The Existential vs.

the Absurd: The Aesthetics of Nietzsche and Camus

Author(s): George F. Sefler
Source: The Journal of Aesthetics and Art Criticism, Vol. 32, No. 3 (Spring, 1974), pp. 415-421
Published by: Wiley on behalf of The American Society for Aesthetics
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 GEORGE F. SEFLER

The Existential vs. The Absurd: The

Aesthetics of Nietzsche and Camus

An artist... if he can tell himself that, finally, as a result of his long effort, he has eased or de-
creased the various forms of bondage weighing upon men, then in a sense he is justified....
-Albert Camus

.. the profound Greek, so uniquely susceptible to the subtlest and deepest sufferings ... was
saved by art, and through art life reclaimed him....
-Friedrich Nietzsche

IT IS NOT ACCIDENTAL that Albert Camus, framework within which to be elucidated.

in each of his two major works of philosoph- It is the goal of this work to attempt such a
ical import, The Myth of Sisyphus and The framework.
Rebel, introduces the topic of aesthetics with
the aid of a quotation by Friedrich Nietzsche. THE AESTHETICS OF SISYPHUS
Both culturally arid academically, Camus
matured in a world tinged with Nietzschean In the opening paragraphs of "Absurd Crea-
hues. Commentators concur in this regard: tion"-that section of Sisyphus intimating a
The writings of Nietzsche influenced Ca- philosophy of art-Camus quotes Nietzsche:
mus. Furthermore, Camus himself has pub- "Art and nothing but art, we have art in
order not to die of the truth."
licly acknowledged indebtedness to Nietz-
sche, referring to the latter as a spiritual Death, in the form of suicide, is the sub-
ancestor.1 ject of Sisyphus. The man of Sisyphus dis-
covers that essences are non-existent; abso-
Coupling these facts with the above texts
on art, one would be prompted to interpret lutes, nowhere to be found. Desperately, he
Camus as an adherent to Nietzschean aes- searches throughout the world in quest of
thetics who upheld and disseminated it "the good," "the true," and "the beautiful,"
to a new generation of followers. Seductive and constantly he is disappointed. The
world, to all his pursuits, reveals itself only
though it be, such an interpretation of the
Nietzsche-Camus kinship is too simplistic. as pure, brute facticity, devoid of any inher-
ent value. Despair seems imminent. Yet, in
Certainly, significant similarities exist be-
tween their two philosophies of art; how- a moment of contempt, man revolts. In de-
these are intertwined fiance of his situation, he perseveres in this
ever, among profound
differences which require a more complex absurd relation to the world.
Art is an instance of this perseverance; it
GEORGEF. SEFLER is chairman of the department of is a recreation of man's senseless situation.
philosophy at Mansfield State College, Pennsyl- As a result, description is the technical key-
vania. note of Camus's aesthetics. The absurd art

