, Professor Overbeck, Peter Gast, Frau Cosima Wagner, my husband, my mother and myself.  He signed all his letters at the time 'Dionysus' or 'The Crucified One'." (page 186)

"In Ecce Homo Nietzsche has witnessed his death and invented his ancestors; in Turin recently he has seen his own funeral.  There is nothing to stop him being present at his own conception, growing up rapidly and now wandering the banks of the Po.  This jungle of imagery from picture book to picture book is I think just a prelude to understanding Nietzsche's rabid Dionysian imagination in the last six years of his life.

"The fertility of that jungle affected Nietzsche's general view of his style.  He believed he was the master in verbal expression of a myriad of inner states and moods and tensions, for which he had found signs and gestures.  He referred to his exemplary style in 'The Seven Seals', 'Every style is good which actually communicates an inner state, which makes no mistake as to the signs, the tempo of the signs, the gestures - all rules of phrasing are an art of gesture.  My instinct here is infallible.'  We do not have to accept the claim to find its valuable testimony.  The wording is musical and closely resembles what Nietzsche had praised in Wagner. 'Dionysus comes to the river Po' may have some musical quality in the words and the general conception. The garden element and the theme of a non-Christian redemption suggest a faint parallel and challenge to Parsifal , Wagner's last work.  I am aware of the absurdity of comparing three fragmentary lost pages with a grand music drama setting Christianity against Paganism.  But the obscure, forceful, often ugly dithyrambs written at the same time as Zagreus were certainly strikingly Wagnerian, which implies no qualitative comparison with Wagner.  They were mythical and would-be musical, poised between rebellion and inner retreat, and shot through with the sweetness of sleep - and eternal sleep." (page 190)

"The dithyramb also bore, in its modern meaning of a poetic tone more than a form, however, a much closer personal significance for Nietzsche.  It betokened wild howling, vehement expression.  Nothing could have been more apt for a poet in love with the masks of self-intoxication and madness.  What a way to rebel against being made chaste and virtuous by misfortune! The medium itself expressed a desire to be sensually out of control.  Had Nietzsche used the form to greater artistic effect his poems might have become iconic for the modern condition, like Munch's The Scream, because they are a kind of howling after lost community.  All Nietzsche's writing where the pictorial and the musical dominate over the discursive could be called Dionysian and dithyrambic.  They sing, they laugh, they flash color, they luxuriate in texture. That style has been hailed as exemplary of the modern, because it is essentially a lament for fragmentation.

"Of the nine Dionysus Dithyrambs of December 1888, 'The Fire Signal' is a recent creation, drawing on Nietzsche's love of water imagery to make his soul a bonfire on a small island amid an ocean, signaling to every kind of solitude, past and future, for the last and deepest confirmation of his own being alone.  It recalls Brunnhilde before she is awakened to save the world.  Another new poem, 'The Sun Sets', tends towards the ecstasy of inertia, of a hopeless, wish-free motionlessness which is a calm sea, skimmed by the lightest of boats floating into the distance. Nietzsche drafts a letter to an unknown correspondent on 27 November, introducing these minor works.  In general their themes were drawn from the landscape of elemental forces with which Nietzsche was obsessed: earth and sun, desert, fire, mountains.  They were peopled by Dionysus and Ariadne, with a few extra walk-on parts."  (pp. 191-192)

"The dithyrambs are certainly cold in an intense, declamatory fashion.  The rich alliteration once again recalls Wagner's imitations of medieval German Stabreime. The lines seem oddly dead on the page, as if they did come from a faraway, unreachable culture carried into the modern world in fragments.  In particular Nietzsche's imagining of love, which mostly amounts to lust, is often strained and peculiar, because of the introduction of the gastric process.  In a deliberate transvaluation of idealistic love he places biting, chewing, digesting, self-nourishing, self-perpetuation - and excreting understood - at the center of his real love, which is yet a quite unreal one.  In his (pro)creative satisfaction he is fruit cooked in its own juice. Or he wants to be a sweet, gleaming date full of golden promise, chewed in a young girl's mouth and bitten into by her by sharp, ice-cold, snow-white teeth.  To be swallowed like Jonah would also be sweet, conducive to arrival in the ultimate oasis-belly.  There is a memory of a rare real sexual encounter. 'Among Daughters of the Desert' is peopled by dancers, creatures flitting about in gauze, who closely resemble the women he encountered as a bewildered young man in that Cologne brothel.  The picture is of lust buried under so many layers of fantasy that a cursory reading might leave only a sense of frustrated impotence." (page 192)

"The dithyrambs...return Nietzsche to Wagner, revealing themselves as another taking up of the invitation to the young professor to take from Wagner whatever might be useful.  Nietzsche having asked his mother to search out that Wagner earlier in the year, now answered it in 'On the Poverty of the Richest'. That dithyramb repeated word for word also brought Nietzsche contra Wagner to a close, while the title page of that essay set the scene for the last act of his tragedy: 'Turin Christmas 1888'.

