Friedrich Nietzsche: Beyond Good And Evil

To truly comprehend works of Friedrich Nietzsche, one must speak only in riddles and think constructively of confusing contradictions. This is to reflect exactly how Nietzsche thought and wrote philosophy himself: paradoxically. A fine example from one his works to demonstrate this is Beyond Good and Evil, a compilation of Nietzsche’s random thoughts, “One MUST repay good and ill; but why just to the person who did us good or ill?” (42). Nietzsche in this context asserts the idea that one should do good or bad things regardless of what has been done onto that individual. Whatever the case, he is often remarked as a beautiful poet and proprietor of several rather significant ideas such as Will to Power, Übermensch, Amor Fati, and most notably, in Thus Spake Zarathustra). Essentially what he saying, through the fancy words of Young, is that an individual must always be themselves and never charade in the idea that they are not. Actually, Nietzsche was at one time good friends with the composer Richard Wagner, until a happenstance were Nietzsche was invited to a cheerful festival by Wagner and his wife, only to realize that Wagner and the festival were completely supercilious and apocryphal and just left. This habit of only associating with others who he felt were intellectually likewise would leave Nietzsche in his more mature state as a lonely reclusive, a trait of his that was often embodied into his

Travis Denneson, author of the article “Society and the Individual in Nietzsche’s The Will to Power,” conjures a simple yet effective synopsis: “It instills in its people values such as obedience, duty, and patriotism, while it outwardly exudes values such as strength, pride, and revenge. The former values are instilled by the state's overpowering of the individual, so that one is compelled to serve in its interests” (Denneson). A reflection of what he believes he learned from Nietzsche, or more precisely, The Will to Power. Aside from the academic legacy Nietzsche held, his ideas cross over very frequently into the mainstream pop-culture, usually incorporated as daunting leitmotif. The Dark Knight and Fight Club are two films that seemingly assimilate certain facets of Nihilism; within Fight Club, an adaptation of the book of the same name, is centered around an unnamed narrator who has a split personality in the form of Tyler Durden, and creates a “fight club” which is really an undercover identity for a domestic terrorist group. The film itself includes many themes of drugs, violence, intimacy, anti-materialism, existentialism, and nihilism. While doused extensively in vulgarity, Tyler Durden does make a leitmotif of the idea that people are not their possessions, and that individuals have lost their