This is one of the most important works written by Nietzsche and represents his attempt to sum up his philosophy. The great nineteenth-century philosopher refines his previously expressed ideal of the superman in this work, a fascinating examination of human values and morality. It takes up and expands on the ideas of his previous work, Thus Spoke Zarathustra, but approaches it from a more critical, polemical stance. In nine parts, this book is designed to give listeners a comprehensive idea of Nietzsche’s thought and style.

In Beyond Good and Evil, Friedrich Nietzsche attacks past philosophers for their alleged lack of critical sense and their blind acceptance of Christian premises in their consideration of morality. The work moves into the realm “beyond good and evil” in the sense of leaving behind the traditional morality, which Nietzsche subjects to a destructive critique, in favor of what he regards as an affirmative approach that fearlessly confronts the contextual nature of knowledge and the perilous condition of the modern individual.

Of the four “late-period” writings of Nietzsche, Beyond Good and Evil most closely resembles the aphoristic style of his middle period. In it he exposes the deficiencies of those usually called “philosophers” and identifies the qualities of the “new philosophers”: imagination, self-assertion, danger, originality, and the “creation of values.” Religion and the master and slave moralities feature prominently as Nietzsche re-evaluates deeply-held humanistic beliefs, portraying even domination, appropriation, and injury to the weak as not universally objectionable.

Friedrich Nietzsche’s Beyond Good and Evil, first published in 1886, presents a scathing critique of traditional morality and attacks previous philosophers for their blind acceptance of Christian ideals of virtue. As an alternative to what he viewed as the illogical and irrelevant philosophy of the nineteenth century, Nietzsche argues for the importance of imagination, self-assertion, danger, and originality for genuine philosophy. He furthermore denies the existence of a universal system of morality and instead offers a framework in which social roles and power dynamics dictate what is appropriate. A culmination of Nietzsche’s mature philosophy, Beyond Good and Evil is a classic of moral thought and one of the foundations of existentialism. This edition is the translation by Helen Zimmern.

In 1886, Frederich Nietzsche self-published Beyond Good and Evil. Structured into 296 separate sections, and nine parts, this work deconstructs the metaphysics and dogma established by previous philosophers. Nietzsche traced the roots of issues that he viewed hindered mankind in his society. He spoke about what it means to be a free spirit, the prejudice of philosophers, and begins questioning traditional morality.
On the Genealogy of Morals was published a year later in 1887. Influenced by Fyodor Dostoevsky and Soren Kierkegaard, the book consisted of three overlapping essays. It follows the evolution of morals and the moral prejudices of Christianity and Judaism. In this book, Nietzsche goes into the history of values and why we’ve put so much emphasis these values.
In his treatises, Nietzsche delves into the origin of good and evil, guilt, bad conscience, resentment, and how these parts of the human condition have evolved over time.

Ecce Homo, which is Latin for “behold the man,” is an autobiography like no other. Deliberately provocative, Nietzsche subverts the conventions of the genre and pushes his philosophical positions to combative extremes, constructing a genius-hero whose life is a chronicle of incessant self-overcoming. Written in 1888, a few weeks before his descent into madness, the book passes under review all of Nietzsche’s previous works so that we, his “posthumous” readers, can finally understand him on his own terms. He reaches final reckonings with his many enemies, including Richard Wagner, German nationalism, “modern men” in general, and above all, Christianity, proclaiming himself the Antichrist. Ecce Homo is the summation of an extraordinary philosophical career, a last great testament to Nietzsche’s will.

A main purpose of the book was to offer Nietzsche’s own perspective on his work as a philosopher and human being. Ecce Homo also forcefully repudiates those interpretations of his previous works purporting to find support there for imperialism, anti-Semitism, militarism, and social Darwinism. Nietzsche strives to present a new image of the philosopher and of himself as a philosopher. He expounds upon his life as a child, his tastes as an individual, and his vision for humanity.

According to one of Nietzsche’s most prominent English translators, Walter Kaufmann, this book offers “Nietzsche’s own interpretation of his development, his works, and his significance.” Within this work, Nietzsche is self-consciously striving to present a new image of the philosopher and of himself. On these grounds, some consider Ecce Homo a literary work comparable in its artistry to Van Gogh’s paintings.

Composed in four parts between 1883 and 1885, Thus Spoke Zarathustra is the most famous and influential work of German philosopher Friedrich Nietzsche. The work is a philosophical novel in which the character of Zarathustra, a religious prophet-like figure, delivers a series of lessons and sermons in a Biblical style that articulate the central ideas of Nietzsche’s mature thought. Key to the philosophy of Thus Spoke Zarathustra is a rejection of traditional systems of religious morality, the idea of the will to power, and a vision of a new, higher mode of being, the “uuml;bermensch” or “Superman,” one of Nietzsche’s most famous and controversial figures. As innovative stylistically as it is philosophically, Thus Spoke Zarathustra is both a literary masterpiece and an enduring classic of moral thought.
This version of Thus Spoke Zarathustra is the translation by Thomas Common.

“Die Wahrheiten sind Illusionen, von denen man vergessen hat, daß sie welche sind, Metaphern, die abgenutzt und sinnlich kraftlos geworden sind, Münzen, die ihr Bild verloren haben und nun als Metall, nicht mehr als Münzen, in Betracht kommen.”
Nietzsches einziger sprachphilosophischer Essay, geschrieben 1873, veröffentlicht 1896, vorgetragen von Benjamin Lucas.