‎CHAIX-RUY JULES‎
‎NIETZSCHE‎

‎De Laertii Diogenis fontibus. I-VI. [Extract from: Rheinishes Museum für Philologie, Vol. XXIII + XXIV. Herausgegeben von F.G. Welcker und F. Ritschl]. - [NIETZSCHE'S FOURTH PUBLICATION]‎

‎Frankfurt am Main, Verlag von Johann David Sauerländer, 1868-69. 8vo. Bound with the general title-pages to both volumes of Rheinishes Museum in a very nice recent marbled paper binding with gilt leather title-label to front board. (Vol. XXIII:) pp. (632) - 653 + (Vol. XXIV:) pp. (181) - 228. The paper is extremely brittle and cracks very easily, thus there are a few smaller marginal tears, no loss of lettering and occassional marginal chipping, far from affecting text.‎

‎The scarce first printing of Nietzsche's fourth publication, the third of his philological essays and his most comprehensive, dealing with the question of the sources for Diogenes' work ""The Lives of the Philosophers"", Nietzsche's main interest at the time and the question that took up most of his philological research. It is in this work that Nietzsche concludes that Diogenes had two sources, namely Diocles of Magnesia and Favorinus of Arles.Nietzsche's first published work was a philological essay published in 1867 in the respected journal of classical studies, the ""Rheinisches Museaum für Philologie"". That article, published on the urging of his teacher, appeared when Nietzsche had merely been studying philology for a couple of years. Nietzsche began studying philology at the University of Bonn in the winter semester of 1864/65 and quickly became a prize student. His university studies were fairly quickly interrupted, though, as he spent a year in the Prussian Artillary, from October 1867. After about half a year, he was seriously injured and had to spend the last five months there as a reconvalescent. Nonetheless this year did not mean a break in Nietzsche's studies, quite the contrary. Already in April 1868, before his injury (in May), he published his first book review, namely that of Schoemann's work on ""Die hesiodische Theogonie"", which had just appeared. And after the injury, he naturally had even more time for studying at his disposal"" ""Nietzsche's protracted recovery from his military injuries allowed him considerable time to study and to take on other scholarly duties...(Schaberg, p. 10).""By September of 1868, Nietzsche's studies had produced the first half of a two-part, entitled ""On the Sources of Diogenes Laertius"" (""De Laertii Diogenis fontibus""), which was published in Ritschl's journal. Diogenes Laertius, the third-century author of Lives of the Philosophers, and the question of his sources was Nietzsche's main ongoing interest and the topic represented well over half of his philological publications. Ritschl had been aware of this interest, and he actually encouraged the writing of the article by his most brilliant pupil by designing a school competition with ""The Sources of Diogenes Laertius"" as the recommended topic. Nietzsche, who had been working hard on these studies for several years, won the competition easily."" (Schaberg, p.11)De Laertii Diogenis fontibus was published the year Nietzsche finished his studies and meet Richard Wagner for the first time. The following year, in 1869, Nietzsche intensive studies bore fruit and he was appointed professor of classical philology at the University of Basel. To this day, Nietzsche is still among the youngest of the tenured Classics professors on record. Nietzsche's interest in classical studies did however not last and ""By early January of 1871, Nietzsche was sufficiently disillusioned with philology to apply for the chair of philosophy at Basel, proposing his friend Rhode for his own position. The request was denied but the refusal did little to delay the end of Nietzsche's classical career."" (Schaberg 14 pp). ""[I]t is uncertain whether all of these articles [i.e. in the Rheinisches Museum] were issued individually and there is no evidence in Nietzsche's letters to suggest the standard offprint policies of Rheinisches Museum at the time."" (Schaberg, p. 13). Schaberg 11 - 12‎

‎Götzen-Dämmerung oder Wie man mit dem Hammer philosophirt. Von Friedrich Nietzsche. Leipzig, Verlag von C.G. Naumann, 1889. - (Bound with:) NIETZSCHE, F. Der Fall Wagner. Ein Musikanten-Problem. Von Friedrich Nietzsche. Zweite Auflage.‎

