For an easy reading,
you can read all of my excerpts
of Zweig’s essay on Nietzsche
at Chechar’s (here).
For an easy reading,
“After the next European war, people will understand me.” Such is the prophetic utterance that shines conspicuously forth from among Nietzsche’s last writings. In very truth, the real significance, the historical necessity of this seer is made plain to us only in relation to the tensed, unstable, and dangerous condition of our world at the turn of the century.
In this sensitive, who transformed every atmospheric convulsion from nerve to spirit, from intimation into word, there occurred a foreboding discharge of all the tensions of the morally obtuse Europe. There was a cataclysm in Nietzsche’s mind as a presage of the most terrible cataclysm in human history. His “far-thinking” vision glimpsed the crisis while others were comfortably warming their heads before the agreeable fires of well-turned phrases. He discerned the causes of what was about to happen: “The national cardiac pruritus and the blood-poisoning thanks to which, throughout Europe, nation shuts itself off from nation as if they were quarantining against one another’s plagues.” He saw the “nationalism as of horned cattle.”
Wrathfully he predicts catastrophe in view of the convulsive endeavours “to eternalize particularism throughout Europe” and to defend a morality established upon egoistic interests and upon business. In letters of fire upon the wall he wrote: “This absurd state of affairs must speedily be brought to an end.” No one heard more plainly than did Nietzsche the ominous cracking in the edifice of European society; no one, in a time of unwarranted optimism and self-satisfaction, sounded so loudly as he the summons to fight. A new and mighty order was about to begin. Now at length we know it, as he knew it decades ago. Such agonizing foresight was his greatness and his heroism; and there is a spiritual truth underlying the belief of simple souls that before wars and crises comets pursue their erratic course athwart the sky. He alone recognized how frightful a hurricane was about to disturb our civilisation.
But it is the perennial tragedy of the spirit that what it perceives in its higher, more luminous spheres can never be communicated to those who dwell in the heavier atmosphere upon the lower levels; that the present never grasps what is impending, is never able to read the message of the skies. Even the most translucent genius of the nineteenth century could not speak plainly enough to enable his contemporaries to understand him. No more was vouchsafed to him than the cry of warning which was incompressible to his contemporaries. Then his mind gave way.
“There are no heroic ages, but solely heroic persons.” It is the individual who achieves independence within the world, and for himself alone. Nietzsche’s independence did not therefore transmit, as scholastics declare, a doctrine, but, rather, an atmosphere—the limpid and passionate atmosphere of a daimonic nature.
Just as, in the domain of natural forces, there is need at times for whirlwinds wherein the excess of energy rises in revolt against stability, so likewise, now and again, in the realm of mind there is need for a daimonic being whose transcendent powers shall make him the spearhead of a revolt against the triviality of habitual thought and the monotonousness of conventional morality. There is need of a man who will embody the forces of destruction and who will destroy himself likewise.
After a few more words, Zweig’s essay on Nietzsche ends.
In all of these entries I only typed those paragraphs
which struck me the most.
If you look into an abyss, the
abyss, likewise, looks into you.
This self-addressed pæan of intoxicated happiness is, I know, regarded by modern physicians as a morbid euphoria, as the last pleasure in a decaying brain, as the stigma of that megalomania which is characteristic of the early stage of paralytic dementia. But Nietzsche talks clearly and incisively amid the ardours of intoxication. No other mortal, perhaps, has ever in full awareness and without a trace of giddiness leaned so far and seen so clearly over the edge of the precipice of lunacy.
No doubt the light that sparkles here is a perilous one. It has the phantasmal and morbid luminosity of a midnight sun glowing red above icebergs; it is a northern light of the soul whose unique splendour makes us shudder. It does not warm us, it terrifies us. It does not dazzle, but it slays. He is not carried away as was Hölderlin by an obscure rhythm of feeling, is not overwhelmed by the onrush of melancholy. He is scorched by his own ardours, is sunstruck by his own rays, is affected by a white-hot and intolerable cheerfulness. Nietzsche’s collapse was a sort of carbonization in his own flames.
