Real liberation required a total break from the legacy of Western values. In fact, it could come to demand the repudiation of values altogether – what Nietzsche called the “transvaluation of all values.”
An entirely new culture was needed – one that was vigorous, fearless, and free from the values of the past.
The road from Bayreuth, it might be said, ultimately led to Woodstock.
The Age of Nihilism: Christendom from the Great War to the Culture Wars, by John Strickland
This book by Strickland is the fourth in a four-part series in which he examines the trajectory of Western Christianity and Christendom, this from the view of an Eastern Orthodox priest and professor. I have noted before, while I do not agree with all of his comments and conclusion, I do appreciate his perspective and also his dedication to this project.
In this volume he begins with Nietzsche. Actually, he introduces Nietzsche by beginning with Wagner. Nietzsche’s introduction to a social life, such as it was, came when he entered the orbit of Wagner. He became a regular in Wagner’s drawing room; the center of discussion was music – Wagner’s music. It sounds very Randian; it will get more so.
Eventually Nietzsche would see in Wagner a narcissist, an egoist blinded by contempt for anyone who failed to take up the Wagnerian cultural cause. Still, his music would inspire Nietzsche. One of Wagner’s characters, Siegfried, would declare war on morality, overthrowing everything traditional. He would surpass God in that he would act without moral constraint. These lyrical themes were combined with Wagner’s brilliant and exciting music, truly captivating and intoxicating an audience.
For Nietzsche, this overthrowing of tradition meant not just Christianity, but also secular humanism. The moving away from traditional Christianity was nothing new in the West; its elites had long ago done this. but they would hold to traditional Christian values and culture – for as long as the latter could survive without the former. Nietzsche was there to drive this point home.
Wagner would live the life that Nietzsche would come to write about. Regarding the traditional culture of the West, Wagner turned out to be a believer in nothing. A serial adulterer, he would leave his first wife. He carried on affairs with married woman, with at least one bearing his child. Nietzsche found all of this carrying on unseemly, yet through Wagner’s music he could see the hypocrisy of bourgeois society.
Orgies, adultery, free love: these themes were present throughout Wagner’s work. Nietzsche would find inspiration here for Zarathustra – his prophet of a new morality, which was no morality at all, but the destruction of Christian morality. Nihilism: nothing; human life was meaningless, nothing is absolute.
Transcendence was long ago lost to the West, replaced by the ideologies of liberalism, socialism, and nationalism – all counterfeits of traditional Christianity. A fertile ground for advancing to the state of nothing.
Nietzsche would eventually break with Wagner. Wagner’s final opera seemed to reverse or at least qualify the nihilistic qualities he had always claimed to hold and that were present in his work. The hero in this work renounces power; he also realizes the suffering caused by unchastity. Even the Eucharistic communion played a prominent role.
Nietzsche would write of this break:
“The moment I make a discovery of this sort, a man’s achievements count for absolutely nothing with me.”
From this moment, Nietzsche would be his own man. He would note that modern philosophy is anti-Christian, although it would try to function as if there was a transcendent reality. Yet, the rise of atheism resulted, necessarily, in the loss of moral absolutes. “God is dead.” There was no longer a point of reference for good and evil.