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"Human, All-Too-Human," following two years later, came as a distinct surprise even to Nietzsche's most intimate friends: Wagner especially was horrified at the heresies contained in it. There had not been sufficient indications in his earlier writings for one to predict so devastating an arraignment of modern life as was contained in this work. It was a departure, not only in thought but also in manner, from all else he had written. The conventional essay form had been set aside for an aphoristic style. Here we find a series of paragraphs varying in length from a few lines to a page or more, each dealing with a separate and syllogistically detached idea. The epigram, which was to play such an important part in all of Nietzsche's writings, is also found in abundance. The form in which these two volumes are cast gives the effect of a man felling a giant tree with a thousand blows of an axe, as distinguished from the method of the man who saws it down gradually and continuously.

Despite its muscular and incisive qualities, the manner of this work is calm. As a whole it is an excellent example of those writings which Nietzsche himself has called Apollonian. At times one even feels a tentativeness in its utterances not unlike that which attaches to the steps a man takes in a region he knows to be full of quicksands. In this regard it is interesting to note how a certain insecurity at the beginning of the work, which manifests itself in ultra-obscure passages, later gives way to a clarity and humour indicative of almost wanton temerity. In this book Nietzsche passes from the academician to the iconoclast. He bridges the chasm from the doctor of philology to the independent thinker. It is[Pg 51] the record of the psychological transition of his mind; and this record is evident in both his outlook and his habits of expression.

Nietzsche, at his birth as a thinker, presents himself as an arch-nihilist. He realised the necessity of destroying the universe before an understanding of it was possible, and so the two volumes of "Human, All-Too-Human" are almost entirely destructive. In this work we have Nietzsche the trail-blazer, the incendiary, the idol-smasher, the pessimist, the devastator. One by one the doctrines and tenets, strengthened by the accumulative acceptance of centuries, go down before his bludgeon. Piece by piece the universe of reality is neutralised by his analyses. Every human transaction, every phase of human hope and aspiration, is reduced to negation. Ancient and modern cultures are dissected unsparingly. Political systems are stripped of their integuments and their origins exposed. New valuations are attached to the great artists and writers. Many of Nietzsche's most famous definitions grow out of the ruthless inquests he makes in this work.

This uncompassionate clearing away of accepted values prepared the way for the books which were to come. Once having ascertained the foundation on which human actions are built, the path was clear for reconstruction and reorganisation. "Human, All-Too-Human," then, was the first indirect voicing of Nietzsche's philosophy. All else had been mere skirmishing with ideas. Only vaguely and desultorily had his opinions been heretofore voiced. His analysis of history, his criticisms of ancient and modern thought, had actually pried away the superficial manifestations of existence and given him that insight into the undercurrents of causation which was later[Pg 52] to inspire him in his work. For this reason we are more conscious of the man than of the philosopher when reading the series of aphorisms which constitute the main body of this document. "Human, All-Too-Human" is in the main an inquiry into the fundamental reasons for human conduct. Nietzsche devotes his efforts to showing that ideals, when pushed to their final analysis, reveal a basis in human need. Especially does he concern himself with the causes underlying current moral doctrines. He points out that there is no static and absolute morality, but that all moral codes are systems of deportment founded on human conditions in accordance with the environmental needs of a people. From this he states the corollary that all morality is subject to alteration, amendment and abrogation. He asserts the relativity of the terms "good" and "evil," and denies the justice of any final criticism of right and wrong as applied to any human action.

From this Nietzsche deduces the formula which is at the bottom of all individualistic philosophy, namely: that what is immoral for one man is moral for another, and that the application of any moral code is undesirable for the reason that no system of conduct can apply alike to all men. Thus any attempt on the part of any one man to direct the actions of any other man is in itself an immorality, because it is an attempt to hinder and retard the development of the individual. It must not be thought that Nietzsche's arrival at this conclusion is a direct and simple affair based on superficial observation. Nor is it in itself the end for which he strives. To the contrary, the conclusion is stated mainly by inference. The work he lays out for himself is one of analysis, and under his critical scalpel fall religions, political institutions[Pg 53] and nations, as well as individuals. Wherever he finds a belief whose origin is considered divine, he tears away its surface characteristics and inquires into it. In every instance he finds a human ground for it. Going still further, he points out that all institutions, in order to meet the constantly fluctuating conditions of society, must subject themselves to change.

A multiplicity of themes comes under Nietzsche's observation in this work. Not only is there a great deal of abstract reasoning but also a vast amount of brilliant and penetrating criticism of men and art. Ancient and modern philosophers, novelists, poets, musicians, dramatists, as well as theories of art, literature and music, here come under his careful and acute analysis. There are passages of startling poetry interpolated between paragraphs of cynical and destructive research. Nietzsche reveals himself as a scholar, the philologist, the historian and the scientist, as well as the thinker. The amount of general knowledge he displays in nearly every line of human endeavour is astonishing. In his most elaborate processes of ratiocination he is always capable of adhering to authenticated facts. He never side-steps into the purely metaphysical or denies the existence of corporeality once it has been assumed as a hypothesis. He breaks once and for all with the metaphysicians and word-jugglers. Denying all reason in the Kantian sense, he is always scrupulously reasonable.

Although no direct philosophical doctrines are propounded in "Human, All-Too-Human," Nietzsche had undoubtedly outlined in his mind the constructive works which were to come later. However, in reading this work one finds but little indication—and that only obscurely hinted at—of the transvaluation of values which[Pg 54] was to follow the devaluation. We have no hint, for instance, of the doctrine of the superman other than an implied ideal of an intellectual aristocracy which will permit of the highest development; of the individual. Evolution beyond the present is mentioned but indirectly. The future, to this destructive Nietzsche, is non-existent. His eyes are continually turned toward the past and they shift no further than the present. Only through implication is the Hellenic ideal voiced, and then it is with a certain degree of speculation as to its efficacy in meeting the demands of the modern man. Greek culture is used largely as a means of comparison, or as an arbitrary premise of his dialectic. The doctrine of eternal recurrence, which was to form one of the bases of "Thus Spake Zarathustra," is not even suggested. The "will to power," the anti-Schopenhauerian doctrine, which is the framework on which all of Nietzsche's constructive thinking is hung, was, at the time of his writing "Human, All-Too-Human," a hypothesis, vague and undeveloped.