Friedrich Nietzsche

"Prefaces to Unwritten Works is a collection of five essays, prefaces to books that Nietzsche never went on to write. Nietzsche himself put these prefaces together in the form of a small leather-bound, handwritten book, and gave that book to Cosima Wagner as a Christmas present in 1872. The dedicatory letter indicates that Nietzsche sent this little book to Cosima "in heartfelt reverence and as an answer to verbal and epistolary questions." As such, this work is a window into Nietzsche's relations with the Wagners at the height of their association, but it is also a continuation of Nietzsche's radical confrontation with Greek antiquity that had begun with the then-recently published Birth of Tragedy. The Wagners read Nietzsche's book of prefaces on the evening of New Year's Day 1873, and Cosima records in her diary five days later that at night, "again" she reflected about the essence of art as a consequence of Nietzsche's work. A month later, Cosima sent Nietzsche a letter encouraging him to write at least two of the books promised by his prefaces." "Nietzsche did not go to write the books heralded by these prefaces, but the prefaces themselves provide substantial challenges of their own and intriguing clues as to the form and content of the books Nietzsche may have intended. Some of these prefaces are better known to students of Nietzsche than others and have attracted significant attention from scholars. The first essay is entitled On the Pathos of Truth, and it consider the relative value of truth and art for human life. The second essay, Thoughts on the Future of Our Educational Institutions, is the only preface in this collection regarding which Nietzsche did actually go on to write a book, albeit a book he did not publish (entitled On the Future of Our Educational Institutions, available from St. Augustine's Press). This essay is a revised version of the preface Nietzsche wrote for that book, and the changes Nietzsche made are indicative of the plans he had for an improved version. The topic of the essay is almost entirely the art of careful reading. The third essay is entitled The Greek State, and it treats of the relation of slavery to culture and of the genius to the state. This essay is also an interpretation of Plato's Republic, in which Nietzsche claims to reveal everything he has "divined of this secret writing." The fourth essay, The Relation of Schopenhauerian Philosophy to a German Culture, neither assumes that there is in fact, at present, a German Culture, nor hardly mentions Schopen-hauer at all, except to suggest that he is one about whom a culture could be built. The final essay is entitled Homer's Contest and is an exploration of the place of jealousy, strife, and agonistic competition in Greek culture."--Jacket.

Rhyming text celebrates the joys of having a sister.

A landmark work of philosophy and of literature, Thus Spoke Zarathustra is the fullest expression of Nietzche's belief that "the object of mankind should lie in its highest individuals." In his thirtieth year Zarathustra - the archetypal Ubermensch representative of supreme passion and creativity - abandons his home for the mountains, where he lives, literally and figuratively, on a level of experience far above the conventional standards of good and evil. The exuberant, poetic testimony of Nietzche's great messianic hero (and alter ego) is a vivid demonstration of the philosopher's genius. Walter Kaufmann's celebrated translation - hailed by Newsweek for its "incandescent splendor of language"--Has gained general recognition as the most authoritative version of Zarathustra existing in English.

Twilight of the Idols, which deals with what we worship and why, presents a vivid overview of many of Nietzsche's mature ideas - including his attack on Plato's Socrates and on the Platonic legacy in Western philosophy and culture - and anticipates his projected revaluation of all values. Accompanied by a fascinating Introduction by Tracy Strong, Richard Polt's new translation faithfully and beautifully renders this highly formal, even musical, late work of Nietzsche's, which Nietzsche characterized as "a very sharp, precise and quick digest of my essential philosophical heterodoxies," and which offers such an excellent introduction to his thought. Includes select bibliography, notes, and index.

"With this latest book in the series, Stanford continues its English-language publication of the famed Colli-Montinari edition of Nietzsche's complete works, which include the philosopher's notebooks and early unpublished writings. Scrupulously edited so as to establish a new standard for the field, each volume includes an Afterword that presents and contextualizes the material therein. This volume provides the first English translation of Nietzsche's unpublished notebooks from 1882-1884, the period in which he was composing the book that he considered his best and most important work, Thus Spoke Zarathustra. Crucial transitional documents in Nietzsche's intellectual development, the notebooks mark a shift into what is widely regarded as the philosopher's mature period. They reveal his long-term design of a fictional tetralogy charting the philosophical, pedagogical, and psychological journeys of his alter-ego, Zarathustra. Here, in nuce, appear Zarathustra's teaching about the death of God; his discovery that the secret of life is the will to power; and his most profound and most frightening thought-that his own life, human history, and the entire cosmos will eternally return. During this same period, Nietzsche was also composing preparatory notes for his next book, Beyond Good and Evil, and the notebooks are especially significant for the insight they provide into his evolving theory of drives, his critical ideas about the nature and history of morality, and his initial thoughts on one of his best-known concepts, the superhuman (Übermensch)"--Publisher's website.

The philosopher Nietzsche was influenced heavily by music, and wrote many pieces in his younger days. This volume contains several of his works for piano solo and piano duet. With an introduction, notes on the pieces, and critical commentary. Facsimile plates.