Nietzsche and ArtLudovici, Anthony M. (Anthony Mario)
Philosophy
Nietzsche and Art
Ludovici, Anthony M. (Anthony Mario)
Aesthetics, German -- 19th century; Nietzsche, Friedrich Wilhelm, 1844-1900 -- Aesthetics
You and I, therefore, can speak of the beautiful with an understanding
of what that term means, only on condition that our values, our
traditions, our desires, and our outlook are exactly the same. If you
agree with me on the question of what is good, our agreement simply
means this, that in that corner of the world from which you and I hail,
the same creator of values prevails over both of us. Likewise, if you
and I agree on the question of what is beautiful, this fact merely
denotes that as individuals coming from the same people, we have our
values, our tradition and our outlook in common.
"Beautiful," then, is a purely relative term which may be applied to a
host of dissimilar types and which every people must apply to its own
type alone, if it wishes to preserve its power. Biologically, absolute
beauty exists only within the confines of a particular race. That race
which would begin to consider another type than their own as beautiful,
would thereby cease from being a race. We may be kind, amiable, and
even hospitable to the Chinaman or the Negro; but the moment we begin
to share the Chinaman's or the Negro's view of beauty, we run the risk
of cutting ourselves adrift from our own people.
But assuming, as we must, that all people, the Chinese, the Negroes,
the Hindus, the Red Indians, and the Arabs between themselves apply
the word beautiful only to particular individuals among their own
people, in order to distinguish them from less beautiful or mediocre
individuals--what meaning has the term in that case?
Obviously, since the spirit of the people, its habits, prejudices
and prepossessions are determined by their values, and values may
fix a type, that creature will be most beautiful among them who is
the highest embodiment and outcome of all their values, and who
therefore corresponds most to the ideal their æsthetic legislator had
in mind when he created their values.[58] Thus even morality can
be justified æsthetically.[59] And in legislating for primeval peoples,
higher men and artist-legislators certainly worked like sculptors on a
yielding medium which was their own kind.
The most beautiful negro or Chinaman thus becomes that individual negro
or Chinaman who is rich in those features which the life-spirit of the
Ethiopian or Chinese people is calculated to produce, and who, owing to
a long and regular observance of the laws and traditions of his people,
by his ancestors for generations, has inherited that regularity of form
in his type, which all long observance of law and order is bound to
cultivate and to produce.[60] And in reviewing the peoples of Europe
alone, we can ascribe the many and different views which they have held
and still hold of beauty, only to a difference in the values they have
observed for generations in their outlook, their desires and their
beliefs.
Public-domain text, read in full here on John Shaqi.
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