Nietzsche saw in the Protestant ethic, in both its religious and secular (economic) forms, a final protest before the emergence into dominance of the ordered, bourgeois world of the 'last man' he who will pay any price in tedium for comfort and the absence of tension.

What stands most explicitly as critique in Nietzsche's late work in not a development from earlier interests but a return to two problems of enduring personal involvement for him, those of Wagner and of Christianity. Der Antichrist , to take one case, is not a response to a resuscitating public interest in Christian religion; it is primarily a renewed attempt to resolve for himself the question of piety.

Unlike Hegel's progress model of history, which moves by stages, each containing its own logic of growth and decline, the economic model develops as the simple function of one money-variable over time, with a long-term trend which increases monotonically.

The dialectical critique of positivist habits of mind ... is interested only in behaviour which is 'important' to the actor; that is, behaviour which is emotionally charged to the degree that it is either frequently recalled, reflected upon, or day-dreamed about. ... That science which is less discriminating in the behaviour it chooses to investigate gains clarity and distinctiveness at the cost of confining itself to the trivial.

The garden [of Eden] is the realm of pure beauty from which man is expelled when he becomes interested in ethics, in the fruit of the tree of knowledge of good and evil. The return into paradise, the homecoming, depends on him penetrating the veils of morality to glimpse again the lineaments of lost beauty.

Dostoevsky believed that the gods of rationalism and materialist utilitarianism had joined in conspiracy against all other ethical systems. ... The accumulation of capital, or the acquisition of money, are endeavors par excellence which establish a quantifiable goal: hence they are directly amenable to maximization formulae.

Utilitarianism had found [in Samuel Smiles' Self-Help] its portrait gallery of heroes, inscribed with a vigorous exhortation to all men to strive in their image; this philistine romanticism established the bourgeois hero-prototype the penniless office-boy who works his way to economic fortune and this wins his way into the mercantile plutocracy.