In this chapter are discussions of Renan, Sainte-Beuve, George Eliot, George Sand, Emerson, Carlyle, Darwin, Schopenhauer, Goethe and other famous men and women. In the short essays devoted to these writers we have, however, more than mere detached valuations. Beneath all the criticisms is a _rationale_ of judgment based on definite philosophical doctrines. This same basis of appreciation is present in the discussion of art and artists, to which subjects many pages are devoted. In fact, "The Twilight of the Idols" contains most of the art theories and æsthetic doctrines which Nietzsche advanced. He defines the psychology of the artist, and draws the line between the two concepts, Apollonian and Dionysian, as applied to art. He analyses the meaning of beauty and ugliness, and endeavours to show in what manner the conceptions of these qualities are related to the racial instincts. He also inquires into the doctrine of _"l'art pour l'art"_ and points out wherein it fails in its purpose. A valuable explanation of "genius" is put forth in the theory that the accumulative power of generations breaks forth in the great men of a nation, and that these great men mark the end of an age, as in the case of the Renaissance. The most significant brief essay in this section is an answer made to certain critics who, in reviewing "Beyond Good and Evil," claimed a superiority for the present age over the older civilisations. Nietzsche calls this essay "Have We Become Moral?" and proceeds to make comparisons of contemporaneous virtues with those of the ancients. He denies that to-day, without our decrepit humanitarianism and our doctrines of weakness, we would be able to withstand, either nervously or muscularly, the conditions that prevailed during the Renaissance. He points out that our morals are those of senility, and that we have deteriorated, physically as well as mentally, as a result of an adherence to a code of morality invented to meet the needs of a weak and impoverished people. Our virtues, he says, are determined and stimulated by our weakness, so that we have come to admire the moralities of the slave, the most prominent among which is the doctrine of equality. In the decline of all the positive forces of life Nietzsche sees only racial decadence. In this regard it is important to take note of one of the passages relative to the discussion of this decadence, namely: the one wherein he characterises the anarchist as "the mouthpiece of the decaying strata of society." The appellation of "anarchist" has not infrequently been applied to Nietzsche himself by those who have read him superficially or whose acquaintance with him has been the result of distorted hearsay. I know of no better analysis of anarchistic motives or of no keener dissection of anarchistic weakness than is set forth here. Nor do I know of any better answer to those critics who have accused Nietzsche of anarchy, than the criticism contained in this passage.