Thursday 31 May 2012

The übermensch



Some preliminary thoughts and questions concerning an exposition of the übermensch


What is it for a person to stand to man as man stands to ape? Is it a natural occurrence, or is it rather something attainable? something which can be reached with a certain practice, a diligence and discipline, a status? Can there be such a thing as an aspiring, fledgling übermensch, or is it rather something that you either are, forever, or are not, and never will be? If it is the former, Nietzsche offers us an extreme form of a self-help goal; a process of edification is formed, whereby we can improve ourselves towards this end. If it is the later, are we not left with a concept which more closely resembles the Nazi Aryan ideal? To put it crudely, can a human become Superman, or must one be an alien, like Clark Kent?

Perhaps there is a pro-determinist or fatalist argument in favour of the latter view; if you're an übermensch, you always have been, always will be, whether or not you want to be! Even if we don't ascribe to the latter view, the determinist is probably committed to the notion that whether one can become an übermensch is ultimately beyond our will, as product of the chaotic swirl of cause and effect. Perhaps our definition of übermensch is tautologically chiasmic, of the form "the übermensch is a man, a man who is an übermensch".

I think it's most clear that Nietzsche holds the former view; otherwise, why present the idea? What would Zarathustra's purpose be? We certainly don't want to paint Zarathustra as a period-prototype of Adolf Hitler. When he first comes down from his mountain, why do the common folk laugh? What is it that they misunderstand? Is it, as fundamentally decent people, they perceive Zarathustra's polemic as an argument in favour of the latter view - and thus ridicule and reject it (especially since the appearance of some mountain hermit espousing a genetic supremacy would be ridiculous), or is it rather that they are supposed to simply lack the potential, the vision and the aspiration to dream of a greater state of being, and thus reaffirm the importance of the status, the difficulty of attaining it, and the general slave morality contracting and restricting their ambition?

It seems the übermensch is meant to have attained a particular form of gradient enlightenment. Once realizing this beyond-common-man potential, a mountain appears before the agent, begging to be climbed; the mountain of overcoming slave morality, of seeing the potential of becoming one's own definition of nobleman, of reaching out to some before-unseen realm of possibilities, strengths and powers. Much like the Hindu conception of Moksha, in which one is at once liberated from the illusory nature of everyday living and at the same time presented with a new range of challenges to overcome. This is the view that wisdom is a gradient. Much like a video game, or a sports league, the higher the plateau of wisdom, the greater the challenges. An aphorism to express this:

Your ability increases, but your win-rate never improves

So, you find yourself in a competitive sports league. Over time, you hone your skills, increase your knowledge of the game and its potentials for strategy. Eventually, you reach the top of your league, having the ability and reputation to conquer all opponents within that league. So, you move up to a higher league, where you will be faced with tougher opponents, ones more in line with your ability. So, whilst the quantity of leagues below your position always increases as your ability improves, the opponents against whom you will be most frequently matched always pose roughly the same level of challenge. Your ability increases, and the distance between you and the worst player increases, but the frequency of your victories in the sport is pretty much static.

With this in mind, can we not picture an ever-rising mountain, of which the peak is forever visible and at once forever unreachable? Let's take a look at how man stands to chimp, so we might understand how this means the übermensch stands to man.

For the chimp, the role in his group is fixed; it may change over time given unforeseen circumstances and growths. But a chimp's strength and ability to lead is determined by the actions he necessarily performs as he moves through the forest. His gym is his activity. He makes no clear and explicit effort to guarantee his movement upwards through the hierarchy; rather, whether or not he can conquer a rival is already waiting in his muscles.

For the human then, we stand above the chimp in such a way as we proactively seek to better our position; we train, we study, we practice, beyond the realm of necessity.

So how might an übermensch stand above man in this same way? At first it might be tempting to define it as the capacity to realize there is a mountain, a climb. But we all already know this; life is an uphill struggle. So for us to rise above this, what might it look like? Perhaps it lies in the general ignorance of the common man to the fact that the peak can never be reached; an obliviousness pervading the drive to climb. If this is the case, then the übermensch is that individual who has proactively contemplated the fact that the goal is unreachable, absurdly far away; the redundance and pointlessness pf the climb, but finds itself climbing on regardless; to realize a kind of nihilism, and to spit directly in its face.

The übermensch realizes that his only opponent and obstacle is god; and god is laughing at the futility of his struggle. The übermensch feeds from the laughter of the gods; he swallows the humiliation whole, and his muscles swell with divine protein. He cuts through the mountain to make his own, attainable peaks. He leans back, looks down the mountain, sees the abyss, and laughs - all the while knowing that he could, if he wanted to, let go and fall; he will climb until he can't grip any longer, and once his fingers give way, he will take his leave with gratitude and accomplishment. He grins at Silenus the demon, charging him with a new wisdom. The regular man, on the other hand, clings on for dear life - he doesn't want to fall; he wants to reach the peak, and he thinks he will, one day. He doesn't set his own boundary, he adheres to the prescribed, impossible summit, and is terrified when he looks down at the abyss. How much this might say about slave morality, nobility, and the eternal return!

