My novel TABLE 41

My Guide to English Usage

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Table of Contents


I Renounce All My Early Books and Writings

Aphorisms on Modesty, Fashion, Libertarianism, Life, Criticism, Psychoanalysis, and Education

My Favorite Writers, My Favorite Music, My Favorite Films

The Most Important Video You Will Ever Watch

Three Aperçus: On DEADPOOL (2016), David Foster Wallace, and Beauty

Three Aperçus: THE NEON DEMON (2016) and Envy

On Bob Dylan Being Awarded the Nobel Prize for Literature in 2016

The Red Pig Asian Kitchen

Happy Father’s Day: Or, Chopo Chicken

Analogy Blindness: I Invented a Linguistic Term

Polyptoton: Greg Gutfeld

Two Haiku

David Foster Wallace and Macaulay Culkin: Three Aperçus

On the Distinction between the flaneur and the boulevardier

Ordering a Pizza at the Standard Market Grill in Lincoln Park

PRIVATE: Jimmy Carter


Commentary on HUMAN, ALL-TOO-HUMAN / MENSCHLICHES, ALLZUMENSCHLICHES: Was Nietzsche an Atheist? – Was Nietzsche a Misogynist? – Sam Harris’s Unspoken Indebtedness to Nietzsche





















When Did Writing Stop Having to Do with Writing?: Mark Z. Danielewski’s THE HOUSE OF LEAVES

Quentin Tarantino Is an Anti-Black Racist

California Über Alles: Quentin Tarantino’s INGLOURIOUS BASTERDS (2009)

Against “Bizarro” Fiction

On FIGHT CLUB by “Chuck” Palahniuk

On STRANGER THAN FICTION by “Chuck” Palahniuk

On RANT by “Chuck” Palahniuk

On SNUFF by “Chuck” Palahniuk

On TELL-ALL by “Chuck” Palahniuk

On DAMNED by “Chuck” Palahniuk

Fifty Shades of Error: “Chuck” Palahniuk’s BEAUTIFUL YOU

Slap Something Together: “Chuck” Palahniuk’s MAKE SOMETHING UP: STORIES YOU CAN’T UNREAD

On ONLY REVOLUTIONS by Mark Z. Danielewski

On THE HISTORY OF LOVE by Nicole Krauss


On THE ROAD by Cormac McCarthy



On EATING ANIMALS by Jonathan Safran Foer

Writing with Scissors: Jonathan Safran Foer’s TREE OF CODES

On CHRONIC CITY by Jonathan Lethem

On BLINK by Malcolm Gladwell

On OUTLIERS by Malcolm Gladwell



On MIN KAMP / MY STRUGGLE, Volume One by Karl Ove Knausgaard

On MIN KAMP / MY STRUGGLE, Volume Two by Karl Ove Knausgaard

Against the Writings of David Foster Wallace, Part One: OBLIVION

Against the Writings of David Foster Wallace, Part Two: A SUPPOSEDLY FUN THING THAT I WILL NEVER DO AGAIN

Against the Writings of David Foster Wallace, Part Three: BOTH FLESH AND NOT

Against the Writings of David Foster Wallace, Part Four: CONSIDER THE LOBSTER

Against the Writings of David Foster Wallace, Part Five: INFINITE JEST

On THE FIFTY-YEAR SWORD by Mark Z. Danielewski

On FREEDOM by Jonathan Franzen


On THE LOVELY BONES by Alice Sebold

On DERMAPHORIA by Craig Clevenger


Girl Gone Rogue: Concerning Sarah Palin


Corregidora / Corrigenda

I Prefer Not to Misinterpret: Melville’s “Bartleby the Scrivener: A Story of Wall Street”

So Long, Planet Earth!: Percy Bysshe Shelley’s “Ode to the West Wind”

Keats and the Power of the Negative: On “La Belle Dame sans Merci”

On “Eveline” by James Joyce

On “The Horse Dealer’s Daughter” by D.H. Lawrence

Why I Can’t Stand Georges Bataille

On WOMEN by Charles Bukowski

On FAT GIRL / A MA SOEUR by Catherine Breillat

On NOSFERATU by Werner Herzog

On CORREGIDORA by Gayl Jones


Escape from Utopia: Bret Easton Ellis

On GILES GOAT-BOY by John Barth

On LIPSTICK JUNGLE by Candace Bushnell



On O, DEMOCRACY! by Kathleen Rooney

On STUCK by Steve Balderson

On THE CASSEROLE CLUB by Steve Balderson

On THE YELLOW WALLPAPER by Charlotte Perkins Gilman

The Trace of the Father

On VICTOR/VICTORIA by Blake Edwards

On STEPS by Jerzy Kosinski


On V. by Thomas Pynchon


On MAO II by Don DeLillo

On ROBINSON ALONE by Kathleen Rooney

Dennis Cooper and the Demystification of Love



On CRASH by J.G. Ballard




by Joseph Suglia

“I advise you to cultivate that form of contempt which is called pity.”

—Joseph Conrad, Victory


M = Morgenröthe: Gedanken über die moralischen Vorurtheile (1881; second edition: 1887).  The numbers refer to the numbers of the paragraphs that are cited.


D = Daybreak: Thoughts on the Prejudices of Morality, ed. Maudemarie Clark and Brian Leiter. Cambridge University Press, 1997.  The numbers refer to the pages of the text.


Those who read Nietzsche in English translation have been lied to, deceived, seduced, hoodwinked by dishonest translators and commentators.  My intention here will be twofold.  First, to correct some of the horrifying misinterpretations in the introduction to the Cambridge University Press translation of Nietzsche’s Morgenröthe: Gedanken über die moralischen Vorurtheile (1881; 1887), entitled Daybreak: Thoughts on the Prejudices of Morality (first published in 1997).  I will hose off the slime with which Nietzsche’s great book has been lathered and amplify what Nietzsche actually writes.  This will not have been, then, an interpretation of Nietzsche’s Daybreak, but an attempt to illuminate and magnify his writing so that it becomes more legible.

* * * * *

Daybreak is Nietzsche’s inaugural attack on morality.  The point is not to argue that human beings should be immoral, but that they should be moral for different reasons than have been traditionally presented.  His attack on morality is based on the critique of voluntarism (the theory of the free will) and the critique of altruism that was launched in Human, All-too-human (1878; 1880).  The goal of Daybreak, as Nietzsche writes in the Preface to the 1887 edition, is to “undermine trust in morality” (Vetrauen zur Moral zu untergraben).  Nietzsche does take pains to acknowledge that his own stance is self-contradictory, inasmuch as his critique of morality is itself “moral,” in a sense, coming, as it does, from an uncritical trust in rationality.  The fact that Nietzsche cites Hegel approvingly in this regard shows us that Nietzsche exists in closer proximity to Hegel than is customarily acknowledged.  Nietzsche uses the figure of the scorpion to describe this movement of turning-morality-against-itself ([der kritische Wille] gleich dem Skorpione, den Stachel in den eigenen Leib sticht [M Preface]), though I think a more felicitous figure would be that of the amphisbaena, a serpentine creature in Greek mythology that has two heads, one of which dangles at the tip of its tail and which can sometimes be seen biting the other head.  Why?  Free-spirits are forever shedding their opinions, much in the way that the snake sloughs off its skin.  All of Nietzsche’s writing is intentionally self-contradictory.

Morality is based on two false presuppositions: that human beings are self-conscious subjects who make their own choices, the sources of which are transparent to them, and that human beings are capable of selfless compassion for others, of other-directedness, of caring for other people without any reference to themselves.

The first false presupposition of morality: Human beings are self-conscious subjects who make their own choices, the sources of which are transparent to them.

We are not in control of what we think or what we feel.  We are not in control of our minds because we are part of our minds.  Our minds are more powerful than we are.  Every conscious thought issues from the unconscious mind: “All of our so-called consciousness,” Nietzsche writes, is “a more or less fantastical commentary on an unknown, perhaps unknowable, yet felt text” (all unser sogenanntes Bewusstsein [ist] ein mehr oder weniger phantastischer Commentar über einen ungewussten, vielleicht unwissbaren, aber gefühlten Text) [M 119].  And all unconscious data is formed by our history, by our environment, by tradition, by mood, by our physiology, by our heredity (though Nietzsche did not live to see the discovery of genetics), not by some nonexistent “free will.”  There can be no moral thinking or immoral thinking insofar as we are unconsciously compelled to think whatever we consciously think and are therefore not responsible for our thoughts.  Morality implies responsibility—and if we are not responsible for what we think, consciously or unconsciously, how could we be held responsible for the alleged “morality” or the alleged “immorality” of our thoughts?

Consider the hypnagogic state—that twilight between alertness and slumber.  You are neither awake nor asleep.  Your thoughts rush and gush.  How could one be responsible for the rushing and gushing of thoughts when the mind is in this semi-conscious state?  And if one is not responsible for such thoughts, for which thoughts is one responsible, and why?

If there is no freedom of thought (and there is none), there are no free actions, either.  No actions are good or evil—for surely, goodness is voluntary goodness and evilness is voluntary evilness.  People are neither voluntarily good nor voluntarily evil, which means that they are neither good nor evil.  As a result, we should perhaps stop pouring people into twin buckets, one marked GOOD and the other marked EVIL and develop richer and more complex ways of evaluating human behavior.

