From Central European Intellectual Life
GA 65 — 23 March 1916, Berlin
12. Nietzsche's Psychological Life and Richard Wagner
On the development of the German world view in the present day
As one of the greatest tragedies of the soul, Nietzsche's intellectual life presents itself in the development of humanity in terms of intellectual culture in the last third of the nineteenth century and shines not only through the nature of its course, but above all through its very special relation to much that lives spiritually in the present, shining over into the immediate present.
In the lectures I had the honor of giving during the winter, I tried to characterize German intellectual life from various points of view in the period that can be called the great age of German idealism, the period in which a Fichte, a Schelling, and a Hegel, among others, emerged from the depths of the human soul, and perhaps one can say, even more from the depths of the soul's strong forces, to world picture that is really a kind of background to that tremendous flowering of modern intellectual life that is revealed in Herder, Lessing, Goethe, Schiller and the others who belong to them. In one of the last lectures, I then tried to show how the tone of German intellectual life, struck by these great minds, has lived on to our days, but one can say: it has lived on more under the surface of the popularized intellectual life, so that in many ways it has appeared to us as a sound that has faded away, as a forgotten striving within the German intellectual development of the nineteenth century and into the present.
And indeed, anyone who looks at the huge break that occurred around the middle of the nineteenth century in Central European cultural life can easily understand why the character of the time more or less just faded away unnoticed. It was out of an intellectual and intellectually related power of mind that German intellectual life at the turn of the eighteenth and nineteenth centuries, in the first third of the nineteenth century, sought to penetrate into the depths of the secrets of the world through the aforementioned minds. And we shall not be doing Hegel an injustice if we take a little time to consider what was in his consciousness: that he had succeeded in driving the development of human thought so far that a supreme goal had been achieved within this development of human thought. And the turning point just mentioned shows us how, after the first third of the nineteenth century, thinking, the intellectual life in particular, was brought to the point where, one might say, a kind of rest, a kind of breathing space, became necessary. Only minds that could approach their intellectual work with the same energy as Fichte, Schelling and Hegel could occupy themselves with the innermost and, if the word is not misunderstood, one can say, most abstract powers of the soul so intensely and powerfully. And one could not sustain the long breath that was necessary for that breadth of an idealistic worldview. The consequence of this was that a paralysis set in which, with regard to all that these very minds sought in the highest, testifies to a certain lack of understanding, one might say, to a certain paralysis, even today. As high as thinking, feeling and the purely spiritual will, which is directed not towards the external but towards the life of the soul itself, rose with Fichte, Schelling and Hegel, it was not possible to rise in the culture as a whole. The reality value in this striving could not be felt consistently. But it was felt that reality should be sought through this striving. And, as a continuation of this striving, a thirst arose for reality, a thirst for that on which man can stand firmly. This was expressed in the fact that one initially entered into a sharp opposition to all that the above-mentioned spirits had created. In their abstract trains of thought one could not find the reality for which one thirsted. And so it came about that the thirst for reality wanted above all to be satisfied by what the outer senses offered, that the human spirit wanted to penetrate first into all that the strict, safe natural science could establish, which was limited to the senses and the mind bound to the human brain, as a world view.
The leading spirit, by whose contemplation one can almost see what was at stake in this turning-point in modern spiritual life, is Feuerbach. One need only characterize a few thoughts of his world-view to see what is at stake. Feuerbach started precisely from Hegel. He started from the idealistic conception of the world which the German mind has created. But the living soul of Feuerbach was confronted with the question: What is all that a Hegel has been striving for? What can be found on the path that runs in such abstracted thought movements? There is nothing to be found that leads to the spirit itself. Everything that can be found on this path about the spiritual world is nothing more than what the soul creates out of itself, what the human soul finds within itself on the basis of the reality of the body, what it penetrates to. All that it has created, it projects out into the world, so to speak; that becomes its spiritual world. And so, out of the thirst for reality, a placing of the human being in the world-view picture arises, just as he is directly in the sense world. One wanted to take the human being as a whole human being, but precisely for that reason one had to omit from what one saw as reality what arose on the path of this spiritual life. And so man's attention was directed to how he presents himself within the realm that could now be called reality, the realm of the senses and what the brain-bound mind could make of this realm of the senses.
How did man stand before himself with such a world view? Man stood before himself in such a way that he could know: A spiritual world is opening up in you, a world is opening up in you that you must not miss if you want to partake of true human dignity. Something lives in you that must go far, far beyond nature. But how could man come to terms with what he had to bring forth within himself, to create within himself, and what could not appear to him as reality in the sense of the natural existence? This question, translated into the realm of feeling, forms, one might say, a crucial nerve of the entire world-view striving in the second half of the nineteenth century, indeed, into our own days. The human being who cannot justify himself to himself with what he produces spiritually: that became the great question, that became the anxious riddle of life, not so much in this formulation in which I express it, but in the sensations and feelings in which it pushed its way up from the depths of precisely the most striving souls.
And the spirits that emerged in the nineteenth century, which had to raise questions of world view and could not bring themselves to that faded tone in German intellectual life, as mentioned a few weeks ago, initially faced this very characterization of the life-question, world-view question in this way. It is as if for a time the strong forces could not be found among the leading exponents of the world view, in order to find anything at all that could provide an answer to the questions that have just been described. A remarkable fact presents itself here. Those who are philosophers, leading philosophers, who attempt to construct a Weltanschhauung out of natural science, all of them feel, as it were, this powerlessness just described. And this powerlessness fundamentally permeates nineteenth-century philosophy.
In a strange way, the Feuerbach worldview, and with it everything that now set the tone, was confronted by a musician, a personality in whom abstract thinking did not live so much, who initially did not want to follow the usual path of abstract thinking in matters of worldview, in order to arrive at the solution of the world's riddles. A personality was confronted with Feuerbach's question who, in his deepest inner being, lived and worked musically and wanted to work in this way: Richard Wagner. It was in the forties when Richard Wagner grappled with Feuerbach's world view in his soul. Before Richard Wagner's soul, in which everything was alive musically, not in concepts, ideas and thoughts, stood the man whom one had placed at the center of the world view and who, for the reasons characterized earlier, was first and foremost a mere sensual man. But this man was confronted by a soul that was musically active. The musical element lives and moves in the sensual realm. But it cannot live and weave only in the sensual, unless it is grasped as in the soul of Richard Wagner. Here in the musical, the sensual itself works as a spiritual, it must work as a spiritual. For if we turn our senses to nature, wherever we want, what is in the truest sense of the word musical content cannot come to us directly from nature. Goethe says: Music is the purest form and content, for it has no actual model in nature, as the other arts do. And yet, it makes a complete impression on the mind; and everything that makes an impression on the mind is spiritual. Thus in music there is an element that cannot be attained by following the paths of mere observation of nature, that cannot be seen by the human being that Feuerbach placed in the image of nature. And yet, in the realm of music, there is an element that, to an extraordinary degree, accommodated the urge of the time for sensory perception and sensory comprehension. And since Richard Wagner's soul lived in the remarkable (one cannot say discord, but rather consonance), being entirely musical, but not as a philosopher's soul, but rather as a musical soul, a soul seeking knowledge, it could not be otherwise than that in Wagner's musical ideas, in Wagner's musical feelings, the questions mentioned played a role in a completely different way than they could have done in a philosopher's soul.
