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harmonizes; but the relationship takes on a different appearance at other points in these same texts. In the succeeding lines of the fragment the discourse moves on to inebriation, which involves a heightened sensibility, a propensity for dance, a linking up of worlds of images which stimulate and incite each other in turn to indefinite development. Art seems to become a place where religious rapture coincides with sexual excitation, while artists are revealed as endowed with exuberance, animal energy and sensuality. In both fragments 800 and 821 the feeling for nuances and the capacity to recognize and appreciate solidity of line, and hence perhaps form, are thus dependent on the state of overexcitation, exuberance or inebriation, i.e. on something that is not primarily an impulse to form, but which rather stands on the side of the Dionysiac negation of form. On one hand the power achieved by art seems to be related to its representation of the triumph of unitary organization over centrifugal thrust, multiplicity, mobility and the disorder of the impulses. On the other hand, it seems that the more Nietzsche strives to analyse the meaning of this victory of force in art, the more he realizes that the idea of the organic, of geometrical simplicity, of structural rigour crumbles in his hands. Art comes to look more and more like an activation of impulses recalcitrant to unification and coordination, forces so highly refined as to be almost pathological. Thus in fragments 800 and 821 the invigorating function of art is not exercised in the (artist's) domination of materials and tools or in the (spectator's) domination of passions, but rather in the potentiation of the passions as a means by which humans can assert themselves over and against the apparent negativity of existence. On one hand, then, Nietzsche puts forward this conception of art as a pulsive mechanism with a destructuring effect
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insofar as it triggers the subject's impulses and so breaks uf the subject's established hierarchies, stability and 'continuity' (which is what Plato was defending when he condemned dramatic poetry). By contrast, however, there is alsc Nietzsche's polemic, particularly in his final period, against 'decadent' art, romantisme, art which has forgotten the 'grand style' and has been reduced to an opiate, a mere stimulant foi the emotions. As is well known, here also lies the root of his opposition to Wagner. Nevertheless I do not believe that the position of the later Nietzsche on art and literature can simply be reduced to a polarity between a kind of 'classicism1 (the notion of 'grand style') and the decadent and emotionalistic features of the Romantic art of his day. Considei
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