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In this article I argue that Nietzsche resorts to a typical, ambitious Young Hegelian dialectical grand narrative to dramatically frame Modernity, elevate his own critical theory to unmatchable heights and find for himself a superior, unique position as Critic and Destiny, having as his main enemy the philistines (common human beings), and that which politically corresponds to them: civil society and democracy. Nietzsche’s epochal narrative exhibits a classical dialectical progression from Error/Negation, through Escalation, to Crisis, then Negation of Negation (Inversion), and promised New Age, all of which entails the unwelcome consequences of self-aggrandizing exaggerations, determinism, negativism, binarism, otherworldliness, transhuman idealizations, and racial-caste-hierarchism that compromise the otherwise interesting side of his critical suggestions, once deflated, on culture and morality.

Dialectics and Drama: Nietzsche as a Young Hegelian and Maître à Penser