And another element was added. It would be fascinating to characterize in detail how this second element came to be in Richard Wagner's soul. But there is no time for that. I will only hint at what this second element is and how it was added to the first. A second element is added: the contemplation of what had been created out of the Germanic spirit and soul within Central Europe in the way of myths and of the permeation of life with the mythical. Gradually, a wonderful contrast emerged in Wagner's soul, which, as it appeared in Central Europe, is nowhere else present in the spiritual development of mankind. And recently it appeared in Richard Wagner's soul like a renewal of Germanic myth. There we have an intimate coexistence and interweaving of the human soul with all that is elemental in nature, a loving engagement precisely with the sensually alive. It is to the Teutonic view of nature that we are appealing in these words, to that view of nature which can only live in souls that feel no direct discord between the soul and the physical in human life, because they sense the soul in such a way that this soul not only lives within the human being, but is one with that which blows in the wind, works in the storm, in everything that lives and pulsates in nature as soul and, I would say, the human being himself, who can be experienced inwardly, experienced again outwardly. And in addition to this feeling, this recognizing feeling and feeling-recognizing of nature, which is contained as a basic drive in all the abilities of the Germanic people, there is also a looking up to a world of gods that is well known, that can of course be interpreted in a naturalistic way, but this interpretation is at least one-sided. This upward gaze to Wotan, this upward gaze to Donar, this upward gaze to Baldur, to the other Germanic gods and to all that is connected with these Germanic gods in Germanic myth, this upward is really what the spiritual man finds when he does not merely direct himself towards nature, but when he abandons himself to his own productivity, his creative power. This world of Germanic gods and heroes and heroic geniuses is full of life. But it is not exhausted if it is seen as mere symbolism of nature.
Now Richard Wagner had taken up the view that the human being initially appears to be an end of nature's creation. What the human being forms in terms of ideas about a higher world arises in the human being. According to the newer world view, as it has just emerged, no such reality can be ascribed to it as to sensory things. The anxious question arose in him: How can one even come to a creative process in human life? Nature creates. It creates through its various stages of being up to and including the human being. The human being becomes aware of himself. The human being experiences what he produces. It appears merely as something created by the human being, which has no value in terms of reality. How can we have confidence in what the human being creates within himself? How can one trust it so that it forms a basis for man not merely to place himself in nature as it has created him, but so that he can place himself in the creation with something valid?
A figure, a central figure, had to arise in Wagner's soul, who would place himself in nature in this way, but also, with all the powers that nature itself has given him, give himself strength, security, and the ability to develop beyond the natural existence. But Richard Wagner had to assume that when man creates from his inner being, he is in fact only projecting the images that his imagination has produced, adding a non-real realm to the real realm. What right does the human soul have to create something beyond nature? This question of feeling and emotion arose. What right is there, already in the existence of nature itself, in the blowing wind, in lightning and thunder, to sense spirituality and even more: to create a spiritual being above all of nature, as in Germanic mythology? How can one find a link between the two? Philosophy could not do it in those days, insofar as it was the prevailing philosophy. Richard Wagner's musical soul undertook it. It actually undertook it out of an urge that was at the same time a deeply characteristic trait of the newer Central European essence in general. How so? Yes, if you compare what Germanic myth, the Germanic way of penetrating into the natural world, is with what Greek myth, Greek penetration into natural life, was, then only an external observer can believe that the two are in the same field. Because that is not the case. Here too it would be interesting to probe into the deeper psychological underpinnings, but again, one can only characterize them with a few sketchy strokes.
The whole of Greek intellectual life is geared towards looking outwards and creating myths from the plastic forms that the soul undertakes with what is presented by the outside world, bringing the myth to life in forms, in plastic forms. The way the Greek feels and senses is how his feeling and sensing passes from his own being into the external world, flows fully into external existence. And so the wonderfully rounded plastic forms come into being, which live within Greek myth and then out of Greek myth in Greek art.
The same is not true of Germanic myth. Only with great difficulty can one dream such complete forms, such as the forms that live in Greek myth, the figures of gods and heroes of Greek myth, into Germanic myth. If one does this, then fundamentally Germanic myth becomes something quite different. If one wants to understand Germanic myth, one must be able to let that sense of humanity lovingly enter into the nature of things without bringing it to plastic form; one must let this essence rise up to the figures of the gods Wotan, Donar, Baldur and so on. And one must also refrain from creating fixed, rounded figures up there. If one really wants to live oneself into this myth, then everything must remain mobile, so only mobile sculpture can express plastic movement, which was actually alive in the Germanic souls. But how can one, then, when one enters into the essence of the matter itself, find a bond between what is felt in nature, what directly confronts one in the sensory world, and what is seen above as the world of the gods? One can only do it – and one only knows that one can do it when one has absorbed the basic nerve of Germanic myth in the right way – one can only do it through musical feeling. There is no way to find those currents that the soul must follow from Wotan down into the existence of nature, and again up from the existence of nature into the life and weaving of the gods in Valhalla – there is no other possibility than musical intuition, that musical intuition which in what it has before it has immediately an inwardness, has a spiritual element that is completely sensually realized.
And that is the fundamental difference between that great epoch of human development that we feel as Greek and that which we feel as Germanic. In Greek intellectual life, the I was not yet so alive, human self-awareness was not yet so developed as it was to develop within Germanic intellectual life and up into German intellectual life. The Greek lived with his entire soul life more outwardly. What is significant in the progress of humanity is that in addition to this Greek life outwardly, there is the inner grasping, the inner strengthening. But the inner life cannot be grasped in a formative way. If it is to be felt artistically, it must be felt in music, just as the Greek life must be felt in sculpture. And just as there is a transition from the more self-free way of the Greek world view to the ego-permeated way of the newer world view, there is a transition from sculptural creation to musical feeling in the progress of humanity.
That is the tremendously significant thing, that Richard Wagner was the personality who, not out of the arbitrariness of the soul, but out of the experience of what pulsated in time itself, could have as his personal experience precisely that which was the experience of time. The musical element, which therefore had to be in the world view, was felt by the thoroughly musical soul of Richard Wagner. And so it came about that Richard Wagner, entirely out of the need of the time, out of the deepest nerve of the spiritual life of the time, was able to connect the myth with the musical element. And what the ongoing philosophy could not be, could not express in words, concepts and ideas, was expressed in the musical element. There it is. And when we have to experience the philosophical, when we have to experience the purely intellectual like a fading sound, one is tempted to say: the musical enters through Richard Wagner in the second half of the nineteenth century, and this musical becomes a substitute for the path of knowledge, which is otherwise sought in a completely different way.
