حَوْلِيَّاتُ صَاحِبِ الأشْجَارِ

"نحتاج وقتا طويلا لننطق أي شيء بالإنتية القديمة، لذا فنحن لا نقول ما لا يستحق وقته"

Nietzsche intra Waters: Empty Spaces

Pink is a person of a deeper sense; he can see end-to-end everybody’s “[f]alseness with a good conscience”; their “inner craving for a role and mask, for appearance. [1]” Over a number of sections in the Gay Science, Friedrich Nietzsche describes the “roles” our “realities” impose on us:
How each sex has its own prejudice about love.—Despite all the concessions that I am willing to make to the prejudice in favor of monogamy, I will never admit the claim that man and woman have equal rights in love; these do not exist. For man and woman have different conceptions of love; and it is one of the conditions of love in both sexes that neither sex presupposed the same feeling and the same concept of “love” in the other. What woman means by love is clear enough: total devotion (not mere surrender) with soul and body, without any consideration or reserve, rather with shame and horror at the thought of devotion that might be subject to special clauses or conditions. In this absence of conditions her love is a faith; woman has no other faith.
...
Man, when he loves a woman, wants precisely this love from her and thus himself as far as he can be from the presupposition of feminine love. Supposing, however, that there should also be men to whom the desire for total devotion is not alien; well, then they simply are—not men. A man who loves like a woman becomes a slave; while a woman who loves like a woman becomes a more perfect woman.
And this is accurately how Pink loves, away from any influence of “masks” and all security. Mother and Don’t Leave me Now [2] show that Pink’s perception of love is closer to a woman’s “role”; and what is the result?
A woman’s passion in its unconditional renunciation of rights of her own presupposes precisely that on the other side there is no equal pathos, no equal will to renunciation; for if both partners felt impelled by love to renounce themselves, we should then get—I do not know what; perhaps an empty space?
[3]
What shall we use to fill
the empty spaces
where we used to talk?
How shall I fill the final places?
How can I complete the wall?

[1] Friedrich Nietzsche, “Section 361: On the problem of the actor,” The Gay Science, translated with commentary by Walter Kaufman. New York: Vintage, 1974. ISBN 0-394-71985-9.
[2] which comes right before Empty Spaces part 2 in Under Construction.
[3] Nietzsche, 363.