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Unknown: Is fragments taken from Eric Heller's essay on Nietzsche and kurta in the disinherited mind. I have put a copy of that on reserve. if, if, if you want to pursue it and that's one way in which this is inadequate, I don't acknowledge the sources

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here. And and if you look at that, very briefly, you will see, first of all that I'm going to take Nietzsche

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I'm not going to walk around there are so many gutters I am trying to make some kind of account of my relation to gutter, an account which contains autobiographical

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references and and a first grade autobiographical landmark which will connect me and girder i think is to say I follow Nietzsche's reading of gerton or at least the quickest way for me to to open up the way in which I look at kurta is to see or

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present or consider the way Nietzsche looks at girdle and for and this is done with a some fragments from the number of fragments from the will to power and above or one extraordinary passage and Twilight of the idols section 39 that I want to

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dwell on the the the aphorism will to power at the top. And if you look at the look at the structure of this as a whole. I'm taking a Nietzschean approach to gutter. And the other thing that you can see symbolically from this is that

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kurta is a Muslim that's what the West us liquor divan is about. And he is a mystic. He talks mystic and that is related to his Islam. And I would like to bring that out and it is connected with the word symbolism. That's what I want to

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connect Nietzsche gritter symbolism, Islam Faust, the first aphorism part left out, begins to cover the whole range of modern consciousness, to have explored all its secret recesses and thus

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really to overcome pessimism. That is to say the challenge involved in overcoming pessimism is to face or cover the whole range of modern consciousness as indeed good or false attempts to do. Fit suggests therefore, that overcoming past pessimism is the

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hidden project. And the result says Nietzsche is a gertjan I full of love and good will. This is this is developed in this longer fragment in Twilight of the idols. Number 49.

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garota not a German event, but a European event. A magnificent attempt to overcome the 18th century by a return to nature, by an assent to the naturalness of the Renaissance by over turn to the naturalness of the Renaissance. Not going back,

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though, he's in a Nietzschean way. It's going forward to the end up to the naturalness of the Renaissance, a kind of self overcoming on the part of that century. And he goes on to speak of how much of the 18th century Was inverter and then his

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strength in overcoming it or in setting himself the project of overcoming it go to bore the strongest instincts of the 18th century within himself, the the sensibility, the idealistic, the anti historic, the Unreal, the revolutionary, and then he

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sought help from history from natural science from antiquity. Even from Spinoza, but above all, from practical activity, he did not retire from life but put himself in the midst of it. And, and what he wanted was totality. He fought for he fought the

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mutual exchange lessness of reason, senses, feeling and will, he disciplined himself to wholeness, he created himself, that is to say, a project of self overcoming a Nietzschean project of self overcoming, he becomes a hero of embodying that

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form of Nietzschean project self overcoming, by overcoming in himself, the 18th century. And by accepting in the process, the totality of the historical and practical political experience involved in the transitional epoch in which he was living.

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second paragraph in the middle of an age with an unreal outlook, that would be amongst others, the romantic Gerda was a convinced realist, he said yes to everything. He even he said yes to that most real entity of that epoch called Napoleon.

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Gerda conceived a human being who would be strong, highly educated, self controlled, and would be dare to afford the whole range and wealth of being natural, being strong enough for such a freedom. A man Gerda represents a man for whom there

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is nothing for bitten unless it is weakness. final paragraph, such a spirit who has become free stands in the cosmos with a joyous and trusting fatalism in the faith that only the particular in its separateness is objectionable, but that all

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is redeemed and affirmed in the whole he does not negate any more the guardian spirit does not negate any more then nature of course, such a faith is the highest of all possible face, I have baptized in the name of the Dionysian gutter as a emblem

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example of the Dionysian man who does not negate any more I I used this quotation from the Twilight of the idols in the last chapter of life against death trying trying to to define what might be Dionysian consciousness, I do not mention

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gutter. And I don't think I bother too much with being good at the time I put, he does not negate any more into the text of the final chapter of life against death as as a as the key definition of the Dionysian

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character overcoming the limitations of the nut of the 18th century, in favor of a total natural and realistic

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awareness. Not negating anymore Dionysian overcoming also Christianity. Nietzsche says somewhere, one of his reasons for feeling Gerda is

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the last German he reads. He says it's not true. He says Gerda is the last German for him. The last German writer he says and he says what he and I understand each other about the cross. He and I understand each other about the cross and

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abominable superstition, Berta called it an abominable superstition. There are other that's some other contradictions in kurta on Christianity, but but

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for Nietzsche, he is overcoming Christianity as part of the 30 and project. Nietzsche, Nietzsche, and again, I'm thinking of life against death. And the way I saw the way I saw problems, when I was writing that, Nietzsche somewhere says

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that there are three, there are three attitudes towards life, a pagan strengthening of life, and anemic, dilution of life and a repressive or aesthetic denial of life. of which the