And now, as events of this kind are bound to occur in the life of man as an inner destiny, something else occurred for Richard Wagner. His acquaintance with Feuerbach remained somewhat unsatisfactory for Richard Wagner. On the one hand, his passion for music was strong enough to enable him to find what could not be found by pure reasoning, but on the other hand, as is inevitable in our modern times, he was also driven to consciously absorb what he was doing, to consciously create enlightenment for himself about the relationship between his artistic work, which he perceived as completely new, and the deepest world secrets of existence. And here Schopenhauer's philosophy came to his aid. It is not so important to consider this philosophy as it must be taken objectively, but rather to consider it as it affected Richard Wagner. This Schopenhauerian philosophy showed him that man, when he clings to his intellectuality, to his mere imagination, can never penetrate the secrets of existence. He must draw much deeper forces from the depths of his being if he wants to live together with the secrets of the world. Therefore, for Schopenhauer, everything that was merely intellectual, everything that lived only in thoughts, in concepts, in ideas, was something that not only produced mere images of existence, but that had to produce such mere images that actually only give a dream of existence. But if the soul really wants to grow together with reality, it must not merely think, it must draw deeper forces from its depths. And Schopenhauer found that if man really wants to recognize the forces of existence, he cannot grasp them in thought, in imagination, but that he must grasp them in the living will, in the weaving of the will, not in intellectuality. And further, Schopenhauer was able to show how all that is valuable in the individual human being comes out of this element of will: all that is ingenious, all that is devotion and willingness to sacrifice for the world, yes, even compassion itself, which permeates everything moral. All this is connected with deeper forces than mere intellectuality. In short, man must go beyond the merely pictorial, the life of imagination, and connect himself with that in which the thirst for reality, of which we have spoken, can be more fully satisfied than in mere intellectuality, which is bound up with the physical life of the brain. But in what the will experiences, Schopenhauer not only found the center of the human personality, but in it he also found the center of all real art. All other arts, Schopenhauer imagines, must take the representations out of the will, must shape the images. There is only one art that does not become an image, but that is able to reveal the will directly to the outside world, as it reveals itself within man, and that is music. For Schopenhauer, musical art thus takes center stage in the whole of modern artistic life, and through this, one can also say that Schopenhauer senses something of the primal musical character of all true world-view striving. And even if one does not want to or perhaps cannot accept Schopenhauer's ideas, one must recognize in what Schopenhauer unconsciously felt about human will and its connection with the musical, something that in turn is most intimately connected with the lifeblood of intellectual life in modern times.
How must Richard Wagner, with his profoundly musical soul, have felt about a world view like Schopenhauer's, which showed him what music actually means in the overall world life? Did he not basically have before him in music that of which he had to say: however the scientific world view may shape itself, the fact of music will never be made clear or explainable in human nature by the scientific world view. Where man becomes musical, the spirit reigns in man, and yet there is no need to go into an abstract intellectuality, into abstract concepts, into a mere world of ideas, but one remains within the realm of the obvious. And the urge arose in Richard Wagner to now shape the music itself in such a way that he could feel it to be fulfilling, so to speak, such an ideal, which Schopenhauer tried to achieve in relation to his view of music. A performing, productive artist like Richard Wagner was in a different position from Schopenhauer, the philosopher, when it came to such truth. Schopenhauer, the philosopher, could only look at music as it presented itself to him. It appeared to him as an object, so to speak, and in it he sensed the rule and pulsation of the will. In Richard Wagner, the productive man, something different arose. He now really felt the urge to develop the musical element to such an extent that something would take effect in the musical element that he expressed, which would show exactly how the spiritual and the sensual can, one might say, consciously merge in music.
And from this point of view, “Tristan”, “Tristan and Isolde”, does indeed appear as the one work of art by Richard Wagner – after all, it was composed only after “Tannhäuser”, “Lohengrin” and so on – in which he consciously wanted to reshape the musical element in such a way that everything that was musically given as a means of expressing the weaving and working of the most sensual element was at the same time a metaphysical, a supersensible working in the most sensual element. Thus, in Richard Wagner, his ideal of the further development of the musical was truly something like an ideal of knowledge of modern times. And again, this ideal of knowledge of modern times is most consciously striven for by Richard Wagner in Tristan.
Tristan is the work that first kindled Friedrich Nietzsche's enthusiasm for Richard Wagner. The young Nietzsche sought to penetrate the music of Tristan. And this penetration into an element that was only sensual to the extent that a spiritual element pulsates everywhere in everything merely sensual — this penetration into Tristan became the occasion for Nietzsche's experience with Richard Wagner, with Richard Wagner's art, with Richard Wagner's philosophy; it was the occasion of the experience that Nietzsche had with Schopenhauer and with all that can now be linked to the interaction of the three souls, Nietzsche, Schopenhauer and Wagner. And for Nietzsche, who actually started out in philology but, with his ingeniously comprehensive mind, absorbed everything he could from philology, something special now begins, something with which, I would say, the introduction, the exposition is given to his life tragedy, which now actually unfolds with a wonderful inner necessity, despite its apparent contradictions. These apparent contradictions in Nietzsche's mental life are nothing other than the contradictions within a deeply moving, harrowing life drama, a life tragedy; they are the way contradictions in a tragedy must be, because life itself, when it flows in its depths, cannot exist without contradictions. What then is this deepest peculiarity of Nietzsche's soul life? Other minds that have striven in modern times, when they feel the need, form a certain world and life view, a sum of concepts and ideas, perhaps also another element of the soul that is supposed to lead into the secret depths of existence. when such minds, such souls, can come to find a certain lack of contradictions in the individual parts of the world view, they take up this world view, reject other things that contradict their world view, and thus live with their world view developed within them.
Nietzsche's soul was not at all suited to live like that. There is a fundamental difference between Nietzsche and all other people of world views. Nietzsche is not a productive spirit when compared to other people of conviction. Nietzsche would never allow himself to be compared, if one does not want to proceed externally, with productive minds or philosophers like Fichte, like Schelling, like Hegel, even with Feuerbach, even with Schopenhauer himself. Nietzsche is not a soul in whom thoughts arise directly, which seem credible to him, which are the basis for a certain opinion about the world. In this sense, Nietzsche's soul is not creative at all, even if it does not appear so at first glance to those who look at it superficially. Nietzsche's soul seems to be called to something else. While other men of world-views develop world-views, so to speak, strive to grasp the logical side of these world-views, it becomes necessary for Nietzsche to let what the most important world-views in the second half of the nineteenth century offer him affect his soul in such a way that the question of feeling arises in the soul: How can one live with these world-views? What do they give to the soul? How can the soul progress by allowing these world views to affect it? The world views of others become the vital questions, the world views that emerge as the most important world views in the second half of the nineteenth century. Can the soul become happily aware of its own value? Can it develop healthily under the influence of these or those world views? For Nietzsche, this is not the formulated question, but it is the question of his feelings, the inner urge that comes to life in his soul. Therefore, one can say: it was Nietzsche's destiny to experience the most important and prevailing worldviews of the second half of the nineteenth century in his own soul, to experience them inwardly, in terms of their value and fruitfulness.
