By Friedrich Nietzsche
First light marks the arriving of Nietzsche's "mature" philosophy and is critical for an knowing of his critique of morality and "revaluation of all values." This quantity offers the celebrated translation by way of R. J. Hollingdale, with a brand new creation that argues for a dramatic swap in Nietzsche's perspectives from Human, All too Human to dawn, and indicates how this transformation, in flip, presages the most subject matters of Nietzsche's later and better-known works reminiscent of at the family tree of Morality. The version is finished by way of a chronology, notes and a consultant to extra examining.
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Extra info for Daybreak: Thoughts on the Prejudices of Morality (Cambridge Texts in the History of Philosophy)
If any man come to the gates of poetry without the madness of the Muses, persuaded that skill alone [emphasis added] will make him a good poet, then shall he and his works of sanity with him be brought to nought by the poetry of madness, and behold, their place is nowhere to be found. (245a) It is here, moreover, that poetry is explicitly linked to philosophy; for certain poets, Socrates says, might be deserving of the name philosopher. At ﬁrst glance it seems that this particular poetry, privileged over the mere employment of technê, furnishes the ﬁrst conception of a poetic genre that will later be called philosophical poetry (culminating in Hölderlin).
Far more space is devoted to the discussion of Ion’s trade than to poetry, and, as demonstrated above, Ion himself does not ﬁt the criteria Socrates develops for the poets. We must distinguish carefully between what Socrates says about poetry and what he says about rhapsody, for the magnetic chain may be brittle. The Ion who, ever mindful of proﬁt, monitors his audience’s affective response, is not mad, certainly not mad enough to ﬁt the stringent criteria Socrates has established in his speech to describe poetic madness—to be devoid of nous, epistêmê, and technê.
Ion-the-general, then, inserts himself into poetry as its mastermind. In assuming the rank of general, he also seizes command of the Iliad, taking the place of the (divine and human) commanders who direct the action of the war epic. Certainly, the epic with its central narrator lends itself to this operation more than lyric or dramatic poetry—but it is in this image of strategic usurpation that the truth of Socratic criticism surfaces. If the mad do not have a right to property, as we have seen, then poetic speech—and this is true for all mad speech—is up for grabs.