Chapter 10 2

Although Tooke's and Pinel's ideas and values ​​were very different, their work was consistent in transforming the status of the medical staff.We saw earlier that doctors play no role in confinement.And now, he is the most important character in the madhouse.He holds the patient's admission right.Tooke's sanatorium expressly stipulates: "In admitting a patient, the committee shall generally require the applicant to submit a medical certificate signed by a medical doctor. . . .It should preferably be accompanied by other reports stating how long the patient has been insane, and whether or what kind of medical treatment has been used.” Since the end of the 18th century, the doctor’s medical certificate has almost become a necessary document for the confinement of insane people.In the asylum, the doctor has become dominant because he has transformed the asylum into a medical space.However, the crux of the problem is that the doctor's intervention is not because he has medical technology himself-this needs to be proved by a set of objective knowledge.The medical man enjoys authority in the madhouse not because he is a scientist but because he is a wise man.If it is said that the lunatic asylum needs medical professionals, it is also regarded as a guarantee of justice and morality, not as a need for science.An honest and prudent man, with many years of experience in an asylum, will do the job well.Recognition that medical work is only one part of the vast moral work of a madhouse guarantees the treatment of the insane: "Give the manic man every liberty under conditions that ensure his safety and the safety of others, according to his the degree of danger of deviant behavior to overwhelm him, ... collect all kinds of facts that will help the doctor's treatment, carefully study the behavior and emotional changes of the patient, use gentle or strong attitude accordingly, negotiate words of reassurance or Shouldn't all this be the sacred rule of governing any madhouse, public or private?" According to Tooke, the first doctor of the sanatorium was because of his "spirit of fortitude." "and was recommended for appointment.When the doctor first entered the nursing home, he had no expertise in psychiatry, but "he took up his post with enthusiasm, because his skills are related to the vital interests of many compatriots."Based on his common sense and experience provided by his predecessors, he tried various medical methods.However, he was quickly disappointed.This is not because the results are bad, nor because the cure rate is too low: "Medical means are not closely related to the recovery process, which makes him suspicious of them, thinking that medical means may not be the cause of recovery, but just a foil ’ ” He found little use of the medical methods known at the time.Out of philanthropy, he decided not to use any drug that would cause strong displeasure to his patients.But that doesn't mean the doctor is unimportant in the nursing home.Because of his regular visits to the patients, and because he exercised authority over the staff of the nursing home, "the doctor ... has sometimes more influence on the minds of his patients than any other nursing staff."

It is believed that Tooke and Pinel introduced medical knowledge to the asylum.In fact, they did not introduce science, but a personality.This kind of personality force only borrows the mask of science, at most it uses science to justify itself.By its nature, this force of personality falls into the moral and social category.Its basis is the madman's minor status, the madness of the madman's body, not his head.If such a medical man can isolate madness, it is not because he understands madness, but because he controls it.The objective image identified by positivism is but the other side of this domination. "Winning the confidence of patients, and instilling in them feelings of respect and obedience, is a very important object. And this can only be the effect of good education, good manners, dignified tone of voice, and keen insight. Ignorance , unprincipled, and though it may be maintained by a tyranny, can only arouse fear, and always mistrust. The nurse has acquired power over madmen, and can direct and control their actions as he pleases. He should have firm character, and occasionally exerts his coercive power. He should try not to intimidate, but if he makes a threat, he must honor it, and if he encounters disobedience, he will be punished immediately." The reason why the doctor can exercise absolute authority in the asylum is because From the beginning he was the father and the judge, he represented the family and the law.His medical practice was for a long time but a supplement to the ancient rituals of order, authority, and punishment.So Pinel is well aware that the madman can be cured without modern medical methods, as long as the doctor puts these ancient images into play.

