The art of our upper classes has educated people in this ideal of the over-man, — which is in reality the old ideal of Nero, Stenka Razin, Genghis Khan, Robert Macaire or Napoleon and all their accomplices, assistants, and adulators — and it supports this ideal with all its might. It is this supplanting of the ideal of what is right by the ideal of what is beautiful, i.e. of what is pleasant, that is the fourth consequence, and a terrible one, of the perversion of art in our society. It is fearful to think of what would befall humanity were such art to spread among the masses of the people. And it already begins to spread.

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "The art of our upper classes has educated people in this ideal of the over-man, — which is in reality the old ideal of Nero, Stenka Razin, Genghis Khan, Robert Macaire or Napoleon and all their accomplices, assistants, and adulators — and it supports this ideal with all its might. It is this supplanting of the ideal of what is right by the ideal of what is beautiful, i.e. of what is pleasant, that is the fourth consequence, and a terrible one, of the perversion of art in our society. It is fearful to think of what would befall humanity were such art to spread among the masses of the people. And it already begins to spread." in the context of "Leo Tolstoy, repudiating the conceptions labeled that of the "over-man" provided in the book Might is Right, in his essay What Is Art? (1896)" to mean that wisdom is timeless.