And so it ignited, which had come to him from philology while he was still in his full youth – he even became a professor at the University of Basel before he had completed his doctorate, at the age of only twenty-four – so it ignited in him, first of all, what actually had to ignite in a mind that kept pace with its time. We have already characterized what lived and breathed and presented itself particularly in a spirit like Feuerbach, and in a spirit like Schopenhauer. And now it approached Nietzsche through the personality of Richard Wagner. What did Wagner become for Nietzsche in the 1860s? As strange as it may sound, Wagner basically became a problem of knowledge for Nietzsche. How can one live with what had become of the musician Richard Wagner in the sense of the newer development of the spirit, of the newer world-view, how can one live with that in a human soul that wants to experience the fertilizing forces of life within itself? That becomes the fundamental question for Nietzsche. And he must relate this fundamental question, which becomes a way of experiencing life for him, to his philology, to that which had come to life for him from the Greek, which was, after all, the most important subject of his studies. At first, the musical element in Tristan made such an overwhelming impression on Nietzsche that he felt: something truly new is entering into the development of the modern spirit, there is life that must bear fruit. But what are the more intimate connections through which this life can bear fruit for humanity as a whole?
In seeking an answer to this question, Nietzsche looked back to the Greeks. And through his perception of Richard Wagner's music and art, Greek culture presented itself to Nietzsche in a completely different light from the one that had been presented to him earlier. Nietzsche, at least, viewed what had been said about Greek culture before him as something one-sided. After all, Nietzsche believed that people had repeatedly and repeatedly wanted to draw attention to the cheerful element of the Greeks, to the element of the Greeks that was directly full of the joy of life, as if the Greeks were basically only the playing children of humanity. Nietzsche could not admit this from his view of Greek culture. Rather, it came to his mind how the best minds of ancient Greece felt the inner tragedy, the sorrowful nature of all physical-sensual existence, how they felt that a person who lives only within physical-sensual existence, when he has higher needs in his soul, must nevertheless remain completely unsatisfied. Only the soul can be satisfied within physical-sensual existence. And according to Friedrich Nietzsche, the Greeks were not dull and obtuse. On the contrary, as he saw it from a closer examination of this Greek character, the Greeks sensed the tragic, the sorrowful in their immediate existence, and they created art for themselves, in Nietzsche's opinion, everything they could produce from their spirit, precisely in order to overcome the disharmonies of sensual existence. They created art in their minds as an element that would lift them above the ambiguity of external sensual existence. For Nietzsche, Greek art became the harmonization of sensual existence. And it was clear to him that this striving for a spiritual content that transcends sensual content was intimately connected with the fact that the Greeks, even in their best period, had something within them that Schopenhauer directly called the will and that worked in man in the depths of the soul, which in the intellect, in understanding, in imagination only leads to images.
And in particular, Nietzsche liked to look back to the oldest Greek thought. Yes, in the oldest Greek philosophers, in Thales, Anaxagoras, in Heraclitus in particular, in Anaximenes and so on, Nietzsche found everywhere that they did not create as newer philosophers do through thinking, thinking and but by the fact that deep in their souls they still carried something of what worked in the subconscious element of the will, which could not be resolved in mere conception and which they incorporated into their world view. Nietzsche endeavored to present all the great lines in the beautiful treatises he wrote on philosophy in the tragic age of the Greeks. But in Socrates he recognized the man who, through mere intellectuality, had to some extent rejected the originally healthy, deeper forces of the will. Therefore, for Nietzsche, Socrates was the actual bringer of the intellectual element, but also the slayer of all original great potentialities for the spiritual development of mankind. And by introducing the Socratic era, which lasted until modern times and found its expression in world views, humanity replaced the mere dream of intellectuality with an elementary standing within that which is more than mere image, which is inner reality. Nietzsche now saw this in effect in Schopenhauer's assertion: that the idea is a mere image, but that the reality for which one thirsted lives in the depths, below the surface of mere idea, in the human element of will. In this Schopenhauerian assertion, Nietzsche found something that in turn went back to the age that had been replaced by the age of intellectuality. And Richard Wagner's art seemed to Nietzsche to be a renewal of the original art of humanity itself, something truly new compared to what humanity had cultivated as art before and what could not completely become art because it did not go down to the very elements of the human soul.
Thus, for Friedrich Nietzsche — from his view of Greek culture and from his view of the decline of the deeper human element in later Greek culture — Richard Wagner became a completely new phenomenon in the course of human development, a recovery of deeper artistic elements than had been present since the Socratic age. For that which can become a truly human world view and way of life must arise from these deeper foundations. In what art can it then live? In the musical alone can it live in the sense of Nietzsche. Therefore, that which otherwise appears as art must, in the sense of Nietzsche, be born out of the musical, out of a primal musicality. For him, Richard Wagner really became the figure Nietzsche was looking for, and who, I would like to say, solved the great doubts of his world view for him. For Richard Wagner was the one for him who did not philosophize about the deepest secrets of the world, but made music. And in the musical element lives the will element. But if one wants to find in the development of mankind itself that from which all art must have sprung, including poetry, one must go back to an age in which the musical element lived, albeit in a naive, more primitive way than in Richard Wagner, but still as music.
From such sentiments, Nietzsche's idea for his first work emerged: “The Birth of Tragedy out of the Spirit of Music.” For that which otherwise lived artistically had to have emerged from the element of musicality. And so Nietzsche's first work, I would like to say, was transferred to art the world view of Schopenhauer from the effect of will as a real element compared to mere imagination. And Richard Wagner was the fulfillment of what was necessary for Nietzsche. One must imagine these things as they must have lived as the inner experience of a soul as thirsty for knowledge as Nietzsche's was. All the happiness that Nietzsche could experience, all the fulfillment of longings and hopes that could come to him, were given to him by the fact that he could say to himself: What has been destroyed by Socratism, by intellectualism, in the development of mankind, can be revived. For all art will arise from the musical element, as Greek tragedy arose from the musical element. And Richard Wagner is already showing the dawn. So it will arise.
Nietzsche's relationship with Richard Wagner is both a very personal matter and a question of insight. What is significant about Nietzsche's own spiritual life is that he does not present what he strives for as his ideals, that he does not say: this or that must happen. Thus, what he considers necessary to realize does not initially arise from his own soul, but he always looks to Richard Wagner's soul, and in the way Richard Wagner lives as an artist, he also finds the answers to the questions he must ask as his own insights. That is the significant thing in Nietzsche's life.
And now Nietzsche becomes a critic of his time, a critic, I might say, above all of what presents itself to him in German intellectual life in the last third of the nineteenth century. And as such a critic, Nietzsche writes his four “Untimely Reflections.” There should have been many more. But for reasons that will become apparent in our reflections, there remained only four. In the living experience of Richard Wagner's work, in grasping what was at work in Wagner's music, Nietzsche saw the effect of man and his soul reaching out beyond mere nature, the possibility of finding something, even if one stops at the sensual element, of finding something that carries man beyond mere nature. And now Nietzsche faced the world with this conviction that man, if he understands himself deeply enough below the mere intellectual element, can truly come to the spiritual. In this conviction, Nietzsche turned to what the time had now produced. One must ask: What did Nietzsche find first? He found that the age had been overwhelmed by Feuerbachianism, by this focus on the mere sensual and on the intellect bound to the brain, in the strict sense, if not in the broader sense, by all that had now developed into the prevailing world view.