Pinel cites the case of a 17-year-old girl.The girl grew up under the "extreme doting" of her parents.She suffered from a "frivolous delusional disorder, the cause of which cannot be determined".In the hospital, she was treated with extreme courtesy, but she always put on a "haughty" look, which was intolerable in a madhouse.She's always been abusive when talking about her parents.The lunatic asylum decided to impose severe discipline on her. "In order to tame this rebellious being, the nurse used the method of immersion to show his toughness towards some who dared to disobey their parents. He warned the girl because she resisted treatment and stubbornly concealed her cause , in the future she will be subjected to all kinds of harsh treatment that is justified. Because of this unprecedented harshness and these threats, the girl was "deeply touched... Finally she admitted her mistake and frankly, she lost Sanity is the result of an unattainable infatuation, and she names her infatuation". After the first confession, the therapy becomes easy: "A most desirable change occurs,  … ...She calmed down and expressed her gratitude to the nurse in every possible way, because he put an end to her long-term irritability and restored her inner peace. "Every episode of this story can be recounted in psychoanalytic terms. It should be said that Pinnell is quite right. The role of the medical staff is not due to an objective definition or With a diagnosis of detailed classification, but with a prestige that contains the secrets of family, power, punishment and love. It is because the doctor makes these forces work, because he himself puts on the mask of father and judge , he can put aside purely medical methods at once, and make himself almost a witch doctor, with the image of Sammatgus Q22. His observations and words are enough to reveal hidden malfunctions and make illusory thoughts disappear. Madness finally gives way to reason. His presence and his words have the power to remove insanity, to reveal wrongdoing and restore moral order at once.

Just as knowledge about mental illness attempted to assume some empirical meaning, medical practice entered an uncertain territory that seemed capable of miracles.This is a strange paradox.On the one hand, madness remotes itself into an objective realm in which the threat of the irrational has disappeared.At the same time, however, the madman tends to be firmly united with the doctor, a partnership that goes back to very old ties.Life in the madhouse established by Tooke and Pinel created the conditions for the birth of this delicate structure.This structure would become the nucleus of madness, a microcosm of the vast structure that symbolizes bourgeois society and its values: the relationship of family and children centered on patriarchal authority, the relationship of transgression and punishment centered on direct justice , the relationship of madness and disorder centered on social and moral order.It is from these relationships that physicians draw their healing power.Because of this, the patient finds that in the doctor-patient bond, through these ancient ties, he has been handed over to the doctor, who has the almost magical power to heal him.

In the days of Pinel and Tooke, there was nothing special said about this ability.It is explained and justified only in terms of the efficacy of moral behavior.It is no more mystical than the ability of an 18th-century physician to dilute bodily fluids or relax nerves.But physicians were quick to abandon the meaning of this moral practice and confine their knowledge to positivist norms.Thus, from the beginning of the nineteenth century onwards, psychiatrists no longer understood the nature of the faculties they had inherited from the great reformers.The effectiveness of the reformers seems to have had absolutely nothing to do with the psychiatrist's ideas about mental illness, or with the practice of other physicians.

This spiritual healing practice is mysterious even to its users.However, it is very important in determining the place of the madman in the field of medicine.First of all, because for the first time in the history of Western science, psychiatry has almost completely independent status.You know, it has been a mere chapter in medicine since ancient Greece.We have seen that Willis studied madness under the heading "Sickness of the Head."After Pinel and Tuke, psychiatry will become a unique medicine.This uniqueness cannot be avoided by anyone interested in finding the cause of madness in either physiological mechanisms or hereditary predispositions.Because this uniqueness involves increasingly ambiguous moral forces, it is essentially a way of expressing guilt.This makes it even more difficult for people to avoid it.The more they confine themselves to positivism, the more they feel that their practice is creeping away from this uniqueness.

