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Nietzsche's great concept of Yea-saying gave him a notion of purpose that is seen as positive. Nietzsche, in short, was a religious mystic.
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p. 275

 

Colin Wilson

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Nietzsche … explicates his preferred distinction between good and bad individuals as non-condemnatory of the latter. A ‘bad person’ is merely devoid of what Nietzsche personally considers to be noble or virtuous qualities; he is not morally evil. Nietzsche’s aim is … to defuse morality of reactive emotion. … It would be futile, tactless, and cruel, he suggests, to try to change a bad person, one with whom one does not empathize; his formula advises: ‘Where you cannot love, pass by’. No on should be blamed for what he is; there is no point in lamenting fate.

 

John Carroll

 

I approach the presentation of Kierkegaard with some trepidation. Next to Nietzsche, or rather, prior to Nietzsche, I consider him to be the most important thinker of our post-Kantian age.

 

Soren Aabye Kierkegaard

 

To avert the danger [posed by theory] to life, Nietzsche could choose one of two ways: he could insist on the strictly esoteric character of the theoretical analysis of life—that is, restore the Platonic notion of the noble delusion—or else he could deny the possibility of theory proper and so conceive of thought as essentially subservient to, or dependent on, life or fate... If not Nietzsche himself, at any rate his successors [Heidegger] adopted the second alternative.

 

Leo Strauss

 

Neither Kierkegaard nor Nietzsche had the slightest interest in starting a movement – or a new system, a thought which would indeed have offended them. Both proclaimed, in Nietzsche’s phrase, “Follow not me, but you!”

 

Rollo May

 

This is precisely what is decisive in Nietzsche’s conception of art, that he sees it in its essential entirety in terms of the artist; this he does consciously and in explicit opposition to that conception of art which represents it in terms of those who “enjoy” and “experience” it.
That is a guiding principle of Nietzsche’s teaching on art: art must be grasped in terms of creators and producers, not recipients. Nietzsche expresses it unequivocally in the following words (WM, 811): “Our aesthetics heretofore has been a woman’s aesthetics, inasmuch as only the recipients of art have formulated their experiences of ‘what is beautiful.’ In all philosophy to date the artist is missing.” Philosophy of art means “aesthetics” for Nietzsche too—but masculine aesthetics, not feminine aesthetics. The question of art is the question of the artist as the productive, creative one; his experiences of what is beautiful must provide the standard.

 

Martin Heidegger