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Nietzsche’s arrival in modern philosophy signaled an unprecedented necessity: “probity”, “intellectual conscience”, Enlightenment radicalized by a new bravery that scorns any comforts like God.
--
Laurence Lampert, Leo Strauss and Nietzsche (1997), p. 5.

 

Friedrich Nietzsche

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The spirit of scientific investigation never ceased to impress [Nietzsche] as uniquely favorable not only for achieving knowledge but also for furnishing an atmosphere of dryness and clarity within which a man of genuinely intellectual conscience might function.

 

Friedrich Nietzsche

 

The first great frontal assault on the Enlightenment was launched by Jean-Jacques Rousseau (1712-1778). Rousseau has a well-deserved reputation as the bad boy of eighteenth century French philosophy. In the context of Enlightenment intellectual culture, Rousseau’s was a major dissenting voice. He was an admirer of all things Spartan—the Sparta of militaristic and feudal communalism—and a despiser of all things Athenian—the classical Athens of commerce, cosmopolitanism, and the high arts. Civilization is thoroughly corrupting, Rousseau argued -- not only the oppressive feudal system of eighteenth-century France with its decadent and parasitical aristocracy, but also its Enlightenment alternative with its exaltation of reason, property, the arts and sciences. Name a dominant feature of the Enlightenment, and Rousseau was against it.

 

Jean-Jacques Rousseau

 

I think we're living in an age which despises humanity and despises bravery and doesn't need bravery because modern warfare has rather gone beyond bravery. It is a kind of warfare where people are fighting enemies they never see, killing people of whom they know nothing.

 

Robertson Davies

 

Along with ignoring the French Revolution, one of the most telling features of the new books on atheism [cf. new atheism] is their consistent refusal to engage Nietzsche, who, if read correctly, ought to make atheists squirm far more than he has ever caused discomfit to believers. ¶ First, he turned the critical methods of the Enlightenment against their inventors and showed that Enlightened faith in progress was just as illusory as belief in an afterlife. Second, he demanded that a critical philosophy stop pretending to be a substitute religion (he shrewdly called Hegelian idealism “insidious theology”). Third, he insisted on the indissoluble bond between Christian doctrine and Christian morality and poured contempt on novelists like George Eliot for supposing otherwise [...] ¶ Perhaps this why Nietzsche said in Ecce Homo, “the most serious Christians have always been well disposed toward me.” For they at least, unlike Dawkins, Harris, Daniel Dennett and Christopher Hitchens, can see that after Nietzsche a moral critique of the Christian God has become impossible, for it denies the very presupposition that makes its own critique possible. Like Abraham asking if the Lord God of justice could not himself do justice, protest atheism must accept the very norms that Nietzsche showed are essential to the meaning of belief. In Nietzsche alone one reads what the world really looks like si Deus non sit [if God does not exist].

 

Friedrich Nietzsche

 

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