 This leaves the question whether there are (formal or substantive) criteria of “perfection” for Nietzsche? Many writers (e.g., Hurka 2007; Nehamas 1985; Richardson 1996) are attracted to the idea that “style” or “unity” is a criterion of excellence or perfection for Nietzsche, and, indeed, as noted above, the pursuit of a unified or coherent life project is a characteristic feature of those Nietzsche deems to be higher men. Whether such style or coherence suffices is a vexed interpretive question, since it is not entirely clear that the formal criterion of style or unity is available only to Goethes and Beethovens: did not Kant, that “catastrophic spider” as Nietzsche unflatteringly calls him (A 11), exhibit an extraordinarily coherent style of creative productivity over many years?