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 Nietzsche might prove, if by magic he could be realised. To frame solid ideals, which would, in fact, be better than actual things, is not granted to the merely irritable poet; it is granted only to the masterworkman, to the modeller of some given substance to some given use—things which define his aspiration, and separate what is relevant and glorious in his dreams from that large part of them which is merely ignorant and peevish. It was not for Nietzsche to be an artist in morals and to institute anything coherent, even in idea.

The superman of Nietzsche is rendered the more chimerical by the fact that he must contradict not only the common man of the present but also the superior men, the half-superhuman men, of the past. To transcend humanity is no new ambition; that has always been the effort of Indian and Christian religious discipline and of Stoic philosophy. But this spiritual superiority, like that of artists and poets, has come of abstraction; a superiority to life, in that these minds were engrossed in the picture or lesson of life rather than in living; and if they powerfully affected the world, as they sometimes did, it was by bringing down into it something supermundane, the arresting touch of an ulterior wisdom. Nietzsche, on the contrary, even more than most modern philosophers, loved mere life with the pathetic intensity of