Of course, I know very well that there may be all kinds of philosophers who say: Oh, philosophy has long since gone beyond materialism. — But even if one supposes that in the whole way of thinking, in the habits of thinking, one is still deeply immersed in it even today. And Nietzsche saw around him how deeply his time was steeped in it. And he now chose a characteristic personality: David Friedrich Strauß — Strauß, who had also started out from Hegelianism, who had come from Hegelianism to a world view that he then expressed in his “Old and New Belief”, who had gone completely from Hegelianism to the materialistic coloring of Darwinism , who saw nothing in the external world, including now also the world of man, but only natural development, who believed that man, if he stood firmly on the ground of newer knowledge, could basically no longer be a Christian, because he should not accept the spiritual ideas that Christianity demands of one. Nietzsche took on this David Friedrich Strauß, so to speak. But Nietzsche did not proceed as a philosopher usually does, but differently. For Nietzsche, it was not the image of nature that was there first, not some scientific habit of thought, but for Nietzsche there was the feeling: if the development of world view continues in direct spiritual life, then it will continue as it begins with what emerges from the music and from the whole art of Richard Wagner.
What then is the position with regard to the world-view of David Friedrich Strauss, which is regarded by many as the only valid modern philosophical system, in the light of the spiritual development that may be achieved through the permeation of spiritual evolution by the art of Richard Wagner? This is the question Nietzsche had to ask himself. He did not ask himself: Is this or that in Strauss's system false? Can this or that be refuted? That was not the issue for Nietzsche at all; rather, the issue for Nietzsche was to show what kind of soul and spiritual element of humanity lives in a worldview like Strauss's, what kind of person is needed to produce such a worldview, a worldview that clings only to the gross material and the sensual. What sort of person must one be who produces such materialism, what sort of person must one be who is a mere Philistine, in contrast to the spiritual man, in contrast to the man who allows the spirit to work in everything that lives and moves in him, in contrast to Richard Wagner? He must be a Philistine! That the world-view of modern times has become so materialistic because the Philistine element has poured itself out in it, that is what Friedrich Nietzsche wanted to show in his untimely consideration “David Friedrich Strauß, the Philistine and Writer”. Later he changed the title to “... Confessor and Writer”.
And so he shows everywhere how a certain trivial way of thinking, how trivial habits of thought, how philistine a nature prevent David Friedrich Strauß from seeing the spiritual in the sensual. And Friedrich Nietzsche continued to compare what he experienced as a living sensation in the personality of Richard Wagner with what is present in the current education under the influence of the materialistic way of thinking. And further, he asks himself: What is the relationship between a productive person like Richard Wagner, who brings the inner forces of the human soul to the surface of his work, and what lives in the ongoing highly respected and admired time formation? And there Nietzsche finds: This time formation has become such that it now gasps and breathes heavily under its abundance of external knowledge, under its abundance of history. To a certain extent, one knows everything or at least seeks to know everything, seeks to relate everything to history. One can give a historical answer to any question. But to bring to life in oneself what one knows, to give birth to something human out of the soul, is paralyzed by the abundance of the historical. And so man gnaws at what he absorbs historically – whether he absorbs it historically from history or from science is no longer important – man gnaws and suffocates on the historical. And by gobbling up the historical, what should come out of him, what man should freely bring out of himself as spirit, gets stuck in the depths of his being. “The Use and Abuse of History for Life” is the second ‘Untimely Reflection’.
And then Nietzsche turns his gaze to Schopenhauer himself, to a mind — as Schopenhauer was in Nietzsche's sense — who had managed to see everything that lives externally as mere ‘dream’, to regard everything that lives externally as mere 'dream', so far as to regard history itself as nothing more than a sum of repetitive life sequences that only acquire value if one is able to take into account that which lives itself out in them and behind them. Nietzsche regards a mind like Schopenhauer's, which must see the greatness of man entirely in terms of productivity, as the ideal of a human being. Again, he compares the time with what such an ideal of humanity represents. It becomes clear to him: if we look at this or that person, if we look at the third or fourth person – what are they all, compared to what could appear from Schopenhauer's philosophy as the full human being? As I said, one may have whatever opinions one likes, be a follower or an opponent, it does not matter, but what does matter is how Schopenhauer influenced Nietzsche. What are individual people, even the most learned and knowledgeable, compared to such a human personality, who sought to shape from the soul that which lived humanly in its universality? They are the patchwork of life, and therefore the whole of culture is patchwork. That a renewal, a revitalization of the whole of culture can take place under the influence of that which now lives in Schopenhauer's philosophy of complete humanity, and that this is urgently necessary, is shown by Nietzsche in the third of his “Untimely Meditations”: “Schopenhauer as Educator”.
But then, as the Bayreuth festival approached, he wanted to describe the positive side first. Like the other two “Untimely Meditations,” “Schopenhauer as Educator” is also dedicated to the critique of the time. But what can be given by the productive man of the time, how the time is to be renewed, how out of what lives in the depths of man's soul, something new must flow into the time, that appeared to Nietzsche in the art of Richard Wagner. It now really understood how to grasp the sensual directly so that it presented itself as a supersensual. “Richard Wagner in Bayreuth” - the fourth ‘Untimely Consideration’, 1876, was intended to show what Wagner could become for the world.
Now, for Nietzsche's soul life, this writing ‘Richard Wagner in Bayreuth’ was at the same time, in a certain respect, a farewell to his friendship with Richard Wagner. From then on, the friendship quickly began to cool and basically soon ceased.
And now let us again take the whole inwardness of Nietzsche's soul, the whole weight that weighed on it from questions of world view, and let us add to this that Richard Wagner has become something like the content of Nietzsche's soul, like that towards which he has focused all his thinking and feeling and perceiving. And he must separate from Richard Wagner! And the separation becomes complete when Richard Wagner writes his “Parsifal”. We have a number of things in the Nietzsche publications that are intended to point to the real reason why Nietzsche separated from Wagner. Not even the words that Nietzsche himself communicates about his separation from Richard Wagner seem to me to be convincing. For a personality as artistic as Friedrich Nietzsche was, a personality that must also have felt all of the life of the world view permeated by the artistic, such a personality cannot possibly view “Parsifal” as an entirely unappealing because he believed that Richard Wagner had previously depicted the pagan world of the gods, Siegfried and the others, and now, as a kind of counter-reformer, had swung back to Christianity. What Nietzsche describes as falling down before the cross, and what he is said to have found distasteful, does not appear convincing when one looks at the full range of both Wagner's and Nietzsche's intellectual lives. For ultimately it would come down to the trivial view that Friedrich Nietzsche could not have walked with the work of art that is Parsifal because of the content of Parsifal; he would have fallen away because of a disagreement with the theory. It would be a terrible thing if we had to think in these terms about Friedrich Nietzsche's falling away from Richard Wagner. There was something quite different here, something that, I believe, can only be found if we attempt to use a more profound psychology to uncover the actual underlying reasons. In this short lecture, however, we can only sketch out these ideas.
