Daybreak and Grand inspiration 203ophy is an elusive task: Is it a science or more of a creative and artistic
form of expression?
During the period in which Nietzsche wrote Human, All Too Human
and Daybreak, he tended to regard conventional philosophy as an edify-
ing product of the imagination rather than a rigorous form of knowl-
edge. His view of the discipline was about to change, however. He
envisioned his own endeavors as a paragon of precision, certainly not in
the positivistic sense, but rather as a reflection of the relation between
the parameters of ideas and life. He looked beyond the field of knowl-
edge proper and embraced life's dogged pursuit of its own purpose and
direction, however trivial the twists and turns of everyday life might
appear. These are philosophical considerations, designed to keep the will
to knowledge from an ill-advised bid for power. Nietzsche's philosoph-
ical thinking evolved into a science of self-reflection not only on meth-
ods but also on the link between knowledge and real life. This type of
thinking is at once moderate and immoderate. It is moderate because it
bears in mind the basic limitations and relativity of knowledge, and
immoderate because it brings into play the unbridled singular logic of
scientific reason. Knowledge has its own dynamics: although intended
to cool down passions, it can itself evolve into a new "passion that con-
siders no sacrifice too great and essentially fears nothing but its own
extinction" (3,264; D% 429). This passion born of insight can inflict suf-
fering, by destroying friendships and a familiar sphere of life, for
instance. The ethos of knowledge demands sacrifices. Are we prepared
to make them? Are the sacrifices worth it? What do we gain by them?
These were the questions running through Nietzsche's mind as he
worked on Daybreak while recuperating in Marienbad in the summer of
1880 and painfully recalling his severed friendship with Wagner.
Nietzsche had admired and loved Wagner and felt confident that his
admiration and love were requited. This familiarity and friendship had
lent him a creative edge. Why did their friendship have to crumble?
Nietzsche wrote to Peter Gast on August 20,1880, from Carisbad, after
spending several nights in a row dreaming about Wagner: "Now it is a