300 | J O U R N A L O F N I E T Z S C H E S T U D I E S already overcome the history of metaphysics and the limits of conceptual thought (197). I am not convinced, however, that the mature Nietzsche entirely abandons the cultural project, intending to engage the reader only personally and artistically. His genealogical and cultural critiques of modernity are vital aspects of the project of creating new values, and they do not have the merely "negative" or "destructive" function that Daniels suggests (194). Daniels's purely "aesthetic" solution would make Nietzsche's engagement with history and his philosophy in general (despite Daniels's recognition of its valuable contributions [198, 2068]), if not redundant, at least removed from the poetic practice of affirmation. So one is left wondering: why even bother with genealogical and philosophical critique? Why not simply write tragic poetry? Is Rilke's poetry informed by or does it presuppose Nietzsche's critique of history and modernity? What is it about Rilke's poetry that addresses specifically the modern subject and the subject's world? Daniels's responses to such questions, insofar as he offers any, are not wholly convincing. Despite these reservations,
The Journal of Nietzsche Studies – Penn State University Press
Published: Jul 10, 2017
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