Philosopher, Artist, Commander

Conspicuously absent in #211 of Beyond Good and Evil, from the writer who previously asserts that "it is only as an aesthetic phenomenon that existence and the world is eternally justified", is any consideration of the concept of the Philosopher as an Artist.  Readily available from the Birth of Tragedy are three possible alternatives to the image of the Philosopher as "Commander"--composer/conductor, composer/choreographer, and playwright/director, none of which is to be confused with the illusion-weaving "tragedian" of The Gay Science #1.  For, each of those three inspire and harmonize actual creative energies, a Dionysian ideal, at least according to Birth of Tragedy.  Furthermore, insofar as the Will to Power is a principle of the maximization of Power, they are consistent with its ideal, as well.  In contrast, Obedience involves a relative deficit of creative energies, so the system constituted by a Commander-Obeyer structure is less consistent with the Will to Power than one constituted by an Artist-Performer relation.  Likewise, a standard Oligarchical thesis--that some humans are inferior 'by Nature', and, hence, need to be commanded--is not derived from a principle of the maximization of Power.