He commanded the German emperor to go to Rome in order to be shot; he summoned the European powers to take united military action against Germany, to encircle his fatherland in a ring of iron. Never did apocalyptic wrath shout more savagely into vacancy, never did so glorious presumption scourge a mind beyond earthly bounds. His words issued like hammer-blows striving to demolish the edifice of established civilisation. The Christian era was to cease with the publication of his Antichrist, and a new numbering of the years was to begin.
“No one has written, felt, suffered in such a manner before; the sufferings of a god, a Dionysius.” These words, penned when his mental disorder had already begun, are painfully true. The little room of the fourth floor, and the hermitage of Sils-Maria, not only sheltered the man Friedrich Nietzsche whose nerves were breaking under the strain, but also served as the places from which were issued a marvellous message to the dying century. The Creative Spirit had taken refuge beneath the attic roof heated by the southern sun, and was bestowing its entire wealth upon a timid, neglected, and lonely being, bestowing far more than any isolated person could sustain.
Within those narrow walls, wrestling with infinities, the poor mortal senses were stumbling and groping amid the lightening-flashes of revelation. Like Hölderlin, he felt that a god was revealing himself, a fiery god whose radiance the eyes could not bear and whose proximity was scorching. Again and again the cowering wrench raised his head and attempted to look upon the countenance of this deity, his thoughts running riot the while.
Was not he who felt and wrote and suffered such unthinkable things, was not he himself God? Had not a god reanimated the world after he, Nietzsche, had slain the old god? Who was he? Who was Nietzsche? Was Nietzsche the Crucified; the dead god or the living one; the god of his youth, Dionysius; or both Dionysus and the Crucified—the crucified Dionysius?
More and more confused grew his thoughts; the current roared too loud beneath the superfluity of light. Was it still light? Had it not become music? The narrow room on the fourth floor in the Via Carlo Alberto began to intone; the shining spheres made music; all heaven was aglow. What wonderful music! Tears tricked down his face, warm tears. What sublime tenderness, what auspicious happiness! And now, what lucidity! In the street, everyone smiled at him in friendly fashion; they stood up to greet him; they made obeisance to him, the slayer of gods; they were all so delighted to see him. Why? Why?
He knew. Antichrist had appeared upon earth, and men acclaimed him with hosannas. The world hummed with jubilation, was full of music. Then suddenly the tumult was stilled. Something, someone fell down. It is he, himself, in the street, in front of the house where he lodged. He was picked up. He found himself back in his room.
Had he been asleep for a long time? It seemed very dark. There was the piano. Music! Music! Then, unexpectedly, people appeared in the room. Surely one of them must be Overbeck. But Overbeck is in Basel; and where is he, Nietzsche? He no longer remembers. Why does the company look at him so strangely, so anxiously? He is in a train, rattling along the rails, and the wheels are singing; yes, they are singing the “Gondolier’s Chanty,” and he joins in, signs in an interminable darkness.
He is in a strange room, and always it is dark. No more sunshine, no light at all, either within or without. People talk in the room. A woman among them, surely it is his sister? He had thought she was travelling. She reads aloud to him, now from one book, now from another. Books? “Was not I once a writer of books?” Comes a gentle answer, but he cannot understand. One in whose soul such a hurricane has raged grows deaf to ordinary speech. One who has gazed so intently into the eyes of the daimon is henceforth blinded.
A great man is pushed and hustled and
martyrized until he withdraws into solitude.
Nietzsche lived in many different towns; he travelled into countless realms of the mind; frequently he endeavoured to escape from solitude by crossing a frontier into a foreign land; but always his journeyings brought him back to solitude, heartsore, weary, disillusioned.
His solitude had become complete isolation, the final, the seventh, solitude, wherein one is not merely alone but also forsaken. A void surrounded him, an awe-inspiring silence; no hermit or anchorite in the desert was ever more abandoned. They, at least, still had their God whose shade dwelt in their huts. But he, “the murderer of God,” had neither God nor man to companion him. To the extent that he drew nearer to himself, he receded from the world; and, as his voyages extended, “the desert widened” around him.
