This collection of four of Nietzsche’s essays broadly revolve around the theme of culture. The writings reflect on the characteristics of a cultured man, the role of the philosopher in society, truth and art, the uses of history in modern life, and, specifically, German culture after the Franco-Prussian war. “Culture is, above all, unity of artistic style in all the expressions of the life of a people. Much knowledge and learning is neither an essential means to culture nor a sign of it.” In his next essay, Nietzsche discusses the difference between the everlasting and the historical, “With the word ‘the unhistorical’ I designate the art and power of forgetting and of enclosing oneself within a bounded horizon; I call ‘suprahistorical’ the powers which lead the eye away from becoming towards that which bestows upon existence the character of the eternal and stable, towards art and religion. Science—for it is science which would here speak of poisons—sees in these two forces hostile forces: for science considers the only right and true way of regarding things, that is to say the only scientific way, as being that which sees everywhere things that have been, things historical, and nowhere things that are, things eternal.”
Nietzsche delves into the purpose of true philosophy in his essay championing his predecessor, Schopenhauer, “The truthful man feels that the meaning of his activity is metaphysical, explicable through the laws of another and higher life, and in the profoundest sense affirmative…. So it is that all his acts must become an uninterrupted suffering…. He will, to be sure, destroy his earthly happiness through his courage; he will have to be an enemy to those he loves and to the institutions which have produced him; he may not spare men or things, even though he suffers when they suffer; he will be misunderstood and for long thought an ally of powers he abhors; however much he may strive after justice he is bound, according to the human limitations of his insight, to be unjust; but he may console himself with the words once employed by his great teacher, Schopenhauer: ‘A happy life is impossible: the highest that man can attain to is a heroic one.’”
Finally, in an essay on Wagner, he again explicitly mentions culture, aesthetic truth, and art. “Danger and despair lie in wait for every true artist thrown into the modern world…. We can see how the most serious artist will try forcibly to impose seriousness on the institution of which he is part, an institution which has, however, been constructed frivolously and demands frivolity almost as a matter of principle; how he partially succeeds but in the end always fails; how he begins to feel disgust and wants to flee, how he fails to find anywhere to flee to, and is again and again obliged to return to the gypsies and outcasts of our culture as one of them.”
Nietzsche concludes, “The history of the evolution of culture since the Greeks is short enough, if one takes into account the actual distance covered and ignores the halts, regressions, hesitations, and lingerings. The Hellenization of the world and, to make this possible, the orientalization of the Hellenic—the twofold task of the great Alexander—is still the last great event; the old question whether a culture can be transplanted to a foreign soil at all is still the problem over which the moderns weary themselves.” Finally, Nietzsche describes the fate of any true artist, as opposed to the lone philosopher, who has to live within his cultural milieu, “For it is, to be sure, a life full of torment and shame, to be a homeless wanderer in a world to which one nonetheless has to speak and of which one has to make demands, which one despises and yet is unable to do without—it is the actual predicament of the artist of the future; he cannot, like the philosopher, hunt after knowledge all by himself in a dark corner, for he needs human souls as mediators with the future, public institutions as guarantees of this future, as bridges between the now and the hereafter.”
