Below is a great address given by Spengler on Nietzsche's eightieth birthday.
Spengler presents, through a loose and floating definition of romanticism designed to situate Nietzsche within his own historical system, a rather creative evaluation that places at center stage Nietzsche the artist - the composer. The musical metaphor is more than a literary device for Spengler, however, for it is the sensations of rhythm that allowed Nietzsche to break with the stale philological reconstruction of Greece (a contemporary counterpart of which can be ascertained in the purely linguistic reconstructions of the Aryans) and inaugurate a genuine experience of history providing one with a technique to feel "one's way into the style and rhythm of foreign cultures, aside from and often in contradiction to the written documents." While we know Spengler was convinced of Nietzsche's essentially historical setting - his entrapment within a set of predetermined conceptual and spiritual boundaries - his analysis of Nietzsche's untimeliness nevertheless reveals the essentially unique force with which Nietzsche endeavored toward a spiritual recrudescence that was at once a human, but also a Nietzschean, future.
The doctrine of the eternal recurrence and the philosophy of the will to power constitute the absolutist vision of a philosopher that, when adopted, puts an end to the dominant ameliorist, speculative philosophy of morality. A view guided by this true vision reveals a world not governed by cozy ideals and self-deception, but rather decisiveness, talent, and will: "Man is thus , life is thus , history is thus ."