Generally the works conceived and written in loneliness gain more and more ascendancy upon the minds of men; by a magnetic force they attract increasing numbers of admirers into the invisible circle of their influence. But Nietzsche’s books alienated even his friends. In Germany no publisher would any longer accept his manuscripts. During his twenty years of production, his manuscripts accumulated in a cellar and came to weigh many hundredweight. He had to draw upon his own slender resources in order to get his books printed. Not only did nobody buy the few volumes that were issued, but he found no readers when he gave them away. So vast was the chasm between this man’s genius and the pettiness of the time.
Practically no reviewer or critic took the slightest notice of Zarathustra, which the author described as “the greatest gift ever bestowed upon men.” One day he lamented: “After such an appeal as my Zarathustra, a cry that came from my heart, it is terrible not to hear a responsive word, to hear nothing, absolutely nothing, to be surrounded by silence, to be a thousand times more isolated than heretofore. This is a situation exceeding all others in horror; even the strongest might die under the strain… And I am far from being the strongest. Sometimes it seems to me as though I were indeed wounded unto death.” This gnawed at his vitals, undermining his proper pride, inflaming his self-assertive impulse, consuming his soul. Lack of recognition was the shaft which poisoned his isolation, and raised his temper to fever-heat.
“Prolonged silence has exasperated my pride.” At all costs he wanted response, sending letter upon letter, telegram upon telegram. Blindly and wildly he flung his missiles far and wide, never looking to see if they hit the mark. Since he had slain the gods, he set himself up as a divinity. “Must we not become gods if we are to be worthy of such deeds?” Having overthrown all the altars, he built an altar for himself in order to praise himself, seeing that no one else would acknowledge him. He chanted his own dirge with enthusiasm and exultation, mingling it with songs celebrating his deeds and his victories. To begin with, a twilight covered the landscape of his mind as when black clouds stalk up from the horizon and distant thunder growls; then a strident laugh rent the sultry air, a mad, violent, and wicked laugh full of despair, heartbreaking: this was the pæan of Ecce Homo.
As the book develops, its cadences become increasingly spasmodic, the yells of laughter are more shrill amid the glacial silence; he is, as it were, outside himself. His hands are raised, his feet stamp rhythmically; he breaks into a dance, a dance over the abyss, the abyss of his own annihilation.
For many years music remained a private amusement to which Nietzsche delivered himself up in a spirit of irresponsible pleasure, with the pure delight of an amateur, a pastime altogether outside his main “mission” in life. Music flooded his being only after the philological crust had been removed, only when his erudite objectivity of outlook had become disintegrated, when his cosmos had been shattered as if by a volcanic eruption.
Precisely because he had pent up these primal springs of his nature for so long behind the damns of philology, erudition, and indifference, did they gush forth so vehemently and penetrate into every crevice, irradiating and liquefying his literary style. It was as if his tongue, which had hitherto sought to explain tangible things, had suddenly refused its allotted task and insisted upon expressing itself in terms of music. Even his punctuation—unspoken speech—his dashes, his italics, could find equivalents in the terminology of the elements of music.
The details of each work are vibrant with music, and the works as a whole read like symphonies. They no longer belong to the realm of architecture, of intellectual and objective creations, but are the direct outcome of musical inspiration. Of Thus Spake Zarathustra he himself says that it was written “in the spirit of the first phrase of the Ninth Symphony.” And how better can I describe the opening of Ecce Homo than as a magnificent organ prelude destined to be played in some vast cathedral? “Song of Night” and “Gondolier’s Chanty” resemble the croonings of primitive men in the midst of an infinite solitude. When was his inspiration more joyous and dancing, more heroic, more like a lilting cadence of the Grecian music of antiquity, than in the pæan indited during his ultimate outburst of happiness, in the Dionysian rhapsody? Illuminated from on high by the pellucid skies of the South, soaked from beneath by the waters of music, his language became as it were a wave, restless and immense.
Music, limpid, freedom-giving, and light, became the dearest solace of Nietzsche’s agitated mind. “Life without music is nothing but fatigue and error.” “Was a man ever so athirst for music as I?” He, the solitary wanderer cast out by the gods desired only that they should not rob him of this one consolation, this nectar, this ambrosia which eternally refreshed and reinvigorated the soul. “Art, nothing but art! Art was given us that we might not be slain by truth.”