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 416 GEORGE F. SE FL ER

work is constantly representing to man man's absurd relation to the world and a
his existential predicament in "a sort of preservation thereof; here Camus is propos-
monotonous and passionate repetition of ing that art rejects the world. Upon closer
the themes already orchestrated by the analysis, however, we discover that The
world...."2 Art confronts man anew with Rebel text does not contradict that of Sisy-
the contradictory tensions which plague his phus, although it does present a certain so-
own life. Even in fictional writing, wherein phistication of the Sisyphus theme. In The
feigned situations constitute the structural Rebel Camus still maintains that art is de-
basis of the art form, man is not separated scriptive of reality; however, it is a distinc-
from his everyday experiences. tive description. As a result, the rejection of
Absurd art gives no meaning or purpose the world of which Camus speaks is not a
to life; it does not give any solutions to or complete denunciation.
explanations of the problems of life's ab-
No form of art can survive on total denial alone.
surdity. "Explanation," feels Camus, "is use- Just as all thought, and primarily that of non-
less." 3 Any interpretation of life is relative signification, signifies something, so there is no
to one's presuppositions and therein fails to art that has no signification.... To create beauty,
attain "the truth." Explication of the ab- he [man] must simultaneously reject reality and
surd is, then, by its very endeavor, absurd; exalt certain of its aspects. Art disputes reality,
but does not hide from it.8
art, if it attempted such, would be reduced
to a form of meaningless verbiage. Even Similar to that in Sisyphus, Camus's in-
though art is a work of intelligence, its ra- terpretation of artistic creation in The Rebel
tional achievement consists in nothing other is not escapist in character. It is a descrip-
than the acknowledgment of its own nullifi- tion of selected events whose interrelated-
cation in fathoming reality. ness gives a partial continuity to the art
Nor does absurd art explain away the ab- work. Viewed from an aesthetic distance, the
surd by making man oblivious of his incon- personages of an artistic work "possess a co-
gruous state. It is not an escape from life or herence and a unity which they cannot have
a refuge from its chronic disorders. Rather, in reality, but which seem evident to the
it is a symptom of worldly ills, preserving spectator. He sees only the salient points of
them and renewing them in an act of spite- these lives without taking into account the
ful rebellion. "Creation [in art] is the great details of corrosion." 7
mime"; it is nothing more.4 Art-Camus In this sense the art work does change
is above interpreting Nietzsche-mimes to reality, yet this change should not be mis-
man the spirit of revolt, so that he may not construed as its reconstitution. "Real liter-
die of or succumb to the truth: the absurdity
ary creation," insists Camus, "uses reality
of life. In this sense, Sisyphus is the Rebel; and only reality with all its warmth and its
we must imagine him happy.
blood, its passion and its outcries." 8 The
juxtaposition of events which bear some spe-
THE AESTHETICS OF THE
cific likeness merely imposes upon the real-
REBEL
ity derived content of the art work a loose
"Rebellion and Art," the division of Ca- cohesion not found within life. This trans-
mus's The Rebel concerned primarily with figuring addition is purely structural in
a philosophy of art, begins: "Art is the ac- character. Life is without structure, without
tivity that exalts and denies simultaneously. design. In art, it is given somewhat of a de-
'No artist tolerates reality,' says Nietzsche. sign, a style-the style of the artist.
That is true, but no artist can get along In brief, this is Camus's aesthetical theory.
without reality. Artist creation is a demand With modifications, it is a consistent theory
for unity and a rejection of the world." 5 from Sisyphus to The Rebel. There are many
It would seem that Camus here is advanc- more ramifications to it than we have dis-
ing a position quite different from that in cussed, but these are not to our purpose. Let
Sisyphus: in the latter, art is descriptive of us turn, then, to the texts setting forth

