“Exceptional” sublimation, producing cultural assets (whatever their quality) is contrasted with ordinary sublimation, without any particular production, but preserving the pleasure of the subject in daily life. While the first may be linked to economic excess and the death drive, the second is immediately placed under the aegis of the pleasure principle. However, although the relations between these two forms of sublimation are decisive, they often prove delicate. Some creators have recourse to functional splitting, maintaining their conviction of omnipotence in the register of exceptional sublimation and the work of art, but limiting its effects in the register of everyday life and ordinary sublimation. However, this “solution” does not take castration into account. Shakespeare shows this when, at the end of The Tempest, Prospero, the alchemist, sacrifices his civilizing knowledge on the altar of transmission, thus reviving his sublimatory appetite.