him to affirmation. In himself the Rousseau-Voltaire struggle pro- vides the dominant pressure of his thinking. Just as for him "ascending life" requires decadence, so the Superman, the "trans- valuation of values" and so on, require nihilism as their basis. So that in a sense Nietzschewelcomes the terrible and catastrophic consequences of the nihilism he both abhors and is fascinated by. This accounts for the extraordinary savageness of his joy in denun- ciation coupled always with euphoric hope and innocent wonder. It is not that he offers a "solution" to the nihilistic consequences of his thinking, but that they must be accepted and turned to a positive direction. The world is meaningless, so we create a mean- ing. Just, he urges, as Christianity did. Only Christianity was a fraud, it created the wrong meaning. And perhaps, at times we almost hear him saying, perhaps Nietzsche's "meaning" is a fraud too. "Die Dichter lügen zu viel." (16)
The beast in us needs to be deceived: morality is a necessary lie to save us from being torn to pieces by it: without the errors which con- stitute the basis of morality, man would have remained an animal.
Life--that means continually expelling from oneself something that wishes death; it means being cruel and merciless to all that is weak and old in us, and not only in us. It means, therefore, being without respect for the dying, the miserable and the old. Being continually a murderer. Yet old Moses said: Thou shalt not kill.
All living is an obeying. Good and bad as eternal values--do not exist! Each must continually overcome itself from within itself . . . And if you would be a creator in good and evil, you must first be a destroyer and break up values.
It is nothing more than a moral prejudice that truth is more valuable than falsehood . . . no life could exist except on the basis of perspective judgments and approximations. . . . Anyway, what forces us to accept any fundamental contradiction between "true" and "false"? Is it not sufficient to accept various degrees of probability, so to speak, lighter and darker shadows and tones of appearance--varying "valeurs", as the painters say. Why should not the world, in so far as it concerns us, be a fiction? And if it is asked: "But a fiction requires an author"?--could one not simply retort: "Why?" perhaps this "requires" is also part of the fiction?
-29-
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Publication Information: Book Title: German Men of Letters. Volume: 2. Contributors: Alex Natan - editor. Publisher: Oswald Wolff. Place of Publication: London. Publication Year: 1963. Page Number: 29.
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