"The music to which the tragedy plays out is, by Nietzsche's choice, Wagner's Tristan.  At Christmas 1888 he cannot think beyond Tristan as a fascinating, capital work, peerless among all the arts.  The Dionysus Dithyrambs are replete with Tristan's characteristic imagery of fire, light and dark, ships, breath (air), mouth and lips and its Buddhistic spirit. In the language of the Liebestod, an ecstatic sinking of two lovers into willed darkness, Nietzsche describes his own solitary departure alone. As a composer he has wrought a thematic transformation of the boldest Lisztian kind, taking the original notes and making them express a quite different sentiment.

"That Nietzsche's endless rivalry with Wagner preoccupied him as his end neared is clearly shown  in a letter to Avenarius on 10 December.  As usual, in his mind he made Wagner think about Nietzsche what in fact Nietzsche felt towards Wagner. For with Nietzsche's music and Nietzsche's poetry there was a tragic flaw: it wasn't good enough.  He was a great writer and an extraordinary human and intellectual phenomenon.  But he wasn't a great artist. Indeed the truth was, the great musical god Dionysus was Wagner.  Nietzsche only sang in his chorus, imitated his poetry, but couldn't bear to admit it." (pp. 193 - 194)

"Nietzsche as artist and man provided a kind of music then, to which Wagner supplied most of the human content.  It was Wagner who showed what love was, and in the end Wagner who showed him how, in imagination, to die. Wagner did that not only with his works but his life.  Going mad, Nietzsche, imagined Cosima was his wife.  That claim was the end of the Cosima drama which had been going on in his head for a long time, besides the drama with Richard.  An early French critic of Nietzsche's saw it as the great unwritten romantic novel of the nineteenth century. There is a dithyramb called 'Ariadne's Lament', which in Zarathustra was spoken by a man.  The theme was rebelliousness against an absent God which was at the same time dependence.  In Zarathustra, the trembling old man who declaimed it implausibly, next moment metamorphosed in Zarathustra's mind into 'actor, counterfeiter, liar...magician', i.e. into Wagner himself. The poem made more sense as Aridane's lament, when according to myth, her lover Theseus abandoned her.  In the 1888 version Ariadne was Cosima, Theseus Wagner, and Dionysus, who appeared for the first time to save the betrayed woman, was Nietzsche.  The constant in these two versions was Nietzsche's lament for lost love, his anger and his dependence.  He shuffled the parts, but only ever succeeded in expressing in a dramatic monologue his longing for the lost companionship of the Wagners." (page 195)

Perhaps he had that in mind while he was reading the final proofs of Nietzsche contra Wagner, his mental grip already loose and erratic.  The dithyrambs were written at a time when Nietzsche was exhibiting pronounced signs of megalomania and gradual signs of insanity.  Indeed, at least one was written when Nietzsche thought himself to be the Greek god Dionysus.  As such, these poems represent the fading vocabulary of a would-be poet dancing on the edge of the abyss.

Monday, May 15, 2017

Ecce Homo: Part Two

The subtitle to Nietzsche's autobiographical work is “How One Becomes What One Is.”  It tells, in often satirical fashion, the story of Nietzsche's philosophical journey; the twists and turns, the mistakes and breakthroughs, that led him to write his 'great task' though, of course, he only completed the first part of the revaluation project.  The rest of it never came to fruition, buried as scattered and unripe thoughts and fragments captured in his private notebooks.

These selections from the work should suffice to give readers unfamiliar with Ecce Homo a taste of its potent prose.

“The last thing I would promise would be to 'improve' mankind.  I erect no new idols; let the old idols learn what it means to have legs of clay.  To overthrow idols (my word for ideals) – that is rather my business. Reality has been deprived of its value, its meaning, its veracity to the same degree as an ideal world has been fabricated...The 'real world' and the 'apparent world' – in plain terms: the fabricated world and reality...The lie of the ideal has hitherto been the curse on reality, through it mankind itself has become mendacious and false down to its deepest instincts – to the point of worshiping the inverse values to those which alone could guarantee it prosperity, future, the exalted right to a future.” (Forward, 2)