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The Aesthetics of Nietzsche and Camus 417
Nietzsche's theory of art, to the texts of Nietzsche makes this point quite emphati-
Camus's spiritual ancestor. cally as he comments upon A. W. Schlegel's
suggestion that the chorus of Greek tragedy
NIETZSCHE'S APOLLONIAN- is nothing but "the quintessence of the au-
DIONYSIAN AESTHETICS dience, as the ideal spectator." 11 The posi-
tion Nietzsche views as a crude, unscholarly
Unlike Camus who develops his philosophy (though dazzling) hypothesis and denies its
of art primarily in a context of social validity.
thought, Nietzsche propounds his in an es- We had supposed all along that the spectator,
say of, among other themes, primarily won- whoever he might be, would always have to re-
dering esteem for classical Greek culture. main conscious of the fact that he had before him
To Nietzsche, the Greeks are "an envied a work of art, not empiric reality, whereas the
tragic chorus of the Greeks is constrained to view
species of man," yet they had a need for ar- the characters enacted on the stage as veritably
tistic creation to sustain their culture, their existing.... Schlegel's theory suggests to us that
life. What need did it satisfy? How, in fact, the perfect spectator viewed the world of the
did Greek art function? These questions are stage not at all as art but as reality.12
crucial to Nietzsche's aesthetics. Nietzsche views the chorus not as a bridge
Nietzsche envisions Greek art as emerging between the characters on stage and the
from Apollonian-Dionysian roots; these de- spectators, but as a separating,
impassable
ities represent for him the realms of dream wall. It sets the two
apart reminding the
and intoxication respectively, the generators audience of the radical split between the fic-
of art. The distinction Nietzsche draws be- tive status of the drama and their own ex-
tween these realms is unimportant to our istential situation. Nietzschean art is not
discussion. What is a matter of concern, representative of the world; it
supplants
however, is their common source-both earthly existence to make life bearable. "Art
realms are grounded in and denote a form of is not an imitation of nature but its meta-
illusion. Illusion is the underpinning of physical supplement, raised up beside it in
Nietzsche's aesthetics. Art creates an aura of order to overcome it." 13
unreality; it generates an unworldly state.
Yet one does not confuse this dream state A PROBLEM
with the real world. "Despite the high in-
tensity with which these dream realities My elucidation of Nietzsche's aesthetics has
exist for us," comments Nietzsche, "we still been derived exclusively from The Birth of
have a residual sensation that they are illu- Tragedy, written early in Nietzsche's career.
sions...." 9 Still we crave such revery and We must ascertain if these early texts reflect
delight in it. It is a panacea to life. his mature views; it may well be that Nietz-
The Christian, Nietzsche maintains, is sche has substantially altered his position in
able to endure the sufferings of life by postu- later writings. After all, in the 1886 preface
lating an other-worldly existence to which to The Birth of Tragedy-this was fourteen
this world is a transient "vale of tears." In years after the first edition was published-
such an otherworldly existence, Nietzsche Nietzsche looks unfavorably upon the work,
has no interest; nevertheless, he sees the ne- referring to it as "an impossible book." We
cessity of some consolation, some distraction must determine to what extent, if any,
of this world's severities, which does not Nietzsche's disgust with the work affects
detract primacy from material existence. those aspects of his aesthetics as presented
"... there is but one world, and it is false, above.
cruel, contradictory, seductive, and without To solve our problem, let us review a text
sense," Nietzsche discloses. Man, "in order of Ecce Homo, written in 1888, the last pro-
to endure life, would need a marvelous illu- ductive year of Nietzsche's career. Herein he
sion to cover it with a veil of beauty." 10Art reviews The Birth of Tragedy, remarking:
functions then as a momentary obliteration To do justice to The Birth of Tragedy (1872)
of reality; it never aims at reproducing it. certain things will have to be forgotten. Its very