If people are constrained to perform good deeds, then praise is never earned.  The Australian taxi driver who returns $500,000 to the Japanese businessman who left the money in his cab does not deserve to be heroized.  If people are constrained to perform bad deeds, then neither is punishment ever deserved.  Criminals should be pathologized, for criminality is a pathology [M 202], not the result of sinfulness [M 208].  And why should anyone feel guilt or regret for something that one did?  It makes as little sense to feel guilt or regret for something that you did not choose to do as it does for someone else to blame you or to praise you for what you did not choose to do.

The second false presupposition: Human beings are capable of selfless compassion for others, of other-directedness, of caring for other people without any reference to themselves.

Why does anyone behave morally to begin with?  People are moral out of laziness, out of cowardice, out of convenience, out of submissiveness to tradition.  Above all, they are moral out of the desire for self-satisfaction.

(Parenthetical remarks: All morality is arbitrary: Every age has a different sense of what is “good” or “evil,” what is blameworthy or praiseworthy [M 2].  The ancient Jews believed that wrath was a virtue (as evidenced by the Hebraic Bible); the ancient Greeks believed in the virtuousness of envy (as evidenced by Hellenic mythology) and of revenge (as evidenced by the Oresteia).  Dissembling once counted as a virtue (as evidenced by Homer).  The ancient Greeks despised pity (as evidenced by Aristotle) and hope (as evidenced by Hesiod) and praised shame (as evidenced by Plato).  Our culture, by contrast, despises shame (consider the all-pervasive campaigns against shaming in our culture of timidity) and extols pity and hope (as evidenced by the 2008 presidential campaign) as virtues.)

Every human being is self-directed (though, as I have stated elsewhere, Nietzsche did not believe in a hypostatized or substantialized human self).  Everything that you do, you do for your own benefit or pleasure, even if that pleasure is a dark pleasure or a negative pleasure or the pleasure that comes from denying oneself a pleasure.  Compassion is selfish because life is selfish.

Despite what the editors of the Cambridge University Press translation write about him, Nietzsche never claims that there is such a thing as a “moral motive” or a “morally motivated action” (xxv).

The introduction to the Cambridge Daybreak is nameless.  Who typed this text?  It is impossible to say with conviction, though it was likely put together by Maudemarie Clark and Brian Leiter, the editors of the volume.  If I had written such an atrocity, I would not have put my name on it, either.

The agenda of Clark and Leiter (I will assume that they are the writers of the introduction) is to turn Nietzsche into someone who believes that the human animal is a self-sacrificing animal that can be dedicated absolutely to “the Other.”  As I will argue, Nietzsche is not suggesting that there are other-centered impulses, and he is hardly repudiating the necessary existence of egoistic instincts.

The passage that the editors make hash browns out of is Paragraph 103 (“Es giebt zwei Arten von Leugnern der Sittlichkeit”; “There Are Two Kinds of People who Deny Morality”).  The passage is worth citing in its entirety:

Es giebt zwei Arten von Leugnern der Sittlichkeit.—“Die Sittlichkeit leugnen”—das kann einmal heissen: leugnen, dass die sittlichen Motive, welche die Menschen angeben, wirklich sie zu ihren Handlungen getrieben haben,—es ist also die Behauptung, dass die Sittlichkeit in Worten bestehe und zur groben und feinen Betrügerei (namentlich Selbstbetrügerei) der Menschen gehöre, und vielleicht gerade bei den durch Tugend Berühmtesten am meisten. Sodann kann es heissen: leugnen, dass die sittlichen Urtheile auf Wahrheiten beruhen. Hier wird zugegeben, dass sie Motive des Handelns wirklich sind, dass aber auf diese Weise Irrthümer, als Grund alles sittlichen Urtheilens, die Menschen zu ihren moralischen Handlungen treiben. Diess ist mein Gesichtspunct: doch möchte ich am wenigsten verkennen, dass in sehr vielen Fällen ein feines Misstrauen nach Art des ersten Gesichtspunctes, also im Geiste des La Rochefoucauld, auch im Rechte und jedenfalls vom höchsten allgemeinen Nutzen ist.—Ich leugne also die Sittlichkeit wie ich die Alchymie leugne, das heisst, ich leugne ihre Voraussetzungen: nicht aber, dass es Alchymisten gegeben hat, welche an diese Voraussetzungen glaubten und auf sie hin handelten.—Ich leugne auch die Unsittlichkeit: nicht, dass zahllose Menschen sich unsittlich fühlen, sondern dass es einen Grund in der Wahrheit giebt, sich so zu fühlen. Ich leugne nicht, wie sich von selber versteht—vorausgesetzt, dass ich kein Narr bin—, dass viele Handlungen, welche unsittlich heissen, zu vermeiden und zu bekämpfen sind; ebenfalls, dass viele, die sittlich heissen, zu thun und zu fördern sind, — aber ich meine: das Eine wie das Andere aus anderen Gründen, als bisher. Wir haben umzulernen, —um endlich, vielleicht sehr spät, noch mehr zu erreichen: umzufühlen.

There are those, Nietzsche tells us, who deny that anyone is capable of a moral motive.  This first kind of philosopher (Lichtenberg, La Rochefoucauld, et al.) is opposed to those Pharisees whose morality lies in their words, not in their hands: the sanctimonious, the sophists, the takers, the verbalizers, the hypocrites.  The second denier of morality denies that morality is based on objectively true presuppositions.  This second category of philosopher understands that all morality is misbegotten.  Nietzsche belongs to the second camp.

The editors are fond of the following sentence (rendered into English): “Here it will be conceded that the motives of action are real, but that it is errors which, as the basis of all moral judgment, drive them to their moral actions.”  The editors assume that this sentence implies that Nietzsche believed that people can have good, moral intentions: In this passage, they write, Nietzsche “admits the existence of moral motivation” (xxvi).  They think that Nietzsche is the precursor of Martin Buber or Emmanuel Levinas, that he is someone who has the greatest piety for the Thou or for the Other.  When he wrote Human, All-too-human, then, Nietzsche was a sinner who thought that people were self-interested.  Now, he undergoes an epiphany as he travels on the road to Damascus: “In Daybreak, by contrast, we can begin to see the shift in Nietzsche’s strategy: he explicitly raises the question about the value of unegoistic actions, at the same time that he begins to move away from the psychological egoism of Human All Too Human” [xxiv-xxv].

According to this (mis)interpretation, the Nietzsche of Daybreak has rejected Human, All-too-human, with its reduction of all idealism to human selfishness, in favor of an interpretation of morality that allows for moral impulsion.  The editors call attention to “Daybreak’s [alleged] repudiation of the thoroughgoing psychological egoism of Human, All Too Human” [xxv].  In Daybreak, Nietzsche has seen the Light of Day: “The passage [cited above] thus functions to separate Nietzsche’s new position from his earlier one: he no longer denies the existence of morally motivated actions, but claims instead that these actions, when they occur, are based on erroneous presuppositions” (xxv).

This is nonsense.  Even worse, it goes against the thrust and tenor of Nietzschean thought.  It violates the grain of the text.  Nietzsche wants us to undeceive ourselves of the false assumption of “moral motives.”  He wants us to think in luculent manner.  He wants a world that is unalloyed by the false presupposition that moral intentions are possible.

The correct interpretation of the passage cited above is as follows: Human beings might believe that they have moral impulses that entrain them to perform moral actions, but nowhere in Daybreak does Nietzsche write that their moral motives are anything other than modes of self-deception.

Nietzsche writes (to translate): “I also deny morality: [I do not deny] that innumerable human beings feel themselves to be immoral, but [I do deny] that there is any ground in truth for them to feel this way.”

The most important word in this regard is fühlen (“to feel”).  Human beings feel themselves to be immoral or moral, but this does not mean that they are immoral or moral.  To turn to the alchemy metaphor: There are those who identify themselves as alchemists, but this does not mean that alchemy is anything other than a quack pseudo-science.  Human beings feel that they are performing moral actions, but do I really need to write that the feeling that one is performing a moral action is not the same thing as a genuinely moral intention?  Human beings might feel that they are self-responsible moral agents who are morally impelled to perform moral actions, but they are being self-deceptive.  They might explain to themselves that they are moral beings, but this does not mean that they are moral!  The unconscious impulse behind their “moral intentions” is always, for Nietzsche, selfishness.

The writers of the introduction to the Cambridge University Press translation do not separate consciousness from the unconscious mind, even though Nietzsche consistently does precisely this, especially in the passage in which he affirms the “non-knowledge of the self” (Das, was den Menchen so schwer zu begreifen fällt, ist ihre Unwissenheit über sich selbst) [M 116].  The idea of “moral intentions” becomes questionable when we consider the unreadability of the self to itself.  Sadly, the editors seem to have forgotten the sentence of Nietzsche in which he declares that moral actions are never what they appear to be to the subject who performs them: Die Handlungen sind niemals Das, als was sie uns erscheinen! [Ibid.].  We are not what we appear to be to ourselves, never mind how we appear to other human beings.  “We are strangers to ourselves”: This is the thesis of Toward the Genealogy of Morals.  The core of the human animal is unknown and unknowable to that same animal.  What distinguishes us from all of the other animals is that our essence is unknown and unknowable to us—this insight made Freudian and Lacanian psychoanalysis possible.  If one does not understand these points, one does not understand Nietzsche.

