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Undisguised Influences’ Notes Introduction: An ‘Untimely’ Political Thought for Serious Times 1. Deleuze 2005, p. 3. 2. HTH, II, Preface, 1. 1. The Twentieth-Century Politics of Contempt 1. ‘Le Pari de notre génération’, Interview in Demain (24–30 October 1957), English translation ‘The Wager of Our Generation’ (Camus 1961, pp. 169–75). 2. Dismissed ‘as an early modern polemical weapon for symbolically annihilat- ing cultural opponents’ (Woolfolk 1990, p. 105), sociologists have recently attempted to sketch a viable theory of ‘nihilism’, distinguishing two theo- retical approaches to this much contested notion: the first defines nihilism as the denial of ultimate transcendent foundations; the second approach, originating from Nietzsche’s work, traces nihilism in the Platonic–Christian dichotomy of sensory and supra-sensory Being (God, Truth), of immanence and transcendence, and in the devaluation of the immanent sphere of the phenomena as appearance and illusion. 3. Arendt refers to the three Marxian sentences ‘The philosophers have only interpreted the world differently; the point is, however, to change it’; ‘Labor created man’; ‘Violence is the midwife of every old society pregnant with a new one’ (Arendt 1993, p. 21). 4. See I, p. xix; Garfitt 2007, p. 27; Garfitt 1983, pp. 103–11. 5. Grenier published the essay ‘Le Nihilisme Européen et les Appels de l’Orient’ in two parts under the pseudonym of Jean Caves in Philosophies between March and May 1924 (Garfitt 2007, p. 34). 2. ‘Undisguised influences’ 1. ‘Rencontres avec André Gide’, in Hommage à André Gide (November 1951) in III, 881–5. 2. See Viggiani 1968; Arnold 1984, p. 123. 3. ‘La Philosophie du siècle’, Sud, n. 7 (June 1932), p. 144, in I, 543–5. 4. ‘Sur la musique’, Sud, n. 7 (June 1932), pp. 125–30, in I, 522–40. 5. Between 1931 and 1932, the NRF devotes a series of articles to Nietzsche, Kierkegaard, Dostoyevsky and Bergson; to Andler’s Nietzsche sa vie et sa pensée. VI. La Dernière philosophie de Nietzsche and Podach E.F. (1931) L’effondrement de Nietzsche (Paris: Gallimard) – both texts are listed in Camus’s private library (see Favre 2004, pp. 204–5) – and to Stefan Zweig’s Nietzsche. 6. According to Roger Grenier, in 1932 Camus paraphrases La Naissance de la tragédie, in particular the opposition of the Apollonian and the Dionysian’ 148 Notes 149 (in Le Ridier 1999, p. 143), but textual analysis confirms that the source of Camus’s commentary of the 1872 work is Nietzsche’s 1886 preface, which roots the desire for beauty in pain and the creation of the ‘God-artist’ in a liberation from pain through illusion, namely, in a ‘symbolised ecstasy’ that is opposed to reason’s moral interpretation of existence (‘Essay of self-criticism’, 4–5). The fact that Camus bases the Apollonian in the Dionysian is not due to an error on the part of the young student (Arnold 1984, pp. 126–7), but to the reading of the ‘Essay of Self-Criticism’, and, more precisely, to the inspiration he gets from the pages Nietzsche writes on the opposition between the pes- simism of the ‘Dionysian Greek’, creator of symbolic forms, and the optimism of (Socratic) withering logic; see Vattimo 2000, p. 158. 7. See Vattimo 2000, pp. 143–83. 8. Preface to the re-edition of Grenier’s Les Îles (1959). 9. As Deleuze notes, ‘Nietzsche was first introduced in France not by the ‘right’ but by Charles Andler and Henri Albert, who represented a whole socialist tradition with anarchical colourings’ (Deleuze 2004, p. 129.) The language and style of Albert’s translations especially contributed to Nietzsche’s success in French literary circles, confirming the image, dear to Gide and Valéry, of a writer and thinker that was opposed to the ‘professional philosopher’ (Le Ridier 1999, p. 61). In 1932, Gide is one of the ‘undisguised influences’ of Camus’s early writings and his favourite literary example (see Camus and Grenier 1981, p. 11). 10. A copy of the 1930 edition of Aurore, translated by Henri Albert (Paris: Mercure de France), that was underlined and annotated by Camus, is part of his private library collection (Favre 2004, p. 203). According to his friend and poet, Blanche Balaine, in the mid-1930s, Aurore was Camus’s favourite book by Nietzsche (Balaine 1999, p. 104). 11. A copy of the 1932 French edition of Lou Andréas-Salomé’s Nietzsche (Paris: Grasset) was listed in the catalogues of Camus’s private library until 1971 (Favre 2004, p. 204). 12. I respect the order proposed in the first volume of the new Pléiade edition of the complete works (Camus 2006), which differs from that proposed by Viallaneix (CAC2; Camus 1980). 