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 418 GEORGE F. SEFLER

errors produced a great effect, and account for never changed his view in this regard. Twi-
the fascination it contained. By these errors I
mean my treatment of Wagnerism, as if the latter light of the Idols, written in 1888 (Nietzsche's
were the symptom of an ascending tendency.l4 last productive year), specifically states: "For
art to exist, for any sort of aesthetic activity
Nietzsche's dislike for The Birth of Trag- or perception to exist, a certain physiological
edy is certainly not unconnected with this precondition is indispensable: intoxication.
split with Richard Wagner. Nietzsche ex- Intoxication must first have heightened the
tolled him in the book as the composer par excitability of the entire machine: no art
excellence of the authentic Nietzschean results before that happens." 16
world-view; however, Wagner's Christian- In later texts like this, the Apollonian
tainted Parsifal led Nietzsche to denounce root of art is little mentioned; the emphasis
Wagner's music and the texts of The Birth is upon Dionysian intoxication. Further-
of Tragedy relating to him. Nietzsche's rea- more, the illusionary, obliviating character
son for rejecting the book, then, has no bear- of intoxication is played down; emphasis is
ing upon our topic and does not prompt us placed upon its strength-giving result. Dio-
to conclude that Nietzsche in his later writ- nysian intoxication [Rausch] is denotation-
ings changed his position on the purpose of ally multidimensional. It refers not only to
the arts. Similarly, it does not support the alcoholic inebriation but also to any other
contention that he did not change it. Thus, activity which is strongly exciting or elating.
we must search out mature texts which do Moreover, this elation serves not only as a
manifest Nietzsche's position on the function panacea for old ills, but also as a source of
of art. In them we find no reversal of new strength, a tonic, to endure future ills.
thought, but perhaps a certain shift of em- The first function, Nietzsche emphasizes, in
phasis. The Birth of Tragedy, the latter, in his later
In The Birth of Tragedy, Nietzsche re- works. Again, this is not a reversal of
flects: "I made several suggestive statements thought; at most it is a slight change of em-
to the effect that existence could be justified phasis. These two elements of intoxication
only in esthetic terms. As a matter of fact, are really not separable; the one implies the
throughout the book I attributed a purely other. They are like two sides of the same
esthetic meaning-whether implied or overt coin; for, in a Nietzschean world, a tempo-
-to all process: a kind of divinity if you rary oblivion of life's present severities
like...." 15 In his later works, Nietzsche's means a renewal of strength to endure life.
comments upon art were never so laudatory; As Nietzsche states in the opening quota-
in The Birth of Tragedy, his justification of tion: Art saved the Greek from life and
earthly existence only as an aesthetic phe- thereby through art life reclaimed him.
nomenon had become an overstatement. Art,
he felt in later years, could, in certain in- DIONYSIUS VERSUS SISYPHUS
stances, nurture human weaknesses, espe- The contradiction is this: man rejects the world
cially art exemplary of Christian values; as it is, without accepting the necessity of escap-
moreover, to make art the supreme value ing it. In fact, men cling to the world and by far
undervalued science wherein Nietzsche also the majority do not want to abandon it. Far from
always wanting to forget it, they suffer, on the
hoped to find value for the God-less man. contrary, from not being able to possess it com-
This new direction of thought does not pletely enough, estranged citizens of the world,
invalidate his early philosophy of art; it exiled from their own country.... Thus we make
does, however, remove art from that niche of these lives into works of art.
life's supreme value. It portrays art as one of Although familiar with Camus's and
the values, a preliminary one, in making Nietzsche's aesthetic theories, if asked who
life palatable; nevertheless-and this is the wrote the above, one would be hard put to
crucial point-the technique whereby art give an answer. The text in fact comes from
produces this value is still viewed in Nietz- Camus's The Rebel, but Nietzsche could
sche's later writings as intoxication, the JUStas well have written it. This illustrates
view of The Birth of Tragedy. Nietzsche that fundamental similarities indeed exist