The other person is unknowable to us, moreover, except insofar as he or she leaves an impression on us: Wir begreifen Nichts von [dem Nächsten], als die Veränderungen an uns, deren Ursache er ist [M 118].  Other people will attempt to leave imprints upon you, as if you were a ball of wax—and yet you will know nothing of them other than the psychic impressions that they leave upon you.  We can neither say that the other human being is “good” or “evil” in himself or in herself.  “Good” or “evil” are names, labels, deictic markers that we attach to the other human being.  A person is nominated as “good” inasmuch as s/he pleases us; a person is nominated as “evil” inasmuch as s/he displeases us.  And yet this person is neither good nor evil in him- or herself.  In this fashion, Nietzsche moves away from Stirner, who some think of as Nietzsche’s predecessor.  The Stirnerian moral-ego system is one in which what pleases me is right and what displeases me is wrong.  It is not known whether Nietzsche read Stirner (I suspect that he did), but one thing is certain: Here he is moving beyond the naivety of Stirner and not defining “good” as that which is good to me, nor is he defining “evil” as that which is evil to me.  Both “good” and “evil” are mystifications, abstractions, and misinterpretations of the human mind.

Clark and Leiter do not seem to be conscious of Paragraph 148, wherein Nietzsche asserts that there are no moral actions, if morality means “other-centeredness.”  The moral intentions behind such actions would be other-centered, as well.  We never do anything purely for the other person or without self-interest, and our will is constrained by mood, by the unconscious, by degrees of sickness, by degrees of health and the feeling of well-being, by our memory of the past, by hunger, and/or by the need to urinate.

In an unpublished fragment from the summer of 1880—which, as far as I know, has never before been rendered into English—Nietzsche writes:

“Will to urinate,” that means: There is, first of all, a pressure and a compulsion; secondly, a medium through which to release oneself; thirdly, a habit to be exercised, after it has been given from the intellect to the hand.  In itself, the pressure or compulsion has nothing to do with the alleviation of the bladder: It does not say, “I want.”  It says, rather, “I suffer” [translation mine].

Let me make a simple remark that every child could understand: Although one might choose when to urinate, no one chooses whether to urinate.  And the discomfiting and discomforting need to urinate can shape one’s decision-making process, perturb one’s attention, and determine one’s words and actions.  The insistent and persistent existence of the need to urinate in itself invalidates the hypothesis of the free will, for who has absolute power over urination?  One has no more control over one’s thoughts as one has control over whether or not one has the need to urinate.  If the need to urinate were subject to some “free will,” wouldn’t most people have willed away or scheduled their micturition sessions?

Furthermore: If he admits “the existence of moral motivation” (xxvi) in Daybreak, why are all of Nietzsche’s examples of moral actions examples of egoistical, self-interested behavior, of extreme vaingloriousness, of vanity?  There is the nun who flaunts her chastity in order to punish fleshlier women with the image of her stern and proud virginity, her freedom from the desire for a man’s touch, her austere holiness: Die Keuschheit der Nonne: mit welchen strafenden Augen sieht sie in das Gesicht anderslebender Frauen! wie viel Lust der Rache ist in diesen Augen! [M 30].  There is the artist who declares his greatness and champions his excellence in order to excite envy in his contemporaries: Dort steht ein grosser Künstler: die vorumpfundene Wollust am Neide bezwungener Nebenbuhler hat seine Kraft nicht schlafen lassen, bis dass er gross geworden ist, —wie viele bittere Augenblicke anderer Seelen hat er sich für das Grosswerden zahlen lassen! [Ibid.].  If I may submit an example that Nietzsche does not give: The man who gives money to a beggar does so not out the desire to help the beggar, but out of the desire to feel superior to the beggar and out of the desire to advertise his superiority over the beggar—though, as Nietzsche points out in this very book, he will become irritated afterward for having done so, as he would have been irritated for not having done so.  In each case, the striving for distinction (Streben nach Auszeichnung) [M 113] is at the same time the striving to dominate another person—it is not an isolating experience, though it ends in a self-relation.  The moralist attempts to annihilate the other human being by the assertion one’s superiority and then attempts to recuperate oneself through this annihilation.  One injures the other in order to injure oneself—and then triumphs over both pity for the person one injured and over self-pity in order to exuberate and luxuriate in the feeling of one’s own power.  Such is the magnetic glory of the martyr.

Not only is absolute other-directed agape love for the other human being impossible; it would not even desirable if it were to be universalized [M 143]: It would create a nightmare world in which everyone fervently loved everyone else, a frenzy of mass-love that would inexorably lead the beloved to languish for lovelessness [M 147].

(Parenthetical remarks: What good is a virtue if it cannot be displayed?  Why be virtuous at all if one cannot delight in dramatizing virtues in front of an audience for the sake of their approbation?  Today, people call this “virtue signaling”: Was nützte eine Tugend, die man night zeigen konnte oder die sich nicht zeigen verstand! [M 29].  And yet there is a darker side to the performance of one’s moral uprightness.  Morality is cruelty.  It is an attempt to inflict misery and the perception of one’s own superiority on another: Man will machen, dass unser Anblick dem Anderen wehe thun und seinen Neid, das Gefühl der Ohnmacht und seines Herabsinkens wecke [M 30]. Moralistic language is the perfect license for a mean-spirited person to release his or her pent-up aggressions upon another—consider the Rote Armee Fraktion or the Baader-Meinhof Group or the Antifa protesters for a contemporary example of this.)

The reflection on pity (Mitleid) is inarguably the center of Daybreak.  If this is true (and it is), then how could one claim, as the writers of the introduction to the Cambridge University Press translation do, that Nietzsche believes in selfless motives?

Pity is the affect of morality, not respect (Achtung), as it is for Kant.  This allows Nietzsche to show the sadism and the lust for power that lies at the foundation of all morality.  Pity implies a relation to transcendence—not the transcendence of God or of a supersensible morality, but the surpassing power and dominance of the one who pities.  It is always possible to withhold pity.  If it is always possible to withhold pity, then we are exercising power over the piteous.  If we want to feel our power, we can either withhold our pity or threaten to withhold our pity.  One pities dogs, one pities cats, one pities university professors—creatures to which one feels oneself superior.  If we see someone drowning and have the power to save his life, we might save him out of pity—but this is selfishness and a counterstrike against one’s own feeling of fragility and powerlessness [M 133].  Pity potentiates the one who feels pity.

There can be no rivalry where there is pity—Nietzsche almost writes this.  An enemy is an equal—one does not pity one’s enemies.  If you want a rivalry to end, pity your enemy.  This does not imply that pity equalizes or levels the distinction between the one who is piteous and the one who is pitiable, but rather that it introduces an unsurpassable distance between the one who pities and the one who is pitied, between the one who has the power to dispense pity and the pitiable.

Nietzsche enjoins us to “Wake up!” (Wachen wir auf!) [M 464].  We should awaken from our intellectual benightedness into intellectual enlightenment—Daybreak is a text that belongs to the European Aufklärung.  We should move from the dreamfulness of morality, religion, and metaphysics to the wakefulness, to the awakeness, of rationality.

The title, Daybreak, alludes to the dawning of a world in which humanity will be undarkened by morality, religion, and metaphysics.  Nietzsche enjoins us to disencumber ourselves of all of these things, to pierce the encrustation of moral, religious, and metaphysical prejudices.  It will be a world in which no one believes in any beyond, in any otherworldly transcendence.  Human life will become at long last meaningful when our successors recognize that there is no reason for them to judge one another or themselves, that they are fundamentally innocent.  (There is no reason to judge what is involuntary.  The free spirit believes in the innocence of all opinions, as s/he believes in the innocence of all actions [M 56].)  It will be a world in which polyamory will replace monogamy, a world in which suicide will not be criminalized or moralistically condemned, a world in which criminals will be permitted to choose their own forms of containment [M 187], a world in which the criminal-justice system will be founded on the idea of deterrence and rehabilitation, not punishment, a world in which no one will be considered guilty of anything, a world in which no one will be considered responsible for anything that one does, a world in which it will be generally recognized that all human thought and action is necessary and beyond one’s conscious control.  It will also be a place of regular gymnastic exercise, if we believe the Nietzsche of Human, All-too-human.  Much like the future that is evoked within the pages of the greatest of all Nietzschean novels, The Rainbow by D.H. Lawrence, the future in which all of this would take place is heralded yet never directly shown.  Its promise is described purely negatively.  What will this world look like?  Nietzsche never tells us.  Nietzsche (and Lawrence) criticize the conditions of the modern world and open the doors to an extra-moral, extra-religious, and extra-metaphysical future without ever being explicit in their vaticinations.

To return to the second paragraph of this commentary: Nietzsche does not advise us to be immoral; rather, he advises us to be moral out of different reasons than out of deference to a convention or belief in the supernatural.  We should become the self-legislators of morality—and if this means endorsing polyamory, suicide, and revenge, so be it.  Let us no longer be sheep (moral agents), to forecast the language of Also Sprach Zarathustra.  Let us become lions (critics of morality), and thereafter we shall transform into children (inventors of a morality of irresponsibility and a morality of innocence).  It is time, and high time indeed, to rethink, to accept, to refuse to condemn impulses that are unavoidably human (envy, covetousness, disobedience).  Then, perhaps we would do what comes naturally without a bad conscience, as Nietzsche writes: Wenn der Mensch hört auf, sich für böse zu halten, hört er auf, böse zu sein [M 148].  He exhorts us to praise egoistic actions and to devalue the so-called “selfless actions” until things balance out.