“A being who is typically morbid cannot become healthy, still less can he make himself healthy; conversely, for one who is typically healthy being sick can even be an energetic stimulant to life, to more life.  Thus in fact does that long period of sickness seem to me now: I discovered life as it were anew, myself included, I tasted all good and even petty things in a way that others could not easily taste them – I made out of my will to health, to life, my philosophy...For pay heed to this: it was in the years of my lowest vitality that I ceased to be a pessimist: the instinct for self-recovery forbade to me a philosophy of indigence and discouragement...And in what does one really recognize that someone has turned out well!  In that a human being who has turned out well does our senses good: that he is carved out of wood at once hard, delicate and sweet-smelling.  He has a taste for what is beneficial to him; his pleasure, his joy ceases where the measure of what is beneficial is overstepped.  He divines cures for injuries, he employs ill chances to his own advantage; what does not kill him makes him stronger.  Out of everything he sees, hears, experiences he instinctively collects together his sum: he is a principle of selection, he rejects much.  He is always in his company, whether he traffics with books, people or landscapes: he does honor when he /chooses/, when he admits, when he trusts.  He reacts slowly to every kind of stimulus, with that slowness which a protracted caution and a willed pride have bred in him – he tests an approaching stimulus, he is far from going out to meet it.  He believes in neither 'misfortune' not in 'guilt': he knows how to forget - he is strong enough for everything to have to turn out for the best for him.  Very well, I am the opposite of a decadent: for I have just described myself.” (Why I Am So Wise, 2)

“War is another thing.  I am by nature warlike. To attack is among my instincts.  To be able to be an enemy, to be an enemy – that perhaps presupposes a strong nature, it is in any event a condition of every strong nature.  It needs resistences, consequently it seeks resistances: the aggressive pathos belongs as necessarily to strength as the feeling of vengefulness and vindictiveness does to weakness....every growth reveals itself in the seeking out of a powerful opponent – or problem: for a philosopher who is warlike also challenges problems to a duel.  The undertaking is to master, not any resistances that happen to present themselves, but those against which one has to bring all one's strength, suppleness and mastery of weapons – to master equal opponents...Equality in the face of the enemy – first presupposition of an honest duel.” (What I Am So Wise, 7)

“One becomes what one is presupposes that one does not have the remotest idea what one is.  From this point of view even the blunders of life – the temporary side paths and wrong turnings, the delays, the 'modesties', the seriousness squandered on tasks which lie outside the task – have their own meaning and value....For the task of a revaluation of all values more capacities perhaps were required than have dwelt together in one individual, above all antithetical capacities which however are not allowed to disturb or destroy one another.  Order of rank among capacities; distance; the art of dividing without making inimical; mixing up nothing, 'reconciling' nothing; a tremendous multiplicity which is none the less the opposite of chaos – this has been the precondition, the protracted secret labor and artistic working of my instinct.  The magnitude of its higher protection was shown in the fact I have at no time had the remotest idea what was growing within me – that all my abilities one day leapt forth suddenly ripe, in their final perfection.” (Why I Am So Clever, 9)

As Cate pointed in the previous post, Nietzsche goes into great detail about his personal habits in Ecce Homo.  His beliefs and experiences regarding diet, location, hobbies, all sorts of intimate details are shared with the reader.

“...these little things – nutriment, place, climate, recreation, the whole casuistry of selfishness – are beyond all conception of greater importance than anything that has been considered of importance hitherto.  It is precisely here that one has to begin to learn anew.  Those things which mankind has hitherto pondered seriously are not even realities, merely imaginings, more strictly speaking lies from the bad instincts of sick, in the profoundest sense injurious natures – all the concepts 'God', 'soul', 'virtue', 'sin', 'the Beyond', 'truth', 'eternal life'...But the greatness of human nature, its 'divinity', has been sought in them...All questions of politics, the ordering of society, education have been falsified down to their foundations because the most injurious men have been taken for great men – because contempt has been taught for the 'little' things, which is to say for the fundamental affairs of life....My formula for greatness in a human being is amor fati: that one wants nothing to be other than it is, not in the future, not in the past, not in all eternity.  Not merely to endure that which happens of necessity, still less to dissemble it – all idealism is untruthfulness in the face of necessity – but to love it...” (Why I Am So Clever, 10)

“My time has not yet come, some are born posthumously. - One day or other institutions will be needed in which people live and teach as I understand living and teaching: perhaps even chairs for the interpretation of Zarathustra will be established.  But it would be a complete contradiction of myself if I expected ears and hands for my truths already today: that I am not heard today, that no one today knows how to take from me, is not only comprehensible; it seems to me right.” (Why I Write Such Good Books, 1)

