"The essence of morality is a questioning about morality; and the decisive move of human life is to use ceaselessly all light to look for the origin of the opposition between good and evil"
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Morality, for Bataille, is less a rulebook than a pressure point. He treats ethical certainty as a kind of comfort food: filling, stabilizing, and faintly suspect. The line turns morality inside out by insisting its “essence” is not obedience but interrogation. That’s a deliberate provocation aimed at bourgeois moral culture, where “good” and “evil” are presented as settled categories that justify institutions, punishment, and self-congratulation. Bataille’s gambit is to say: if your morality can’t survive being questioned, it wasn’t morality so much as social choreography.
The subtext is psychological and political. “Ceaselessly all light” sounds like Enlightenment confidence, but Bataille uses it with a darker edge. He’s not promising that more rational illumination will deliver cleaner ethics; he’s urging relentless exposure of what moral oppositions are built from: taboo, desire, violence, fear, and the need to draw boundaries. His real target is the comforting fiction that good and evil are natural facts rather than human constructions with histories.
Context matters: Bataille wrote in the wake of World War I and alongside the intellectual turbulence of interwar France, when mass violence and ideological zeal made moral rhetoric look both necessary and grotesque. His work consistently circles “transgression” not as adolescent rebellion but as a diagnostic tool: you learn what a society worships by watching what it forbids. The “decisive move” here isn’t choosing good over evil; it’s refusing the lazy certainty that keeps that opposition from being examined in the first place.
The subtext is psychological and political. “Ceaselessly all light” sounds like Enlightenment confidence, but Bataille uses it with a darker edge. He’s not promising that more rational illumination will deliver cleaner ethics; he’s urging relentless exposure of what moral oppositions are built from: taboo, desire, violence, fear, and the need to draw boundaries. His real target is the comforting fiction that good and evil are natural facts rather than human constructions with histories.
Context matters: Bataille wrote in the wake of World War I and alongside the intellectual turbulence of interwar France, when mass violence and ideological zeal made moral rhetoric look both necessary and grotesque. His work consistently circles “transgression” not as adolescent rebellion but as a diagnostic tool: you learn what a society worships by watching what it forbids. The “decisive move” here isn’t choosing good over evil; it’s refusing the lazy certainty that keeps that opposition from being examined in the first place.
Quote Details
| Topic | Ethics & Morality |
|---|---|
| Source | Help us find the source |
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