Nietzsche replaces good and evil with gradations of power.  All is power.  (This is a flaw in Nietzschean thought: If everything is power, then nothing is power.  Nietzsche’s power-absolutism leads him to tautologous formulations.)  Everything can be understood in terms of relativities of power (this is a point that Nietzsche will enlarge upon in the Nachlass): Every human being has the desire for dominance over all other human beings.  And what better way of dominating another human being than by flaunting one’s moral superiority?  Every human being has the desire to become God.

“Love always occurs beyond good and evil,” Nietzsche will write in Beyond Good and Evil: He means self-love, which eradicates Christian guilt.  Remember that pride is the deadliest sin.  Self-love exists outside of the categories of sin and redemption.  Another way of saying this: The one who loves himself or herself has no need of Christianity.

Dr. Joseph Suglia


One of Nietzsche’s Mistakes

Nietzsche appears to believe that credo quia absurdum est (“I believe it because it is absurd”) is the motto of the Catholic Church.  And yet this statement was never made by Tertullian or by any of the Church Fathers.  Tertullian writes, rather, credibile est, quia ineptum est (“It is credible because it is inept”).  As always, when Nietzsche makes an error, it is a productive error.


Aphorisms Inspired by Nietzsche’s Morgenröthe: Gedanken über die moralischen Vorurtheile

Prospective suicides will not commit the act, if they think that no one will care.

Words are not solutions; they are problems.

If you want your rivalry with someone else to end, pity your rival.

There can be no rivalry where there is pity for the rival.

All of life is a puppet show.

We are the spectators of our own lives.

Steve Harvey and Dennis Prager believe in the existence of objective morality because they have the emotional need to believe this—as if their self-preservation were something essential.

Saving a drowning man presents one with an advantageable situation: It allows the rescuer to be worshipped as a hero.

Dr. Joseph Suglia

An Analysis of ALL’S WELL THAT ENDS WELL (Shakespeare) by Joseph Suglia

An Analysis of ALL’S WELL THAT ENDS WELL (Shakespeare)

by Joseph Suglia

“Die Forderung, geliebt zu werden, ist die grösste aller Anmassungen.”

—Friedrich Nietzsche, Menschliches, Allzumenschliches, Volume One, 525

My argument is that Shakespeare is both the most overestimated and the most underestimated writer in the history of English literature.  His most famous plays are stupendously and stupefyingly overrated (e.g. The Tempest), whereas the plays that have been relatively understaged and underread until recently, such as Measure for Measure and Love’s Labour’s Lost (which, strangely, is never called a “problem play”), are his masterworks.  All’s Well That Ends Well is rightly seen as one of the problematic plays, since it does not exactly follow the contours of the Shakespearean comedy.

One could rightly say that all of the Shakespearean comedies are conjugal propaganda.  They celebrate marriage, that is to say, and marriage, for Hegel and for many others, is the foundation of civil society.  In the Age of Elizabeth, long before and long afterward, the way in which children are begotten is with the imprimatur of marriage.

But there is no marriage-boosterism in All’s Well That Ends Well, no ra-raing or oohing and aahing over marriage.  In All’s Well That Ends Well, a celebration of marriage is absent.

Whereas Much Ado about Nothing and A Midsummer Night’s Dream end in anti-orgies, in collectivized, communalized, semi-coerced marriages, the wedding in All’s Well That Ends Well takes place in the second act and is absolutely coerced.

The play is about a woman named Helena who forces a man named Bertram to marry her and to have sexual intercourse with her.  As blunt as this synopsis might be, it is nonetheless accurate.  A psychotic stalker, Helena will stop at nothing and will not take “Yes” for an answer.  She pursues Bertram relentlessly.  As I shall argue below, Bertram genuinely does not want to be married to Helena, nor does he wish to be physically intimate with her.  Not only that: There is absolutely no evidence that he desires Helena at the end of the play.  Quite the opposite, as I shall contend.  Much like her predecessor, Boccaccio’s Giletta, Helena is a monomaniac whose obsession ends in the achievement of her desire and her scheme: “[M]y intents are fix’d, and will not leave me” [I:i].  And yet, does obsession ever end?

When we are first presented with her, Helena remarks, “I do affect a sorrow indeed, but I have it too” [I:i].  She means that she affects a sorrow for her father, who died not more than six months ago, but is genuinely sorrowful over the thought of the impossibility of possessing Bertram: “I think not on my father, / And these great tears grace his remembrance more / Than those I shed for him” [Ibid.].  Her indifference to her father’s death reveals that she is hardly the virtuous innocent that the Countess, Lefew, and (later) the King of France take her to be: “I think not on my father…  I have forgot him.  My imagination / Carries no favour in’t but Bertram’s” [Ibid.].  All she thinks about is Bertram, whose “relics” she “sanctifies” [Ibid.], much like a dement who collects her lover’s socks, which she has pilfered from the laundry machine.

Even more revealingly, Helena’s love for Bertram has a social and political valence: “Th’ambition in my love thus plagues itself” [I:i].  Am I alone in hearing in the word ambition an envy for Bertram’s higher social status?  I am not suggesting that her love for him is purely socially and politically motivated.  I am suggesting rather that her love is inseparable from the desire for social / political advancement.

When he takes his leave, Bertram does not propose that Helena visit Paris to win the King’s favor, despite what Helena’s words might suggest: “My lord your son made me to think of this; / Else Paris and the medicine and the king / Had from the conversation of my thoughts / Haply been absent then” [I:iii].  Helena lies to the Countess—and/or lies to herself—when she says that her love “seeks not to find that her search implies, / But riddle-like lives sweetly where she dies” [I:iii].  No, Helena is indefatigable and is hardly the self-abnegating “barefooted” saint [III:iv]  that she pretends to be.  Furthermore, she is lying to herself and to the Countess of Rossillion when she says that she is not “presumptuous,” as she is lying when she says that she would not “have [Bertram]” until she “deserve[s] him” [I:iii].  Who decides when she should “deserve” Bertram?  Apparently, Helena believes that only she is authorized to decide when she is deserving of Bertram.  Why is Bertram not permitted to decide when and if she is deserving of him?  Helena is sexually aggressive from the beginning unto the sour end.

The fundamental challenge of the play is not for Helena to find a way to become married to Bertram.  As I wrote above, Bertram is forced to marry Helena in the second act of the play.  The fundamental challenge of the play is for Helena to find a way to have sexual intercourse with Bertram—to couple with him, whether he wants to couple with her or not.

And Bertram has made it clear that he does not find Helena sexually attractive.  And yet Helena refuses to accept his rejection and sexually unifies with Bertram while dissembling herself as another woman, Diana Capilet.

Helena is not satisfied merely being married to Bertram.  Nor, it seems, would she be satisfied with Bertram’s assent and consent, even if he had assented and consented to the marriage.  She wants to possess Bertram against his own will: “[L]ike a timorous thief, most fain would steal / What law does vouch mine own” [II:v].

Why not take Helena at her word?  On the one hand, she is saying that she is lawfully entitled to the appropriation of Bertram’s body, but that is not enough for her.  She is saying that she has the power to break his life, but she would rather have the power to break his heart.  On the other hand, taking Helena at her word, she is the thief who would like to steal what is lawfully her own.  She would like to experience the thrill of transgressing the law without ever transgressing the law.  All’s well that ends well.  She does not want to take the wealth of his body; she wants to steal the wealth of his body.  Now, this might seem a curiously literal interpretation of the line, but does Helena not deceive her husband like a thief in the night [III:ii]?  She does not cheat on her husband; she cheats with her husband.  She is like the banker who steals from her own bank or like the casino owner who gambles at her own casino.

It would be a mistake to see Bertram as an erotophobe, since he does attempt to seduce Diana.  He is revolted by Helena.  The idea of having sex with her suffuses him with nausea.  Bertram acknowledges that he is married to a woman whom he does not love, but he swears that he will never be physically intimate with her.  In a letter to his mother, Bertram writes: “I have wedded [Helena], not bedded her, and sworn to make the ‘not’ eternal” [II:ii].  He is so disgusted by the idea of having sex with her that he goes to war to escape her: “I’ll to the Tuscan wars and never bed her” [II:iii].

Bertram’s reluctance to be yoked to Helena must be seen within the horizon of the early seventeenth century.  Let us not forget that Queen Elizabeth was the monarch at the time of the play’s composition, and within Bertram’s refusal to become the “forehorse to a smock” [II:i] (the leading horse in a train of horses spurred on by a woman) one can hear the resonances of Elizabeth’s reign.  However, it would be mistaken to suggest that Bertram does not want to marry Helena merely because she is a woman who has been invested with regal authority or merely because she was once lowborn and poor.  Again, he finds her physically repellent.

Helena does not stop until she couples with Bertram without his consent.  Is this not rape?  According to the standards of our day, impersonated sex is indeed sexual violation, but it is unlikely that it would have been considered ravishment in the Age of Elizabeth.

And is this not incest, for Helena and Bertram are sister and brother, disregarding the banality of biology?  There is a conversation about incest in Act One, Scene Three, the conclusion of which is: Helena would acknowledge the Countess as her mother, on the condition that the world does not recognize Bertram as her brother.  But are Helena and Bertram not sister and brother?  They grew up together in the same household, and it is possible that Bertram rejects Helena partly out of the fear of incest.

The Countess certainly sees Helena as her organic daughter: “If [Helena] had partaken of my flesh and cost me the dearest groans of a mother I could not have owed her a more rooted love” [V:v].  Helena is the replica that is naturalized, much like the artificial fruit in the bowl that lies upon your kitchen table, which you accept as natural.