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The Aesthetics of Nietzsche and Camus 419
between the two men's philosophies of life Finding no intrinsic values within existence,
and their respective, resultant aesthetics. nausea permeates the Nietzschean man. And,
Both thinkers are this-world oriented in "in this supreme jeopardy of the will, art,
their writings. For each, material existence that sorceress expert in healing, approaches
exhausts reality; there is no other real form him; only she can turn his fits of nausea into
of existence. Man, if he is to survive, must imaginations with which it is possible to
accept and embrace life. What is life? An live." 17
incarnation of dissonance, states Nietzsche. This dreamy, unreal aura in which the
Camus concurs: There are no absolute val- Nietzschean work envelops man makes im-
ues in the world, only confused, unachieved possible a descriptive art form; even a se-
ends. Thus, acceptance of life has certain lected description in Camus's sense of the
shattering consequences. It is to these conse- phrase is ruled out. Art for Nietzsche is not
quences that both men's aesthetics are di- a representation of reality. It is not an imi-
rected and thereby justified. tation of nature, we recall Nietzsche stating,
No essence of beauty (in the sense of a but a metaphysical supplementation, whose
Platonic form) is required to generate or to goal is to overcome reality without destroy-
justify art. The aesthetic mode is fully in- ing it. In this sense, Nietzschean art extends
telligible within a human context, with man hope to man, not in an unrealistic sense of
as the progenitor of art and the recipient of total and permanent refuge from life's trials
its value. Art esteemed for art's sake has no and tribulations, a state which could never
place in either man's viewpoint; artistic pro- occur within the Nietzschean world-view,
ductions have, for both thinkers, practical but rather the hope-giving awareness that, if
value. However, when we focus upon the needed, a means exists to help endure life,
constitution of this value, we discover that to alleviate its extreme hardships.
the two theories, which thus far complement With such a view Camus vehemently dis-
and coincide with each other, quickly di- agrees: "It culminates thus in forced opti-
verge. mism, the worst of luxuries, it so happens,
For Nietzsche, art functions as an as- and the most ridiculous of lies.... Must we
suagement of man's sufferings. Art directs conclude that this lie is the very essence of
him for the moment from the world to cre- art? I shall say instead that the attitudes I
ate a euphoric, yet illusory, relief of its se- have been describing are lies only insofar as
verity; temporarily, it makes him forgetful they have but little relation to art." 18
of his existential situation. Man, Nietzsche Nietzsche responds: "We are in need of
maintains, in order to endure life needs ar- lies in order to rise superior to this reality,
tistic illusions to veil it with a cope of to this truth-that is to say, in order to
beauty. live.... Man must already be a liar in his
Camus denies this function to art; it veils heart, but he must above all else be an art-
nothing. In this sense Camus's world is more ist, one of the greatest of liars." 19
severe than Nietzsche's-the latter has in-
cluded within its bounds a means of seda- EXISTENTIAL VERSUS ABSURD
tion to calm man momentarily in his exis- AESTHETICS
tential situation: art. No such tranquilizing
agent exists within Camus's world. Art ag- Camus had great respect for Nietzsche and
gravates man's worldly tensions; it does not was much indebted to him, publicly ac-
soothe them. Absurd art makes more pierc- knowledging him as a spiritual ancestor. Yet,
ing the acute distresses of marnby portraying why should Camus revere Nietzsche and
them artistically. Art for Camus is not a re- quote the latter's views on art amid his own
treat to one's "ivory tower" wherein reality, when he held to an aesthetics so radically
the absurd, can be ignored. Art does not different? Perhaps the beginnings of an an-
offer a refuge from reality; it cannot be the swer are found in a statement made by Ca-
consolation for life. Yet it is precisely such mus during a 1951 interview. "What is ad-
consolation which Nietzsche sees in art. mirable, in Nietzsche," Camus remarks

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 420 GEORGE F. SEFLER

therein, "is that you always find in him Nietzsche is critical of the latter's aesthetics.
something to correct which is dangerous In the Poetics, Aristotle insists upon the
elsewhere in his ideas."20 Camus's refer- unity of plot as the characteristic of a good
ences to Nietzsche's texts on art serve, then, tragedy or narrative poem. This unity does
as a form not of agreement, but of correc- not refer to Camus's organizational unity of
tion. portraying selected, related events, but to a
The proper relation of a spiritual, intel- cohesive, integrated unity in the sense of
lectual ancestor to his descendant never completeness. Works of tragedy and narra-
consists in the simple bequeathing to the tive poetry are to have a beginning, middle,
descendant of a tomb of insights to be pre- and end, the latter being the necessary or
served intact and untouched. The good stu- usual consequent to the action. Nothing
dent listens to the master; then he builds more could issue from the plot. There is
upon the latter's insights, either in the form portrayed in the work a certain crisis which
of a constructive continuance or of a reac- builds, erupts, and completely resolves it-
tionary reversal. Camus built upon a Nietz- self, resulting in the psychotherapeutic res-
schean foundation, altering, modifying, and toration of the audience's emotional balance
rejecting elements of his thought. Within which allows it to face the world again with
the world of aesthetics, Camus's position has renewed confidence that its problems are,
transfigured Nietzsche's. Similarly, within perhaps, not so catastrophic as it first
the world of actual artistic creations, Nietz- thought. This relief or comfort which the
sche's paragon, the traditional Greek trag- art work brought to the audience is nothing
edy with its systematic structure of conflict, other than Nietzsche's artistic intoxication,
climax, and denouement, has given way to with its soothing tranquilizing state of il-
Camus's and other authors' unclimatical, lusory oblivion. In Will to Power Nietzsche
unresolved works of revolt and rebellion. makes this point clear: "The extreme calm
Nietzsche's aesthetics necessitates good art in certain sensations of intoxication (more
works to portray some form of action-reso- strictly, the retardation of the feelings of
lution to make the audience will the en- time and space) likes to be reflected in a vi-
durance of life's severities. This is espe- sion of the calmest gestures and types of soul.
cially true in the Greek tragic form. If one The classical [Greek artistic] style is essen-
is to see the inevitability of suffering in life tially a representation of this calm, simplifi-
and the wisdom gained through this suffer- cation, abbreviation, concentration...." 21
ing, he must accept the responsibility for Such peace and comfort can no longer be
his actions and resign himself to the inevita- found in contemporary artistic productions
ble punishments for his unjust deeds. Aes- -be they in the theater, film, or literature.
chylus, in his Orestes trilogy, had to por- Nor for that matter should such be found,
tray the killing of Clytemnestra; Sophocles, according to Camus. The good guy no lon-
the self-blinding of Oedipus. If these retrib- ger wears a white hat; the bad guy, black.
utive events did not occur, the works would The characters wear motley-colored hats-if
have no constructive worth. If these charac- they wear hats at all: The hero no longer
ters did not pay for their crimes, if they gets his lover, holding hands, walking off
somehow bypassed the tragic consequences into the sunset, to live happily forever after.
of their deeds, the art work would convey to The fragmentary episodes of contemporary
man a false hope of escaping reality and not art works bring to the foreground the un-
the submitting commitment to embrace it. certainties of existence giving the audience
The brief flight into oblivion of the Nietz- not a sense of satisfaction and resolution,
schean art work can in no way be construed but a sense of confusion and futility in its
as a step toward permanent escape; it is but full existential absurdity.
a stimulant toward lasting acceptance of the Of Dostoevsky, Camus once remarked
world. that "it is not an absurd novelist addressing
In a sense, Nietzsche's views on plot-reso- us, but an existential novelist." 22 Camus's
lution complement Aristotle's, although justification for this remark entailed what

