This concluding chapter offers some reflections on the nature of nihilism in the works explored. An overview is given of the different versions of the problem of nihilism that the thinkers and writers examined here have sketched. This is followed by another comparative overview of their different proposals for solutions to nihilism. A section is also dedicated to showing the many ways in which the thinkers of the nineteenth century anticipated key elements of twentieth-century existentialism. Among the elements discussed are the realization of the nothingness, authenticity, existential freedom, rebellion, the existentialist hero, and the absurd. The chapter concludes with some reflections on the relevance of nihilism in the twenty-first century.

Chapter 6 is dedicated to examining an article by the Danish thinker, poet, and writer Poul Martin Møller, “Thoughts on the Possibility of Proofs of Human Immortality.” This article represents the most substantial treatment of nihilism in Danish philosophy. Møller reviews some of the then recent works in German literature about the controversial issue of whether Hegel’s philosophy contained a theory of immortality. He claims not only that Hegel’s philosophy does not have a theory of immortality, but also, absent such a theory, that it leads to nihilism. Like Jean Paul, Møller believes that the denial of immortality would render human existence impossible. Møller’s argumentative strategy is to use a reductio ad absurdum to refute the view that denies immortality. To begin, he assumes the correctness of this view, and then tries to explore further what precisely it would mean to hold it. Then from this he deduces negative consequences, which demonstrate that the view must be abandoned as contradictory. He follows this strategy through many different spheres: the life of the individual, social and political relations, art, philosophy, science, religion, and so on. He claims that all these spheres would collapse into nihilism if the belief in immortality is denied.

Chapter 1 explores the concept of nihilism in two works by the German writer Jean Paul. In “The Dead Christ Proclaims That There Is No God,” Jean Paul tries to follow the scientifically based denial of God to its logical conclusion to show that this leads to a horrifying view that no one can accept. In the work, Christ descends down to earth and declares that there is no God. A terrible scene of death and destruction follows, which provides a powerful image of nihilism. The rest of the chapter analyzes the novella The Valley of Campan. While “The Dead Christ” was concerned with refuting the denial of God, this work tries to refute the denial of the doctrine of immortality. A small group takes an excursion in the Valley of Campan in the Pyrenees, and they discuss the issue of immortality as they go. Each member of the group tries to convince the scientist Karlson of the truth of immortality, but he stubbornly refutes all their arguments. However, in the end he capitulates to the idea since he cannot bear the thought of the complete and final destruction of his beloved Gione. The argument is that it is impossible to live a happy life without belief in immortality.

This chapter examines the nihilistic dimension in the first volume of Schopenhauer’s The World as Will and Representation. It begins with an account of the philosopher’s theory of the will as the fundamental metaphysical principle of the universe. Schopenhauer describes the will as a never-ending inward discord in every living thing that is the result of the constant drive to satiate one’s needs for food, drink, sex, sleep, and so on. This striving is what Schopenhauer calls “suffering,” and he claims that all life is suffering. He emphasizes the nature of human beings as finite and always on the way to death. He argues that time and space are infinite, in comparison to which the human being is a tiny, insignificant thing that occupies only a small space and a short period of time. Schopenhauer recommends the disposition of asceticism as the solution of the constant suffering and striving of the human condition. With asceticism one tries to break the never-ending circle of the will by renunciation, resignation, and denial of the will-to-live. Schopenhauer seems to concede that it is impossible to escape nihilism (even with the strictest ascetic discipline), and in the end everything dies and disappears into nothingness.

Chapter 8 treats Ivan Turgenev’s influential portrait of a nihilist in his character Bazarov from the novel Fathers and Sons. Turgenev portrays the rise of nihilism as a conflict between the older and the younger generation in Russia that took place after the emancipation of the serfs in 1861. With his character sketch of Bazarov, Turgenev made the Russian nihilist movement famous throughout Europe. The story tells of the homecoming of the young Arkady Kirsanov who brings with him his friend from the university, Bazarov. The novel depicts the conflicts that arise when the two young men stay at the rural estate of Arkady’s father. Bazarov claims that nihilism is about negation, and his goal is to destroy everything and start again. When asked what his positive program is for afterwards, he surprisingly says that he does not have one. While Turgenev generally gives a sympathetic sketch of Bazarov, he cannot subscribe to his ideas. Like Jean Paul and Møller, he believes it is impossible to accept the idea that death is annihilation. His model is rather Bazarov’s simple grieving parents, who believe in something higher than death.

Chapter 3 represents a brief foray into the broad topic of nihilism in English Romanticism. It begins with a close reading of Lord Byron’s poem Manfred, which tells the story of a man who is tormented by knowledge and in a sense dies as a result of it. Manfred is a kind of Faustian figure zealous for learning. He pursues his occult studies alone in a tower in the Alps. Over time he attains powers of magic that allow him to evoke supernatural spirits. Manfred is haunted by a memory in the past that leaves him no rest. This is read as an autobiographical reference to Byron’s incestuous relations with his half-sister, Augusta Leigh, which resulted in such a scandal that he felt obliged to leave England forever. Manfred seeks in vain for help from the different spirits of nature, who are unable to oblige him in his request to make him forget his past completely. Manfred heroically rejects that even the most powerful spirit can stand in the way of his freedom, and he insists on dying on his own terms. The chapter concludes with a brief analysis of Shelley’s famous poem “Ozymandias,” which is read as a call for self-reflection on the fleetingness of our existence and all human accomplishment.

