on of transcendental and Eastern philosophy in contemporary music and literature (See Schopenhauer's fundamental philosophy). RW's impact on Nietzsche can, therefore, be almost certainly thought of as essential to Nietzsche's philosophical development. If one then considers RW's life, and the creative periods and transitions he underwent, clear signs of a potential overman can be observed. RW's first stage of development as an overman could likely be targeted at the time of his discovery of Ludwig Beethoven's music, circa 1829. From this point up until 1844, he built his compositional repertoire, learning and emulating the ideas and methods of Beethoven. RW as the camel is burdened with the desire to create - or become- but is not yet fully competent or capable of manifesting a work distinctly his own. He never loses respect for Beethoven, and it is clear that he is still thinking of his teacher when he writes his essay on Beethoven in 1770, as a celebration of Beethoven's birth 100 years before:"(Beethoven) was extremely important, in that he outlined there his future objective of writing operatic works that would bond symphonic music and song into single,coherent dramatic pieces." -- Beethoven Essay, 1870We see Beethoven's crucial role in RW's creative process. The end of his camel phase is marked by the release of his first renowned work, The Flying Dutchman (1843-4). It is after this that he becomes recognized as an important figure in the music world, befriending esteemed contemporaries such as Franz Liszt. It is also here that his unfocused rebellious energies (1848 revolution attempt, fleeing of creditors, political activism in general) evolve from instinct to inspiration, enabling RW to produce some of his life's most avant-garde and revolutionary works. His influence from Schopenhauer opens him to many far eastern ideas of transcendentalism and a god-less world. He writes three books in the early 1850's that definitively cha...
