46. “Beyond Good and Evil”

Play in three acts by J. V. Widmann
Performance at the court theater, Weimar

In his latest work, the play "Beyond Good and Evil", Joseph Viktor Widmann, to whom we owe many a novella worth reading and numerous intellectual feuilletons, has taken up the fight against the intellectual current of the present, whose followers see the dawn of a new moral world order in the views of Friedrich Nietzsche. In the Swiss mountains and under the skies of Italy, Nietzsche dreamed and thought of a revaluation of all moral values, of a morality of the future that would not be based on external authority but on man's proudest self-consciousness. Good and evil are not eternal concepts that have come to us through extra-human, supernatural revelation, but ideas that have formed within humanity in the course of time, and which only prejudice and bias can regard as insurmountable limits of morality. The morally strong, who has the strength to act according to his own new impulses, cannot allow himself to be limited by the moral concepts established by a generation of the past that was unaware of the ideas and needs of contemporary mankind. Man should not realize the ideals of his ancestors, but the goals and aspirations that arise within himself. He who lives only according to the ideas of others, however excellent they may be, is morally weak. He who is master of himself, who is able to determine his own standard of morality, is the morally strong, the virtuous. The ideal of the virtuous, the strong, is the unleashing of the individual's inherent impulses; the ideal of the morally weak is the exploration of the moral laws that are supposed to have been given to them from somewhere. The weak want to be humble and submit to the commandments given to them; the strong are proud and self-important, because they know for themselves what they should do. The present is not favorable to such views; for decades the man who expressed them in a wonderful way lived unnoticed. And now that his name is that of an apostle to many, both to those who have a judgment about it and to those who monkey with every fashion, he lives in spiritual derangement in Naumburg, with no memory of the time of his spiritual work.

Widmann is directed against the spiritual seed of this man. If he had done it with Aristophanic comedy, if he had fought with wit and humor against the excesses of a school of thought he detested, no one of understanding would have thought of objecting to his tendency. If Nietzsche were mentally healthy, he himself would have turned against the baseless intellectual lumpenism that now often trails behind his abused banner and wants to live out its life in insignificance and insignificance, because that lies in his individuality. The fact that Widmann now places such an intellectual rag at the center of his drama makes it repugnant. Robert Pfeit is a professor of art history and is supposed to be a Nietzschean. Because of this attitude, he neglects his wife, who is far removed from Nietzschean pride, but whose moral worth surpasses Robert's, and throws herself away on the frivolous, frivolous young widow Viktorine v. Meerheim, who only turns her eyes to the professor because he is supposed to illegally obtain a doctorate for her foppish, limited and ignorant brother. The web into which the cunning woman has spun the weak-character follower of Nietsche's morality of the strong is to be completely pulled together at a masked ball, at which Pfeil wants to appear as Sigismondo Malatesta, Prince of Rimini, and Viktorine as Isotta degli Atti. These are figures from the Renaissance period to which Pfeil has devoted his studies and in whose purely arbitrary view of life he sees his Nietzschean ideals realized. Pfeil's wife is unhappy because of her husband's 'aberrations'. She therefore decides to stay away from the unfortunate ball at which Viktorine wants to crown her disastrous doings; indeed, she has already obtained poison from her brother Dr. Lossen's laboratory because she does not want to survive her husband's fall. As this brother, a traveling naturalist, surveys the situation, a saving thought occurs to him. He has found a substance in distant lands that lulls you into a gentle sleep. He mixes it with cigarette tobacco and lets the deceived Nietzschean smoke a suitably prepared cigarette as he prepares to go to the fateful masked ball. Of course, Pfeil now dreams the dream that cures him of all Nietzschean ills. His ideal people and their opponents are presented to him. Those who profess his doctrine are despicable tyrants, scoundrels or boors; the opponents of his doctrine are noble and good, angels in every respect. Divided into these two camps, we are presented with a disgusting, repulsive and boring picture of the court of Rimini in the form of a pickled dream. And when Robert Pfeil wakes up, behold, he has become a pious man; the dream has shown him the disgraceful deeds to which Nietzscheanism could still lead him. One need not be a follower of Nietzsche to be unpleasantly affected by Widmann's theatrical machinations. The writer of these lines knows the weaknesses and dangers of Nietzscheanism quite well, but it is contrary to his feelings to see J.V. Widmann fighting against Friedrich Nietzsche.

Now just a few words about the performance. Mr. Weiser played the main role, Professor Robert Pfeil, as well as a contradictory and unclear character can be played. If the portrayal was not that of a human being but that of a stereotyped theatrical character, the fault lay not with the actor but with the poet. Mr. Weiser deserves special recognition as director. The staging was brisk and tasteful. Mrs. Wiecke, the best-trained female force in local acting, as the professor's wife, sympathetically portrayed the representative of the humble, gentle, tolerant humanity that has to suffer under the evil Nietzscheanism; Mrs. Lindner-Orban, who as "Kluge Käthe" has already fought against Nietzsche once during this season in a splendid acting performance, this time found little opportunity to show off her skills. A character as marked as this Viktorine could not be given flesh and blood by the best actress. Also worthy of mention are Miss Schmittlein (maid in Pfeil's house), who I particularly liked in the first act, and Mr. Kökert, who played Viktorine's brother in the excellent way we have known him to play similar roles since we first saw him.