Drawing from and based on the Warburgian methodology, which sees nymphs (natural spirits of air, water, and earth) as the reoccurrence of an image that implies a trans-performative action, this analysis aims to further outline the performative charge of the aforementioned Pathosformel and how it has been used by German authors. Whether of zoomorphic, anthropomorphic, or phytomorphic nature, the transformation of these amphibious creatures always occurs in the presence of water or air, instruments of metamorphism, and implies a performative charge of an emancipatory nature that tends to overcome fixed schemes of gender, class, and ethnicity. Thus, the mutation appears always suspended and never concluded.