“I shall at the same time also say a general word on my art of style.  To communicate a state, an inner tension of pathos through signs, including the tempo of these signs – that is the meaning of every style; and considering that the multiplicity of inner states is in my case extraordinary, there exists in my case the possibility of many styles – altogether the most manifold art of style any man has ever had at his disposal.  Every style is good which actually communicates an inner state, which makes no mistake as to the signs, the tempo of the signs, the gestures - all rules of phrasing are art of gesture.  My instinct here is infallible.” (Why I Write Such Good Books, 4)

At this point Nietzsche proceeds to make a critique and assessment of his work up through The Wagner Case.  It is interesting to note how much analysis (in some cases how apologetic) he devotes to each volume in his body of work. The Birth of Tragedy receives a little over five pages.  The Untimely Essays a bit less than five pages.  Human, All Too Human about six pages.  Daybreak gets two and a half pages. Surprising to me is the fact that he devotes only one page to The Gay Science, one of his best overall works.  The famous Thus Spoke Zarathustra receives nine pages, the most of any work.  My favorite Nietzsche work, Beyond Good and Evil gets only a page and a half. Genealogy of Morals, considered by many to be his best philosophical effort – one page. Twilight of the Idols is worthy of two pages. The Wagner Case merits six and a half pages, which perhaps reflects Nietzsche's struggle to balance his personal anguish regarding Wagner in comparison with the wider achievements of his other works and particularly with respect to the revaluation project.

Nietzsche summarizes The Untimely Meditations as “altogether warlike”.  Daybreak is cast as the beginning of his “campaign against morality”, specifically “the struggle against the morality of unselfing” by which Nietzsche means the “decadence” that manifests itself as “resistance to the natural instincts” of ourselves as persons. His extremely brief review of The Gay Science declares that “in practically every sentence of this book profundity and exuberance go hand in hand”.  He sees the “positive” aspects of these books undergoing a transformation into the next phase of his life's work found in Beyond Good and Evil. He writes: “The task for the immediately following years was as clear as it could be.  Now that the affirmative part of my task was done, it was the turn of the denying, the No-saying and No-doing part: the revaluation of existing values themselves, the great war – the evocation of the day of decision.”

There is nothing particularly insightful or new, even in summation, offered for the freshly completed Twilight of the Idols or The Wagner Case, nor in his brief thoughts on the Genealogy. Rather it is with the sections devoted to The Birth of Tragedy and Thus Spoke Zarathustra that Nietzsche brings more substantive thinking to bear, perhaps achieving his best writing for the section of his autobiography dealing with his body of work.

For The Birth of Tragedy, his most popular work during his lifetime due to its Wagnerian connections, he writes: “The book's two decisive novelties are, firstly the understanding of the dionysian phenomenon in case of the Greeks – it offers the first psychology of this phenomenon, it sees in it the sole root of the whole Hellenic art.  The other novelty is the understanding of Socratism: Socrates for the first time recognized as an agent of Hellenic disintegration, as a typical decadent.  'Rationality' against instinct. 'Rationality' at any price as dangerous, as force undermining life!” (BOT, 1)

Nietzsche attempts to disconnect Wagner and Schopenhauer from this work, but his attempts are unconvincing. Nevertheless, he contextualizes his first book as the beginning of a meaningful process of self-discovery. He quotes from Twilight of the Idols (his intention is to connect his first book with his latest efforts): “'...beyond pity and terror, to realize in oneself the eternal joy of becoming – the joy which also encompasses joy in destruction...'  In this sense I have the right to understand myself as the first tragic philosopher - that is to say the extremist antithesis and antipodes of a pessimistic philosopher.  Before me this transposition of the dionysian into a philosophical pathos did not exist: tragic wisdom was lacking – I have sought in vain for signs of it even among the great Greeks of philosophy, those of the two centuries before Socrates.  I retained a doubt in the case of Heraclitus, in whose vicinity in general I feel warmer and more well than anywhere else.  Affirmation of transitoriness and destruction/, the decisive element in a dionysian philosophy, affirmation of antithesis and war, becoming with a radical rejection even of the concept 'being' - in this I must in any event recognize what is most closely related to me of anything that has been thought hitherto.” (BOT, 3)

Nietzsche contextualizes Zarathustra as a work primarily dealing with “the idea of eternal recurrence, the highest formula of affirmation that can possibly be attained.”  He continues, rather boastfully: “This work stands altogether alone.  Let us leave the poets aside: perhaps nothing at all has ever been done out of a like superfluity of strength. My concept 'dionysian' has here become the supreme deed; compared with it all the rest of human activity seems poor and conditional.  That a Goethe, a Shakespeare would not for a moment have known how to breathe in this tremendous passion and solitude, that Dante is, compared with Zarathustra, merely a believer and not one who first creates truth, a world-ruling spirit, a destiny – that the poets of the Veda are priests and not even worthy to unloose the latchet of the shoes of Zarathustra – all this is the least of it, and gives no idea of the distance, of the azure solitude, in which the work lives.” (Z, 6)

“I walk among mean as among fragments of the future: of that future which I scan.  And it is with my art and aim to compose into one and bring together what is fragment and riddle and dreadful chance.  And how could I endure to be a man, if man were not also poet and reader of riddles and the redeemer of chance!  To redeem the past and to transform every 'It was' into and “I wanted it thus!' - that alone I would call redemption.

