Volume 48, Number 10 · June 21, 2001
The Dramaturgy of Death
By Garry Wills
Nietzsche denied that capital punishment ever arose from a single or consistent theory of its intent or effect. It erupted from a tangle of overlapping yet conflicting urges, which would be fitted out with later rationalizations. The only common denominator he found in the original urges was some form of grievance (he used the French term ressentiment).[1] One can expand his own list of such urges:
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