‎Leipzig, Verlag von C.G. Naumann, (1888.) Two works in one volume. (8), 144 pp.; (8), 57, (1) pp. 8vo. Contemporary half cloth, spine lettered gilt, marbled boards, corners. First work: Schaberg 56. First edition of the "Twilight of the Gods" and written during an incredibly productive six month period before Nietzsche's collapse in Turin. It was also the last book published during his lifetime. The title refers to an image in the preface: idols "are touched with a hammer and a tuning fork to determine whether they are hollow", which is of course a sarcastic allusion to Wagner, both personally and as a symbol of the German spirit. Nietzsche had 1,000 copies of this work privately printed. Originally to be called "A Psychologist at Leisure," Nietzsche changed the title at the suggestion of his friend, Gast and the book was released a few weeks after Nietzsche collapsed in Turin. The "Idols" that Nietzsche singles out here are those of the philosophers and the moralists. The Preface clearly states that the work at hand is to be "the revaluation of all values". Socrates and Christianity are particular targets although modern Germany and other contemporary ideas are also taken to task in the normally acerbic style of the author. (This book also contains some of Nietzsche's most frequently quoted phrases beginning with Aphorism #8: "What does not kill me only makes me stronger".)Second work: Schaberg 54.First edition, second issue. The book was published on 22 September 1888. Five hundred copies were printed, but 500 additional copies were printed at this time and falsely marked as second edition by the addition of "Zweite Auflage" in the middle of the ornamental rule and the deletion of the publication date. The true second edition of a 1000 copies was printed in October of 1891.The book is a critique of Richard Wagner and the announcement of Nietzsche's rupture with the German artist, who had involved himself too much, in Nietzsche's eyes, in the Völkisch movement and antisemitism. His music is no longer represented as a possible "philosophical affect," and Wagner is ironically compared to Georges Bizet. However, Wagner is presented by Nietzsche as only a particular symptom of a broader "disease" which is affecting Europe, that is nihilism. The book shows Nietzsche as a capable music-critic, and provides the setting for some of his further reflections on the nature of art and on its relationship to the future health of humanity.This work is in sharp contrast with the second part of Nietzsche's The Birth of Tragedy, wherein he praised Wagner as fulfilling a need in music to go beyond the analytic and dispassionate understanding of music. Nietzsche also praised Wagner effusively in his essay 'Wagner at Bayreuth' (part of the Untimely Meditations), but his disillusion with Wagner the composer and the man was first seen in his 1878 work Human, All Too Human. One of the last works that Nietzsche wrote returned to the critical theme of The Case of Wagner. In Nietzsche contra Wagner, Nietzsche pulled together excerpts from his works to show that he consistently had the same thoughts about music, only that he had misapplied them to Wagner in the earliest works. - First and last leaves a bit foxed, some scattered annotations in blue pencil and lead pencil.Provenance: from the library of A. Diepenbrock, with his signature on the first free endpaper (and date Jan. 1889) and second title-page (with the date Sept. 1888.) Alphons Diepenbrock was a Dutch composer, essayist and classicist. Although he showed musical ability he studied classics at the University of Amsterdam, gaining his doctorate cum laude in 1888 with a dissertation in Latin on the life of Seneca. The same year he became a teacher, a job which he held until 1894, when he retired from that position and decided to devote himself to music. As a composer, he had been completely self-taught from an early age. He created a musical idiom which, in a highly personal manner, combined 16th-century polyphony with Wagnerian chromaticism, to which in later years was added the impressionistic refinement that he encountered in Debussy's music. His predominantly vocal output is distinguished by the high quality of the texts used. Apart from the Ancient Greek dramatists and Latin liturgy, he was inspired by, among others, Goethe, Novalis, Vondel, Brentano, Hölderlin, Heine, Nietzsche, Baudelaire and Verlaine. As a conductor, he performed many contemporary works, including Gustav Mahler's Fourth Symphony (at the Concertgebouw) as well as works by Fauré and Debussy. Throughout his life, Diepenbrock continued his interests in the wider cultural sphere, remaining a classics tutor and publishing works on literature, painting, politics, philosophy and religion. Indeed during his lifetime his musical skills were often overlooked. Nonetheless, Diepenbrock was very much a respected figure within musical circles. He counted amongst his friends Mahler, Richard Strauss and Arnold Schoenberg. ‎

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