Grants To Buy A Franchise

BEST OF THE TWILIGHT OF THE IDOLS

by Friedrich Nietzsche


How "real world" eventually became a fable

History
error
1. The real world accessible to the wise, the pious, the virtuous, "he lives in this world is that world.

(The oldest form of the idea, relatively intelligent, simple, convincing. Transcript of the thesis' I, Plato, am the truth ").

2. The real world, unattainable for now, but promised to the wise the pious, the virtuous ("the sinner who repents").

(Progress of the idea: it becomes more subtle, more insidious, more elusive, "becomes a woman becomes a Christian ...).

3. The true world unattainable, unprovable, imprometible, but I thought as a consolation, an obligation, an imperative.

(In the background, the old sun, but seen through mist and skepticism, the Idea, sublimated, pale, Nordic, königsburguense).

4. The true world - unattainable? In any case, unattainable. And as unattained, also unknown. Therefore no dildo redemptive, compelling: what might compel an unknown? ...

(Tomorrow gris.Primer yawn of reason. Canto del gallo of positivism).

5. The "real world"-an idea no longer good for anything, that we no longer require, "an idea that has become useless, superfluous, consequently a refuted idea: abolish it!

(clear day, breakfast, return of bon sens and cheerfulness; embarrassed blush Plato devilish noise of all free spirits)

6. We have removed the real world: what world is left?, Does the apparent? ... No, by eliminating the real world we also eliminated the apparent!

(Noon; moment of the shortest shadow; end of the longest error; point of humanity; INCIPIT Zarathustra).




* Reason in philosophy

1.

"You ask what things are idiosyncrasies of philosophers? ... For example, lack of historical sense, their hatred of the notion of becoming, its egipticismo. They believe an honor granted to one thing when dehistoricize, sub specie aeterni, "when she makes a mummy. All that philosophers have been driving for millennia been conceptual mummies; of his hands did not leave vivo anything real. Matan, stuffed with straw, these gentlemen idolators of concepts, when they worship, "they become mortally dangerous for all, when they worship. Death, change, aging, and reproductive and growth are for them objections, "even refutations. What is does not become, what becomes is not ... But they all believe, even despair, as it is. But since they can not grab it, look for reasons why they were retained. "There must be an illusion, a deception that we do not perceive what it is: where lies the deceiver? - "We do, cry happy, is the sensitivity! These meanings, which also in other respects are so immoral, deceive us about the real world. Moral: get rid of deception of the senses, of becoming, history [Historie], lies, "the story is nothing more than faith in the senses, faith in lies. Moral: say no to anything that gives faith to the senses, all the rest of humanity: he is all "people." Being a philosopher, be a mummy, the dull-theism represent a gravedigger mimic! - And, above all, is the body, that unfortunate idée fixe of the senses, subject to any logic errors that exist, refuted, even impossible, although it is impudent enough to behave as if was real! .... "



2.

I put to one side, with great reverence, the name of Heraclitus. While the rest of the people of the philosophers rejected the testimony of the senses because they showed plurality and change, he rejected their testimony because they showed things as if they had life and unity. Heraclitus was also unfair to the senses. These do not lie and as such believe Eleatics or the way he thought, "do not lie in any way. What we do for his testimony, that's what introduced the lie, such as the lie of unity, the lie of the thing-ness of the substance, the duration ... "Reason" causes us to falsify the testimony of the senses. Showing the future, passing away, change, the senses do not lie ... But Heraclitus will ever right to say that being is an empty fiction. The world "apparent" is the only one: the "real world" is not just a liar ...

added

3.

- And what subtle observation instruments we have in our senses! This nose, for example, which no philosopher has yet spoken with reverence and gratitude, is so far even the most delicate of instruments at our disposal: it can record even slight differences in movement that even the spectroscope records. Today we possess science precisely to the extent that we have decided to accept the testimony of the senses, "we have learned to keep sharp, arming them, thinking them through. The rest is an abortion and still-no-science: I mean, metaphysics, theology, psychology, theory of knowledge. Or formal science, theory of signs, such as logic and that logic applied mathematics. In reality they failed to emerge, even as a problem, as well as the question of what value is generally the convention of signs is the logic .-



4.