Chapter 2 gives a reading of the obscure work The Nightwatches by the dramatist August Klingemann. The protagonist Kreuzgang is an odd outsider, highly critical of society around him. He is a night watchman, who goes out each night and observes people in their ordinary lives. Kreuzgang begins with some semblance of normalcy but then becomes increasingly disenchanted with the world until he finally fully embraces nihilism. Klingemann presents a mishmash of carefully framed scenes of horror and despair. It is a gallery of personalities with strange images and stories. People are portrayed as vain, pretentious, cruel, and hypocritical. The work raises the question of whether we, as human beings, are really anything beyond the social masks that we wear. Theater metaphors are often used to emphasize the idea there is nothing substantial in human life, but we are all playing meaningless roles, and then we die. Kreuzgang’s description of his fellow inmates in the insane asylum reveals an inverted world where what is usually accepted as reasonable by mainstream society is in fact irrational, and vice versa. The mad are the sane in an insane world.

Chapter 9 gives a reading of Nietzsche’s account of nihilism based on his unfinished work known as The Will to Power. Given the death of God and the collapse of traditional values, people are debilitated by a sense of hopelessness and meaninglessness. Traditional values no longer seem meaningful. Nietzsche outlines three key cosmological values that one is obliged to abandon once one has reached the stage of nihilism: (1) the idea that there is any purpose or goal in the universe or in human existence; (2) the notion that the universe constitutes some kind of unity or coherent system; and (3) the very notion of truth itself. Nietzsche includes, among the group of metaphysical prejudices or false beliefs, the law of contradiction itself, which is often considered to be the very foundation of any kind of rational thought. These metaphysical prejudices constitute the preconditions for science itself. Nietzsche raises the question of the possibility of creating a new set of values on the strength of one’s own authority. But he believes that people in his age have not yet emancipated themselves from nihilism to the extent that they can do this.

Chapter 5 is dedicated to a reading of the drama by Georg Büchner entitled Danton’s Death. The work concerns the trial and execution of the French revolutionary Georges Danton and his comrades. By choosing the French Revolution as his background, Büchner sets the stage for a questioning of the meaning of human existence. The reader knows from the start that most of the main characters in the piece will end up on the guillotine. It is a cruel and inhuman world, where love and friendship play little role. The threat of death is everywhere, and suicide is a frequent theme. Danton represents a voice of nihilism. He despairs of the lack of meaning of human existence and even meets his death with a kind of indifference or even relief. He claims that since we will all die sooner or later, it does not really matter when it happens. The immediate situation of the prisoners awaiting their execution can be regarded as a metaphor for human life in general. Once we are born, we are all destined for death. There is no sign of redemption, reconciliation, or a peace in an afterlife. Death and life are equally meaningless. The world is a cruel and inhuman place, where we suffer merely to survive.

The Introduction begins with an attempt to understand the concept of nihilism itself. Six different aspects of the concept are identified and briefly explored. While nihilism is usually associated with twentieth-century schools, it is argued that in fact the true origins of modern nihilism can be found in the rapid development of the sciences in the Enlightenment. The scientific perspective revealed the seemingly insignificant role of humans in the universe and led to a struggle with nihilism, which became an important topic for many thinkers in the nineteenth century. Five theses are outlined: (1) the problem of modern nihilism arose in the wake of the scientific development of the Enlightenment; (2) nihilism was not a local issue confined only to a specific place or country, but instead was something central to the general Zeitgeist of the entire nineteenth century in Europe and the West; (3) nihilism was not a problem confined to philosophy, but it received detailed treatment in works of poetry, drama, and other forms of literature; (4) the problem of nihilism is more widespread than has been acknowledged; and (5) the discussions of nihilism in the nineteenth century anticipate the key topics of the existentialist movement.

Chapter 7 explores the concept of nihilism in the work of Søren Kierkegaard. While the Danish thinker examines the issue in several different texts, this chapter is confined to his treatments in The Concept of Irony, the “Diapsalmata” from Either/Or, and “At a Graveside” from his collection Three Discourses on Imagined Occasions. In the first work he criticizes the different forms of Romantic irony that can be seen as expressions of nihilism. Kierkegaard’s critical point is that the Romantics offer nothing positive after they have eliminated all truths and values with their negative critique. In the “Diapsalmata” he provides a portrait of the modern nihilist in the aphorisms of the anonymous aesthete. Kierkegaard’s discourse “At a Graveside” focuses on the issue of death and what kind of a disposition one should have towards it. He introduces the concept of the earnestness of death, which means thinking about one’s own demise. He claims that death is both indefinable and inexplicable, and thus it is important not to pretend that we know anything about it. One should thus remain in “the equilibrium of indecisiveness,” although this is difficult.