Music Composition and Moral Prescription

A paradox, if not incoherence, in Schopenhauer's system is that while Individuality is sub-real in some respect, the process that produces it, the Principle of Individuation, qua Principle, must be real.  Likewise, while plastic art is, according to Birth of Tragedy, Apollonian, qua anodyne for the pain of Individuation, it must be at the service of the Dionysian principle, just as, in The Gay Science, Morality is at the service of the survival of the Species.  Now, a converse unclarity in Birth of Tragedy is the status of the composer of music.  On the one hand, Wagner is portrayed as a Dionysian artist.  On the other hand, unlike the Tragic chorus or orchestra, the art of the composer consists precisely in the writing of symbols on some surface, a process that is just as much a manipulation of a plastic medium as is sculpting.  But what the composer produces is not a beautiful illusion to be contemplated; it is a set of instructions to be followed.  Likewise, the Moralist produces a set of instructions to be followed, not an anodyne fiction, and, hence, not inefficacious.  So, Nietzsche's characterization, in Beyond Good and Evil, of the Philosopher as 'Legislator', might reflect that the life-affirming of Thus Spoke Zarathustra not only refutes Schopenhauerian Epiphenomenalism, but also leads to a new appreciation for Kantian Moral Prescriptivism.  The Overman and Evolutionism may be as fictitious as God and Creationism, but a Eugenics program is as actual as the Ten Commandments