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The Aesthetics of Nietzsche and Camus 421
he detected in Dostoevsky's works as a cer- 2 The Myth of Sisyphus (New York: 1955), p. 70.
tain resolution, a reply to the absurd situa- 8 Ibid.
' Ibid.
tion, which gave to life a nobility, a The Rebel, An Essay on Man in Revolt (New
hope-giving explanation-characteristics not York: 1957), p. 253.
inherent to absurdist literature. If Camus's 6 Ibid., p. 258.
remarks about Dostoevsky's works are ap- 7 Ibid., p. 261.
8 Ibid., p. 269.
propriate is not our concern. However, if 9 The Birth of Tragedy, I. (All references are from
we accept Camus's reasoning and maintain a the English edition, Complete Works, ed. O. Levy,
distinction between existential and absurd London 1909-13.)
literary approaches based upon plot-resolu- 10 The Will to Power, 853, and The Birth of Trag-

tion or lack thereof in conjunction with the edy, XXV. Will to Power citations correspond to the
section numberings of the 1906 edition.
respective accompanying literary, psycholog- 11 The Birth of Tragedy, VII.
ical, and structural implications, we can l"Ibid.
indeed speak of Camus's and Nietzsche's 18 Ibid., XXIV.

philosophies of art as fundamentally diverse. 14 "The Birth of Tragedy," Ecce Homo, I.

Respectively, Camus and Nietzsche present 18"Critical Backward Glance," The Birth of Trag-
to us the absurd and the existentialist aes- edy, V (1886), preface.
1
thetics. "Expeditions of an Untimely Man," Twilight of
the Idols, 8 (1888).
17 The Birth of Tragedy, VII.
18"Create Dangerously," Resistance, Rebellion,
1"Encounter with Albert Camus." An interview and Death (New York: 1961), pp. 263-64.
with Gabriel d'Aubarede in Les Nouvelles litt!raires, 19 The Will to Power, 853; italics mine.

May 10, 1951. Reprinted in Lyrical and Critical Es- 20"Encounter with Albert Camus," p. 354.
says, ed. Philip Thody and trans. Ellen Conroy Ken- " The Will to Power, 799.
nedy (New York: 1970), p. 354. 22The Myth of Sisyphus, p. 82.

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