The world had forsaken him; his friends had long since gone their ways and ignored his existence; his thoughts strayed forth on interminable pilgrimages. Music alone walked by his side, accompanying him into his final, his seventh, solitude.
When in the end he fell into the abyss, she watched over his obliterated mind. Overbeck, coming into the room after the catastrophe, found the unhappy madman sitting at the piano, his fingers fumbling the keys in a vain effort to find the harmonies so dear to him.
Since my object is to portray Nietzsche’s life, not as a biography but as a tragedy of the spirit, as a work of dramatic art, for me his true work began when the artist in the man was released and became conscious of enfranchisement. So long as Nietzsche remained in his professional chrysalis he was nothing more than a problem for professorial brains to cudgel themselves over. But the winged being, “the aeronaut of the mind,” belongs to the realm of creative intelligence.
Goethe’s impression of Italy was a mental and æsthetic affair, whereas Nietzsche’s was vital in the extreme: the former brought home with him an artistic style, whilst the latter discovered in the land of the sun a style of life. Goethe was merely fecundated, whereas Nietzsche was completely uprooted, transplanted, renewed.
“Among the many laudable things I have learned in the course of this journey is the fact that it is impossible for me to live alone and away from my own country” [Goethe]. Turn this dictum the other way about and we get substantially the effect the South produced upon Nietzsche. His conclusions are diametrically opposed to Goethe’s, since he finds that henceforward he can live only in solitude and away from his native land. Goethe, after making an instructive and interesting journey, returns to the exact point whence he took his departure, carrying in his boxes, his heart, and his brain things precious and delightful for a home, for his home in particular. But Nietzsche expatriates himself and finds his true self, the “outlawed prince,” happy at having no home, no possessions, cut off for ever from the “parochial interests of a fatherland” and released from “patriotic strangulation.”
Once a freeman, always a freeman. Having felt the limpid Italian sky over his head, Nietzsche could no longer bear a suggestion of “obscurity,” whether proceeding from the clouds or from a professorial chair, from the Church or from the army. Never again, so far as Nietzsche was concerned, would Germany be free enough and light enough as nourisher of the mind. The halcyon skies are limpidly radiant.
It seems to me that in no other German author was the style of his writing so swiftly and completely renewed. Certainly none other was so flooded with sunshine, or ever became so enfranchised, so essentially southern, so divinely light of foot, so full of a good vintage, so pagan.
To find a change as rapid we have to turn to a painter in search of a comparison. A similar miracle, wrought likewise by the sun of the South, took place in van Gogh. The passage from the lugubrious tints in brown and grey of his Dutch canvases to the violet, crude, and strident colours splashed so generously upon his pictures of Provence was just as eruptive a transition. Van Gogh’s sudden mania for sunlight, his sudden and complete transference from one style of painting to another, is the only analogy that comes to my mind in the least comparable with the illumination the South brought to Nietzsche’s entire being. These two fanatical lovers of change were intoxicated with light, absorbed light with the vampire lust of passion, gulped down light in rapid and inconceivable large doses.
Not satisfied with light, Nietzsche desired “super-light”; clarity must be “super-clarity.” He wanted to be burned by the sun, not merely to be illuminated by it. Language, in its turn, became too narrow a medium, too material, too ponderous. A new element was required for the Dionysian dance that had begun within him; he needed more far-reaching liberties than could be offered while he remained a thrall to the written tongue. He therefore turned back to his first love, to music.
A snake which cannot slough its skin is
doomed to perish. So likewise, a mind
which is prevented from changing its
opinion ceases to be a mind.
Goethe’s life expanded around a fixed point, just as year by year a circle invisible to the outer world is added to the trunk of a tree. Patiently, thanks to an active though stubborn concentration of his energies, Goethe attained his maturity; he resolutely guarded his ego while defending his proper growth.
Nietzsche, the changeable, was perpetually obliged to destroy himself that he might reconstruct himself wholly.