Fortune (what is constituted after birth) and Nature (what is constituted at birth) reverse each other: Bertram becomes the bastard child; the orphan Helena becomes the proper daughter: “Which of them both / Is dearest to me I have no skill in sense / To make distinction” [III:iv].  Much worse: The Countess raises Helena to a status that is higher than that of her own son, who is written off by her as a reprobate.  When the Countess intones the opening line of the play, “In delivering my son from me, I bury a second husband” [I:i], you do get the impression that her biological son is dead through the act of birth, that her son is a stillborn.

Throughout the play, there are posited false equivalences.  Convalescence is falsely equated to marriage, as virginity is equated to mortality.  Epexegesis: The revival of the King of France is equated to the compulsory marriage of Bertram to Helena (Bertram questions this false economics of equivalence: “But follows it, my lord to bring me down / Must answer for your raising?” [II:iii]), in a Bachelorette-style gameshow that is rigged in advance in which she nominates Bertram without ever taking any of the French lords seriously as his competitors.  The death of the King is equated to virginity, as virginity is equated to death in Parolles’ campaign against virginity (“He that hangs himself is a virgin; virginity murthers itself, and should be buried in highways out of all sanctified limit, as a desperate offendress against nature” [I:i]).  The King strikes a balance between Bertram’s loss and Helena’s gain: “Take her by the hand / And tell her she is thine; to whom I promise / A counterpoise, if not to thy estate, / A balance more replete” [II:iii].  A fake equivalence, false equation is again posited, between the sacrifice of Bertram’s social status and the elevation of Helena’s status.  One thing is taken for another, one person is replaced with another, as we see with the replacement of Diana with Helena.  Such is the logic of substitution or the logic of substitutability in All’s Well That Ends Well.

Those literary critics who praise Helena as an innocent are wrong (I am looking at you, Harold Bloom), in the same way that the Countess of Rossillion and Lefew are wrong about her “innocence”: Helena is not saintly, she is not simple, she is not unambiguously honest (unless by “honesty” one intends “virginity”), she is not unambiguously good, she is not uncomplicatedly “virtuous” [I:i].  She is not reducible to the role of the innocent that she plays.  Shakespeare’s characters are not undifferentiated.  His fools tend to be wise, and his characters in general are neither simply good nor simply evil, but rather both good and evil—sometimes, his characters are even good and evil at the same time.  This is stated almost aphoristically in the words of the First Lord, a gentleman whose role seems to be to emphasize that #NotAllMenAreSwine: “The web of our life is of a mingled yarn, good and ill together; our virtues would be proud if our faults whipp’d them not, and our crimes would despair if they were not cherish’d by our virtues” [IV:iii].  The proto-Nietzschean Shakespeare is ventriloquized through the First Lord, I think.  Both Nietzsche and Shakespeare admonish us against pouring all of humanity into twin buckets, one marked GOOD and the other marked EVIL.  Shakespearean characters are of overwhelming and self-contradicting complexity, assemblages of oxymoronic elements.

For this reason, those critics who condemn Bertram as a cad are wrong in the same way that Diana is wrong when she calls him simply “not honest” [III:v].  (Let me remark parenthetically that Parolles is the double of Bertram, as Diana is the double of Helena.  Parolles absorbs all of Bertram’s negative traits, particularly the tendency to seduce and impregnate washerwomen.)  (And here is a second set of parentheses: Parolles is also the double of Helena.  He ignores his social status when he refuses to call his lord Bertram “master” [II:iii].)  Those who suggest that Helena shyly longs after a man who is unworthy of her are as wrong as Lefew, who claims that the French lords reject Helena, when it is the other way around.  (I’m still looking at you, Harold Bloom.)  Bertram is a cad, a seducer, yes, but he is not reducible to his caddishness.

Despite her indifference to her father’s death, Helena identifies with her father, Gerard de Narbon, the physician, and uses her father’s recipes to heal the King of France.  When Bertram pleads to the Florentine washerwoman, “[G]ive thyself unto my sick desires” [IV:ii], it is apparent that he is conscious of his own sickness, and it is Helena who will wear the quackish mask of the physician once more.  The first half of the play folds upon the second half: In the first half, Helena cures the King of his ailment; in the second, Helena cures Bertram of the sickness of his lechery—against his will.

When the King’s eyes first alight upon Helena, she seems a radiant presence: “This haste hath wings indeed” [II:i], he says, as if she were a seraphic apparition.  It is Helena’s womanly charm, her femaleness, that resurrects him from the dead: “Methinks in thee some blessed spirit doth speak / His powerful sound within an organ weak” [Ibid.].  It is her vixenishness that virilizes him.

The King is revived from the dead.  Now, Bertram has lost the right to say, “No” to Helena.  Love for Helena is now equated to the obedience to the King of France: “Thou wrong’st thyself if thou should’st strive to choose [to love Helena]!” [II:iii], the King screams at Bertram.  In other words, “You should not have to choose to love Helena.  I have commanded you to love Helena, and therefore you MUST love Helena.”  The word of the King is law, and to defy the word of the King is misprision.  Behind Helena’s monomaniacal pursuit of Bertram is all of the weight of legal and regal authority.  Love of Helena is bound up with love of the King, and an affront to Helena is an affront to the throne.  This is to say that Bertram is legally and politically obligated to love Helena, as if love is something that could be compelled, coerced, commanded.

Here, the King of France ignores that desire is not logical or causal and is not subject to regal injunction.  Desire cannot be systematized.  We cannot program our minds to love; we cannot download love applications into the smartphones of our minds.

Were she not such a monomaniac, Helena would have let Bertram go after he refuses her, but she does not.  Not once does Helena accept Bertram’s rejection.  Not once does she turn her attention to another man after Bertram scorns her.  Instead, she pretends to relinquish the man she is determined to appropriate: “That you are well restor’d, my lord, I’m glad. / Let the rest go” [II:iii].  When Helena says this, it is accismus, that is, the feigned refusal of that which is earnestly desired.  It is not a statement of resignation.  Nor should one mistake her demand to marry for a marriage proposal.  Helena does not propose marriage; she imposes marriage.

It would have been noble had Helena renounced Bertram upon learning that he is a marriage escapee, that he defected to Italy and entered the Tuscan Wars and a likely death to escape her.  However, this is not what Helena does: Instead, she pursues him to Italy.  Her path of reflection is as follows: “Bertram left France to escape me; therefore, I will leave France, as well—and follow him to Italy.”  Whereas Helena wants presence, Bertram wants absence: “Till I have no wife I have nothing in France” [III:ii], he writes to his mother.  To say that she wants everything would be a gross understatement.  She wants more than everything—she wants to eat her Key Lime Pie and refrigerate it at the same time.

Bertram gives away his six-generation family ring to Helena, who is disguised as a Florentine washerwoman, and this is ring will be returned to him.  The ring seals not only his marriage to Helena, but also seals his marriage to the community / to the collective.  The symbol of the ring is clearly the chief symbol of the play, for treason moves in an annular pattern.  Treachery is circular; treason is circular.  This is the meaning of the difficult and frequently misinterpreted words of the First Lord:

We are, the First Lord says, “[m]erely our own traitors.  And as in the common course of all treasons we still see them reveal themselves till they attain to their abhorr’d ends; so he that in this action contrives against his own nobility, in his proper stream o’erflows himself” [IV:iii].

I would translate these lines thus: “We human beings are traitors to ourselves.  We betray ourselves in the very act of betrayal.  As we betray others, we betray ourselves—that is, we reveal ourselves as traitors and thus we betray our own betrayals.”  According to a citation in The Oxford English Dictionary, “till” could mean “while” in 1603.  All’s Well That Ends Well is believed to have been written between 1604 and 1605.  If “till” meant “while” in 1603 in England, then this is a justifiable reading of the lines.

All of the main characters are unrepentant traitors, and traitors always betray themselves.  We see treacherous treason in the treacheries of Parolles, of Helena, and of Bertram.

Parolles intends to betray the Florentine army, but ends up betraying military secrets to the Florentine army.

Helena does, in fact, deceive her husband, but this deception ends in legitimized sexual intercourse. Moreover, she lies when she says that she “embrace[s]” death to “set [Bertram] free” [III:iv], but she does so in order to affirm the sanctity of marriage.  She is a liar who feigns her own death—but she does so in order to honor marriage and thus to honor Elizabethan society.  In the eyes of the world, she has done nothing wrong.  Who could blame her for cozening someone who would unjustly win?  Would could blame her for deceiving her husband in order to sanctify conjugality?  A Casanova in reverse, she takes a honeymoon to Italy and has sex with her husband—only her husband thinks that he is having sex with someone else.  No one is devirginized, except for Bertram’s wife.

Bertram would betray Helena by cheating upon her, but he ends up betraying himself.  He intends to commit adultery on his own wife, but he ends up committing adultery with his wife.

From a purely external / legal / formal point of view, neither sin nor crime has been performed in each case.  In each case, the three characters have sinful intentions, and yet commit no sin.  All’s well that ends in a socially acceptable manner.  It is for this reason that Helena says that the reason within her treasonous marriage plot “[i]s wicked meaning in a lawful deed, / And lawful meaning in a lawful act, / Where both not sin, and yet a sinful fact” [III:vii].  And later in the play: “All’s well that ends well; still the fine’s the crown. / Whatever the course, the end is the renown” [IV:v].  “Fine” here means “ending.”  The formal close of the plot sanctifies all of the deception that came before it.  The ring turns itself around; the end communes with the beginning.  The ring is closed, erasing all of the treachery and deception that was used to forge it.