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most contemptible is the anemic, dilution of life, the nature and the beauty, I think I have more respect for the ascetic denier. But of course, our our regurgitant idea of what Curtis stands for is the pagan strengthening of life. pagans

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this is all just a collage of Nietzsche's vision of a pagan strengthening of life, which comes from an abundance or super abundance or excess Dionysian excess of vitality in the subject himself. And this abundance or super abundance or

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making more of life, takes the form of a deification, a pagan strengthening of life, a deification of life, or an apple theosis of life or of the human body. There's a wonderful pair. Some Nietzsche's phraseology is so beautiful, a Adam's apple

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theosis of life he speaks bright and ungracious in the case of gutter, casting a Homeric Oreo, over all things, casting a homematic Oreo over all things, that Homeric Oreo over everything that lives that wealth, that that makes

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everything bright as on the first day that the chorus of angels in the prologue herrlich, v, f, Stern, Todd, everything with a Homeric Oreo over things. And this deification of life, or of sensual life or the senses, the body and bodily experience,

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is obtained by means of the symbol or by means, says Nietzsche, thinking of garota of intoxication with symbols. And in the in the vest, Slayer divan, we're coming to now

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Veritas, this is good as a tribute to Islam, modeled on Persian poetry, in which the his hero is the Persian poet hafeez and the Persian poet Hafiz is the disreputable drunk and the Dionysian

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Sufi poet intoxicated with life intoxicated with life by means of some symbols. Nietzsche en Hafiz and gerton.

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It is probable that with such perfect and well constituted men, the most sensible functions, the most sensible functions are finally transfigured. by a symbol intoxication of the highest spirituality, the most sensual

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functions are finally transfigured by a symbol intoxication of this highest spirituality. They experience a kind of deification of the body in themselves. And that is how you get inverted, a joyous, benevolent, courteous attitude

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towards sensuality, or a gertjan I full of love and goodwill as the result. Or as he puts it, thus, the realism of the symbol becomes the artistic vindication of the reality of a lovable world. The realism of the symbol becomes the artistic vindication

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of the reality of a lovable world. The symbol, the symbolic in girder, the most frequently used quotation from Virtus pros, on what the symbol he thinks a symbol is. He says, in a true

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symbol, the particular represents the universal not as an a dream or shadow, but as a living an instantaneous living an instantaneous revelation of the unfathomable, unfathomable, that is to say,

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the, the thimble read is the discovery of the depth of meaning in live the depths of meaning and lived experience or the Transfiguration of sensual experience by the power of the imagination.

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And all Nietzsche's tributes to Nietzsche says that kurta drew on Spinoza and he did. Nietzsche never recognizes that he drew on Islam, and he did

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the the interest he several times expressed himself and letters saying call me a Muslim.

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The interest was lifelong. is early Titanic, storm and stress period there's an absolutely wonderful song called Mohammed song

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which is just the image of a great river that is picking up tributaries and pouring with resistless force picking up tributaries and gathering resist with resistance force. on its on its way to its

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father the sea or mother to see. The the vest as to her divine, divine collection of poems as in the Persian style, the vest astray her divine West Eastern divan is late in Curtis life it's written about 1814 to 1818. Which is which is exactly

00:19:09.270 - 00:19:30.180

coincides with the time when the project of finishing up of doing part two of Faust is active in his mind. If you look at them, does a good collection of I haven't brought it here but I put on reserve I hope that the translation by aren't and

00:19:30.210 - 00:19:50.670

handling of Faust with a good collection of supplementary material, girders, letters, girders, outlines, projects, statements and so forth as well as what is contemporary said and a selection of subsequent criticism. in there, there you

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have a full text of his outline for part two of 1816. The great outline of part two of 1816 smack in the middle of the time, that he was writing the best best letter divan. And, and there is simply no doubt it's an open and shut case that the

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the tradition which he draws on to formulate his deepest feelings and deepest insights on this topic which I have been speaking about the mystical symbolic transformation transfiguration of, of Central

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experience, the the tradition has to be Islam, and it's in and it's embodied in this extraordinary collection of poems. There are about 160 180 of them, written in 1814 to 218 18 when the old man is is just approaching his 70th

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birthday like I am I that's enough to to I hope, keys your interest. Now, just quickly, get as fast and good is fast part two. What is this to

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do with goodest files Part Two? Well, all this is a footnote or commentary on the last line, but six is it unless fer ganglia is newer, I'm glad to hear

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endlessness. Everything, everything transitory is only a symbol. Everything that passes is only a parable. Everything that happens is only a likeness. Whatever, Alice, I mean, it is it is good

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to use the German even if you don't know German, I mean you can still get something and forget is you notice how the word forgetting is untranslatable. That's got going gay and going to go and fair. express a prefix expressing

