Twilight of the Idols  

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"Plato is boring" --Twilight of the Idols


"all beauty incites to procreation—… precisely this is the proprium of its effect, from the most sensual regions up into the most spiritual…." --ibid.


"If there is to be art, if there is to be any aesthetic doing and seeing, one physiological condition is indispensable: frenzy. Frenzy must first have enhanced the excitability of the whole machine; else there is no art. All kinds of frenzy, however diversely conditioned, have the strength to accomplish this: above all, the frenzy of sexual excitement, this most ancient and original form of frenzy. Also the frenzy that follows all great cravings, all strong affects; the frenzy of feasts, contests, feats of daring, victory, all extreme movement; the frenzy of cruelty; the frenzy in destruction, the frenzy under certain meteorological influences, as for example the frenzy of spring; or under the influence of narcotics; and finally the frenzy of will, the frenzy of an overcharged and swollen will. What is essential in such frenzy is the feeling of increased strength and fullness. Out of this feeling one lends to things, one forces them to accept from us, one violates them — this process is called idealizing. Let us get rid of a prejudice here: idealizing does not consist, as is commonly held, in subtracting or discounting the petty and inconsequential. What is decisive is rather a tremendous drive to bring out the main features so that the others disappear in the process." --ibid.

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Train wreck at Montparnasse (October 22, 1895) by Studio Lévy and Sons.
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Train wreck at Montparnasse (October 22, 1895) by Studio Lévy and Sons.

Twilight of the Idols, or, How to Philosophize with a Hammer (German: Götzen-Dämmerung, oder, Wie man mit dem Hammer philosophiert) is a book by Friedrich Nietzsche, written in 1888, and published in 1889.

Contents

Genesis

Twilight of the Idols was written in just over a week, between 26 August and 3 September 1888, while Nietzsche was on holiday in Sils-Maria. As Nietzsche's fame and popularity was spreading both inside and outside Germany, he felt that he needed a text that was a short introduction to his work; Twilight of the Idols is his attempt at this. Originally titled A Psychologist's Idleness, it was renamed Twilight of the Idols, or, How to Philosophize with a Hammer.

The latter title, Götzen-Dämmerung in German, is a pun on the title of Richard Wagner's opera, Götterdämmerung, or 'Twilight of the Gods'. Götze is a German word for "idol" or "false god". Walter Kaufmann has suggested that in his use of the word Nietzsche's might be indebted to Francis Bacon.

Synopsis

Nietzsche criticizes German culture of the day as unsophisticated and nihilistic, and shoots some disapproving arrows at key French, British, and Italian cultural figures who represent similar tendencies. In contrast to all these alleged representatives of cultural "decadence", Nietzsche applauds Caesar, Napoleon, Goethe, Thucydides and the Sophists as healthier and stronger types. The book states the transvaluation of all values as Nietzsche's final and most important project, and gives a view of antiquity wherein the Romans for once take precedence over the ancient Greeks.

The book is divided up into several sections:

Foreword

Maxims and Arrows

Single sentence aphorisms on a variety of topics.

The Problem of Socrates

He establishes early on in the section The Problem of Socrates that the value of life cannot be estimated and any judgment concerning it only reveals the person's life-denying or life-affirming tendencies. He tries to show how philosophers from Socrates onwards were "decadents," employing dialectical rationality as a tool for self-preservation as the authority of tradition breaks down.

Reason in Philosophy

Nietzsche denies many of Plato's ideas, specifically that of Being and Becoming, the world of the forms, and the fallibility of the senses. More precisely, he does not believe that one should refute the senses, as Plato did. By decadence, Nietzsche is referring to a fading of life, vitality and an embrace of weakness. In Nietzsche's view if one is to accept a non-sensory, unchanging world as superior and our sensory world as inferior, then one is adopting a hate of nature and thus a hate of the sensory world - the world of the living. Nietzsche postulates that only one who is weak, sickly or ignoble would subscribe to such a belief.

Nietzsche goes on to relate this obsession with the non-physical realm to Christianity and the concept of Heaven. Nietzsche indicates that the belief in the Christian God is a similar decadence and hate of life. Given that Christians believe in Heaven, which is in concept similar to Plato's ideas of the world of forms (a changeless, eternal world) and that Christians divide the world into the "real" (heaven) and the apparent (living) world, they too hate nature.

How the "True World" Finally Became Fiction

In this section, Nietzsche demonstrates the process by which previous philosophers have fictionalized the apparent world, casting the product of the senses into doubt, and thereby removing the concept of the real world. The section is divided into six parts:

  1. The wise and pious man dwells in the real world, which he attains through his wisdom (skills in perception warrant a more accurate view of the real world).
  2. The wise and pious man doesn't dwell in the real world, but rather it is promised to him, a goal to live for. (ex: to the sinner who repents)
  3. The real world is unattainable and cannot be promised, yet remains a consolation when confronted with the perceived injustices of the apparent world.
  4. If the real world is not attained, then it is unknown. Therefore, there is no duty to the real world, and no consolation derived from it.
  5. The idea of a real world has become useless- it provides no consolation or motive. It is therefore cast aside as a useless abstraction.
  6. What world is left? The concept of the real world has been abolished, and with it, the idea of an apparent world follows.

Morality as Anti-Nature

Every healthy morality is governed by a vital instinct. Anti-morality is the opposite, it is precisely against vital instincts.

The Four Great Errors

In the chapter The Four Great Errors, he suggests that people, especially Christians, confuse the effect for the cause, and that they project the human ego and subjectivity on to other things, thereby creating the illusionary concept of being, and therefore also of the thing-in-itself and God. In reality, motive or intention is "an accompaniment to an act" rather than the cause of that act. By removing causal agency based on free, conscious will, Nietzsche critiques the ethics of accountability, suggesting that everything is necessary in a whole that can neither be judged nor condemned, because there is nothing outside of it. What people typically deem "vice" is in fact merely "the inability not to react to a stimulus." In this light, the concept of morality becomes purely a means of control: "the doctrine of will has been invented essentially for the purpose of punishment, that is of finding guilty."

Men were thought of as free so that they could become guilty: consequently, every action had to be thought of as willed, the origin of every action as lying in the consciousness... ...Today, when we have started to move in the reverse direction, when we immoralists especially are trying with all our might to remove the concept of guilt and the concept of punishment from the world and to purge psychology, history, nature, the social institutions and sanctions of them, there is in our eyes no more radical opposition than that of the theologians, who continue to infect the innocence of becoming with 'punishment' and 'guilt' by means of the concept of the 'moral world-order'. Christianity is a hangman's metaphysics.

Cultural Impact

Nietzsche's original line, "From life's school of war: what does not kill me makes me stronger" has been referenced many times. G. Gordon Liddy, former assistant to President Richard Nixon, paraphrased it as "That which does not kill us makes us stronger". In that phrasing, it has appeared in many places including the opening of the film Conan the Barbarian(1982), Kanye West's song Stronger (2007) and Kelly Clarkson's song Stronger (What Doesn't Kill You) (2012).

See also




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