On a postcard to Franz Overbeck from January 4, 1888, Nietzsche makes some illuminating remarks with respect to the three treatises in his book On the Genealogy of Morality.2 Nietzsche says that, ‘for the sake of clarity, it was necessary artificially to isolate the different roots of that complex structure that is called morality. Each of these three treatises expresses a single primum mobile; a fourth and fifth are missing, as is even the most essential (‘the herd instinct’) – for (...) the time being, the latter had to be ignored, as too comprehensive, and the same holds for the ultimate summation of all those different elements and thus a final account of morality.’ Nietzsche also points out that each treatise makes a contribution to the genesis of Christianity and rejects an explanation of Christianity in terms of only one psychological category. The topics of the treatises are ‘good’ and ‘evil’ (first treatise), the ‘bad conscience’ (second), and the ‘ascetic ideal’ (third). The postcard suggests that Nietzsche discusses these topics separately because a joint treatment is too complicated, but that in reality, these ideas are inextricably intertwined, both with each other and with others that Nietzsche omits. Therefore, the three treatises should be regarded as parts of a unified theory and critique of morality. Nietzsche’s remarks on that postcard are important because in the Genealogy itself, he makes little effort to show the unity among the treatises. We shall return to this postcard repeatedly.3 The first treatise has attracted most scholarly attention, but much less work has been done on the second treatise, ‘ “Debts”, “Bad Conscience”, and Related Matters’. This is unfortunate, since it seems that, in Nietzsche’s own view, the central notion of the second treatise, namely, the bad conscience as a feeling of guilt, is a key element of Christian morality. Therefore, understanding Nietzsche’s treatment of this notion is essential to understanding his views on Christianity and the impact of the Christian heritage on non-religious moral philosophy.. (shrink)

Aaron Ridley explores Nietzsche's mature ethical thought as expressed in his masterpiece On the Genealogy of Morals. Taking seriously the use that Nietzsche makes of human types, Ridley arranges his book thematically around the six characters who loom largest in that work—the slave, the priest, the philosopher, the artist, the scientist, and the noble. By elucidating what the Genealogy says about these figures, he achieves a persuasive new assessment of Nietzsche's ethics. Ridley's intellectually supple interpretation reveals Nietzsche's ethical position to (...) be deeper and more interesting than is often supposed: the relation, for instance, between Nietzsche's ideal of the noble and the ascetic or priestly conscience does not emerge as a stark opposition but as a rich interplay between the tensions inherent in each. Equally, he shows that certain under-appreciated confusions in Nietzsche's thought reveal much about the positive aspects of the philosopher's moral vision. The only book devoted entirely to the Genealogy, Nietzsche's Conscience offers a sympathetic but tough-minded critical reading of the philosopher's most important work. Delivered in clear and vigorous language and employing a broadly analytical approach, Ridley's commentary makes Nietzsche's reflections on morality more accessible than they have been hitherto. (shrink)

In arguing that Nietzsche's _Thus Spoke Zarathustra_ is a philosophical explanation of the possibility of modernism—that is, of the possibility of radical cultural change through the creation of new values—the author shows that literary fiction can do the work of philosophy. Nietzsche takes up the problem of modernism by inventing Zarathustra, a self-styled cultural innovator who aspires to subvert the culture of modernity by creating new values. By showing how Zarathustra can become a creator of new values, notwithstanding the forces (...) that hinder his will to innovate, Nietzsche answers the skeptic who proclaims that new-values creation is impossible. _Zarathustra_ is a story of repeated clashes between Zarathustra's avant-garde, modernist intentions and figures of doubt who condemn those intentions. Through a close reading of _Zarathustra_, the author reconstructs Nietzsche's explanation of the possibility of modernism. Showing how parody, irony, and plot organization frame that explanation, he also demonstrates the central significance of Zarathustra's speeches on the body and the will to power. The author argues that Nietzsche's critique of the modern philosophy of the subject revises Kant's concept of the dynamical sublime and makes allegorical use of the myth of Theseus, Ariadne, and Dionysus. He also proposes an original interpretation of the thought of eternal recurrence. Breaking with conventional Nietzsche scholarship, the author conceptualizes the thought not as a theoretical or a practical doctrine that Nietzsche endorses, but as a developing drama that Zarathustra performs. (shrink)