As positivism imposed its views on medicine and psychiatry, the practice became increasingly blurred, the abilities of psychiatrists became more miraculous, and the relationship between doctor and patient became more and more entangled. A strange world.In the eyes of the patient, the doctor becomes a magician, and the authority the doctor borrowed from social order, morality, and family now seems to emanate from himself.Because he is a doctor, people think he has these abilities.Both Pinnell and Tooke had insisted that the physician's moral role was not necessarily linked to any scientific competence.But people, first of all the sick, think that the doctor's power to cure insanity is due to some kind of mystery in his knowledge, and he even possesses almost devilish secrets.The patient is more and more accepting of this state of submission to the doctor, because the doctor has both divine and demonic powers, which cannot be measured by mortal standards.The patient thus surrenders himself more and more to the physician, fully and presupposes his authority, and submits from the first to that will which he regards as magic, to the science which he regards as prescient.As a result, the patient becomes the most ideal and perfect object of those powers which he projects upon the doctor.It is a pure object that resists nothing but its own inertia, ready to be that hysterical patient whom Charcot extols the doctor's magical powers.If we want to analyze the deep structure of objectivity (Q24) in the knowledge and practice of nineteenth-century psychiatry from Pinnell to Freud, we have in effect to show that this objectivity was from the outset a The materialized embodiment of the magical nature, which can only be realized with the participation of the patient himself.It began as an explicit moral practice, but it was gradually forgotten as positivism promoted its myth of scientific objectivity.Although the origin and meaning of the practice has been forgotten, the practice persists.What we call the practice of spiritual healing is a certain moral strategy belonging to that era at the end of the eighteenth century.It was preserved in the regime of life in a madhouse, and was later overshadowed by the myths of positivism.

However, if the doctor quickly becomes a magician in the eyes of his patients, it is impossible for the positivist doctor to see himself in this way.He no longer understood how that mystical power came about, so he could not explain the cooperation of the patient, nor would he acknowledge the ancient forces that constituted it.However, he had to give this mysterious power a certain status.And, since there is nothing within the positivist understanding to attest to this teleportation of the will, or similar teleoperation, it will not be long before this anomaly will be attributed to madness itself.Although these treatments are unfounded.But they must not be dismissed as bogus cures, which will soon become real cures for false ailments.Madness is not what people think it is, nor is it what it thinks it is.It's actually far simpler than it appears, a combination of convincing and bewildering.Here we can see the origin of Bagsch's epilepsy.By a strange turn of events, one's mind leapt back almost two centuries: between madness, false madness, and simulated madness, the line is blurred - the same conditions are so intertwined that they cannot be united. .Moreover, medical thought has finally made an identification that equates the medical concept of madness with the critical concept of madness.And before that, the whole of Western thought since ancient Greece has been hesitant about it.At the end of the nineteenth century, in the minds of Babinski's contemporaries, we see a wonderful axiom that medicine had never dared to formulate before: madness is, after all, just madness.

In this way, when the psychotic patient is completely handed over to his doctor, the concrete and real person, the doctor is able to dispel the psychotic entity with the critical concept of madness.Therefore, apart from the empty form of positivist thought, there is only one concrete reality left here, that is, the combined relationship between doctor and patient.Various kinds of alienation (insanity, alienation, estrangement) are summarized in this relationship, they are both connected and unraveled.It was this situation that brought practically the whole of psychiatry in the nineteenth century toward Freud.Freud was the first to admit with utmost seriousness the union of doctor and patient, the first not to look elsewhere, the first not to resort to a doctrine of psychiatry that would be compatible with the rest of medical knowledge who came to cover up this relationship, the first to follow its developmental consequences with absolute rigor.On the one hand, Freud demystifies the various other structures of the asylum: the stock and observation, the mirror self-knowledge of madness, the clamor of condemnation.But, on the other hand, he developed the kind of structure that accommodated the medical staff.He augmented the abilities of his magician, arranging for him a status of almost divine omnipotence.He is concerned only with this presence: this presence, hidden behind and above the patients, manifests itself as a non-existence that is at the same time omnipresent, the powers that are distributed in the collective life of the hospital. .He turns this presence into an absolute observation, a pure and discreet silence, a judge who rewards and punishes in a trial that does not even use words.He turned this existence into a mirror.In this mirror madness catches itself and relinquishes itself with a calm motion.

For doctors, Freud transformed the various structures that Pinel and Tuke had built in confinement.If the "liberator" alienated the patient in the asylum, then Freud did rescue the patient from this lunatic asylum.But he has not freed the patient from the most basic elements of this state of existence.He regrouped the various powers of the asylum, extending them to the extreme by concentrating them in the doctor's hands.He created the environment for psychoanalysis.In this environment, by a magical short-circuit, insanity (alienation) becomes the dissolution of insanity (alienation), because in the doctor, insanity has become the subject.

