Aside from the usual suspects of Nietzsche’s
affection, admired, and occasionally maligned, in groups or as individuals, Marie-Henri
Beyle, aka Stendhal, occupies a special niche, rivaled by very few in
importance. Nietzsche exalts him both as a psychologist, based primarily
on Stendhal’s 1830 masterpiece of fiction Le Rouge et le Noir, and as an
aesthete, based primarily on his 1822 non-fiction work De L’Amour.
Although in Nietzsche’s psychological realm Fedor Dostoyevsky reigns supreme,
Stendhal stands a most respectable second to the Russian genius. (“…Dostoevsky, the only
psychologist, incidentally, from whom I had something to learn; he ranks among
the most beautiful strokes of fortune in my life, even more than my discovery
of Stendhal.” [In Götzen-Dämmerung: Skirmishes
of an Untimely Man #45.])
Ironically Nietzsche lavishes quantitatively more praise on Stendhal
the psychologist than on Dostoyevsky, and here are some of those laudatory
instances:
“A final trait for the image
of the free-spirited philosopher is contributed by Stendhal, whom, considering
German taste, I do not want to fail to stress -- for he goes against the German
taste. “Pour être bon philosophe,”
says this last great psychologist, “il
faut être sec, clair, sans illusion. Un banquier, qui a fait fortune, a une
partie du caractère requis pour faire des découvertes en philosophie,---
c’est-à-dire, pour voir clair dans ce qui est.” (Jenseits
39.)
At this point it may be useful for me to quote
myself from an autobiographical entry built around Jenseits 39, under
the title Dry, Clear, Without Illusion, where I see Stendhal clash with
Nietzsche in a paradoxical, yet definitely undecided battle:
“Nietzsche is quite obviously in
love with Stendhal. But isn’t the Frenchman denying his philosopher label
to Nietzsche, once we try to literally
interpret his dictum? Who can be less dry, or more passionate, or
more filled with all sorts of illusions than our dear Nietzsche?
Philosophy for him is a continual non-stop inspiration, and prophetic speech of
the highest order. To say that anything he says is in any way compatible with
the person of a “banker who has made a fortune”
can make a good paradox in the tradition of Oscar Wilde, but a grave
and outrageous insult to Nietzsche himself, that is to the philosopher inside
him. Take this quality of clarity, for instance. Even this is a very different
quality in the philosopher than in Stendhal’s banker. And finally, if Stendhal
has nailed it on the head, what then, is Zarathustra, and whatever on
earth can he have in common with the
concept of sec which Stendhal makes the cornerstone of his thought in
the quote? Mind you, I am talking about the true philosopher… My view of the
philosopher then, is a clash of the opposites, the meeting of Stendhal and
contra-Stendhal in the person of the philosopher.”
Returning to our quote from Jenseits 39, it
is almost hilarious how standard history of literature calls Stendhal the
first great psychologist, whereas our Nietzsche calls him “the last.”
I wish that Nietzsche had explained his judgment, in terms of who can be
called Stendhal’s predecessor psychologists: from the first to the penultimate…
But Nietzsche persists in calling Stendhal, or
Henri Beyle, as below, the last, rather than the first. We
continue now with Jenseits #254:
(By way of contrast to the German inexperience and innocence in voluptate psychologica which is none
too distantly related to the tediousness of German company, and as the most
consummate expression of a typically French curiosity and inventive talent in
this domain of delicate thrills, Henri Beyle may be noted; that remarkable
anticipatory and precursory human being who ran with a Napoleonic tempo through
his Europe, through several centuries
of the European soul, as an explorer and discoverer of this soul--- it required
two generations to catch up with him
in any way, to figure out long again a few of the riddles which tormented and
enchanted him, this old Epicurean and question mark of a man-- who was France’s
last great psychologist.)
Now, instead of moving on
textually/chronologically further within the Jenseits expanse, we shall
proceed thematically, with yet another Nietzsche testimony to Stendhal the
great psychologist. Here is Ecce
Homo: “The Case of Wagner” #3.
“…And when I occasionally praise Stendhal as a deep psychologist, I have encountered professors at German universities who asked me to spell his name.”
With this last mention of Stendhal’s
psychological brilliance I am ready to stop the flow of these particular
illustrations. (Or am I? Yet another mention of Stendhal the psychologist will
still come near the end of this entry!)
Our next topic is Stendhal the aesthete, and
here we shall limit ourselves just to two Nietzschean passages. One is from the
Genealogie de Moral: Third
Essay, Section 6:
“Schopenhauer
used the Kantian version of the aesthetic problem, although he did not view it
with Kantian eyes. Kant thought he was honoring art, when among the predicates
of beauty he emphasized those, which establish the honor of knowledge: impersonality
and universality. This is not a place to inquire if it was a
mistake; all I wish to stress is that Kant, like all philosophers, instead of
seeing the aesthetic problem from the point of view of the artist, the creator,
considered art and the beautiful purely from the point of view of the
spectator, and unconsciously introduced spectator into the concept beautiful.
It would not have been so bad had the spectator been sufficiently familiar to
the philosophers of beauty, namely, as a great personal fact and experience.