Each of Nietzsche’s spiritual earthquakes destroyed the whole edifice of his convictions, and the philosopher was obliged to start building anew from the foundations. Nothing even grew quietly and imperceptibly and naturally with him; his inner being was never given a chance to develop and extend by a process of stealthy labor. Invariably he is struck “as if by lightning”; always his universe must be annihilated in order that the new cosmos may emerge.
“My books tell the story of the victories I have gained over myself.” They relate his manifold transformation, his spiritual pregnancies and lyings-in, his deaths and resurrections; they are tales of the merciless warfare he carried on against himself, the punishments and summary executions he inflicted upon his own being; they are the biographies of all the creatures Nietzsche impersonated during the twenty years of his mental existence.
What makes Nietzsche’s transformations so peculiar is that they seem retrogressive. If we take Goethe as the prototype of an organic nature in harmony with the forward march of the universe, we perceive that this development is symbolical of the various ages of life. In youth he was fiery and enthusiastic; as a man in his prime he was actively reflective; age brought him the utmost lucidity of mind. His mental rhythm corresponded in every point with the temperature of his blood. As with most young men, he began in chaos and ended his career in orderly fashion, as is seemly with the old. After going through a revolutionary period he turned conservative, after a phase of lyricism he became a man of science, after being prodigal of himself he learned how to be reserved.
Nietzsche took the opposite course. Instead of aspiring to an even more complete integration of his ego, he desired complete disintegration. As he advanced in years he became increasingly impatient, vehement, revolutionary, and chaotic. His outward aspect was in strident opposition to the customary evolution of a man.
While his university companions were still delighting in the usual horseplay of undergraduates, Nietzsche, though but twenty-four years old, was already a professor, aspirant to the chair of philology at Basel, that famous seat of learning. At twenty-four, Nietzsche’s intimates were men of fifty and sixty years of age, sages such as Jakob Burckhardt and Ritschl, while his closest friend was the most celebrated artist of the day—Richard Wagner. He deliberately put the brake upon his poetical aspirations and upon his love of music. Like any other pedant, he sat over his Greek texts, revising pandects, and compiling erudite indexes. From the outset, Nietzsche’s eyes were turned towards the dead past. Old before his time, a confirmed bachelor, he had no true joy in life. Professorial dignity swamped his cheerfulness, dimming what should have been his natural exuberance. He was wholly immersed in printed texts and in dryasdust problems.
His first book, The Birth of Tragedy, was completed when he was twenty-seven. Herein he breached into the present, though his face was still wearing the mask of a philologist.
At the age of thirty, when most men are starting life, when Goethe became a minister of the State, and when Kant and Schiller were full-fledged professors, Nietzsche had kicked over the traces of his official duties and, with a sigh of relief, had quitted the chair of philology at Basel University. Now at last he came to grips with himself, seeking to penetrate into his personal universe, undergoing an initial transformation, rupturing old ties, and making his début as an artist. This initial step into the realm of the present was the moment when the real Nietzsche was born.
By the time he had reached his thirty-six year, Nietzsche had become an outlaw, an amoralist, a sceptic, a poet, a musician. He had regained “a better youth.” Such a course of rejuvenation is almost unprecedented. Having reached his fourth decade, Nietzsche’s language and his thoughts, his whole being, indeed, possess a freshness, a colour, a fearlessness, a passion, and a music he had never known as a lad of seventeen. The recluse of Sils-Maria had a lighter touch, his words soared on freer opinions, his feet danced more joyously through his works than had those of the prematurely old professor of twenty-four summers.
He could find no halting-place for his restless mind. Hardly had he settled down somewhere when he felt his “skin chapped and rent.” He himself felt as if he were confronting a ghost when someone referred to “Professor Friedrich Nietzsche of Basel”; it was hard enough even to remember that he had been such a person twenty years before. Has any human being, before him, made so trenchant a cleavage between past and present? Does not this severance account for the terrible solitude of his latter days? He had broken all the links which attached him to the past, and the furious rhythm of his life and of his ultimate transformations was too ardent for him to create new ties.
