This article argues for an interpretation of David Strauss: the Confessor and the Writer as embodying the key components of the Nietzschean practice of conflict with a ‘worthier’ enemy. These are carefully considered under the headings of ‘agonism’, ‘imitation’, and a propulsion towards ‘escalation’, that is, beckoning a response from other, would-be, ‘worthier’ enemies. Adding to the standard ‘cultural’ explanation for the origins of the Strauss essay, this article explores the polemical ‘assassination’ of Strauss as ultimately ordered towards assuming Strauss’ (...) status as the pre-eminent Post-Christian freethinker of the era. In this way, the Meditation also acts as an intentionally provocative means for Nietzsche to beckon his audience to both ‘escalate’ the struggle further, and to recognise his presence on the intellectual landscape. Nietzsche conceives greatness as facilitated through conflict; his conflict with Strauss, a worthier foe, anticipates the strategy and approach that Nietzsche will utilise in his later and more significant disputes. (shrink)

Between his calling into question, on the one hand, the apparently unquestionable value of compassion itself, and his refusal, on the other hand, to concede that suffering is unconditionally bad, Nietzsche has been understood by many as expressing a callous indifference, or worse, to most human suffering. This article aims to show that this interpretation relies on an oversimplified characterization of the relevant moral emotions. Compassion (or pity, either of which word can be used to translate the German das Mitleid) (...) is ‘a polyphonous being’, as Nietzsche insists in Daybreak (1881). A closer look at some key passages in Nietzsche’s text, and some help from Greek thinkers Nietzsche points us toward, will demonstrate that this term has meanings that have been lost to us. Recovering those meanings will shed light both on Nietzsche’s critique of compassion (or pity) and on his own attitude toward suffering. (shrink)

This paper explores background features in the development of Nietzsche’s criticism of Christianity by following him through what I have termed his conventional stage, his critical stage, and his stage of outrage. Next to examining some of his various criticisms during those stages, I also ask what the challenges were to which these criticisms responded and why Nietzsche eventually responded to these challenges with outrage. Outrage towards Christianity is unmistakably expressed in Nietzsche’s late work The Antichrist: A Curse on Christianity. (...) To understand Nietzsche’s outrage better we need to explore the role of ‘Antichrist’ in the title of that work and the meaning of ‘curse’ in its subtitle. (shrink)