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He does not hold that position because of his positive views, the doctrines he put forward in answer to his own challenge. Nevertheless, these did have a considerable influence for something like half a century. Mussolini, the founder of fascism, read Nietzsche extensively: Hitler gave Mussolini a present of the collected works of Nietzsche at their historic meeting on the Brenner Pass in 1938. The Nazis themselves, in their propaganda, made repeated use of Nietzsche's words, such as "supreme" and "the will to power." His came to be regarded as the representative voice of Fascist philosophy by both Fascists and their opponents. For several generations, subsequently, this got in the way of his philosophy being taken at its true value by those people who hated Fascism.



Influence of the arts


In the late 19th and early 20th centuries Nietzsche exerted a widespread influence on creative artists. The internationally acclaimed playwrights August Strindberg and Luigi Pirandello came noticeably under that influence. Bernard Shaw called one of his best plays Man and Superman (1905), and said of himself later: "My reputation has been gained by my persistent struggle to force the public to reconsider its morals." He observed appreciatively that the whole of Nietzsche was expressed in three lines that Shakespeare puts into the mouth of Richard ¥²:


Conscience is but a word that cowards use

Devised at first to keep the strong in awe.

Our strong arms be our conscience, swords our law!

〈Bryan Magee, The Story of philosophy〉


±×´Â ±× ÀÚ½ÅÀÇ µµÀü¿¡ ´ëÇÑ ÀÀ´äÀ¸·Î ±×°¡ Á¦½ÃÇÑ(put forward: Á¦¾ðÇÏ´Ù, ÁÖÀåÇÏ´Ù) ¿ø¸®ÀÎ ±àÁ¤ÀûÀÎ °üÁ¡ ¶§¹®¿¡ ±× ÀÚ¸®¸¦ Â÷Áö°í ÀÖ´Â °ÍÀº ¾Æ´Ï´Ù. ±×·³¿¡µµ ºÒ±¸ÇÏ°í ÀÌµé ¿ø¸®µéÀº ¾à(something like) ¹Ý¼¼±â µ¿¾È »ó´çÇÑ ¿µÇâ·ÂÀ» °­ÇÏ°Ô °¡Á³¾ú´Ù. ÆĽÃÁòÀÇ Ã¢¼³ÀÚÀÎ Mussolini´Â Nietzsche¸¦ ±¤¹üÀ§ÇÏ°Ô Àоú´Ù: Hitler´Â 1938³â Brenner Pass¿¡¼­ ÀÖ¾ú´ø ±×µéÀÇ ¿ª»çÀû ȸ´ã¿¡¼­ Nietzsche ¼±ÁýÀ» Mussolini¿¡°Ô ÁÖ¾ú´Ù. ³ªÄ¡½º Àڽŵ鵵 ±×µéÀÇ ¼±Àü¿îµ¿¿¡¼­ ¡°ÃÊÀΡ± °ú ¡°±Ç·ÂÀÇÁö¡±°°Àº NietzscheÀÇ ¸»À» ¹Ýº¹Çؼ­ »ç¿ëÇÏ¿´´Ù. ±×ÀÇ ¸»Àº ÆĽýºÆ®¿Í ±×ÀÇ Àûµé µÑ ´Ù¿¡ ÀÇÇؼ­ ÆĽýºÆ® öÇÐÀ» ´ëÇ¥ÇÏ´Â ¸ñ¼Ò¸®·Î °£ÁÖµÇ°Ô µÇ¾ú´Ù. ±× ÈÄ¿¡ ¿©·¯ ¼¼´ëµ¿¾È ÀÌ°ÍÀÌ ÆĽÃÁòÀ» ½È¾îÇÏ´Â »ç¶÷µé¿¡ ÀÇÇؼ­ ±×ÀÇ Ã¶ÇÐÀÌ Áø½Ç µÈ °¡Ä¡·Î¼­ ¹Þ¾Æµé¿©Áö´Â °ÍÀ» ¹æÇØÇÏ¿´´Ù.



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19¼¼±â ¸»°ú 20¼¼±â ÃÊ¿¡ °ÉÃļ­ Nietzsche´Â âÁ¶ÀûÀÎ ¿¹¼ú°¡µé¿¡°Ô ±¤¹üÀ§ÇÑ ¿µÇâÀ» ³¢ÃÆ´Ù. ±¹Á¦ÀûÀ¸·Î °¥Ã¤¸¦ ¹Þ¾Ò´ø ±ØÀÛ°¡µéÀÎ August Strindberg¿Í Luigi Pirandello´Â ´«¿¡ ¶ç°Ô ±×·± ¿µÇâÀ» ¹Þ¾Ò´Ù. Bernard Shaw´Â ±×ÀÇ °¡Àå ¿ì¼öÇÑ Èñ°îÁßÀÇ Çϳª¸¦ ¡°Àΰ£°ú ÃÊÀΰ£¡±(1905)À̶ó°í ÀÏÄþú°í ±× ÈÄ¿¡ Àڽſ¡ ´ëÇؼ­ ¡°³ªÀÇ ¸í¼ºÀº ´ëÁßµéÀÌ ±×µéÀÇ µµ´öÀ» Àç°íÇϵµ·Ï Çϱâ À§ÇÑ ³ªÀÇ ²÷ÀÓ¾ø´Â(persistent: ¿Ï°íÇÑ, ²ö´öÁø, ¿µ¼ÓÀûÀÎ) ÅõÀï¿¡ ÀÇÇؼ­ ȹµæµÈ °ÍÀÌ´Ù.¡±¶ó°í ¸»ÇÏ¿´´Ù. ±×´Â Nietzsche »ç»óÀÇ ÀüºÎ´Â Shakespeare°¡ Richard ¥²ÀÇ ÀÔÀ» ÅëÇؼ­ ¸»ÇÏ´Â 3ú¼(Çà)¿¡ Ç¥ÇöµÇ¾î ÀÖ´Ù°í ³ôÀº °¨½Ä·ÂÀ¸·Î ¸»ÇÏ¿´´Ù:


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