Christopher Janaway

Against the claim that Nietzsche’s early and late views on confronting the truth about human existence differ widely, this article argues that in The Birth of Tragedy tragic art is affirmative of life and not limited to beautifying illusion, while later works still contain the idea that artistic production of beauty is a falsification necessary to make existence bearable for us. Nietzsche did not start with the view that art’s value lies in sheer illusion, nor end with the view that truth should be confronted wholly without illusion, but is ambivalent on this issue throughout

In their recent book The Soul of Nietzsche’s Beyond Good and Evil, Maudemarie Clark and David Dudrick claim that Nietzsche takes Plato’s theory of the soul to be ‘a hypothesis, which his own psychology is an attempt to refine’. This essay accepts that claim, but argues for a more streamlined account of the relation between Nietzsche and Plato than Clark and Dudrick give. There is no justification for their suggestion that Nietzsche diagnoses an ‘atomistic need’ as responsible for what he objects to in Plato’s model. The claim that ‘reason’ is a motivationally inert set of cognitive capacities is not necessarily a point of disagreement with Plato. Nietzsche’s psychology does not require a generalized ‘will to value’ as a counterpart to the will to truth. Clark and Dudrick fail to recognize the Platonic soul-elements as drives, and that the element which for Plato should govern in the best of souls can be interpreted as closely analogous to Nietzsche’s will to truth