The Case Against Wagner was one Nietzsche’s last books, and his wittiest. In Wagner’s music, in his doctrine, in his whole concept of art, Nietzsche saw the confirmation, the promotion, even the encouragement, of that decadence and degeneration which is now rampant in Europe; and it is for this reason, although to the end of his life he still loved Wagner, the man and the friend, that we find him, on the very eve of his spiritual death, exhorting us to abjure Wagner the musician and the artist.
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Friedrich Wilhelm Nietzsche was a German philosopher of the late 19th century who challenged the foundations of Christianity and traditional morality. He was interested in the enhancement of individual and cultural health, and believed in life, creativity, power, and the realities of the world we live in, rather than those situated in a world beyond. Central to his philosophy is the idea of ‘life-affirmation, ‘ which involves an honest questioning of all doctrines that drain life’s expansive energies, however socially prevalent those views might be.
Often referred to as one of the first existentialist philosophers along with Søren Kierkegaard (1813-1855), Nietzsche’s revitalizing philosophy has inspired leading figures in all walks of cultural life, including dancers, poets, novelists, painters, psychologists, philosophers, sociologists and social revolutionaries.
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