English 60A: Contemporary Critical Theory

HANDOUT ON FRIEDRICH NIETZSCHE (1844-1900)

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Assignment for next time

Friedrich Nietzsche, excerpts from "On Truth and Lie in an Extra- Moral Sense" and Twilight of the Idols, in The Portable Nietzsche, ed. and trans. Walter Kaufmann (Harmondsworth: Penguin, 1954): 42-7, 473-86.

Key dates for Nietzsche

Possible discussion questions

1. In recent years, much has been made of Nietzsche's assertion that "truth is a mobile army of metaphors" (46-7). Why might this assertion appear to be a striking or important one? How might it change usual ways of thinking about "truth," "metaphor," or the relationship between the two?

2. In talking about truth and metaphors, Nietzsche also takes up the subject of forgetting and forgetfulness (see esp. 45 and 47). According to Nietzsche, what role has forgetfulness played in human history--especially the history of human thought?

3. Why does Nietzsche consider Socrates to be a "degenerate" (474) and a "misunderstanding" (478)? Can you infer anything about the ways in which Socrates, at least in Nietzsche's mind, might have differed from earlier Greek thinkers and writers?

4. How, according to Nietzsche, have other philosophers tended to feel about history, time, the senses, and the body? How does Nietzsche seem to feel about such things? (Here, it might be helpful to take Plato as an example of the other philosophers.)

5. On pages 484-6, Nietzsche begins to talk about what he calls "the true world." What "world" does he have in mind here? Is it the world we live in--the world of time and change and physical decay? If not, what other world might it be?

6. On pages 485-6, Nietzsche charts the "history of an error." What "error" does he have in mind? Assuming that Nietzsche is the "Zarathustra" mentioned in step six, what role does he play in this history?

Some further thoughts from Nietzsche

1. "Nothing succeeds if prankishness has no part in it." Twilight of the Idols.

2. "If there is to be art, if there is to be any aesthetic doing and seeing, one physiological condition is indispensable: frenzy." Twilight

3. "Saying Yes to life even in its strangest and hardest problems . . . that is what I called Dionysian, that is what I guessed to be the bridge to the psychology of the tragic poet." Twilight.

4. "For heaven's sake, do not throw Plato at me. I am a complete skeptic about Plato. . . . Plato is boring. In the end, my mistrust of Plato goes deep: he represents such an aberration from all the basic instincts of the Hellene, is so moralistic, so pre-existently Christian--he already takes the concept 'good' for the highest concept--that for the whole phenomenon Plato I would sooner use the harsh phrase 'higher swindle,' or, if it sounds better, 'idealism,' than any other." Twilight.

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revised September 26, 1997
mail to Tim Spurgin