The life of Friedrich Nietzsche

The duel between Nietzsche and civilisation is long since over; and that high poet and calamitous philosopher is now to be judged as he appears in the serene atmosphere of history, which—need it be said?—he infinitely despised. The crowd, the common herd, the multitude—which he also despised—has recorded its verdict with its usual generosity to the dead, and that verdict happens to be an ample revenge. It has dismissed Nietzsche's ideas in order to praise his images. It has conceded him in literature a brilliant success, and has treated his philosophy as fundamental nonsense of the sort that calls for no response except a shrug of the shoulders. The immoralist who sought to shatter all the Tables of all the Laws, and to achieve a Transvaluation of all Values, ends by filling a page in Die Ernte and other Anthologies for the Young. And in certifying his style to be that of a rare and real master the "crowd" has followed a true instinct. More than Schopenhauer, more even than Goethe, Nietzsche is accounted by the critics of his country to have taught German prose to speak, as Falstaff says, like a man o' this world. The ungainly sentences, many-jointed as a dragon's tail, became short, definite, arrowy. "We must 'Mediterraneanise' German music," he wrote to Peter Gast, and in fact he did indisputably "Mediterraneanise" the style of German literature. That edged and glittering speech of his owed much to his acknowledged masters, La Rochefoucauld, Voltaire, and Stendhal, the lapidaries of French. But it was something very intimately his own; he was abundantly dowered with the insight of malice, and malice always writes briefly and well. It has not the time to be obscure. Nietzsche had this perfection of utterance, but a far richer range and volume. He was a poet by grace divine, and a true Romantic for all the acid he dropped on Romanticism; the life of his soul was an incessant creative surge of images, metaphors, symbolisms, mythologies. These two tendencies produced as their natural issue that gnomic and aphoristic tongue which sneers, preaches, prophesies, chants, intoxicates and dances through the pages of Also Sprach Zarathustra. German critics have applied to Nietzsche, and with even greater fitness, Heine's characterisation of Schiller: "With him thought celebrates its orgies. Abstract ideas, crowned with vine-leaves, brandish the thyrsus and dance like bacchantes; they are drunken reflections." Of many aspects