Skip to main content

In Defence of the Pretentious Man


As a rule, being accused of being pretentious is seen as an attack on one’s personality. Being high-minded is, according to society’s rules of common decency, an undesirable trait. Not so, say I. Pretentiousness, contrary to what others may tell you, is an excellent defence mechanism against the tedious, unimaginative, exceedingly mediocre world.

In this era of political correctness and egalitarianism, one has to struggle harder to raise oneself above the grey masses. “Why struggle at all?” you ask. Nietzsche says: “You should build beyond yourself, but first you must be built yourself, square-built in body and soul. You should propagate yourself not only forward, but upward” (95). The poet-philosopher knows that every man has the tendency to slack and take up a comfortable position next to millions of others like him. He is inclined to mediocrity, false modesty, and mendacity.

If he does not challenge himself (and others), he will sink into the marsh of insignificance. Pretentiousness, then, is the one “virtue” that will elevate him above the average and the complacent. It is a form of self-defence, an antidote to the self-righteous minds that insist all men are “equal.”
For without pretentious men, the grey masses will never see their true reflection: ordinariness. They will wade through this muck called life thinking who they are is good enough. This needs to be rectified, and it can only be done through a figure unafraid of upholding excellence, of judging the inferior and being judged in return for being inferior, of vertiginous high-mindedness and grandiloquence. Such a figure will come to our rescue, to save us from being crushed flat by the insistence that we are all equal. For there is no such thing as equality for all in intellectual matters: "I do not want to be confused with these preachers of equality, nor taken for one of them. For justice speaks thus to me: “Men are not equal.” And they should not become so, either! For what were my love of the Superman if I spoke otherwise?" (124)


Nietzsche, Friedrich. Thus Spoke Zarathustra. London: Penguin Books, 2003

Comments

Popular posts from this blog

Approaching Haruki Murakami’s “Kafka on the Shore” the Jungian Way

“The world of gods and spirits is truly nothing but the collective unconscious inside me.” – Carl Jung, On the Tibetan Book of the Dead What appears to be supernatural and surrealistic in Haruki Murakami’s Kafka on the Shore  does not have to remain that way once we accept that in Murakami’s fictional world, the natural and the supernatural often cross paths and become one single unity. In the previous three entries on the novel, I have extensively discussed its relation to Sophocles’ Oedipus Rex . But here I intend to explain why the supernatural should in fact be deemed natural, and how this reasoning is a direct reference to the theories of Swiss psychologist Carl Gustav Jung and German philosopher G.W. F. Hegel, both of whom are mentioned in the novel. Carl Jung’s psychological theory on the “collective unconscious” (the notion positing that all humans – regardless of race and culture – share a psyche containing “latent predispositions towards identical reactions” [10])

The Sound of Alienation: Rainer Maria Rilke’s “The Voices”

In the nine “Voices” poems (“Die Stemmen,” 1902), we find Rilke speaking out for those who have suffered pain and injustice. He insists that in order for them to be heard, they need to “advertise” themselves, and this should be done through singing, or songs – like the castrati (referred to as “these cut ones”) who sing to God and compel him to stay and listen. This message is found in the “Title Leaf” – an introduction of sorts to the nine songs. It is tempting to read the nine songs (“Beggar’s,” “Blind Man’s,” “Drunkard’s,” “Suicide’s,” “Widow’s,” “Idiot’s,” “Orphan Girl’s,” “Dwarf’s,” “Leper’s”) as a collection of poetic pleas for social awareness. This is due to Rilke’s “casting choices”; he has selected society’s most conspicuous outcasts as the main speakers of his poems. When, for instance, the beggar in “The Beggar’s Song” says, “I go always from door to door/rain-soaked and sun-scorched,” we are induced to sympathise with his downtrodden fate. The same can be said for

Murakami Salutes Orwell: How "1Q84" Pays Homage to "1984" (Part 2)

Here the reader arrives at the junction where Murakami’s work crosses from the metaphysical to the real and tangible, for in the single-moon world we have also had the misfortune of witnessing writers persecuted for their ability to tell a different “truth.” Salman Rushdie’s fate after the publication of The Satanic Verse is well-documented and needs no reiteration. A more discriminate look at literary history gives us several more voices hushed by the Authorities: Turkish author and Nobel Prize-winner Orhan Pamuk was arrested for comments about the massacres of Armenians in the First World War. Nigerian protest author Ken Saro-Wiwa was tried by a military tribunal and hanged. Yu Jie, author of China's Best Actor: Wen Jiabao , a controversial book that cast a critical light on the premier, landed in hot water with the Chinese authorities, and had to emigrate to the USA for his own safety. His close friend and Nobel Prize-winning literary critic Liu Xiaobo called for politic