Abstract
In opposition to the conventionally accepted opinion that his resort to the opera Carmen was one of a purely strategic nature, Nietzsche using it as "ironic antithesis" in his final battle against Wagner, this paper’s aim would be to show that both Bizet’s music as the myth of Carmen will acquire a high symbolic value in the Nietzschean mature thought, by embodying in some way the transvaluation of all values in the specific instances of aesthetic taste and a new conception of love.
Keywords
music; physiology; transvaluation; love; cruelty