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destruction going on, going away into destruction. Alistair ganglia is nor an blackness it's in Faust that you have the if, if you do have the overcoming of pessimism, by experiencing the full range of modern consciousness and making a new

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form of historical consciousness, by which history is transfigured by the power of symbolism, by which history is transfigured by the power of symbolism. Goodness which means that I am interested in Curtis files part two, one of the

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reasons why we start there and are interested in this project of of laying the foundation for a symbolic interpretation of history. For me, it is an agenda not an act it is an agenda or an assignment. And briefly to bring my biography up to date in the

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in the 14 or whatever it is years I've been here I have surreptitiously underdog courses names like myths and literature myth and history being trying to to work forward in a direction which symbolically to me is represented by Curtis files part

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two. I think it's important for me to say that I don't think my work has been good enough in this respect, so that the challenge or commandment and agenda and assignment which are good as far as part two represents is still as far as

00:24:25.800 - 00:24:44.700

I'm concerned uncompleted. And and so it is with it test was still sophomoric enthusiasm, but I turned to this

00:24:44.700 - 00:24:59.970

text again. Would you like something to drink? No, thank you, I think is your throat dry? Not that dramatic. Thank you.

00:25:07.950 - 00:25:32.970

Well, I'm trying to recall a phrase in infousa that we will all have to confront when we read this text, and I confirm it with you, as you will compare it with me now

00:25:32.970 - 00:25:56.700

we do gleiss thing guys tend to be brides near me, Mia, I think the text is precisely so rich and repeatedly attracted a text because it is so incredibly mysterious. And consequently, it is a tremendous

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reservoir of reinforcement for creative working out of one's own positions, whatever those positions might be. And somehow the text sustains a history of reception, as they call it in contemporary German

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literary scholarship that is incredibly full of multiplicity, diversity, fragmentation, incoherence, contradiction, etc, etc. This is

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a text which precisely keeps confronting us all with its own wholeness, and, and that wholeness as a mosaic of a multitude of parts that is very hard to get on top of nothing will demonstrate this problem, I think more clearly than the way

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in which you and I have felt the importance of Faust, in our own intellectual lives. For me, I certainly encountered it first, as a teacher, it left me stone cold when I was in college, I thought it was a

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crashing bore. And it took me years to overcome that attitude. But when I finally did get onto it, it was in working out practical problems of figuring out what intellectual history was all about. And above all, what what got to me fairly

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early, but has appeared with increasing force, and partly under the exposure to ideas such as yours, that it was a work of art, which carried in it three eras, in which European intellectuals relation to society was redefined. Putting

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it another way three crisis eras in the history of European high culture, intellectual elite culture, intellectual culture, the meaning makers for the society. But firstly, it was a book about medieval the breakup of the medieval universe, it was

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a crisis of faith that was at issue, and this is the material that was co opted by a good in writing fast at all, the text of Faust, originally is a renaissance reformation creations. And he absorbed the problems from that era into his

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work. Secondly, it was a crisis of early modern civilization, the breakup, the first breakup, the first crisis of reason, the crisis of Homo sapiens, that reason was the most precious capacity of man that would enable him to regulate

00:29:01.110 - 00:29:19.770

existence. And this began to get fragile. And finally, it was a crisis in his time I'll return to that will be my major concern. Finally, in our own era, this crisis is also in there in an incredible way for cast. That is a crisis of the

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historical consciousness itself, to which you pay tribute in your talk. And I certainly feel it myself, a crisis of man, the maker of himself, Homo criado, as opposed to Homo sapiens, the one who had his crisis at the end of the 18th century, for the

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first time, especially in Germany. This we're in a third one. So we have the man of faith, the man of reason, and the man who is the

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projector of his own universe, out of his creative impulses, be they rational or otherwise, these three layers 16th century, if you like, the hinge of the 18th, to the 19th century, and finally, the turn of the 20th century, these three crises are

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all there in the book in some way in force, layered and confusedly. interpenetrating each other. Now, that if that weren't enough to titillate the historian, the worst of this is that it is what NaVi says. It's a work of symbolism. It is all

00:30:33.390 - 00:30:54.870

as a work of art that these things appear. And that work of art, for me, profoundly challenged the way I had been thinking about using first literary texts, and then other visual works of art, musical works of art for understanding

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history, the way in which historians work as a rule, traditionally, we are all children of a culture of the world word, our texts drawn from that notion that the sources are written sources, basically, very few people try to break through

00:31:14.850 - 00:31:30.330

over the ages. I mean, you can go back to winckelmann or bajo often, or people like that, who have specially people preoccupied with the classics, who try to use other than verbal documents, but they always get rolled back in this primarily

00:31:30.330 - 00:31:51.330

verbal culture of ours, to the primacy, the priority, the praed, what do you call it a preference for, for the text of a written character as historical sources. And when we approach artistic texts, historians normally skim the

00:31:51.330 - 00:32:12.480

ideological cream from the literary or artistic milk, that's the trick, you click off the message that becomes then another ingredient in the presentation of your view that is worked out with some deep respect for non artistic texts.