No one is innocent, and no one is guilty.  Diana implies the innocent guilt of not only Bertram, but of all traitors, when she says: “Because he’s guilty and he is not guilty” [V:iii].  The traitors of the play (Parolles, Helena, and Bertram) are innocent, though their intentions are treasonous.

One character after the other intends to perform a treacherous action, but this action is transmuted into its opposite.  Such is the reversal of language: As the First Lord says to the Second Lord (in reference to a secret that will be communicated by the latter to the former): “When you have spoken it, ’tis dead, and I am the grave of it” [IV:iii].  Language kills.  That is: Language has the tendency to say the exact opposite of what we mean.  When we say or write, “I am lonely,” we cannot be lonely, for we open up the possibility of communication.  When we say or write, “I am sad,” we are not sad enough to stop speaking or writing.

Concerning the intentional errors of language: The bescarfed fool Patrolles misuses words throughout, and this is always Shakespeare’s way of ridiculing characters he does not respect.  For instance, Parolles says “facinerious” instead of “facinorous” [II:iii].  He uses an affected language, such as when he calls Bertram’s defection from marriage a “capriccio” [Ibid.].  He often cannot finish his sentences.  Again and again, his sentences are broken off with em-dashes (this is what rhetoricians call aposiopesis).  And yet there is some sense in his nonsense.  When he intones, “Mort du vinaigre!” [III:iii], this might seem to be mere babble, and yet might it not evoke the crucifixion of Christ, whose broken lips and tongue were said to be moistened by vinegar?  When Parolles is accosted by the Florentines, dressed as Muscovites, they utter gibble-gabble, such as “Boskos vauvado” and “Manka revania dulche” [IV:i].  And yet are they gabbling?  Dulche might invoke Dolch, a German word that means “dagger” (after all, the Florentines-dressed-as-Muscovites are pointing their poniards at Parolles), and boskos might evoke “bosk” or “boscage,” which makes sense, since the scene takes place in a forest.  Even though they are gabbling, there is significance in their gibble-gabble.  Shakespeare cannot allow his writing to be meaningless.  There is, in his writing, a tyranny of meaning.  Even the nonsense in his plays carries sense.

At the end of the play, which does not end well, and which therefore belies its own title, Bertram acknowledges that his wife is his wife, but he does so in formalistic and legalistic language: “If she, my liege, can make me know this clearly / I’ll love her dearly, ever, ever dearly” [V:iii].  In other words, “I love you because I am socially, legally, and politically obligated to love you.”  He speaks as if the knowledge of information led to desire, as if the confirmation of a legal contract necessarily issued in passion.  Indeed, Helena has proven that she has fulfilled both conditions of the contract: that she pull the ring from his finger and that she produce a child of whom he is the father.  The ring is given as evidence to Helena’s kangaroo court; the parturition of the child is demonstrated, as if this were the Elizabethan version of a talk-show paternity test.  It is probable, however, that Bertram intended “ring” and “child” as metaphors—and yet Helena takes the letter as the law.  Helena literalizes what might have been intended metaphorically.

Is the social, legal, and political obligation to love another human being not the definition of marriage?  Kant defined marriage as the mutual leasing of each other’s genital organs, and philosophers since Hegel have criticized his glacial definition.  But was Kant incorrect?  All’s Well That Ends Well implies essentially the same thing.  It could be said, with only slight exaggeration or overstatement, that this play is a work of misogamy in contrast to the epithalamia Much Ado about Nothing and A Midsummer Night’s Dream.  Shakespeare’s most problematic comedy would suggest that marriage is the lie of all lies, the hoax of all hoaxes, and should be avoided by anyone who values solitude, privacy, and freedom.

When Bertram submits to the will of Helena and the will of the King the first time, it is hardly a profession of love: “I find that she, which late / Was in my nobler thoughts most base, is now / The praised of the king; who, so ennobled, / Is as ’twere born so” [II:iii].  This is the least erotic assent to marry someone that has ever been articulated.

“All yet seems well” [V:iii; emphasis mine].  There is the semblance of a happy closure, the simulation of a happy ending.  Simply because the circle has closed in a formal sense, this does not mean that anyone is happy.  All’s Well That Ends Well does not end well.  All is not well in All’s Well That Ends Well.  All’s ill that ends well.

Dr. Joseph Suglia

An Analysis of A MIDSUMMER NIGHT’S DREAM (Shakespeare)

An Analysis of A MIDSUMMER NIGHT’S DREAM (Shakespeare)

by Joseph Suglia

I normally avoid discussing the plots of works of literature.  I prefer to dwell upon the words as they are written on the page, to interrogate and interpret the language of the text.  If I have hesitated to talk and write about plot, it is because conversations about plot generally ignore the language in which the text is written.  The plot seems to exist somewhere outside of the language of the text.  After all, a plot could have been invented before the actual text was composed, and when literary critics discuss plot, they must be abstract.  It is rare to cite the text when describing a plot, for the obvious reason that plot is structure, not literary language.

Since the world is essentially plotless, why should a literary work have a plot at all?  From the late nineteenth century onward, much of Western literature has discarded the mandate of the plot (Lautreamont, Flaubert, Nerval, and Proust were vanguards in this respect).  Even earlier, to refer to a single example: Shakespeare’s The Tempest does not have much of a plot.  This is not to suggest that plots vanished since the late nineteenth century; millions of books have been written and published since that time that do, in fact, have plots.  They are summoned into existence by writers and readers who come to books to experience the imposition of order upon a world that is bewilderingly and overwhelmingly chaotic.  There is nothing wrong with the desire to experience a closed, self-contained representation.  But closed, self-contained representations belong to the province of art before the late nineteenth century and to the province of entertainment.  Modern art poses questions that it does not itself answer (this is the job of the interpreter); works of modern art have open-ended structures.

Despite my reservations about plot, I would like to adumbrate the design of A Midsummer Night’s Dream (the first edition of which was published in 1600).  By doing so, I think that we can learn something about the configuration of this massively complex play and, perhaps, about how plot in general works and perhaps even why so many people have the desire for a plot.  I will fix my gaze upon the structure of the play.  Again, this will have the necessary but unfortunate consequence that I will have to disregard much of the play’s filigreed, aureate verse.

The initiating conflict takes place in the first scene of the play: Egeus sentences his daughter to death or a loveless marriage.  He forbids his daughter Hermia from marrying Lysander, the man she loves.  She must choose between death and marriage to Demetrius, a man who she definitely does not love.  The Athenian duke Theseus alleviates Hermia’s dilemma somewhat by allowing her to choose between a marriage to Demetrius and a life of celibacy, but still reinforces the father’s judgment with all the power of Athenian law.  It is the sentencing of the father, and the legitimation of the sentence by the law, that drives both lovers, Hermia and Lysander, into the moon-bathed forest.  The law impels the lovers into the forest, and the law will bring them out of the forest.  Theseus revokes his judgment when Demetrius has a change of heart, but let us not ignore the fact that the play begins with the law and ends with the law.  The man who sets into motion the inaugural conflict of the play, Theseus, will also resolve all the conflicts at the close of the play.  He promulgates that Hermia must make her decision by the day of Theseus and Hippolyta’s wedding, and, indeed, all the conflicts will be reconciled in a triple marriage: the marriage of Lysander and Hermia, the marriage of Demetrius and Helena, and the marriage of Theseus and Hippolyta.

The conflict between Father and Daughter will be enlarged and mapped onto a second conflict between Oberon and Titiana, the Fairy King and the Fairy Queen.  Just as Theseus represents the Law of Athens, Oberon will represent the Law of the Fairy World.  Oberon’s most serious task is to suppress the insurrection of his fairy queen.

There is a further conflict between the world of the fairies and the world of the human beings.  Puck (also known as “Robin Goodfellow”) is the Interferer.  He is the agent of the supernatural that will intervene in the affairs of the morals (as will his lord Oberon).  The intrusion of the supernatural into human affairs will be one of the motors that pushes the plot forward; this conflict, in turn, will be applied to conflicts between Lysander and Hermia and Demetrius and Helena, which tangle the plot further.  The eavesdropping Oberon intervenes in the relationship between Helena and Demetrius.  Oberon delegates to his jester the responsibility of intoxicating a man wearing Athenian garb with an aphrodisiac in the shape of a purple flower.  The romance between Lysander and Hermia is interrupted and complicated by a mistake: Puck drugs Lysander instead of Demetrius with the juice of the purple love-narcotic.

We, then, have three pairs of lovers who are in conflictual relations with one another: Oberon and Titiana, Helena and Demetrius, and Lysander and Hermia.  Theseus and Hippolyta are now in a harmonious relationship, but were once at variance with each other.

As I wrote above, the judgment of the father leads to the elopement of Hermia and Lysander.  When both lovers rush into the moon-bathed forest, they turn their backs on the Law of the Father; they enter a metamorphic, transformational space (compare with the Forest of Arden in As You Like It): Within the wood, the craftsman Bottom will be translated into an assheaded man.  Within the wood, Lysander will cease to love Hermia.

