One of the latest videos to go viral in recent weeks centres around a young girl howling with despair at the thought of her baby sibling growing up, and her own fear of dying ‘at one hundred’. The general cyber consensus of this video, which has been seen over 28 million times on YouTube, is that this is a moment of undeniable ‘cuteness’, a claim that is perpetuated by saccharine blogging sites who share the video, for example ‘Hello Giggles’. ‘Cuteness’ may, perhaps, warrant its own analysis for its pervasive presence on the internet, with the innumerable animal/baby/animal and baby/ baby and animal and baby animal videos that continue to appear on social media. Here, however, I would make the case that the video captures an abyssal moment in this girl’s life where, like King Midas capturing Silenus the companion of Dionysus, we learn that ‘the very best of all things is completely beyond your reach: not to have been born, not to be, to be nothing’. She does not want her brother to grow up and stop being ‘little’, and she simultaneously bemoans her own inevitable aging that will ultimately lead to her death.
The terror and horror of her and her brother’s existence is conveyed not through her language but in a choking cry half way through and at the end of the video, which the subtitles describe as ‘inaudible’. She is audible, because we can hear that she makes noise, however the noise she makes in her terror is seemingly outside of language and also beyond our ability to articulate in language. The girl, therefore, embodies the Dionysian impulse where, as described by Nietzsche, ‘the whole excess of nature in pleasure, pain and knowledge resounded to the point of a piercing scream’. Her panicked coughing moan is the expression of her pleasure at the baby’s ‘cute smiles’, her affection for him, which is repeatedly conveyed in her kissing his forehead, and her pained fright at her recently acquired knowledge that both she and him are aging and finite.
This expression of the Dionysian that sees the girl intoxicated by the truth of her existence and thrown into self-oblivion is, however, still engaged in a dialectical tension with its alter drive, the Apollonian, without which it could not emerge. Nietzsche describes the condition of the Apollonian as ‘an existence in which everything is deified, regardless of whether it is good or evil’. Although in western culture we no longer exist with a pantheon of anthropomorphic gods, I argue that an economic system of consumer capitalism sees every literal ‘thing’ similarly deified, spawning an exuberant culture of commodities which construct and offer identity. This is prefigured in the video in the princess dress that the girl wears, an item that enforces societal norms of gender and hierarchy which, therefore, enables a moderated self for the girl to be constructed. The Dionysian impulse that envelopes her destabilises this appearance of heteronormativity which appears to have structured her life.
With reference to Raphael’s painting Transfiguration, Nietzsche suggests that the Apollonian and Dionysian are reciprocal and depend upon each other. This is achieved because the Apollonian gives way to the Dionysian, which is redeemed with the reinstatement of the sublime Apollonian image. In this video, the re-establishment of the Apollonian, which has already been prefigured in the girl’s princess dress, comes in the way this video has been elevated to a position of ‘cuteness’, from the comments on YouTube to the chat shows that have had ‘exclusive’ interviews with the girl post-abyss. Whatever ‘cuteness’ may mean, the perpetuation of this word perhaps allows people, or more specifically adults, to semi-patronisingly reflect on this girl’s struggle with the chaotic state of her existence in this abyssal moment. However, it is not beyond the realm of possibility that ‘cute’ has also become a barrier for those whose lives are too structured by the Apollonian culture of ‘things’, and who resist the tormenting Dionysian impulse that, we have come to understand, is never too far away.