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040			_aUtSlPG
041		7	_aen _2iso639-1
050		4	_aPN
100	1		_aEllis, Havelock, _d1859-1939
245	1	0	_aAffirmations
264		1	_aSalt Lake City, UT : _bProject Gutenberg, _c2025
300			_a1 online resource : _bmultiple file formats
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aRelease date is 2025-05-13
505	0		_aNietzsche -- Casanova -- Zola -- Huysmans -- St. Francis and others.
508			_aJens Sadowski, Laura Natal and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
520			_a"Affirmations" by Havelock Ellis is a collection of literary-critical essays written in the late 19th century. It uses writers and saints as occasions for probing the “literature of life,” testing moral ideas and cultural assumptions rather than judging art for art’s sake. The pieces engage the most questionable aspects of conduct and belief to state a few enduring “affirmations,” while pressing readers to form their own. The opening of the work presents a preface and a long study of Nietzsche. Ellis contrasts a pure art-literature that raises no ethical questions with a literature close to life where morality must be examined, and he announces his intent to offer personal affirmations against the era’s self-congratulation. He then traces Nietzsche’s career—ancestry and austere youth, Pforta training, early devotion to Schopenhauer and Wagner, rise as a philologist, The Birth of Tragedy, the Bayreuth crisis and break with Wagner amid worsening health, the freethinking aphoristic middle period, the later “immoralist” doctrines, and the final mental collapse. Along the way he distils Nietzsche’s key ideas: Dionysian affirmation, the attack on Christianity and pity, conscience as tradition, the call to hardness and self-mastery, and the contrast between “slave” and “master” moralities, set against sharp national judgments and admiration for French clarity. He closes this opening section by valuing the middle Nietzsche most, proposing the dancer as his guiding image, and treating philosophy as personal psychology rather than a universal system. (This is an automatically generated summary.)
534			_pOriginally published: _cLondon: Walter Scott, Limited, 1898
653			_aLiterature and morals
856	4		_uhttps://archive.org/details/affirmations00elli/
856	4	0	_uhttps://www.gutenberg.org/ebooks/76076
999			_c116801 _d116801