His ruthless amputation of the Wagner complex proved to be an extremely perilous surgical intervention, one that was almost fatal, because it came so very close to the heart. For, precisely at the moment when the form of his being was stretched to the utmost, his mental tensions culminated in disruption. The primitive and daimonic power exploded, annihilating the superb series of incorporations which he had created form his own blood and out of his own life while storming the hidden battlements of the infinite.
Early in his career Nietzsche had planned to write a work entitled Passio nuovo, or the Passion for Sincerity. The book was never written; but, what was perhaps better, it was lived in Nietzsche’s own person. For throughout the philosopher’s years of growth and change, a fanatical passion for truthfulness remained as the primitive and fecundating element of all he undertook. For such reasons the sincerity of a man like Nietzsche has nothing akin to the trite honesty of a carefully trained gentleman. His love of truth is a flame, a demon of veracity, a demon of lucidity, is a hunting beast ever on the prow.
Such an attitude of mind accounts for Nietzsche’s detestation of those who, through slackness or cowardice in the realm of thought, neglect the sacred task of straightforwardness; hence his anger against Kant, because that philosopher, while turning his blind eye to the postern, allowed the concept of the godhead to slip back into his system. Lacking sincerity, we cannot hope to attain to knowledge; lacking resoluteness, we cannot hope to be sincere. “I become blind from the moment when I cease to be sincere. If I wish to know, I must be sincere, that is to say, I must be hard, severe, narrow-minded, cruel, inexorable.”
Like all fanatics, he sacrificed even those he loved (as in the case of Richard Wagner, whose friendship had been for Nietzsche one of the most hallowed). He allowed himself to become penurious, solitary, detested, an anchorite and miserable, solely with a view to remaining true to himself, in order to fulfill his mission as apostle of sincerity. This passion for sincerity became, as time elapsed, a monomania in which the good things of life were absorbed.
Nietzsche practised philosophy as a fine art; and, as an artist, he was not concerned with results, with definitive things, with cold calculations. What he sought was style, “morality in the grand style,” and as an artist he experienced and enjoyed the pleasures of unexpected inspiration. It may be a mistake to apply the word philosopher to such a man, for a philosopher is “the lover of wisdom.”
Passion can never be wise. More appropriate to him would be the appellation, “philaleth,” a passionate lover of Aletheia, of truth, of the virginal and cruelly seductive goddess who never tires of luring her admirers into an unending chase, and finally remains inaccessible behind her tattered veils. Nietzsche, as the slave and servant of the daimon, sought excitement and movement pushed to an extreme. Such a fight for the inaccessible has a heroic quality, and heroism almost invariably ends in the destruction of the hero.
Excessive claims for truth come into conflict with mundane affairs, for truth is implacable and dangerous. In the end, so fanatical an urge for truth kills itself. Life is, fundamentally, a perpetual compromise. How well Goethe, in whose character the essence of nature was so exquisitely poised, recognized this fact and applied it to all his understandings! If nature is to keep its balance, its needs, just as mankind needs, to take up an average position, to yield when necessary, to concede points, to form pacts.
He who presumes the right of non-participation, who refuses to compromise with the world around him, who breaks off relationships and conventions which have been slowly built up in the course of many centuries, becomes unnatural and anthropomorphic in his demands, and enters into opposition against society and against nature. The more such an individual “aspires to attain absolute integrity,” the more hostile are the forces of his epoch. If, like Hölderlin, he persists in an endeavor to give a purely poetical twist to an essentially prosaic existence, or if, following Nietzsche’s example, he aims at penetrating into the infinitude of terrestrial vicissitudes, in either case such an unwise desire constitutes a revolt against the customs and rules of society, separates the presumptuous being from his fellow-mortals, and condemns him to perpetual warfare which, splendid though it may be, is foredoomed to failure.
What Nietzsche named the “tragic mentality,” the resolve to probe any and every feeling to the uttermost, transcends spirit and invades the realm of fate, thereby creating tragedy. He who wishes to impose one single law upon life, who hopes, amid the chaos of passions, to make one passion (his own peculiar passion) supreme, becomes a solitary and in isolation suffers annihilation.