13. According to the biographer, Nietzsche’s philosophical experience rejects all abstract systems and culminates in the ‘mystical apotheosis’ of the thinker (Andréas-Salomé 2002, p. 287). Camus’s emphasis on his mystical soul’s ‘fervour’ and ‘desire for superhuman communions’ (I, p. 941) suggests that he understands mysticism from the perspective of the Nietzschean theory of knowledge, in other words, as a liberation from rationalism. 14. The figure of the absurd comedian in Le Mythe de Sisyphe evokes the Nietzschean thinker portrayed by Andréas-Salomé (see Andréas-Salomé 2002, pp. 35, 39). 15. The striking affinity between the two figures in ‘Incertitudes’, the one who commands and the one who obeys, and the philosophical experience evo- ked in Andréas-Salomé’s biography of Nietzsche suggests that Camus uses this text to reflect his personal investigation (‘reveries’) in the thinker’s ‘tragic split’ that ‘transfigures’ the individual and allows him to conquer health through illness (Andréas-Salomé 2002, pp. 44–5). 16. The vigorous discipline of his ‘anarchy of instincts’ is the thinker’s way to ‘greatness’ (‘grandeur’) (in Andréas-Salomé 2002, p. 38). Exhortation to 150 Notes (self-)control was also spoken of by Jean Grenier to Camus (see Garfitt 2007, pp. 29–30). 17. In Ecce Homo, Nietzsche insists on the crucial role that illness plays in the gen- esis of his thought, which allows for ‘liberation’ and a ‘return to himself’ (EH, ‘Pourquoi j’écris de si bond livres’, ‘Humain, trop humain’, 4). In similar terms, Camus evokes tuberculosis as a ‘fortunate illness’, which marked the transition from the ‘happy barbarity’ (IV, p. 621) of his youth, which was absorbed by the sensual pleasures of the Algerian beaches, to the artist’s creative period, which was rooted in suffering and the tragic confrontation with a precocious death. 18. The image of the labyrinth recurs in Nietzsche’s Aurore (III, p. 169), also quoted in Andréas-Salomé 2002, p. 40. 19. Anticipating Le Mythe de Sisyphe, Camus renounces the accessibility of Truth without relinquishing his unquenchable desire for the ideal and the infinite (I, pp. 950–1). 20. Andler employs the notion of ‘intuitions sentimentales (sentimental intui- tions)’ to address the different phases of Nietzsche’s philosophy, whose criti- cism of rationalism is said to stem from a primitive ‘éclairage émotionnel’ (‘emotional light’) (Andler 1958b, pp. 14–15). Although it is not cited in the bibliography of ‘Sur la musique’, we cannot exclude that, in 1932, Camus read this book that devotes an extensive analysis to Nietzsche’s philosophy of tragedy. A copy of the 1921 edition of Le pessimisme esthétique de Nietzsche figures in the inventories of Camus’s private library, along with the other five volumes of Charles Andler’s Nietzsche, sa vie et sa pensée (Paris: Gallimard) (see Favre 2004, p. 204). 21. Camus’s pages on the anthropomorphic character of thinking in Le Mythe de Sisyphe are reminiscent of Andler’s emphasis on the schemes or value judge- ments by means of which men impress their seal of order and reason upon reality. 22. It is not possible to say whether Camus read Nietzsche’s Zarathustra in 1932 or not; the book does not figure in Arnold’s inventory (1979), while Favre (2004) refers to a copy of the 1942 French edition of Ainsi parlait Zarathoustra translated by M. Betz (Paris: Gallimard). Nonetheless, there are reasons to believe that even in the early 1930s Camus was acquainted with the text of Zarathustra through his teacher, Jean Grenier. The island is also a recurring theme in the writings of Grenier, whose ‘Îles Kerguélen’ (‘The Kerguelen Islands’) was published in NRF in May 1931. At the time Camus was completing his ‘reveries’, Grenier was working on ‘Les Îles Fortunées’ (‘The Fortunate Isles’), then on ‘L’Île de Pâques’ (‘The Easter Island’). In 1933, Grenier published Les Îles (Islands), which was to have a great influence on Camus (IV, pp. 621–24). As Garfitt observes, ‘for Grenier, the island is a place of inevitable confrontation with the self, in the absence of all other distrac- tions, and is therefore in its essence metaphysical. One is confronted with the truest image of oneself, and it is that experience that can then release one’s inner song [...]. There is a genuine desire to understand (on the part of Camus), a sense of almost surprised recognition, and at the same time a fair amount of resistance to Grenier’s line of thought, which is strongly influenced by Indian philosophy and is constantly pulling away from the human, relegating it to the periphery. Camus is struggling with Grenier’s essentially metaphysical and potentially antisocial approach, and wanting Notes 151 to assert the possibility of a definitive commitment to the values of the here-and-now’ (Garfitt 2007, pp. 31–2). I suggest that Nietzsche provided the arguments for the assertion of such commitment in Camus’s early writings. 23. EH, ‘Pourquoi j’écris de si bons livres’ – ‘La Naissance de la tragédie’, 2.
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