“I emphasize one final point: the italicized line provides the occasion.  Among the decisive preconditions for a dionysian task is the hardness of the hammer, joy even in destruction,  The impressive 'become hard', the deepest certainty that all creators are hard, is the actual mark of a dionysian nature.” (Z, 7)

One aspect of Ecce Homo is that Nietzsche takes every opportunity to stitch his collective body of work together as always having dealt with themes that were actually only fully fleshed out in his later efforts. It is true the undercurrents of what Nietzsche later called “decadence” and the “dionysian” perspective occasionally graced his early and middle works, but not to the degree of emphasis we find in his 1888 writings.  So, perhaps somewhat disingenuously or at least self-deceptively, Nietzsche connects The Birth of Tragedy with Twilight of the Idols

For all its satire and poetry and insightful musings, Ecce Homo shows patterns in the evolution of Nietzsche's thought that are more convenient in the name of metaphysical consistency than they are accurately portraying his earlier works and the development of his philosophy. Nietzsche writes of “wrong-turnings” (existential and philosophical investigations that don't pan out and cause one to back track to their “main” path) on the path of self-discovery throughout Ecce Homo but in reality he fails to apply any personal wrong-turning specifically to his works.

Ultimately, all of this autobiographical and intellectual self-analysis manifests itself in the beautiful egoism that makes up the last section of the work.  Here Nietzsche discusses his legacy as if he knew Ecce Homo was the end of his sane life.  

“I know my fate.  One day there will be associated with my name the recollection of something frightful – of a crisis like no other before on earth, of the profoundest collision of conscience, of a decision evoked against everything that until then had been believed in, demanded, sanctified.  I am not a man, I am dynamite....I do not want 'believers', I think I am too malicious to believe in myself, I never speak to the masses...I have a terrible fear I shall one day be pronounced holy: one will guess why I bring out this book beforehand; it is intended to prevent people from making mischief with me...I do not want to be a saint, rather even a buffoon...Perhaps I am a buffoon....the truth speaks out of me. - But my truth is dreadful: for hitherto the lie has been called truth. - Revaluation of all values: this is my formula for an act of supreme coming-to-oneself on the part of mankind which in me has become flesh and genius. It is my fate to have to be the first decent human being, to know myself in opposition to the mendaciousness of millennia...I was the first to discover the truth, in that I was the first to sense - smell - the lie as lie...My genius is in my nostrils...I contradict as has never been contradicted and am none the less the opposite of a negative spirit....For when truth steps into battle with the lie of millennia we shall have convulsions, an earthquake spasm, a transposition of valley and mountain such as has never been dreamed of.  The concept politics has then become completely absorbed into a war of spirits, all the power-structures of the old society have been blown into the air – they one and all reposed in the lie: there will be wars such as there have never been on earth.  Only after me will there be grand politics on earth.” (Why I Am A Destiny, 1)

“...the over-valuation of goodness and benevolence by and large already counts with me as a consequence of decadence, as a symptom of weakness, as incompatible with an ascending and affirmative life: denial and destruction is a condition of affirmation.” (Why I Am A Destiny, 4)

“In the concept of the 'selfless', of the 'self-denying' the actual badge of decadence, being lured by the harmful, no longer being able to discover where one's advantage lies, self-destruction, made the sign of value in general, made 'duty', 'holiness', the 'divine' in man!” (Why I Am A Destiny, 8)

As explained in our review of the Genealogy selfishness is more authentic to the free spirit than selflessness.  Being-for-others is decadence - only actions that are meaningful of our own choosing (our intimate Being-in-myself) are authentic.  So selfishness in this sense, at least, is superior from Nietzsche's perspective.

Monday, May 1, 2017

Ecce Homo: Part One

Ecce Homo is Nietzsche's most enigmatic and problematic work, and the student who reads it  must do so with caution.  Much of it self-evidently belongs to the time Nietzsche no longer had control over his fantasies;  on the other hand, much is not only rational but quite consonant with the outlook already familiar from the other post-Zarathustra works.