The doctor as an alienating figure remains a key factor in psychoanalysis.Perhaps because psychoanalysis has not suppressed this most fundamental structure, perhaps because it subsumes other structures into it, it has not been and will not be able to hear the voice of the irrational and through them to Crack the symbols of the madman.Psychoanalysis can eliminate some forms of madness, but it has never entered the realm of the domination of the irrational.It neither emancipates nor paraphrases nor even articulates the essential elements of the field. Since the end of the eighteenth century, the existence of irrationality has ceased to be revealed except in rare cases, such as those works like lightning that cut through the night sky, such as the works of Hölderlin, Nerval, Nietzsche and Artaud. work.these works in conclusion When creating the painting "Patient's Hospital", Goya must have experienced something related to the atmosphere of the times when facing the crawling body in the empty prison and the nude surrounded by walls: those mentally deranged kings wear symbols on their heads. The golden silk crown of sexuality makes the humble and vulnerable body stand out more, thus forming a contrast with the condemning expression on the face.This contrast is not so much caused by the crude attire as it is reflected by the humanity radiated by the untouched flesh.The man in the cocked hat isn't crazy, because he's covering his naked body with an old hat.However, the wild, uninhibited and silent youthful power displayed by his strong body reveals a kind of human existence that is born free and has been liberated in this madman who uses an old hat to hide his shame. The point of view of "The Asylum" is not so much the madness and the eccentric faces that can also be seen in "Fantasy" but the sameness that these novel bodies display in all their vitality.If these postures of the body suggest their dreams, it is because they particularly assert their unacknowledged freedom.The language of this painting is very close to Pinel's world. What Ge Nan focuses on in "Outliers" and "The House of the Deaf" is another kind of madness, not the madness of the madman thrown into prison, but the madness of the person thrown into darkness.Didn't Goya evoke in us an ancient world of sorcery, magical flights, and witches who dwell in dead trees?Wouldn't the goblins whispering in The Friar's ear be reminiscent of the dwarfs who bewitched Bosch's St. Anthony?However, these images had different meanings for Goya.Their prestige surpasses all his later works.This prestige stems from another force.For Bosch and Brueghel, these images are produced by the world itself.They emerge, through a strange poetry, from stones and trees, from the howls of animals.Their indulgent singing and dancing cannot lack the participation of nature.But Goya's image was born from nothing.They have no background: on the one hand they only outline themselves in the monotonous darkness, and on the other hand nothing marks their origin, their limits, their nature. "Outliers" has no environment, no walls, no background.This is also quite different from "Thinking".In "Flight," the night sky infested by giant humanoid bats is devoid of a single star.Witches talk while riding on branches.But what tree do the branches grow from?can it flyWhat party are you going to?To what kind of forest clearing?These images have no relation to any world, whether human or non-human.This is indeed a problem with that "slumber of reason" - Goya's 1797 painting has become the first portrait of this "mantra".This is a question about the night, no doubt about the irrational night of classicism, the triple night that sinks Orestes.But in that night, man communicates with what is most private and loneliest within him.The desert in which St. Anthony of Bosch resides is full of life; even the product of the fool's imagination, the image echoing The Fool's Cry shows a fully human language.In Goya's "The Monk", although the beast is lying on his back, with its claws on his shoulders, panting in his ear with its mouth open, the monk is still a lonely person, revealing nothing. secret.What is presented to people is only the innermost and wildest uninhibited power.This kind of power dismembers the human body in "The Great Vision", and does whatever it wants in "Raging Madness", which is shocking.Besides that, the faces themselves were inextricably shaped.This madness is no longer that of the Madness in