Review: When Nietzsche Wept



Movie review: When Nietzsche Wept (2007)

(IMDB link: http://www.imdb.com/title/tt0760188/)




Directed by Pinchas Perry, this film adaptation of Irvin D. Yalom's novel of the same title. When Nietzsche Wept is essentially a piece of romanticized fan-fiction, depicting a relationship between Nietzsche and early Viennese physician and psychoanalyst Josef Breuer, friend and mentor of Freud. In order to treat Nietzsche for his infamous migraines (at the request of Lou Salome, Nietzsche's friend and, at a time, romantic interest), but confronted with the obstacle of Nietzsche's pride, Breuer feigns a desire to be mentored and enlightened by Nietzsche in order to attain sufficient insight into his patient's physical and mental condition. His psychoanalysis is interrupted further, when the parameters defining the role of doctor and patient become blurred, and the roles partially reversed; Nietzsche becomes Breuer's existential guru, with Breuer more dependent on his patient for his insight than his patient is on him for his treatment. The film is mostly this narrative, which the occasional reference to Nietzsche's books and a select handful of his thoughts.

Writing a review of this film must be twofold. On the one hand, I have to give the perspective of the Nietzsche enthusiast. On the other hand, I must also account for the quality of the film as a film in its own right, away from issues such as accuracy and the quality of representations of Nietzsche's thought. Let's begin with arguably the less important aspect; the film as a film.

When seen in the light of merely a story, there is a great deal of worth to this film. Firstly, the narrative is divided and extended through the use of numerous dream sequences. These dream sequences are perhaps the chief highlight of the film; a great deal of traditional theatrical tropes are used to convey the situations and contexts of the dream, and the emotions of the dreamer (Breuer) in a way which will truly resonate with the audience. They are well placed, and the timbre of the film is consistent throughout. There is a great deal of passion displayed between each of the characters, and it's not difficult to feel affection for them. Breuer's existential crises are genuinely accessible and to which it should be most easy for the audience to relate. Secondly, the cinematic qualities (camera work, soundtrack etc) leave nothing wanting, and generate a consistent and absorbing atmosphere for the film.

In terms of performance, the acting is wanting. For this writer's taste, the actors are perhaps a little too much like hyperbolic caricatures, and despite the empathy their circumstances might generate, there is something distinctly silly about the emotive display. The audience will notice some clichés of emotional expression, and this can leave the characters appearing foolish and immature, which is incongruous to their status. On the other hand, this could be seen as a strength of the film, in the way it reduces Breuer, a respected and successful physician and psychoanalyst, to an adolescent state of angst, ripe for Nietzsche's guidance and reformation.

From the perspective of the Nietzsche enthusiast, the film is rather disappointing. Aside from the trivial issue of the weak moustache, Armand Assante's depiction of Nietzsche lacks a certain finesse and aggression which we might anticipate. Assante's Nietzsche is much more like a stereotype of a wise and witty eccentric university professor than a revolutionary and intense individual; it is hard to see this Nietzsche as dynamite, philosophizing with a hammer. Rather, the portrayal of Nietzsche's thought is mostly heavily diluted, which might be acceptable under certain circumstances, but since this is basically the only work of cinema directly representing Nietzsche, this is a great disappointment.

In terms of Nietzsche's thought, the representation is most immature and pedestrian. The strongest parts of the film are few and far between in this regard. Nietzsche and Breuer on a swan-shaped pedalo, in a state of absurd and chaotic mania, contemplating the passage of time in an insane dream to the theme from Tchaikovsky's Swan Lake gives a marvelous insight into the peculiar nature of Nietzsche's concept of time, but this scene is all too brief; if it had been any longer, we would perhaps expect dilution to occur once more. The other strong scene is Nietzsche presenting the concept of the eternal return to Breuer, which competently grasps the existential implications of the notion. This is let down by the subsequent descent of Breuer into an existential rebellion, in which his behaviour becomes erratic,impulsive and foolish, in a great departure from the form and style we might expect of someone who has truly grasped Nietzsche's thought.

As a whole, the film is probably worth watching, since there really isn't anything else out there like it. The dream sequences are marvelous, and I suppose this is relevant to Nietzsche's thought, but it definitely remains unclear whether this relevance is intentional, or merely a device. Watch with low expectations, or you will be sorely disappointed, and perhaps even a little angered at the representation of Nietzsche and his thought. I am left hoping for a greater film to appear in the near future, which will cast this peculiar piece of cinema in a more objective light.

Wednesday 30 May 2012

God's Funeral

A simple poem I wrote, designed to reveal (perhaps a little more accurately than colloquial understanding) the thought behind Nietzsche's infamous "God is dead" in The Gay Science:

It was a private event.

It had to be; otherwise the masses would pry open the empty coffin.

You can't bury a word.

Maybe you can bury the thing toward which it points?
I don't think you'd be able to make an infinitely large coffin.

Godknows where you'd bury it.



I thought this would be an apt beginning for this blog. Something a little more expansive coming soon.