Nietzsche recognized the peril. But, as a hero in the realm of thought, he loved life precisely because it was dangerous and annihilated his personal existence. “Build your cities on the flanks of Vesuvius!” he exclaimed, addressing the philosophers in the endeavour to goad them into a more lofty consciousness of destiny; for the only measure of grandeur is, according to Nietzsche, “the degree of danger at which a man lives in relation to himself.” He only who takes his all upon the hazard has the possibility of winning the infinite; he only who risks his life is capable of endowing his earthly span with everlasting value. “Fiat veritas, pereat vita”; what does it matter if life be sacrificed so long as truth is realized? Passion is greater than existence, the meaning of life is of more worth than life itself.
The last few steps he took into this sphere were the most unforgettable and the most impressive in the gamut of his destiny. Never before had his mind been more lucid, his soul more impassioned, his words more tipped with joyful music, than when he hurled himself in full consciousness and wholeheartedly from the altitudes of life into the abyss of annihilation.
What is of genuine importance is
eternal vitality, not eternal life
Knowledge was Kant’s daily and nightly companion; she lived with him and bedded with him for forty years on the same spiritual couch; he procreated with her a family of German philosophical systems whose descendants still live with us in every middle-class circle. His relationship to truth was essentially monogamous. The urge that brought Schelling, Fichte, Hegel and Schopenhauer to philosophy was a desire for order, a desire which has nothing daemonic about it, but is typical of the easy-going German nature, objective and professional, tending to discipline the mind and to establish a well-ordered architectonic of existence. They love truth, honourably, faithfully, durably. No selfishness has any place in this love, there is nothing erotic about it, no desire to consume or be consumed in the furnace of passion. Each of them built a house.
Nietzsche’s craving for knowledge arose from a totally different emotional world. Everything allured him; nothing was able to retain his interest. So soon as a problem had lost its virginity, had lost the charm and mystery of maidenhood, he forsook it pitilessly, without jealousy, for others to enjoy if they cared—as did Don Juan, his brother so far as the impulsive life was concerned, in the case of his mille e tre. Nietzsche yearned to seduce, to lay bare, to penetrate voluptuously, and to violate every spiritual object—“to know” in the Biblical sense of the word, when a man “knows” a woman and thereby filches her secret.
Nietzsche, therefore, never set up house with knowledge so as to economize and preserve; he built no spiritual home over his head. Maybe it was a nomadic instinct which forced him into a position of never owning anything. Other German philosophers lived in a quasi-epic tranquility; they spun their theories quietly from day to day, sitting commodiously in an armchair, and their thought-process hardly raised their blood-pressure by a single degree. Kant never produces the impression of a mind seized by thought as by a vampire, and painfully enduring the terrible urge of creation; Schopenhauer from thirty onwards, after he had published The World as Will and Idea, seems to me a staid professor who has retired on a pension and has accepted the conviction that his career is finished.
Now, what renders this life unique and tragical is precisely the absence of repose in Nietzsche’s searchings, his incessant urge to think, his compulsory advance. These make his life a work of art.
Nietzsche’s complaint, therefore, moves us profoundly. “One falls in love with something, and hardly has this something had time to become a deep-felt love than the tyrant within, which we should do well to name our higher self, claims our love for the sacrifice. And we yield to the dictator, though ourselves consumed in a slow fire.” Don Juan’s natures have ever to be wrenched from love’s embraces, for the daimon of dissatisfaction incessantly urges them to further exploits—the same daimon that harried Hölderlin and Kleist and harries all those who worship the infinite.
For the first time in the ocean of German philosophy the black flag was hoisted upon a pirate ship. Nietzsche was a man of a different species, of another race, of a novel type of heroism; his philosophy was not clad in professorial robes, but was harnessed for the fray like a knight in shining armour.
He was a member of no creed, had never sworn allegiance to any country. With the black flag at his masthead and steering into the unknown, into incertitude which he felt to be the mate of his soul, he sailed forward to ever-renewed and perilous adventures. Sword in hand and powder-barrel at his feet, he left the shores of the known behind him and sang his pirate song as he went:
I know whence I spring.
Insatiable as a flame,
I glow and consume myself.
All I touch flashes into fire,
All I leave is a charred remnant.
Such by nature am I—flame.