What did Richard Wagner actually achieve? We have seen that in his basic soul feeling, he started from Feuerbachian materialism, passed over to a feeling of the Schopenhauerian world view, but was actually always imbued with the life element of musicality. Everything he has written, even in theory, is only parallel to this musicality. And in music – if I may express myself trivially – he pointed out the way in which the transcendental, the spiritual, can be found by penetrating into the sensual. But he also started from the assumption that one cannot find the real, the thing for which the sense of reality thirsts, by the path of the intellectual, I might say in that rarefied human spiritual life that was played out in Fichte, Schelling and Hegel. One had to put the whole, full human being into it, and basically only the sensual man emerged. We have seen how only music gave the sensual and the supersensual at the same time. For Richard Wagner, then, man was at the center of his world view. But one had to penetrate into all depths of man, and according to the whole nature of Richard Wagner's soul, Wagner could only penetrate into these depths of man musically. Musically he sought to penetrate – I say intentionally: musically he sought to penetrate – the depths of the human soul in Parsifal. In the music of Parsifal, we have before us a musical work that shows how man can be conceived, felt and sensed at the center of an anthroposophically effective world view, so that the sensual, the musical, becomes so spiritual that it seizes the finest, most intimate sides of the human soul. For that is what happens in the resolution of the Grail problem in Parsifal.
Richard Wagner could only achieve this because in his life of feeling, which was completely permeated by the musical element, he had progressed from Feuerbach through Schopenhauer to the direct grasp of that which lives in humanity that exists beneath the purely intellectual and abstract soul element. Richard Wagner, in his own way and principally as a musician, had reached the spiritual man in his “Parsifal”.
Richard Wagner was Nietzsche's object of study. Up until 1876, Nietzsche actually lived much more in Richard Wagner than in himself. He saw in Richard Wagner what he hoped for and strove for in the development of the modern spirit. He did not draw it from his own soul as an ideal. Nietzsche was young and enthusiastic, young and ingenious when he encountered Richard Wagner. In Richard Wagner, a world-view and philosophy of life that was already fully developed in a later stage of development confronted him. What Wagner had gone through to bring his soul into such a feeling, which could come to 'Parsifal' through 'Siegfried', what Richard Wagner experienced in his soul, the harrowing thing that had to be lived through, it had already been lived through when Nietzsche approached Wagner. What was already balanced, already filled with harmony, already promising the future, was what Friedrich Nietzsche encountered when he met Richard Wagner and, I would like to say, made him his object of knowledge. Nietzsche was able to fully absorb what Richard Wagner had gone through in the 1850s, for example, when he wrote down words like the one he wrote to Röckel in 1854 about his deeply suffering feeling about the essence of the world. This deeply suffering feeling about the essence of the world had to be transformed into inner soul strength, into activity. And when Nietzsche came closer to Richard Wagner in the 1860s, he was able to experience in Wagner what the suffering of the soul had become. He, Nietzsche, was able to experience it already in the radiance of a light that shone with hope. Words such as those written to Uhlig in 1852 also show how Richard Wagner knew suffering, which Nietzsche sensed in the Greeks, but which Nietzsche only looked at and observed in its balance in Richard Wagner. Words such as those Wagner wrote to Uhlig show how Richard Wagner came to know this suffering. Before he had come to sense the power in the human soul that can lead to the Temple of the Grail, that can lead to the Siegfried energy, he had come to know doubt of all that is small and human, doubt that is the very foundation on which the great and human must build. Thus Richard Wagner writes: “In general, my views on the human race are growing ever darker, my dear friend; more often than not I feel I must express the conviction that this species is bound to perish completely.”
You only have to take this context to hear the most intimate strings of the human soul resonate: before the hero who “through compassion, knowing” penetrates to the temple of the Grail, lies all that one can experience in human doubt and human suffering when one looks at what is around one, especially in a materialistic time. Richard Wagner has gone through the ascent from suffering to the exercise of creativity. And he basically stood radiant as a victor before Nietzsche when he first met him. But Nietzsche, as a young man, knew how to look sympathetically, sensitively at this victorious nature.
But for Nietzsche it was the case that the youthful power living in him was able to rise to meet that which confronted him in Richard Wagner, but not later the matured power, which had cast off youthful enthusiasm and the breadth of feeling and now wanted to shape out of itself. Richard Wagner had gone through Feuerbachianism. Nietzsche did not go through it, Nietzsche did not suffer from Feuerbachianism, Nietzsche did not first get to know the all-too-human before he allowed the high and ideal and spiritual-human in Richard Wagner to have an effect on him. And that seems to me to be the psychological reason why the soul of Friedrich Nietzsche now fell back into Feuerbachianism, if we take it in the broader sense, was overwhelmed.
Now, when Friedrich Nietzsche could no longer keep up, everything that stemmed only from enthusiasm and should have come from the power of deeper understanding fell away from him. He had to let go and undergo for himself what Richard Wagner had already mastered. Then the second period in Nietzsche's life began, which begins with the publication of the collection of aphorisms “Human-All Too Human,” which then continues with “The Wanderer and His Shadow” to “Dawn” and “The Gay Science , where Nietzsche attempts to come to terms with the scientific worldview, with everything within the scientific worldview that, in the modern era, must be the basis for any higher philosophical worldview.
And that is the tragedy of Friedrich Nietzsche's soul, the terrible tragedy, that he had previously experienced the greatest thing in youthful enthusiasm and now, when he came to himself, he had to descend, so to speak, consciously descend, in order to recognize the all-too-human in its connections with natural facts, after the highest human. But Nietzsche had the courage within him to go through this difficult path of knowledge. He had the courage to ask himself: What does this soul life look like when we look at it in the light of science? When we look at it in the light of science, man has passions. They seem to arise from the depths of his will, but if we look more closely, we find all sorts of purely physiological reasons, reasons of this bodily life. We find that man lives out concepts and ideas. But we find the mechanical causes for these ideas and concepts everywhere. Finally, we find ideals in human life. Man says to himself that these ideals are something divine. But when we investigate what man actually is, we see how he gives birth to his ideals out of his physiological element, out of his bodily element, and how he only dreams them into something that is said to have been given to him by the gods. What man perceives in everyday life as his longings born out of the body, what is born out of the flesh, out of the blood, what presents itself to him as ideals, but what does not come from higher spiritual worlds, but is just like the foam that rises from the bodily life, is not the highest human – humanly all-too-human.