00:32:14.700 - 00:32:33.600

But, but when it comes to an artistic text, we tend to ignore it structure, all the elements in it that belong to that form of text, and make sense out of it by plugging in what is relevant to what we have derived from the enough analysis of

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verbal text into its greatest Faust, if you try and deal with that, as a historian, you get stuck, it will not allow you to do that. It's, I mean, many works of art are refractory, but for work so attractive to historians, because of its

00:32:53.040 - 00:33:19.350

historical evidence, historical context, this one a content This one is particularly forceful, in resisting a purely intellectual allistic verbal analysis that ranks it in a an unfolding of the mind, as we deduce it from discursive, logical prose. Well,

00:33:19.350 - 00:33:38.130

as far as my exposure to it was concerned, it arose in the teaching of intellectual history, of course. And it it arose in its own right, this work, at a time when the claims of reason to organize social reality and human experience,

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were on the one hand reaching a triumph in the French Revolution. And on the other hand, we're becoming weakened with the romantic movement. So we have to

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peculiar ambivalence in the passage as I would interpret it, from the age of reason, or the age of philosophy, to a historical mode of meaning making that Europeans and ultimately Americans were more given to in the 19th than they

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were in the 18th century. Secondly, I think it's important to know that when the when the age of reason was being challenged, it was most

00:34:33.780 - 00:34:52.320

vigorously challenged in the German context. And it is that context that led me really to nature. My course, which I worked out, as one does initially with a very great firm

00:34:52.560 - 00:35:20.880

architecture a trajectory of European thought closely into graded, presumably with an equally firm trajectory of social development, that that very architectonic structure began to decay or become fragile, under the pressure of

00:35:20.880 - 00:35:38.400

its own components, I think, not only under the pressure of our own age, which is very tough on intellectual architecture and synthetic efforts and so on. And I have to tell you that but I think the the the texts that were included in it, began to

00:35:38.400 - 00:35:57.720

press against the architecture so that the materials became more important than the plan. And I think this is something which, in some way, good addressed and made new architecture with and that that interests me to this day, I

00:35:57.720 - 00:36:14.580

think there is architecture in this in this play of his. And I think it's going to be our job collectively to try and see to what extent it is true that there is architecture that there is some kind of integral relationship between what comes

00:36:14.580 - 00:36:32.190

first and what follows between the order of scenes and events. It isn't going to be classic architecture. He's vigorously breaking for that from that. But it is interesting that a man begins as a young man with picaresque ordering of things,

00:36:32.340 - 00:36:49.680

and ends in part two, with a classical ordering of things that is very firm and architectonic in its surface manifestation. Maybe when when goes to the content, when would find the opposite happening? I'm straying a bit. What I would

00:36:49.680 - 00:37:12.300

like to say is that in dealing with the history of rationalism, because I regard this play, especially its first part, as a kind of terrible vallah to denarian. Intense indictment of the rationalistic mode of organizing experience

00:37:14.490 - 00:37:31.200

homosapiens in the history of rationalism, I spent weeks in the course on British rationalism, French rationalism and German rational and trying to distinguish them, the distinction is still important in my own mind, because reason,

00:37:31.200 - 00:37:48.240

and the idea of reason performs different functions in these three cultures in relation to their social development. I don't want to go into it now. But if I can just put the main things on the barrel head that would be familiar and probably

00:37:48.240 - 00:38:14.370

acceptable to most of you. That that English rationalism as articulated by Locke, etc, is a defensive rationalism. rationalism conceived of as a defense against the religious imagination in some way to which Locke attributed insofar as

00:38:14.370 - 00:38:32.820

there was an intellectual origin, the terrors of his time, the Puritan Revolution and the like. In that sense, it's a modern, new modern defense against a final phase of medieval utopianism, which is what in its most radical form,

00:38:33.000 - 00:39:00.960

the Puritan revolution was all about. So reason enters the scene of history, not as a handmaiden of social innovation, but rather as a defense against the excesses of a conservative radicalism that was generated in the

00:39:00.960 - 00:39:17.370

Puritan revolution. Against reason to restrain I guess it's Pope's phrase desire to urge and reason to restrain the idea that reason makes you lower your sights deal with the things you're good your reason is good for and and man is good for

00:39:17.610 - 00:39:33.780

don't get up there in cloud cuckoo land with the theologians be de scholastic on the one hand, or circumcision zealots of the Puritan radical variety on the other. Keep to the middle of the road reason will show you where it is

00:39:34.110 - 00:39:44.670

the length of the line of the pilot who sounds the bottom of the ocean, the length of the line is enough for all our purposes and that line is