“The extreme claims concerning his own importance in the history of European civilization – 'One day my name will be associated with the recollection of something frightful – with a crisis such as there has never been on the earth before' (EH IV 1)  and so on – may be discounted as examples of the his letters and personal writings of 1888 and earlier; where he is writing not about himself but about other people, or reiterating his philosophy, Ecce Homo shows no trace of unbalance. There is no intellectual degradation: the mind is as sharp as ever and there is, above all, no decline in the stylistic control of language; on the contrary, the book is undoubtedly one of the most beautiful in German.  Many passages are a non plus ultra of richness combined with economy...To find a just comparison one must go outside literature altogether: Ecce Homo is the Jupiter Symphony of German letters.” (Hollingdale, page 216)

Ecce Homo shows how a modern man can defend himself against those disintegrating forces which threaten his personality and his life.  Nietzsche, modern to the core, counsels psychological insight, for moral and social prescription only mislead spiritually becalmed men and women further.  He urges self-determination while simultaneously underscoring the chaos of existence: the individual must create himself though he is existentially worthless.”  (Chamberlain, page 159)

“Here for the first time were publicly exposed many of Nietzsche's physiological characteristics, hitherto known only to close friends and acquaintances: his unusually low pulse rate, his poor eyesight, which improved every time his 'vitality' increased, his never having suffered a fever – he quotes a doctor who, after examining him, remarked, 'No, it's not a question of your nerves, it's only I who am nervous' – and has discovery that sickness can be an 'energetic stimulus' to life.

“What distinguishes Ecce Homo above all else is its fresh, uninhibited tones, and the careless ease with which, in describing his personal experiences and his highly idiosyncratic likes and dislikes, Nietzsche managed to give them a universal, but also, alas, easily misunderstood significance.” (Cate, page 535)

“One of the charms of Ecce Homo - for despite its strident imperfections (glaringly apparent towards the end) this is a charming book – is its rambling character. It is a peripatetic monologue in which the author takes the reader on a guided tour through his past, paying little heed to strict chronology but much to matters of geography, climate, food and drink.” (Cate, page 538)

“If all of Ecce Homo had been on this superior level, this little book of pungent reminiscences would have been a masterpiece.  But of a sick genius this is probably asking too much.  And the sad truth of the matter is that, as the book progressed, Nietzsche's worst habit – for a habit it had become – became stridently apparent.  This was his self-infatuated, subterraneanly nourished by frustration at having so long been ignored by German readers who refused to recognize his philosophical significance.  His observations about the successive books he wrote, the reasons why he wrote them, the responses they elicited (all too briefly suggest) are full of fascinating insights and valuable information; but every now and then he yielded to his inner demon and indulged in exaggerations unworthy of a thinker who detested histrionic exhibitionism and histrionic ostentation.” (Cate, page 541)

"Ecce Homo has aged in the shadows, and its sorry life consists of neglect, misunderstanding, and disparagement. As far as I can tell, the last person to comprehend and gain merriment form its farraginous form was its author, Friedrich Nietzsche. Instead of laughing at this cheerfully cynical book, a legion of grave scholars has found it oddly distressing at best and pathetic madness at worst....I contend Ecce Homo is a satire. As a trained classicist, Nietzsche was familiar with this ancient genre, and he wrote a parody of autobiography to skewer not only not only the inherent pretensions of self-reflection and unvarnished truth, but the larger historical pretensions of philosophy to procure timeless wisdom....What is the value of a life lived painfully? Could prolonged suffering be overcome and transformed, or would his authorial output always stand in spite of it? Ecce Homo became Nietzsche's last effort to transform enduring pain into something valuable, and to unify and communicate the essence of his philosophical corpus as he saw it.” (More, pp. 2-3)

Ecce Homo is Nietzsche's most unique major work.  It was written at a time when, if Nietzsche was not already going insane, his sanity was wavering.  As we shall see in a future post, he was exhibiting symptoms of megalomania when this work was written.  So a great deal of controversy surrounds the work.  Does it exhibit raving madness?  Is it cleverly insightful?  Is it brilliant poetic prose...or a megalomaniac's attempt at comedy?  There is less consensus about Ecce Homo than with any of Nietzsche's other published works. Despite some merits, Julian Young sees it as a “flawed work.”

“A weapon in his 'war against the present' which Nietzsche regarded as even more potent than The Antichrist was, in the order of composition, his last work, Ecce Homo.  Begun on his birthday, October 15th, he regarded it as, in principle, finished by November 4, though he continued to make alterations up until January 6, 1889. 