Nietzsche, after having lived through all that the nineteenth century in its second half could give him through Schopenhauer and Richard Wagner, had to form his own view of his soul, which science could give him, and he had to undergo, in particular, — his writing, with which he begins this period of his life was dedicated to Voltaire. He had to undergo what one might call a plunge into that dead science, the science of mechanism, of the dead in contrast to the living, which Fichte claimed was the truly German world view. In the second period of his life, Nietzsche was overwhelmed by a Western world view. He completely immersed himself in this Western world view. But it did not become for him a mere sensation of thought; he could not absorb it like a Western mind. He absorbed it after having stood for so long in the primeval Germanic, German world-view. It became for him, for example, that all the perspectives which the soul-materialists later drove out of these world-views lay within it. With a keen mind, Nietzsche was able to show how everything that was called an ideal and that which one believes to have received as a gift from God could arise out of the needs of human nature, which are connected with flesh and blood. Nietzsche himself expressed it thus: all his ideals seemed to him to have been frozen, to have become cold, because they appeared to him to have arisen out of the humanly-all-too-human. Indeed, what small minds and dull minds have produced by developing this process of Nietzsche's world view development to excess is already present in Nietzsche, but in such a way that, while it is ingenious in Nietzsche, in those who then built on it it is the opposite of ingenious. One could even say that the whole dullness of modern psychoanalysis is already contained in Nietzsche's second period of development, with all that was tried to be derived from human nature in a materialistic-spiritualistic way. Small minds say to themselves: Well, we can investigate that, and the truth must be accepted. — So small minds can even accept, for example, deriving from Schopenhauer that all striving for a worldview, all striving for spiritual connection with the world, that goes beyond mere factual science — yes, it is not a fairy tale that I am telling — is a consequence of human sexuality. So that all philosophy for certain minds of the present has its basis in human sexuality, for all spiritual striving is rooted in human sexuality. Of course, Nietzsche, who saw the original basis, the justified original basis for the soul in the physiological, in the purely natural, was too ingenious and, I might say, too tactful to go beyond the cognitive. But he did not merely have to develop a world view. Smaller minds simply say to themselves: This is truth, one must accept it. So one must also accept as truth that philosophy is only a consequence of sexuality. But Nietzsche had to experience above all to look at the fruitful in human nature, which can be influenced by a truth. Knowledge as destiny of life, that is the characteristic in Nietzsche's psychological tragedy. And so something began to live in Nietzsche's soul in this second epoch of his psychological life. Nietzsche was too great to let it go far, but it continued to work as a background of disgust for a merely naturalistic psychology, for a merely naturalistic explanation of everything moral, as he had attempted it, the disgust for what can arise when one continues in this field, which seems so justified, which seems so justified, in a materialistic psychology, — the disgust. Now imagine the tragedy in such a development of the soul, which first experiences all of humanity's fruitful happiness in Schopenhauer and Richard Wagner and then, through the necessary development and the connection with this necessary development of time, as Nietzsche himself had , to develop a world view in which the experience begins to be met with disgust at the point of the soul life, and the necessity to save himself from the disgust of life.
We are now close to and in the eighties of the nineteenth century with regard to Friedrich Nietzsche's soul life. From the natural scientific world view, he had gained something for his soul life that showed him the beginning of disgust with all the bitterness with which disgust can thus prevail in the soul, deep within. And what Nietzsche tried to express in The Gay Science is basically nothing other than an intoxicated way of leading us away from the disgust that does not come to consciousness. For of course, one suffers from this disgust, but such things remain in the subconscious. It is not expressed. Something is expressed in the soul that veils the disgust, that covers it up: “Happy Science” – in the sentences, in the expressed content. That which I had to characterize as lying in the depths of the soul then forms the transition to another kind of world view, which Nietzsche now had to experience further from a certain deepening of the natural scientific life of the nineteenth century, as he also carried it into the understanding of the soul life.
And now something developed in Nietzsche's soul – of which one can say: it absorbed, like a continuous drive, this primeval Germanic that lived in Richard Wagner, in Schopenhauer – now something strange lived itself out in Nietzsche. Now comes the last period of his life, which then leads to the catastrophe. And in this catastrophe, without one realizing it if one does not go deeper into the foundations of his soul life, what he had taken from Western philosophy, namely from French moral philosophy, , from Guyau, from Stendhal, but also from others in whom he had completely immersed himself, and what he had gained from these in connection with a deeper understanding of Darwinism, that worked together with the Eastern European element. One cannot understand the last period in Friedrich Nietzsche without considering how, in all his feelings, in everything he felt and thought, the same element was shining forth that, for example, permeates Dostoyevsky's art as a psychological element in Dostoyevsky. This peculiarity of the Russian East, that in the directly natural the whole human being is grasped, but in such a way that this directly natural is also seen and felt as the living out of the spiritual, that the instincts are felt spiritually at the same time, that what is not felt physiologically, as in the West and in Central Europe, but is felt spiritually — that now pushed its way into Nietzsche, into the soul on which that which I have just characterized had settled in a shattering way. Into this soul flowed all the riddles of worldviews from the West and the East. In mere scientific and physiological soul-contemplation, he could see the all-too-human. But it would have become repulsive if he had pursued it further. Now he drew a deepening from the contemplation of human life itself. Only now did he actually approach human life, where this contemplation was stimulated in him, namely through the influence of Dostoyevsky.
And now an urge arose in him, a longing for a spiritual deepening of what is merely presented in the sensual world. And this urge, this longing, could only be expressed lyrically in this last period of his life, because of his talents. And that is connected with the uncreative in Nietzsche. He needed what had an effect on him; that he could experience. For him, creative spirits could become objects, like Richard Wagner. Whatever created the world view of his time could become an object for him. What flashed and lit up in the second period of his life, the period of Human-All-Too-Human and so on, as a future soul-creation, now entered the sphere of Nietzsche's third period. Man became for him such that Nietzsche said to himself: This man must be placed at the center of the world view — but not in the sense in which anthroposophy appears in Troxler in the sense of the lecture that I was able to give here a few weeks ago. He would have been able to find him had Nietzsche been what one might call an epic-dramatic nature. If someone is of an epic-dramatic nature, they can go out of themselves to the contemplation of the spirit, then they develop the spiritual world, then they create it. Nietzsche was not like that; Nietzsche was of a lyrical nature. In order for that which was yearning in him, that which was urge and drive in him, to come to life, Nietzsche needed something to meet him in the outside world. A spiritual world did not arise from his soul. And so, when he sought the higher man in man, this man could only arise, I would say, in his lyricism, because lyricism, the lyrical element, is the basic element of the work Also sprach Zarathustra , where Nietzsche wanted to show how nature emerges from its merely natural state to become human, but also how man can go beyond nature to become a superhuman, how man can become a superhuman by continuing the development of nature. But because Nietzsche was only lyrical in his entire soul, this superhuman arose in him as a longing. And basically, in all that confronts you in the lyrically so great, so powerful work “Also sprach Zarathustra”, nowhere can you grasp the superhuman. Where does he live then? Where do we encounter him in some form? Where do we encounter something that could live as a higher human being in man and lead man beyond nature? Where do we find something that would describe him? Everywhere we encounter lyrically shaped longings, everywhere we encounter great, powerful lyricism, but nowhere do we find anything that can be grasped intellectually, so to speak. Nietzsche could now encounter as much as an indefinite, foggy image of a superhuman in the third period of his life.