Rhapsody, which wears a mask and is more real than the real face.And this madness is the madness behind the mask, it devours the face, it corrupts the visage.Faces no longer have eyes and mouths, only gazes out of nowhere, staring into space (as in "The Witches' Gathering"), or only screams from black holes (as in "The Pilgrimage of Saint Isidore") ).Madness has made it possible to abolish man and the world, even the images that threaten it and distort it.It goes far beyond the dream, beyond the animal succubi, to become the last hope, the end and the beginning of all things.Not because it expresses a sense of hope like a German lyric, but because it contains both chaos and apocalyptic implications.Goya's The Idiot screams, twists his shoulders, and tries to escape the nothingness that clings to him.Is this the first man's first run to freedom, or the last twitch of the last dying man? This madness both connects time and separates ages.It weaves the world into chains of only one night.This kind of madness was still very strange to people at that time.But isn't it the one that transmits the almost inaudible voices of nothingness and night of classical irrationality to those who can receive them, like Nietzsche and Artaud, and now amplifies them into screams and cries ?But isn't that what gave them for the first time a form of expression, a "citizenship," a control over Western culture that gave rise to all kinds of controversies and all-out quarrels?Doesn't it restore them to their original wildness? Sade's unhurried language also not only brings together irrational last words, but also endows them with a deeper meaning in the age to come.There is apparently little in common between Goya's incoherent pictorial work and Sade's uninterrupted stream of language from the first volume of "Gustina" to the tenth "Juliette".But there is a common tendency between the two, that is, to look back at the course of the lyrical style at that time, exhaust its sources, and rediscover the secret of irrational nothingness. In the castle in which Sade's hero confines himself, in the monasteries, forests, and dungeons where he endlessly inflicts the misery of others, it appears at first glance that nature can operate in complete freedom.In these places, man rediscovers the truth that he has forgotten but is obvious: desire is given to man by nature, and nature teaches desire with the great lesson of life and death that recurs in the world, so how can desire What about against nature?The madness of desire, the madness of murder, the most irrational passions, belong to wisdom and reason, because they are part of the natural order.All human beings suffocated by morality, religion, and clumsy society are revived in this murderous castle.In these places, man is at last attuned to his natural nature.In other words, through this peculiar morality peculiar to confinement, man should be able to be scrupulously faithful to his natural nature.It is a strict requirement, an endless task: "Unless you know everything, you will know nothing. If you are too cowardly to cling to what nature is, it will leave you forever." [ Conversely, if man injures or alters nature, he must repair the damage by an inescapable and calculated vengeance: "Nature has made us all equal. If fate likes to disturb this universal If it is arranged by the law, then our duty is to stop its rampant behavior and be ready to correct the behavior of the strong.”’2 Revenge after the event is as natural as unbridled desire.The products of human madness are either the expression of natural nature or the restoration of natural nature. But this ironic justification, which is at once rational and emotional, this imitation of Rousseau, is only the first stage of Sade's thought.This is a reductio ad absurdum to prove the illusory philosophy of the time, which is full of verbiage about man and nature.Beyond that, however, there are real decisions to be made.This decision is also a kind of rupture, and the connection between human beings and their natural existence will thus disappear].The famous "Society of the Friends of Sin" and the Swedish draft constitution, apart from discrediting the Polish and Corsican draft constitutions (written by Rousseau) and the draft constitutions of Corsica (written by Rousseau) from which they refer, merely established a The absolute supremacy of subjectivity that denies all natural liberty and natural equality: one member can do to another at will, violence can be