Start the week with the eternal return of Nietzsche

Hey, this article in the New Yorker is one of the best overviews of Nietzsche that I have read - not overly biographical (although the parts about his relationship with Wagner is amusing, and pretty new to me), but talks a lot about his contradictions and reception amongst philosophers.

Perhaps it helps that I can find plenty in there to justify my prejudices against his work?  I see I have Bertrand Russell on my side!

But back to Wagner.    I still haven't booked a ticket to see the Ring Cycle next year - perhaps I will today.  In the meanwhile:

She begins with the pivotal event in Nietzsche’s life: his introduction, in 1868, to Wagner, the most consequential German cultural figure of the day. Nietzsche would soon assume a professorship in Basel, at the astonishingly young age of twenty-four, but he jumped at the chance to join the Wagner operation. For the next eight years, as Wagner completed his operatic cycle “The Ring of the Nibelung” and prepared for its première, Nietzsche served as a propagandist for the Wagnerian cause and as the Meister’s factotum. He then broke away, declaring his intellectual independence first with coded critiques and then with unabashed polemics. Accounts of this immensely complicated relationship are too often distorted by prejudice on one side or another. Nietzscheans and Wagnerians both tend to off-load ideological problems onto the rival camp; Prideaux succumbs to this temptation. She insists that Nietzsche’s talk of a superior brood of “blond beasts” has no modern racial connotation, and casts Wagner’s Siegfried as an Aryan hero who “rides to the redemption of the world.” In fact, Siegfried is a fallen hero who rides nowhere; the redeemer of the world is Brünnhilde.

Prideaux’s picture of the Wagner-Nietzsche relationship fails to explain either the intensity of their bond or the trauma of their break. Early on, Nietzsche was hopelessly infatuated with Wagner’s music and personality. He described the friendship as “my only love affair.” As with many infatuations, Nietzsche’s expectations were wildly exaggerated. He hoped that the “Ring” would revive the cultural paradise of ancient Greece, fusing Apollonian beauty and Dionysian savagery. He envisaged an audience of élite aesthetes who would carry a transfiguring message to the outer world. Wagner, too, revered Greek culture, but he was fundamentally a man of the theatre, and tailored his ideals to the realities of the stage. At the first Bayreuth Festival, in 1876, Nietzsche was crestfallen to discover that a viable theatre operation required the patronage of the nouveau riche and the fashionable.

Personal differences between the two men provide amusing anecdotes. Nietzsche made sporadic attempts at musical composition, one of which caused Wagner to have a laughing fit. (The music is not very good, but it is not as bad as all that.) Wagner also suggested to Nietzsche’s doctor that the young man’s medical issues were the result of excessive masturbation. But the disagreements went much deeper, revealing a rift between ideologies and epochs. Wagner embodied the nineteenth century, in all its grandeur and delusion; Nietzsche was the dynamic, destructive torchbearer of the twentieth.

There is more about the two of them, but perhaps I have copied enough.