 Thus, for Nietzsche, existence emerges as a philosophical problem in his distinction between moral autonomy (as obedience to the moral law) and an autonomy “beyond good and evil.” But if one is to speak of autonomy, meaning, and value at all, the mode of being beyond good and evil cannot simply be a lawless state of arbitrary and impulsive behavior. If such existence is to be thinkable there must be a standard by which success or failure can be measured. Nietzsche variously indicates such a standard in his references to “health,” “strength,” and “the meaning of the earth.” Perhaps his most instructive indication, however, comes from aesthetics, since its concept of style, as elaborated in The Gay Science, provides a norm appropriate to the singularity of existence. To say that a work of art has style is to invoke a standard for judging it, but one that cannot be specified in the form of a general law of which the work would be a mere instance. Rather, in a curious way, the norm is internal to the work. For Nietzsche, existence falls under such an imperative of style: to create meaning and value in a world from which all transcendent supports have fallen away is to give unique shape to one’s immediate inclinations, drives, and passions; to interpret, prune, and enhance according to a unifying sensibility, a ruling instinct, that brings everything into a whole that satisfies the non-conceptual, aesthetic norm of what fits, what belongs, what is appropriate.