 The title, Twilight of the Idols, or How One Philosophizes with a Hammer (Götzen-Dämmerung, oder Wie man mit dem Hammer philosophiert, August-September 1888), word-plays upon Wagner’s opera, The Twilight of the Gods (Die Götterdämmerung). Nietzsche reiterates and elaborates some of the criticisms of Socrates, Plato, Kant and Christianity found in earlier works, criticizes the then-contemporary German culture as being unsophisticated and too-full of beer, and shoots some disapproving arrows at key French, British, and Italian cultural figures such as Rousseau, Hugo, Sand, Michelet, Zola, Renan, Carlyle, Mill, Eliot, Darwin, and Dante. In contrast to these alleged representatives of cultural decadence, Nietzsche applauds Caesar, Napoleon, Goethe, Dostoevsky, Thucydides and the Sophists as healthier and stronger types. The phrase “to philosophize with a hammer” primarily signifies a way to test idols by tapping on them lightly; one “sounds them out” to determine whether they are hollow, or intact, etc., as physician would use a percussion hammer upon the abdomen as a diagnostic instrument.