 What is more important, however, is the structure of the thought in GS 107. Nietzsche’s idea is that truthfulness itself, rigorously pursued through the discipline of science, has forced us to the conclusion that our cognitive powers lead us into “delusion and error”, so that those very demands of truthfulness cannot be satisfied. This is not just one more case of the world’s being inhospitable to our values, but a special instance where the cultivation of a virtue (honesty) itself leads to the unwelcome realization that we can never live up to its genuine demands. In the face of such results, Nietzsche suggests, the only way to escape pessimism is the recognition of another, quite different value, suitable to serve as a “counterforce” against our honesty by showing that there can be something valuable about remaining content with appearances. The cultural value of art in GS 107 thus rests on the opposition to honesty offered by the “good will to appearance”. So it seems that the values Nietzsche endorses conflict with one another, and that very fact is crucial to the value they have for us (Anderson 2005: 203–11). (See Stoll (2019) for a sophisticated alternative account, arguing that artistic “semblances” in Nietzsche are not supposed to be deceptive in any way, and therefore that the conflict between the values of honesty and artistry is less stark than I have depicted it here.)