More evidences of what was to come later are found in a series of essays written during the early seventies, which are now published under the general caption of "Early Greek Philosophy and Other Essays." The seven essays contained in this volume are: "The Greek State" (1871), in which he attacked the modern conception of labour, and advanced a brief for slavery based on the assumption that without it true culture cannot exist; "The Greek Woman" (1871), an outline of Nietzsche's ideal of woman; "On Music and Words" (1871), an analysis of the origins of music and language and a statement of the functions of each; "Homer's Contest" (1872), a comparison of the ancient and modern individualistic strife, in which was pointed out the necessity of competition in any successful commonwealth; "The Relation of Schopenhauer's Philosophy to a German Culture" (1872), a gay attack upon certain phases of German philistinism, with the suggestion that Schopenhauer's philosophy would prove an excellent counter-irritant; "Philosophy During the Tragic Age of the Greeks" (1873), a brilliant account and exposition of those Greek thinkers who preceded Socrates; and "On Truth and Falsity in their Ultramoral Sense" (1873), a rhapsodic refutation of the theory of absolute truth, in which we find many denials of the values attached to current conventions. These denials we are constantly meeting in the major part of Nietzsche's later work. In Volume I of "Thoughts Out of Season" we find two essays: "David Strauss, the Confessor and Writer" (written in 1873), and "Richard Wagner at Bayreuth" (written during the close of 1875 and at the beginning of 1876). The first essay is an attack upon an ex-clerical who set up a philosopher's shop in Nietzsche's day and succeeded in sufficiently inflaming the popular mind to secure for himself a wide and ardent following. Nietzsche, angered by the effect that Strauss's sophistries had upon the German mind, undertook to answer them and show up their spuriousness. In the essay on Richard Wagner, Nietzsche praised the composer in no uncertain terms, hailing him as a saviour of mankind through the medium of the drama. Nietzsche thought he saw in Wagner a kindred spirit, a man free from the narrow dictates of his time, one capable of establishing a new order of things in the realm of art. Subsequently the philosopher turned against Wagner and denounced him bitterly for his anti-Hellenic tendencies.