This chapter presents and assesses Nietzsche’s critique of pessimism in terms of how its hedonic axiology has levelling-down effects on the perfectionist values he cared most deeply about, namely, creativity and achievement. Starting from Nietzsche’s repeated claims that suffering is in some way extrinsically tied to ‘greatness’, the chapter considers Nietzschean arguments for its value through an analysis of the role of ‘admiration’ and the doctrine of will to power. The philosophical force of these ideas is then considered in light of Nietzsche’s account of the relationship between human flourishing and a naturalistic psychology. Seeking to improve upon dominant views in the secondary literature, the chapter then investigates the specific extrinsic relation Nietzsche takes there to be between suffering and greatness, arguing that an analysis of his ‘pessimism of strength’ suggests that it ought to be construed as constitutive rather than instrumental. The chapter ends by attempting to provide a solution to the ‘scope problem’ raised in Chapter 5.

No play of the period is more preoccupied with memorial artifice than John Webster’s The Duchess of Malfi: especially striking are three episodes involving the Duchess herself. In the opening scene her wooing of Antonio is coloured by oddly disturbing references to ‘a winding sheet’ and to ‘the figure cut in alabaster / Kneels at my husband’s tomb’; while in Act 4, her murder is prefaced by a piece of macabre theatre, when Bosola enters in the guise of an old man, announcing himself a ‘tomb-maker’ whose ‘trade is to flatter the dead’. Advising the Duchess that ‘I am come to make thy tomb’, he proceeds to discourse on the iconographic niceties of ‘fashion in the grave’, before bringing her ‘By degrees to mortification’. But the tomb he promises never appears, becoming instead a conspicuous absence at the centre of the action. Focusing on the haunted graveyard of the Echo scene (5.3), the essay argues that this absence is closely bound up with the outpouring of grief that followed the death of the idolized Protestant hero, Prince Henry, and thus with the dissident politics on which Webster's great tragedy is grounded.

Grotius recast Aristotelian theories of human sociability in terms of self-preservation.Religious war in Europe had undermined the Thomist notion of mutual human affection as a basis for society.If society was established by the need to survive, then justice, which maintained society, must be understood in terms of its contribution to that necessity.Grotius therefore resolved the Ancient Roman and Greek problem of how to reconcile justice and expedience by reinterpreting justice in terms of expedience.For an individual, or state, to act out of self-preservation was necessarily just.His fusion of justice and expedience was one reason he was insistent upon distancing his thought from the Academic Sceptics, such as Carneades, who argued that there was no such thing as justice and that all moral action was expedient.For Grotius, part of the law of self-preservation was the necessity for individuals to secure the means for self-preservation and this meant that the acquisition of property, and trade, were central parts of that process.These principles applied also to the artificial person of the state which found itself in competition for survival with other states.The expansion of the state was therefore justifiable for its preservation.Indeed, following this reasoning, empire effectively became a necessity, and an inevitability, for the survival of European states.

Musical historicism developed earlier in Britain than, it seems, elsewhere in Europe, with a variety of institutions, traditions and politicised practices from the 1720s onwards cultivating a spirit of enquiry into and appreciation of the past. Seemingly ubiquitous in mid-century musical life, Handel was key to these developments in many ways. Unsurprisingly then, contemporary assessments sought to situate him in an implicitly historicist narrative. In so doing, these assessments often turned to the language of the sublime to place this ‘Man-Mountain’ of a composer in the sweep of history. Indeed, the rhetoric of the sublime seemed to enable and condition the historicist assessment of Handel, entangling musical sublimity with historical greatness. It follows that those composers who came after Handel, particularly in genres where he was pre-eminent, would also aspire to sublimity in order to achieve greatness. Because of the link between historicism and sublimity, they often did this, as examples from William Hayes, Thomas Arne and Thomas Linley (junior) show, by citing and thereby historicising Handel himself.