exercised without limit, the right to kill can be used without limit.The only link of the whole society is the abandonment of a link.This society seems to be an exclusion of nature.The sole purpose of the union of individuals is not to protect the natural existence of man, but to protect the sovereign authority which freely exercises control over and against the nature of nature, while the relationship established by Rousseau is just the opposite; no sovereignty can any longer change the natural existence of man; The latter is merely an object of the sovereign against which he weighs all his powers.According to the conclusions that follow from this logic, desire only superficially leads to a rediscovery of natural nature.In fact, for Sade, it is absolutely impossible for human beings to return to the state at birth through the dialectic of using self-blame to confirm themselves through natural nature, and it is impossible to expect that human beings’ initial rejection of social order will quietly lead to the reconstruction of happiness order.If Hegel still believed, like the eighteenth-century philosophers, that the solitary madness of desire can throw man into a natural world that is immediately restored in the social environment, then in Sade's view, it merely throws man into a Completely chaotic, dominating the void of nature, thrown into the state of repeated drinking poison to quench thirst.Therefore, the night of madness is endless.What once might have been considered the violent nature of man is nothing but endless non-nature. This is why Sade's work is extremely monotonous.As his thought develops, the setting in the composition fades away, the dramatic or gripping connections between accidental events, episodes and scenes disappear.In "Gustina" there is also a twisted and refreshing event that contains the vicissitudes of life experience.But when it comes to "Julietta", it has become a game completely, without setbacks and smooth sailing, so that its novelty can only be the same.As seen in Goya's work, these finely drawn "outliers" no longer have much context.Without a background it can be either total night or absolute day (there are no shadows in Sade's work).In this case, the reader gradually sees the end: Giustina's death.Her innocence overpowered even the desire to torment her.We cannot say that vice has not triumphed over her virtue.Rather, we should say that her natural virtues enable her to thwart any nefarious means aimed at her.Thus nature, long dominated, ridiculed, and profaned, succumbs entirely to the conflicting will of Thing: Here too, nature passes into a state of madness, and it is in this state, just for a moment and only a moment, that it regains its omnipotent power.A storm hits the sky, and lightning strikes and destroys Giustina.Nature becomes the subject of crime.This death, which seems to have escaped Juliette's dominion of madness, is more deeply rooted in nature than anything else.A stormy night with lightning and thunder is ample evidence that nature is tearing and torturing itself.It has reached a point of inner contradiction.It reveals a supreme power with this golden lightning.This power is both itself and something outside it: the power of a mad mind.In solitude the mind has reached the limit of the world which wounded it, and when it asserts itself to be one with it in order to master itself, it turns against itself and annihilates itself.Nature's lightning strike to bring down Justine is the same as Juliette's long-term existence.Juliette too will disappear in solitude, leaving no trace or anything that can belong to nature.In the nothingness of *reason, the language of nature has died forever.This nothingness has become a violence of nature itself and against nature, so that nature will eventually destroy itself savagely. Like Goya, for Sade, irrationality continues to watch in the night, but in this vigil it acquires new strength.Once a non-existence, it is now a destructive force.Through Sade and Goya, it became possible for the Western world to use violence to transcend its rationality, and to restore the experience of tragedy beyond the scope promised by dialectics. After Sade and Goya, and since them, irrationality has been the decisive factor in any work of art in the modern world, that is to say, every work of art contains this suffocating element of evil. Tasso's madness, Swift's melancholy, Rousseau's security are all in their works, as they are in their authors.There