4 Gianni Vattimo the Will to Power as Art

8/3/2019 4 Gianni Vattimo the Will to Power as Art

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impulsively (HATH no. 159). The phenomenon of inspira-

tion itself is linked to these emotional mechanisms of art, for

appropriate to children and primitives, i.e. violently and

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anxious to preserve the presuppositions that are most crucial

for his art , namely, 'the fantastic, mythical, uncertain,

extreme, the sense for the symbolical . . .' In a series of

aphorisms Nietzsche alleges that these premisses are features

of epochs coinciding with humanity' s childhood. In these

epochs the fantastic, the mythical and the symbolic are

triumphs in the investments of factual reality by the imagina-

tion, fantasies and anthropomorphism, and this investment

of the external, of the 'given' as we might put it, by the

imagination, results from the pressure of the emotions,

especially in that poetry's lightness and frivolity give tem-

porary relief to the excessively passionate soul (HATH no.

154). This is in line with Nietzsche's view of tragedy, where

the Apollonian vision is primarily a way of assuaging the

force of the Dionysiac impulse. And yet the connection

between art and emotion goes beyond this 'cathartic' func-

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epochs in which the fantastic and the mythical predomi-

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assertion that there is no such thing as happiness withou t the

pleasure of nonsense, i.e.without artistic travesty, invention

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being surplus and its being the exception. Art is surplus

precisely in its form of excess. Aphorism 154 cited above

speaks of the way the Greeks managed to counterbalance the

overly passionate soul by inventing fables that served to

cover up, travesty and transfigure reality. However, this

impulse to devise masks tends to become independent of its

primordial function, namely, reintroducing equilibrium into

the passions: it turns into a quite autonomous habit of lying.

Art is equally surplus in respect of other spiritual forms, suchas religion, morals and metaphysics, which Nietzsche views

as things of the past. While the concluding aphorisms of the

fourth part of Human, all too Human speak of 'feasts of

memory' which now commemorate art, they also say that

'what is best in us has perhaps been inherited from feelings of

past epochs'. In particular there is aphorism 213, 'wherever

there is happiness, there is pleasure in absurdity', namely, the

pleasure produced by art (in this case the comic) as it reverses

the laws that prevail in the world of everyday 'reality'. None

of the forms of the moral/metaphysical past of humanity

'unmasked' by Nietzsche in his 'Enlightenment' works has

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fundamentally and constitutively, in the way the external is

invested by the internal with its images, fantasies, symbols,

etc.

emotions so impetuously is simply the sign of the excess

manifested by art in these pages of Human, all too Human] this

excess lies both in the impetuosity of passion and, more

r > X 3O U o H r 3C P f ! C iubject to blockage at some point and overflows unexpec-

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s the same here as with the difference between the sexes: one

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natural but desirable. The perspectives of these two states are

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4 Gianni Vattimo the Will to Power as Art

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Transcript of 4 Gianni Vattimo the Will to Power as Art