“In the Preface, Nietzsche writes that 'Since I plan shortly to have to confront humanity with the heaviest demand that has ever been made on it, it seems indispensable to say who I am'.  The reference, here, is to the immanent appearance of the master work and its urgent demand that we 'revalue all values'. Since he anticipated the masterwork being even more 'black and squid-like' than Beyond Good and Evil, he felt it imperative first to abolish the notion that its author was a sadistic misanthrope, a 'pathological' case.  The idea that he is a 'bogey man' or 'moral monster', he says in the Preface, someone who 'strives to abolish all decent feelings', is completely mistaken. By presenting a human, even intimate, portrait of himself as someone with a normal human background, who has had to struggle every step of the way with ill health, and who has himself been infected with the decadence he criticizes, he wants to show, I think, that the fundamental impulse of his work is 'not hardness but the opposite, a true humanity which strives to prevent needless disaster'.” (Young, pp. 518 – 519)

“Given that Nietzsche's collapse came right on the heels of Ecce Homo, the question inevitably arises as to whether, or to what extent, the work is infected by the approaching madness.  What sharpens the question is the fact that the work contains what look to be manifest delusions: that he was descended from Polish aristocracy, that even in childhood he never took the Christian God seriously, that the influence of Schopenhauer on The Birth of Tragedy was minimal, that he never had any enemies, that his greatness is obvious to everyone he meets, and many more.” (page 519)

“The claim to descent through his father from Polish nobility, to be sure, allows him to find nothing redeeming about the Germans, allows almost every page to drip – in the end it has to be said, tediously – with bile against these 'vulgar' 'cattle' who have perpetuated all the cultural crimes of the last four hundred years.  But given that he is supposed to be a picture of psychic health, he ought to be free of ressentiment and should not, therefore, have had any bile to spit in the first place.  Ressentiment is, it should be noted, exactly the right word here.  For, far too obviously, the bitterness that is read, as he thinks, 'by nothing but choice Vienna, St. Petersburg, Stockholm, Copenhagen, Paris, and New York, everywhere except in Europe's flatland, Germany, betrays the fact that the readers who really matter to him are none other than his fellow Germans – who, however, either ignore him or dismiss him as a madman.

“What, moreover, has to be recognized is that a great deal of the hyperbole has a megalomaniac character which is directly continuous with themes in the letters he wrote as he was unmistakably losing his mind. The claim, for instance, that 'wherever I go, here in Turin, for example, every face grows more cheerful and benevolent at the sight of me...the old market woman take great pains to select together for me their sweetest grapes' appears several times in the so-called 'crazy letters', as does the claim to be God: the idea he is related to his mother and sister is Ecce Homo claims, in a passage Elizabeth managed for many years to suppress, a 'blasphemy against my divinity'.

Ecce Homo is, then, a flawed work. Other signs of Nietzsche's failing powers are repetition, wandering organization, self-questioning at disproportionate and self-indulgent length, and, when he comes to review his earlier works, a lack of sense of their relative importance: whereas the Genealogy receives less than a page, The Wagner Case receives six. For all this, however, Nietzsche still being, for the most part, Nietzsche, it remains a book full of interesting and sublime moments.” (page 519 – 520)

“Without rejecting the importance of role models, Ecce Homo expands on the techniques of self-discovery in an interesting way:

“'That one becomes what one is presupposes that one does not have the remotest idea what one is.  From this point of view even life's mistakes have their own meaning and value, the occasional side roads and wrong turns, the delays, the...seriousness wasted on tasks that lie beyond the task.'

“To, as it were, discover who one is by discovering who one is not, one must keep the 'surface of of all the great imperatives' and 'big words', otherwise one will 'understand oneself too early'; one's self-definition will run down worn, all-too-worn, paths.  To become a 'higher' type, something new and unique, one must preserve a kind of passivity while, 'in the mean time, the organizing, governing idea' that is the 'meaning' of one's life 'keeps growing deep inside'.  Soon it 'starts commanding and slowly leads back from out of the side roads and wrong turns'. In a word, 'self-seeking' is, through a process of trial and probably lots of error, a matter of finding rather than creating oneself, rather as the sculptor 'finds' rather than creates the figure 'slumbering' in the marble.

“The idea of allowing one's 'self' and 'destiny' to emerge through one's mistakes provides the narrative structure of the work, a narrative that centers, inevitably, on Wagner. The 'most affectionate and profound' relation of his life, Nietzsche says, was with Richard Wagner.  'None of my other personal relationships amounts to much, but I would not give up my Tribschen days for anything'.  But then came the Bayreuth festival:

“'Where was I?  I did not recognize anything.  I hardly recognized Wagner.  I sifted through memories in vain. Tribschen – a distant Isle of the Blessed: not a shadow of similarity.  The incomparable days when we laid the cornerstone [of the opera house – notice Nietzsche still endorses the original enterprise a small society of people who belong there...What had happened?