And another nebulous one. Nietzsche could say to himself: When I look at this human life, it presents itself to me in such a way that I have to experience it as formed out of certain preconditions. But it must carry within itself preconditions that correspond to all real forms of nature and spirit. And the thought was already alive in Nietzsche: the plant develops from the root to the flower and fruit, and in the fruit the germ; and the germ is again the starting point for the root, and from the root the plant comes again. A cycle, a becoming that takes place rhythmically, that returns to itself: eternal return of human existence is the idea that arises in Nietzsche. But where is that contained – which again could arise from an epic-dramatic nature – that in present human life really shows the spiritual-soul as a core or germ, as something that would repeat itself in a later life on earth? Abstract eternal return occurs in Nietzsche, but not a concrete grasp of the real spiritual-soul in man. Longing for that which can take shape beyond the sensual human being, longing for the rhythm of life that occurs in recurring earthly lives, but an inability to see into these great mysteries of existence: the third period of Nietzsche's work.
The first period gives him a person for his longings and hopes, for his thirst for knowledge, whom he can put before him. This person ultimately becomes, I would say, like the mysteries of nature can become for the observer. One penetrates as far as one oneself has the predispositions of what one wants to seek within oneself. One cannot go further. Thus Nietzsche was able to penetrate Richard Wagner as far as Nietzsche himself carried the potential for Richard Wagner's world and life view. A person in the first period of their life, the science of the present in the second period of their life, which is now supposed to fulfill their hopes and desires. What is ready for the future in the present as spiritual germs, in a spiritual science as we are thinking of it today, must develop out of the general realization that the higher spiritual man lies in the sensual man, that in one earth life lies the sequence of earlier earth lives and the starting point of later earth lives, of that which is not yet there, which can therefore only work as something indeterminate, as nebulous. Nietzsche must also live through this: a man of the present who confronts him as a complete human being; natural science, which satisfies the thirst for reality of modern times; the indeterminate longings of the times themselves, which he is not yet able to shape.
These are the successive external facts that confronted, that had to confront, Friedrich Nietzsche in an age that, so to speak, wanted to draw breath within the development of German thought after the intellectual development had reached a climax, a point where thoughts really mystically enter the spiritual world. For it is a Schopenhauerian delusion, it is a Nietzschean delusion, it is a delusion of all those who in the second half of the nineteenth century surrendered to the delusion that Hegel's thoughts were only intellectualistic. But this belief had to arise because people did not have the breadth of breathing to carry themselves up to the height and energy of Hegel's world view. But this breathing had to arise for the simple reason that Hegel and the other minds that belong to him had indeed ascended to supersensible concepts, but in these supersensible concepts there is nothing supersensible in them. Look at the whole of Hegel's philosophy: it is decidedly based on supersensible concepts. It consists of three parts: a logic that consists of supersensible concepts, a natural philosophy, and a philosophy of spirit that only encompasses the human soul between birth and death, that which is realized in the material world and so on. In short, spiritual knowledge is only applied to what is around us in the material world. Supersensible knowledge is there. But supersensible knowledge does not recognize anything supersensible. Therefore, in the second half of the nineteenth century, this supersensible knowledge, which does not recognize anything supersensible, had to lead to it being described as completely unsatisfactory, so to speak, and to people turning to the material world itself. the musical element could enter, could create the bridge over to the time when people tried to grasp the path directly from the spiritual, through spiritual knowledge itself, which we will talk about in more detail tomorrow. This is what was significant for spiritual life in the second half of the nineteenth century and up to the present day. Nietzsche's harrowing psychological experiences arose from the perishing of supersensible knowledge and the overwhelming of the human soul by mere sensory knowledge, from clinging to that which now entered as a substitute from a completely different world.
How a deep soul had to suffer tragically in an age that had no depth in the prevailing currents of thought can be seen in Nietzsche's soul, and that is basically the tragedy that took place in Nietzsche's soul : the striving for depth, for an experience in the depths, which should have been there if Nietzsche was to have come to satisfaction, which was not there and which finally plunged Nietzsche's spirit into utter despair. I need not go into the physiological and medical background of his illness, but what took place in his soul is at least characterized in its main lines in what I have tried to characterize. And so we see how this life of world-view, which is so overwhelmed by the current of materialism, affects a soul that, by its very nature, strives beyond materialism; how, when the human soul has a deeper need, mere materialism or mere positivism, or in general what the second half of the nineteenth century was able to bring such a soul, must have a tragic effect. That is why it seems so tragic when we see how Nietzsche, at the beginning of his literary career, when he wrote his Birth of Tragedy, tying in with the great personality of Richard Wagner, entered in the copy that he sent to Richard Wagner himself: “Create the day's work of my hands, great spirit, that I may complete it!” In the intimate dedication that he addresses to Richard Wagner, Nietzsche implores the great spirit of the world to deliver to him a day's work in which he can experience what his soul wants to experience, and through which he can describe to humanity how one experiences the spirit in sensual earthly life, how man leads his soul beyond the merely natural, so that he too can find the way into the spiritual. The tragedy was bound to be fulfilled because the nineteenth century could not give Nietzsche what he had implored of the great spirit. The spirit could not supply the daily bread of his hands. The spirit of the nineteenth century could not supply it, and so it could not be completed by it either.
So it is that in what Nietzsche later created, especially at the end of his conscious life on earth, before his life passed into derangement, we have scraps, individual statements, aphorisms, drafts, notes from and about questions of world view. But basically, we have everywhere rudiments, questions, riddles that peer like the sphinx into the spiritual future of mankind. This may be said in the face of the fact that Nietzsche is also among those minds that are now so denounced by the enemies of Central Europe: In Friedrich Nietzsche's soul there lived questions, there lived world-view riddles in an immediately personal way, which will shine forth—whether in connection with the personality of Friedrich Nietzsche or separated from it, because Friedrich Nietzsche, after all, also only took them from the faithfully co-experienced world-view life of the nineteenth , but in the entire spiritual development of mankind, in a perhaps still distant future, and which will find satisfactory answers, but only when one—which Nietzsche could not yet fully do—will fully understand, with feeling, the deepest meaning of what Goethe meant when he quoted the saying of an old spiritual researcher, in which it is pointed out that man can indeed penetrate into the depths of the world, but that he must first find this depth within himself through self-knowledge, yes, must create it within himself. Nietzsche was on this path in his consideration of Richard Wagner, but could not go this path to the end. This path will prove again and again the truth of this saying attributed by Goethe to an ancient spiritual researcher, by which Goethe wants to express that we can find every depth, every infinite depth in the things of the world, if we have first gained the deepening in our own self-knowledge. Goethe expresses it in the words with which we want to conclude this reflection today:
If the eye were not sunlike,
How could we behold the light?
If the divine power of God were not within us,
Yes, a person only sees as much light in the world as they are able to ignite within themselves. A person only finds as much divinity in the world as they are able to shape within themselves through self-knowledge.