The forest is also a place of erogenous desire; the erotomania with which the characters are seized is mostly synthetic.  Only Hermia’s desire for Lysander and Helena’s desire for Demetrius are natural, but, it should be remembered, their desire predates the exodus from the Father and entry into the forest.  While in the forest, almost everyone else’s desire is artificially induced: Demetrius and Lysander only fall in lust with Helena because their eyes have been infected with flower juice.  Titiana lusts after Ass Head because she has likewise been intoxicated.  Under the influence of the flower, Helena and Ass Head become objects of lust.

The perversity does not end there: First, Titiana is obsessed with a child and then she is obsessed with Ass Head.  After having her eyelids squirted with flower juice, Titiana’s unholy obsession with Ass Head replaces her obsession with the stolen Indian boy.  Both of these obsessions are perverse: Titiana’s strange, quasi-maternal obsession with the stolen Indian child causes a scission between her and Oberon and his bride, and Titiana’s obsession with Ass Head is both drug-induced and interspecies.

Titiana’s obsession with the stolen Indian boy parallels Helena’s obsession with Demetrius.  Shakespeare’s play suggests that all the love in the forest is unnatural love (with the exception of Hermia’s constant love for Lysander).  Again, Lysander’s obsession with Helena, as well as Demetrius’s obsession with Helena, are both brought on by the Ketamine-like purple flower love-toxin.

The forest is a place of disunification.  Within the wood, the human characters are separated from the agents of the supernatural: While in the forest, the fairies are hidden from the craftsmen and from the lovers.  The fairies are concealed from the lovers, but the lovers are not concealed from the fairies.  Furthermore, the craftsmen are not aware of the existence of the fairies or the existence of the lovers in the forest.  This concealment allows the fairies — in particular, Puck — to complicate the plot further by drugging Lysander and, later, Demetrius.  (Again, Puck confuses Lysander for Demetrius, and this mistake creates pandemonium in the forest: Hermia is abandoned, and now Helena becomes the object of lust of the two male lovers.)  And yet the audience will find this amusing, since we know that their lust is not genuine.  This is what I would call “comedic irony” — the counterpart of dramatic irony.  Dramatic irony surfaces when the audience knows an uncomfortable truth that a character on the stage or screen does not know: Romeo thinks that Julia is dead, but the spectators know better.  Comedic irony is when the audience does know an amusing truth that a character on the stage or screen does not know: that Lysander and Demetrius only “love” Helena because they have been infected by the juice of the purple flower, Love-in-idleness.  Laughter comes about through the contradiction with human reason, as Kant wrote in the Third Critique: “Es muss in allem, was ein lebhaftes, erschütterndes Lachen erregen soll, etwas Widersinniges sein (woran also der Verstand an sich kein Wohlgefallen finden kann).”

The characters, then, are balkanized into three mutually exclusive communities: the lovers, the fairies, and the craftsmen.  The exception to this is Bottom, who, when transformed into Ass Head, belongs both to the human and the fairy communities.

The forest is also the place of another form of sexuality that would have been considered perverse in the Age of Elizabeth.  The play is adorned with two female characters — one earthly, one ethereal — who are enormously aggressive: Titiana and Helena.

Both Helena and Titiana hunt the men they desire.  Much like her namesake in All’s Well That Ends Well, Helena is a woman who has unreciprocated love for a man and who refuses to take “Yes” or “No” for an answer.  Helena herself acknowledges that this is an inversion in gender roles.  Helena to Demetrius:

“Your wrongs do set a scandal on my sex. / We cannot fight for love, as men may do; / We should be woo’d, and were not made to woo” [II:ii].

Titiana is even more sexually aggressive than Helena.  She imprisons Ass Head in the forest:

“Out of this wood do not desire to go: / Thou shalt remain here, whether thou wilt or no” [III:i].

I would like to emphasize how remarkable this is: A female character is restraining a male character against his consent.  This doubtless would have provoked laughter in the Elizabethan audiences for which it was performed because it would be considered absurd and unnatural.  Consider, further, that the entire plot is set in motion by Helena’s furious jealousy and talionic rage.  I don’t think that this is a matter of comedy, however.  Without Helena being thrown into a rage, Demetrius would never have pursued Hermia into the forest, nor would Helena’s father and the Duke of Athens and his minions chased them.  Were Helena not in the forest, she would not have been eavesdropped upon by Oberon, and Oberon would not have delegated Puck to drug the killjoy Demetrius with the flower-shaped aphrodisiac.  When Puck mistakes Lysander for Demetrius, this creates chaos in the forest.

All of this was propelled by Helena’s Borderline Personality Disorder.


The play’s raison d’etre is to amuse the spectatorship with a spectacle of deformations and denaturations and then reassure that same spectatorship that the Great Chain of Being is still intact or has been restored.  The crises of the play are, in sum, as follows: The Fairy Queen, Lysander, and Demetrius are intoxicated with love-sap.  Within the forest, the characters belong to mutually exclusive societies.  The play-within-the-play is interrupted.  Titiana and Helena go against their traditional feminine roles and pursue male characters.  The Fairy Queen and the Fairy King hate each other.  There is animalization of the human (the becoming-ass of Bottom).  Characters are mistaken for one another (Lysander is confused with Demetrius).  The four lovers are single, as are the Duke and the Duchess-to-be.

In the final act, the power of the floral aphrodisiac has (in most cases) dissolved, the character-tribes that were once separated from one another are now integrated and interleaved (the craftsmen, the duke and duchess, the fairies, the lovers), the harlequinade is performed, Titiana and Helena are no longer playing the role of the huntress, the Fairy Queen and the Fairy King are no longer at variance with each other, Bottom has returned to his human shape, everyone knows who everyone else is, and six of the principal characters are getting married.  I would like to highlight what the culmination of the plot means:

  • No more drugs.
  • No more separateness.
  • No more interruption.
  • No more perverse sexuality.
  • No more conflict.
  • No more bestialization.
  • No more confusion of identity.
  • No more bachelorhood.

Love does not triumph over marriage in the play; marriage triumphs over love.  At the beginning of the play, to state it again, Theseus mandates marriage between Hermia and Demetrius; the only thing that changes is that now, there is a mandatory marriage between Hermia and Lysander.  The play begins with the compulsion of marriage, and it ends with three compulsory marriages.  It is not the case that Hermia frees herself from a marriage that is decreed by the Athenian state; she subjects herself to a different marriage that is decreed by the Athenian state.

Marriage is the Imprint of the Father and the Imprint of the Law.  As Theseus says to Hermia:

“Be advis’d, fair maid. / To you your father should be as a god: / One that compos’d your beauties, yea, and one / To whom you are but as a form in wax / By him imprinted, and within his power / To leave the figure, or disfigure it” [I:i].

Let us not forget that marriage is the effect of the Law of the Father and the Law of the State.  As he explains himself to the Duke of Athens, Lysander’s speech is broken off by what rhetoricians call aposiopesis, and Egeus summons the law:

“Enough, enough, my lord; you have enough! / I beg the law, the law upon his head!” [IV:i].

Another ambiguity in the plot that has never been sufficiently clarified: Does Demetrius genuinely desire Helena at the close of the play, and has the spell of the flower worn off?  His desire for her was a fabricated desire, brought about by the magical flower.  Is his desire for Helena now authentic?  On what basis could we say that it is?  In Shakespearean comedy, as I have written many times before, all of the principals shall be married, whether they want to be or not.  Demetrius’s marriage to Helena might very well be a mandatory marriage, a marriage that is contrary to love, impelled by the unreciprocated love of a woman, the dictates of the Athenian state, and the constraints of the plot.  This same pattern will become integral to All’s Well That Ends Well: Even the name of the pursuing female character (Helena) will be the same.  Demetrius:

“I wot not by what power—/ But by some power it is—my love to Hermia, / Melted as the snow, seems to me now / As the remembrance of an idle gaud / Which in my childhood I did dote upon; / And all the faith, the virtue of my heart, / The object and the pleasure of mine eye, / Is only Helena” [IV:i].

He knows not by what power he has fallen out of love with Hermia and fallen into love with Helena.  Notice that Demetrius separates the source of his new love for Helena from his own mind and his own body.  The power that compels him to desire Helena, then, is something exterior to his self.  Could the power of which he speaks come from the lingering effects of the flower-drug?


There are two instances of prodiorthosis in the play, or what are called today “TRIGGER WARNINGS.”  Prodiorthosis = a warning to the audience that something offensive or shocking is about to be said or displayed.  The second is a TRIGGER WARNING after the fact (if such a thing be possible):

Quince: “If we offend, it is with our good will. / That you should think, we come not to be offend, / But with good will” [V:i].

Puck: “If we shadows have offended, / Think but this, and all is mended, / That you have but slumber’d here / While these visions did appear” [V:i].

The “shadows” are the characters themselves, since the work of art is itself a dream, and Puck reminds us that the adventure in the oneiric forest is a dream within the dream.  As I have written elsewhere, Shakespearean comedy is conjugal propaganda, and the contours of the plot are shaped by a wedding.  A Midsummer Night’s Dream itself was most likely written on the occasion of a wedding and first staged at a wedding.  This is worth remarking upon because conjugality is the transcendent value of the play.  The sexual tension that is stimulated and aggravated throughout the play ends in the moderation of marriage, the institutionalization of sexuality.  The perversity and the savagery of the huntresses in the play (Titiana, Helena) is tamed by marriage.  As the second prodiorthosis reminds us, the entire plot might have been a dream, an erogenous dream that is cancelled out by a mass-wedding.  The wildness of an erotic dream fizzles out into the crushing boredom of marriage.