But I fear, the reverse has always been the case, so they have offered us
definitions, in which a lack of experience reposes in the shape of a fat worm
of error. ‘That is beautiful,’ proclaims Kant, ‘which gives us pleasure without
interest.’ Without interest! Compare this with the definition once framed by a
genuine spectator and artist Stendhal, who once called the beautiful “une
promesse de bonheur.” He rejects the one point, which Kant has stressed: le
desinteressement. Who is right? If our aestheticians rule in Kant’s favor
that under the spell of beauty one can even view undraped female statues without
interest, one may laugh a little at their expense. The experiences of artists
are more interested,--- and Pygmalion was not necessarily an unaesthetic
man.
And here
we come to Schopenhauer who stood much closer to the arts than Kant, and yet
did not free himself from the spell of the Kantian definition. He interpreted ‘without interest’ in an extremely
personal way, on the basis of one of his most regular experiences.
Schopenhauer
speaks with great assurance of the aesthetic contemplation as it counteracts
sexual interestedness. He glorifies this liberation from the will as the great
merit and utility of the aesthetic condition. Thus aesthetics calms the will,
creating ‘the painless condition that
Epicurus praised as the highest good and the condition of the gods.’ (World as Will and Representation).
However, Stendhal, a no less sensual, but happier person says that ‘the beautiful promises happiness,’ that is, arouses the will, not
calms it.
Unlike
the Kantian definition, Schopenhauer, like
Stendhal, sees the beautiful from an interested point. And to
return to our question: what does it mean
when a philosopher pays homage to the ascetic ideal?, the answer is: he
wants to gain release from torture.
The second excerpt on Stendhal
the aesthete comes from Der Wille zur
Macht #105:
“The
preponderance of music in the romantics of 1839 and 1840. Delacroix. Ingres, a
passionate musician (cult of Gluck, Haydn, Beethoven and Mozart) said to his
students in Rome: ‘Si je pouvais vous
rendre tous musicians, vous y gagneriez comme peintres’; also Horace
Vernet, with a special passion for Don Giovanni (as Mendelssohn testifies in
1831); also Stendhal, who said of himself: ‘Combien
de lieues ne ferais-je pas a pied, et combien de jours de prison ne me
soumetterais‑je pas pour entendre Don Juan ou le Matrimonio Segreto: et je ne
sais pour quelle autre chose je ferais cet eport.’ At that time he was 56.”
Now, here is one of the most compelling
Nietzschean testimonies on the importance of Stendhal for his life and thought.
This is from Ecce Homo. Why I am
so Clever #3, where Stendhal the
psychologist still shines:
“Stendhal, one of the most beautiful accidents of my life--- for whatever marks an epoch in it came my way by accident, and never through someone’s recommendation --- is truly invaluable with his anticipatory eye of a psychologist, with his knack for the facts which is reminiscent of the greatest of factual men (ex ungue Napoleonem) ; and finally not least as an honest atheist --- a species that is both rare and almost impossible to discover in France — with all due respect for Prosper Mérimée.
Perhaps I am even envious of Stendhal? He robbed me of the best atheistic joke which I of all people might have made: ‘ God’s only excuse is that He does not exist.’
I myself have said somewhere: What has been the greatest objection to existence so far? God.”
And
finally a couple more Nietzschean references to Stendhal, which by no means
exhaust the complete list of such references, some of which are fleeting and
perhaps superfluous to the purpose of this entry, that has already been
abundantly served.
From Jenseits 256. Observe the illustrious
company where Stendhal belongs, courtesy of Nietzsche:
“Owing to the morbid estrangement which the nationality-craze has induced
and still induces among the nations of Europe, owing also to the short-sighted
and hasty-handed politicians, who with the help of this craze, are at present
in power, and do not suspect to what extent the disintegrating policy they
pursue must necessarily be only an interlude policy-- owing to all this and
much else that is altogether unmentionable at present, the most unmistakable
signs that Europe wishes to be one,
are now overlooked, or arbitrarily and falsely misinterpreted. With all the
more profound and large-minded men of this century, the real general tendency
of the mysterious labor of their souls was to prepare the way for that new synthesis, and tentatively to anticipate
the European of the future; only in their simulations, or in their weaker
moments, in old age perhaps, did they belong to the ‘fatherlands’ --- they only rested from themselves when they became
‘patriots.’ I think of such men as Napoleon, Goethe, Beethoven, Stendhal (sic!), Heinrich Heine, Schopenhauer: it must not be
taken amiss if I also count Richard Wagner among them…”
And lastly from Ecce Homo again, namely, from Unzeitgemässen#2:
“At bottom all I had done
was to put one of Stendhal’s maxims into practice : he advises one to make
one’s entrance into society by means of a duel. And how well had I chosen my
opponent!--- the foremost German free spirit.” (An easy to get reference
to Wagner.)
In conclusion of this large
entry, we need to ask the natural question: what is it about Stendhal that
attracted Nietzsche so much? This question may appear asinine to those who have
read and admired Le Rouge et le Noir, until
they come to realize that it is a rhetorical question. The real one ought to
be: how come that the works of Stendhal are so little known to the modern
generation? There is a good reason to study Stendhal’s undoubtedly eminent
contribution to world culture, and Nietzsche’s cue gives a helpful hint to
that.