ABSTRACT
This work does not accord with literary criticism in the traditional sense. Yet it is devoted to the under-standing of a literary work. It could be said to reside within the precincts of philosophical endeavor. Indeed, it tries to understand an object that splits existence into incommensurable articulations. This object resists the revelation of its truth to the point of retaining the status of absolute otherness. Nonetheless, it has given rise to laws and moral pronouncements. This fact, in itself, is not alarming. The problem is signaled elsewhere, in the exhaustion of language. Where might one go today, to what source can one turn, in order to activate a just constativity? We no longer see in philosophy the ultimate possibilities for knowing the limits of human experience. And yet we began this study by citing Nietzsche. There were two reasons for this selection. In the first place, Nietzsche was the philosopher to think with his body, to ‘dance,’ which is a nice way of saying also to convulse, even to retch. And then, Nietzsche was the one to put out the call for a supramoral imperative. This summons in itself will urge us on - for we are dealing in a way with the youngest vice, still very immature, still often misjudged and taken for something else, still hardly aware of itself ...