From all of the above I draw the principle: Plot is a literary artifice that creates the illusion that the world is organized.  But there is no prestabilized harmony that holds together the world.

Dr. Joseph Suglia

My Favorite Authors, My Favorite Films, My Favorite Music


My favorite music is German, English, and African Progressive Rock from 1969 until 1980.  Especially: Hawkwind, Amon Düül II, and Can.

I have never seen a film that satisfied me.

My favorite authors include Nietzsche, D.H. Lawrence, and Shakespeare.  Honorable mention: Melville, Schopenhauer, Lacan, Hegel, Marx, Husserl, Canetti.

Joseph Suglia

Corregidora / Corrigenda – by Joseph Suglia


Corregidora / Corrigenda

by Joseph Suglia

A typical response to genocide is the injunction to remember.  All of us have heard the words “Never forget!” in reference to the Shoah.  Most are familiar with Kristallnacht, with the Names Project, also known as “the AIDS Quilt.”  The March for Humanity memorializes the mass-murder of Armenians by Ottoman Turks.  Every year, at this time in April, the Rwandan government urges its citizens to kwibuka—the Rwandan word for “to remember.” To kwibuka, to remember the countless Tutsis who were slaughtered in the massacre of 1994.

But how should one respond when genocide is misremembered?  Is the misremembrance of genocide superior to the forgetting of genocide?

Which is worse, distortion or oblivion?

Is it worse to minimize, for example, the number of Armenians who were killed at the beginning of the twentieth century, or to forget that the genocide of Armenians ever occurred?

The most dominant medium of the twentieth century was the cinema, and the cinema still has the power to shape, and to misshape, collective memory.

Over the past seven years, a talentless hack filmmaker named Quentin Tarantino has manufactured films that I would not hesitate to describe as “genocide pornography.”  That is to say, these are films that would turn genocide into an object of consumption, an object of enjoyment.  These are also films that disfigure historical consciousness.

Thanks to Quentin Tarantino, the succeeding generation might believe that the Jews defeated the Nazis.  Thanks to Quentin Tarantino, they might believe that Hitler was assassinated.  They might believe that, in general, African slaves rose up and overcame their enslavers.  They might believe that every African slave in antebellum America was a free agent.  Not an insurrectionist like Nat Turner, but an action figure like Django.

But what if misremembrance were not a disfiguration or a distortion of memory?  What if misremembrance plays a constitutive and formative role in memory itself?

Freudian psychoanalysis has something to say about the interpenetration of remembrance and misremembrance.

At the earliest stage of his career, between the years 1895 and 1897, Freud formulated what is called “seduction theory.”  Seduction theory is based on the idea that sexual trauma is pathogenic—that is, that sexual abuse produces neuroses.

Freud rejected seduction theory in 1897, but this does not mean that he silenced the voices of abused children.  From the beginning of his career until its end, Freud never ceased to emphasize that sexual trauma has pathological effects.

Why did Freud reject seduction theory?  Because it was too linear, too simple, because it did not take into consideration the supremacy of the unconscious.

The memory of sexual trauma, Freud recognized, might be repressed, sublimated, externalized, transferred, reintrojected, reimagined, or fictionalized.

This does not mean that when children claim that they have been sexually abused, they are lying.  It means, rather, that experiences of abuse pass through the imagination and the imagination passes through the unconscious.  Seduction theory did not take the imagination—die Phantasie—into account and therefore had to be abandoned.

The unconscious, as Freud wrote to Wilhelm Fleiss, does not distinguish between fact and fantasy.

It is difficult for a victim of abuse to acknowledge his or her trauma directly, and Freud knew this.  Sexual trauma, after it occurs, does not manifest itself directly or immediately, but epiphenomenally—that is to say, symptomatically.  It shows itself in disguise.  It dramatizes itself.  It retraumatizes.  It might be phantasmatically reconstituted.

From the Freudian standpoint, remembrance and misremembrance are not mutually exclusive.

There is a third form of misremembrance that I would like to pause over.  It is the kind of anamnesis or déjà vu when an individual recollects not her own individual history, but the history of past generations, the history of her ancestors.  Cultural memory, seen from this perspective, would be a form of misremembrance.

Such misremembrance could only be figured in art.

The literature of Gayl Jones reminds us that the remembrance of personal trauma always contains a cultural dimension, that all memory is misremembrance.

The past that you have experienced is not the past that you remember.

When I first heard the title of Jones’s first novel — Corregidora  (published in 1975) — I thought it was “corrigenda.”

Corrigenda: a list of errors in a published manuscript.

* * * * *

At the novel’s opening, lounge singer Ursa Corregidora is shoved down a staircase by her husband, Mutt — a catastrophic blow that results in her infertility. After she renounces her husband, Ursa enters into a relationship with Tadpole, the owner of the Happy Café, the bar at which she performs. Like all of her significant relationships with men, this second relationship proves disastrous and is doomed to failure.

Every man in the novel, without exception, sees Ursa as a “hole” — that is, as a beguiling and visually appealing receptacle to be penetrated. The narrative suggests this on the figural level. A talented novelist, Jones weaves images of orifices throughout her text — tunnels that swallow and tighten around trains, lamellae such as nostrils, mouths, wounds, etc. Although one of Ursa’s “holes” is barren, another “hole” is bountifully “prosperous”  — her mouth, from which the “blues” issue. A movement of sonic exteriorization corresponds to a counter-movement of physiological interiorization.

It is easy to be trapped by these more immediate, socio-sexual dimensions of the narrative. Corregidora might seem, prima facie, to be nothing more than another novel about a woman imprisoned in abusive and sadistic relationships with appropriative men. But the meanings of Corregidora are far more profound than this.  A “transcendental” framework envelops the immediate narrative and casts it in relief, thereby enhancing its significance.  We learn that Ursa is the great-granddaughter of Portuguese slave-trader and procurer Corregidora, who sired both Ursa’s mother and grandmother.  Throughout the course of the novel, the men in Ursa’s life take on a resemblance to Corregidora — and this resemblance sheds light on both the sexual basis of racism and the tendency of some oppressed cultures to take on the traits of imperialist hegemonies.  According to the logic of the novel, the children of slaves resemble either slaves or slave drivers.  Even within communities born of slavery, the novel suggests, there persist relationships of enslavement.  “How many generations had to bow to his genital fantasies?” Ursa asks at one point, referring to Corregidora the Enslaver.  As long as hierarchical relationships form between men and women in the African-American community, Jones’s novel suggests, there will never be an end to this period of acquiescence; Corregidora will continue to achieve posthumous victories.

As long as hierarchical relationships form between men and women in the African-American community, the novel suggests, the enslavers will continue to achieve posthumous victorious.

As long as hierarchical relationships form between men and women in the African-American community, the novel suggests, the segregationists and the white supremacists will continue to achieve posthumous victories.

To return to the opening statement of this essay: A typical response to genocide is the injunction to remember. Although her infertility robs Ursa of the ability to “make generations” — something that, she is taught, is the essence of being-woman — she can still “leave evidence,” can still attest to the historical memory of slavery.  All documents that detailed Corregidora’s treatment of his slaves were seemingly destroyed, as if the abolition of slavery abolished memory itself.  According to the injunction of the Corregidora women (Ursa’s ancestors), one must testify, one must re-member, one must “leave evidence.”  And yet memory is precisely Ursa’s problem.  Memory cripples her.  Throughout the novel, Ursa struggles to overcome the trauma of her personal past.  And this past — in particular, the survival in memory of her relationship with Mutt — belongs to the larger, communal past that is her filial legacy.  Her consciousness is rigidified, frozen in the immemorial past of the Corregidora women.  This “communal” past is doomed to repeat itself infinitely, thus suspending the presence of the present — and, in particular, Ursa’s individual experience of the present.  Her individual experience of the present is indissociably married to her personal past, and her most intimate past is, at the same time, also the past of her community.  The words that Ursa uses to describe her mother could also apply to Ursa herself: “It was as if their memory, the memory of all the Corregidora women, was her memory too, as strong within her as her own private memory, or almost as strong.”

At the shocking and unforgettable close of the novel, the past and present coincide almost absolutely.  When, after twenty-two years of estrangement, Ursa is reunited with her first husband, the historical memory of slavery is superimposed and mapped onto their relationship. Both Ursa and Mutt become allegorical figures, each representing slave and slaveholder, respectively.  The present-past and the past-present reflect each other in an infinite mirror-play until they both become almost indistinguishable from each other.

At the juncture of both temporalities is an inversion of power relations that comes by way of a sex act.  Ursa performs fellatio on her first husband.  Oral sex replaces oral transmission.  Here we have the perpetuation of a traumatic past, and yet it is a repetition with a difference.  Fellatio is disempowering for the man upon whom it is performed; dangerously close to emasculation, it is experienced as “a moment of broken skin but not sexlessness, a moment just before sexlessness, a moment that stops just before sexlessness.”  For the woman, by contrast, it might be an act vacant of all sensuality, one that is abstracted of all emotional cargo.  Fellatio might infuse the performer with a feeling of power’s intensification; its objective might not be the enhancement of erotic pleasure, but of the pleasure that comes with the enhancement of one’s feeling of power.

By playing the role of the guardian of memory, Ursa dramatizes the intersection of her individual past with a communal past.  The paralysis of historical consciousness sets in: “My veins are centuries meeting.”

End of quotation, and the end of the essay.

Dr. Joseph Suglia