Views in the Past in "On Liberty" by John Stuart Mill

The past should condition or else than restrict creativity. Nietzsche's Views on the Past as a blood line of creativity In "On the Advantage and Disadvantage of bu iniquityess relationship for Life" Nietzsche (1844-1900) begins by quoting Goethe (1749-1832) who indicates he detests that which "merely instructs me without increasing or directly quickening my activity" (Nietzsche, 1980, 7). Sharing Goethe's sentiments, Nietzsche is highly quizzical of annals when it is used as a mode of restraint or flat enslavement. The study of history should allow individuals to draw forward and even to leap gladly into the future. Nietzsche's meditations indicate that history need not be con-ceived as the antithesis of creativity as it often has been presented. History is to be "hated" when it arises as a "costly intellectual exercise and luxury" (Nietzsche, 1980, 7). If the "historical genius" is allowed to rule "without restraint", it "uproots the future" since "it destroys illusions" and robs "existing things of their atmosphere" (Nietzsche, 1980, 38). Creativity for Nietzsche resides deep down the space of the altered vision, in seeing things from a radically untested perspective. Nietzsche suggests that as drama attempts to elevate a "common theme", it must exhibit "a broad artistic capacity and creative overview" by "loving preoccupancy in the empirical data" as it stru

Free Spirits & New Philosophers in beyond Good and offensive

Mill's Views on Creative Individuals

In Thus radius Zarathustra Nietzsche allows the figure of Zarathustra to speak as a mix of the prophet-philosopher. He begins by proclaiming the death of God and the birth of the overman. What Nietzsche is interested in achieving here is a burial of all that is stagnant within agriculture and its conditioning of human nature. In order for the new spirit to be actualized, it must first forgo all the counterfeit promises of the past. For these reasons, Nietzsche is most fierce in Thus speak Zarathustra in his denouncements of those already ordained within society's culture base, the priests, scholars, kings and even the false reassurances spoken by the poets.

In attacking the magician, Zarathustra indicates that he is a "counterfeiter" who warps others by his shaping of "illusions" (Kaufmann, 1982, 367). Zarathustra attempts to act as a new philosopher by inverting the old values, unveiling their false motives. He attacks "the gift-giving virtue" indicating that in subscribing to this societally imposed virtue, one is very becoming the sacrifice and gift one's self, that is, one is actually adopting a mode of "selfishness" (Kaufmann, 1982, 187). Poetry is contributing to civilization by oblation the way to something more. The poet, according to Zarathustra, is forced to lie due to ignorance. The fuss with the poet is that eventually he becomes too self-referential. Knowledge which is truly liberating everlastingly points past the constraints of self and civilization. In the fourth part, Nietzsche indicates that Zarathustra's final sin is, not a concern for happiness, but a need to be dedicated to work.

Contrasting Beyond Good and Evil & Thus Spoke Zarathustra

ggles to offer a "poetic intricacy of given types" (Nietzsche, 1980, 36). Nietzsche suggests that the best culture to emulate is the Greek culture since they learned eventually "to organize chaos by
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