is the same frenzy or the same poignancy at work in the work as in the lives of these men.No doubt visions communicate between the two, and language and delusion intertwine.But in the experience of the classical period, the work of art and madness are more and more deeply united at another level, strange to say, where they limit each other.This is because there madness challenges the work of art, demeaning it, using its vivid images to create a morbid world of illusion. That language is delusional, not a work of art.Conversely, if accusation is called a work of art, it is no longer meager madness.However, if this fact is acknowledged, then there is no question of who subjugates whom, but (remembering here that Montaigne needs to discover the unstable center that produces the work of art when it ceases to be born and is actually a work of art. Tower Sue and Swift, following Lucretius, demonstrate this antithetical situation. It is vain to attempt to divide this antithetical situation into lucid intervals and morbid states. This antithetical situation shows a difference, This raises a question about the authenticity of a work of art; is it madness, or a work of art? Inspiration, or hallucination? Involuntary gibberish, or the pure source of language? Its authenticity should come from its birth The tragic reality of people before, or should we seek it far from its birthplace and into a hypothetical state of being? The madness of these writers just gives others a chance to see how the authenticity of a work of art is in the frustrating repetition and disease. Generated again and again. Nietzsche's madness, Van Gogh's or Artaud's madness is expressed in their works, perhaps equally profoundly, but in a different way.The fact that works of art in the modern world frequently burst out of madness certainly does not show anything of the rationality of the world, of the meaning of these works, or even of the connection and rupture between the real world and these artists.But this frequency deserves to be taken seriously, as it seems to be a pressing matter: since the time of Holderlin and Thouval, the number of writers, painters, and musicians who have been "conquered" by madness has steadily increased.However, we should not create any misunderstanding here.Between madness and the work of art there has never been a reconciliation, no more stable communication, no communication of language.Their opposition is far more dangerous than before.Their rivalry is now merciless and has become a life-and-death struggle.Nothing of Artaud's madness emerges from the work of art.His madness manifests itself precisely in the "absence of the work of art," in the repetition of this absence, in the fundamental void that can be experienced and measured in all its boundless dimensions.In his final cry Nietzsche declares himself both Christ and Dionysus.From the point of view of the work of art, this announcement is not the dream shared by the two on the borderline of the rational and the irrational, the reconciliation of the "Arcadian shepherd and the Tiberian fisherman" - a dream that ultimately Fulfilled, but disappeared immediately.This is precisely the destruction of a work of art.艺术作品因此不可能出现了，它必须陷于沉寂。而打击它的斧销恰恰出自这位哲学家之手。至于凡?高，他不想请求“医生准许他绘画”。因为他十分清楚，他的工作和他的疯癫是互不相容的。 疯癫意味着与艺术作品的彻底决裂。它构成了基本的破坏要素，最终会瓦解艺术作品的真实性。它画出外部边界。这是消亡的边界，是以虚空为背景的轮廓。阿尔托的“作品”使体验到它本身在疯癫中的湮没。但是，这种体验，面对这种严峻考验而激发的勇气，所有那些猛烈投向语言空缺的词句，以及整个包围着虚空，更准确地说，与虚空相重合的肉体痛苦和恐惧的空间，合在一起，正是艺术作品本身，正是高耸在艺术作品空缺的深渊上的峭壁。疯癫不再是那种能使人窥见艺术作品的原始真相的模糊领域，而是一种明确的结论。在它的范围之外，这种原始真相不再是一成不变的，而且永远成为历史的悬案。尼采究竟是从1888年秋季的哪一天开始发疯，从此他的著作不再属于哲学而属于精神病学，这个时间并不重要。因为所有这些著作，包括寄给斯特林堡（Strind－berg）引力的明信片，都体现尼采的思想，它们都与一脉相承。但是，我们不应从某种体系、某种主题的角度，甚至不应从某种生存状态的角度来考虑这种连续性。尼采的疯癫，即其思想的崩溃，恰恰使他的思想展现给现代世界。那种使他的思想无法存在的因素却把他的思想变成了我们的直接感受，那种因素剥夺了尼采的思想，但把这种思想给了我们。这并不意味着疯癫是艺术作品和现代世界所共有的唯一语言（病态的诅咒所造成的危害与心理分析所造成的威胁是对称的两极），而是意味着一种似乎被世界所湮没的、揭示世界的荒诞的、只能用病态来表现自己的作品，实际上是在自身内部与世界的时间打交道，驾驭时间和引导时间。由于疯癫打断了世界的时间，艺术作品便显示了一个虚空，一个沉默的片刻以及一个没有答案的问题。它造成了一个不可弥合的缺口，迫使世界对自己提出质疑。艺术作品中必然出现的亵渎成分重新出现，而在那种陷入疯癫的作品中的时间里，世界被迫意识到自己的罪孽。从此，通过疯癫的中介，在艺术作品的范围内，世界在西方历史上第一次成为有罪者。现在，它受到艺术作品的指控，被迫按照艺术作品的语言来规范自己，在艺术作品的压力下承担起认罪和补救的工作，承担起从非理性中恢复理性、再把理性交还给非理性的任务。吞没了艺术作品的疯癫正是我们活动的空间。它是一条无止境的追求道路。它要求我们担当起使徒和注释者的混合使命。这就是为什么说，尼采的高傲和凡?高的谦卑何时开始掺进了疯癫的声音这一问题是无足轻重的。疯癫只存在于艺术作品的最后一瞬间，因为艺术作品不断地把疯癫驱赶到其边缘。凡是有艺术作品的地方，就不会有疯癫。但是，疯癫又是与艺术作品共始终的，因为疯癫使艺术作品的真实性开始出现。艺术作品与疯癫共同诞生和变成现实的时刻，也就是世界开始发现自己受到那个艺术作品的指责，并对那个作品的性质负有责任的时候。 疯癫的策略及其获得的新胜利就在于，世界试图通过心理学来评估疯癫和辨明它的合理性，但最它必须首先在疯癫面前证明自身的合理性，因为充满斗争和痛苦的世界是根据上述得出的结论。 （结束）