“What had happened was that Wagner had been 'translated into German', had allowed himself to be captured by the Wagnerians and in the process become Reichsdeutsch, and anti-Semite German chauvinist.” (page 521)

“Wagnerian decadence, the impulse to world-denial, is, Nietzsche emphasizes, 'in' rather then 'outside' his nature. Becoming ,what one is' is more a matter of ordering the inner world than of resisting alien influences.

“Under the guiding spirit of Voltaire, Neitzsche continues, he made, in Human, All-Too-Human, the turn from Wagnerian romanticism to Enlightenment thinking....Shortly after, through the fortunate intervention of sickness and fading eyesight, he had to give up the bookwormish life of philology – another wrong turning – and began writing his own philosophy. 

“And that, essentially, is that: the end of Ecce Homo's, in fact, rather meager narrative.  Since the rest of Nietzsche's life was writing books, all that remains is to review the books.  With the turn away from Wagner, the turn away from decadent, life-denying romanticism and towards health and life-affirmation, Nietzsche had essentially become 'what he was'.  But exactly what was that?  Who did he become?” (page 522)

“To adapt and grow, we know, a people must 'give birth to a star', to a 'free spirit': in my language, a 'random mutation'. Ecce Homo identifies 'superman' as just another name for this bearer of the future: the superman 'is a superman specifically when compared to the good - he stands 'super', above, their morality. Nietzsche adds, recalling the Genealogy's point that most free spirits will be 'martyred' by the forces of social conservatism, that 'the good and just would call [Zarathustra's]...superman a devil.'

“What will a 'superman' propose in the way of cultural reform?  In a nutshell, 'the imminent return of the Greek spirit'.  Community will be once more created, gathered together, an preserved by the authentic collection of art work, 'the supreme art in the affirmation of life, tragedy, will be reborn'.  And this takes us back, yet again, to Wagner, to a Wagner purified of cheap showmanship, anti-Semitism, German chauvinism, romanticism, Christianity and life-denial: 'the idea of Bayreuth [will have] transformed itself into...that great noon...who knows? The vision of the festival that I will live to see someday'.

“If, however, we are to abandon the Christian worldview what are we to do about that most problematic of all life's features, its finitude, to which, it has to be admitted, Christianity provided a solution?  The answer, again, is 'Dionysus': entering into the 'psychology of the tragic poet' in which 'over and above all fear and pity one is oneself the eternal joy of becoming', 'the will to life rejoicing in its own inexhaustibility through the sacrifice of its highest types'. To become fully healthy, to enter the Dionysian state, is to be able to rejoice, inter alia, over the eventual 'sacrifice' of one's own, everyday self. Through transcending the illusion of individuality, through realizing one's identity with the totality of existence, one not merely overcomes death but achieves a positive 'affirmation of [in particular, one's own] passing away'.” (pp. 522-523)

Walter Kaufmann called Ecce Homo “one of the treasures of world literature.”  But, he also qualified his praise.  “Of Nietzsche's last works, none has proven harder to understand than Ecce Homo.  The self-portrait is not naturalistic; hence, it is widely felt, it is clearly insane and to be disregarded.  This prevalent view is doubly false.  The lack of naturalism is not proof of insanity but a triumph of style – of a piece with the best paintings of that time.  And even if what might be interpreted as signs of madness do occasionally flicker in a passage, that does not mean that the portrait can therefore be ignored.  In both respects Nietzsche should be compared with Van Gogh.

Ecce Homo does not fit any ordinary conception of philosophers.  It is not only remote from the world of professional or donnish philosophy, from tomes and articles, footnotes and jargon – in brief, from the modern image.  It is equally far from the popular notion of the wise man: serene, past passion, temperate, and Apollinian.  But this is plainly part of Nietzsche's point: to offer a new image – a philosopher who is not an Alexandrian academician, nor an Apollinian sage, but Dionysian.” (from Kaufmann's introduction)

With Ecce Homo Nietzsche achieves his final victory of stylistic prose.  His ramblings and advocacy are more effective than reasoned substance.  In some respects, it is as if he were writing for himself alone.  The author and the audience have melded into a passionate farewell to his “great task”, farewell to critique and psychological insights, farewell to higher culture, farewell to making himself clear. Instead, we say hello to the philosophy made manifest, the Logos made spirit, the ridiculous made sublime.  The Birth of Tragedy reasserted the importance of Dionysus.  In this final work, Nietzsche becomes Dionysus and serves as an example for the rest of us to love all fate, become a free spirit, and relax into the weight of eternal return.