The other idiosyncrasy of philosophers is no less dangerous: it consists in confusing the last and first. They at first, as a start, which comes at the end - unfortunately!, It should not even come! -The "highest concepts", ie the most general concepts, the most empty, the last smoke of evaporating reality. That is, once again, only an expression of their mode of worship: to the higher it is not permissible to come from the lower, no one is permitted to come from nothing ... Moral: whatever is of the first rank must be causa sui. The proceeds of something different is considered as an objection, as something that undermines the value. All the supreme values \u200b\u200bof the first rank, none of the highest concepts, existing, unconditioned, the good, the true, perfect, none of them may have become, therefore must be causa sui. But none of these things may be not unequal to each other, can not be in contradiction with itself ... This great philosophers have their concept of "God" ... The latest, most tenuous, as empty as it is put first, as cause itself, as realissimum ens ... Let the people have had to take seriously the complaints about sick brain cobweb weavers! - And he has paid dearly! ...



5.

inimical to this, at last, as we do so differently (-tell us courtesy) we see the problem of error and appearance. At one time he took the change, change, becoming in general as evidence of appearance, as a sign that there must be something that is misleading. Today, conversely, the exact extent that prejudice of reason forces us to assign unity, identity, duration, substance, cause, thing-ness, to be, we are somewhat caught in the error, the error need, even when, based on a rigorous verification within us we are very confident that that's where the error. It happens that the same as with the movements of a large constellation: the latter, the error is permanent counsel to our eye, our language there. Because of its origins language belongs to the time of the most rudimentary form of psychology: we enter a rude fetishism when we acquired awareness of the basic presuppositions of the metaphysics of language, said clearly: reason. This fetish is everywhere agents and actions: he believes that the will is the cause in general, believes in the "I" believes that the self is a being, that the self is a substance, and projects above all the belief in substance-me-this is how it creates the concept "thing" ... Being is added to thought, is surreptitiously introduced everywhere as the cause, the concept of "self" is that it follows, as derived from the concept "being" ... the beginning is that great and fatal error that the will is something that has effects, "that the will is a power ... Today we know that there is only one word ... Much later, a thousand times more enlightened world, came to the consciousness of philosophers, to their surprise, security , the subjective certainty in the management of the categories of reason: they drew the conclusion that these categories could not proceed as empiricism, empiricism-whole, they said, is in Indeed, in contradiction with them. Where do then? And both India and Greece were made the same error: "We have to have lived ever since in a higher world (-rather than in a world much lower, which would have been the truth!) we must have been divine, because we have the right! "... In fact, until now nothing has been a persuasive force more naive than the error about being, as formulated, for example, by the Eleatic: this error has in his favor, in fact, every word, every sentence we utter! "Also the adversaries of the Eleatic succumbed to the seduction of concept of being: Democritus, among others, when he invented his atom ... "Reason" in language: oh, what a deceitful old female! I fear that we will not get rid of God because we continue to believe in grammar ...



6.

will be grateful if I condense so essential knowledge, so new, in four theses: that facilitated the understanding, and caused the contradiction. First

thesis. The reasons why "this" world has been described as apparently based, rather, its reality - a different species of reality is absolutely unprovable. Second

thesis. Signs badges that have been assigned to the "true" things are the hallmarks of non-being, out of nowhere - a base to put it at odds with the real world is as it has built the "real world": a world made apparent, as it is merely a moral-optical illusion. Third

thesis. To invent fables about "other" world than it does not make sense, assuming it does not dominate in us an instinct of slander, belittling, of distrust towards life: in the latter case we take revenge on life with the phantasmagoria of " another "life other than this," better "than this. Fourth

thesis. Divide the world in a "real" world and "apparent", either by way of Christianity, whether the manner of Kant (ultimately, a Christian treacherous), is only a suggestion of decadence, - a symptom down life ... The fact that the artist considers more the appearance that is not really an objection to this thesis. For "the look" here means reality once more, only selected, strengthened, corrected ... The tragic artist is not a pessimist - just say yes to everything even troublesome and terrible, is Dionysian




* The four big mistakes




a failure of confusing cause and consequence. "There's no more dangerous error to confuse the effect with the cause: I, I call the real corruption of reason. However, this error is one of the old habits and young of mankind: it is even hallowed among us bears the name of "religion" of "morality." Every argument raised by religion and morality it contains, the priests and moral legislators are the authors of this corruption of reason. "I'm going to argue an example: everyone knows the book by the famous Cornaro in which he recommended as a diet low recipe for a long and happy life, also virtuous. "Few books have been so read, even today it is printed annually in England in many thousands. I have no doubt that it is difficult for a book (except, obviously horn, the Bible) has done so much harm, has shortened many lives as this curious work, as well intentioned. Reason for that: the confusion of consequence to the cause. Italian proved that saw their diet because of their long life when in fact the precondition of a long, slow metabolism extraordinary, meager spending was his meager diet. He was not free to eat little or much his frugality was not a "free will": he became ill when ate more. But who is not a tent, eating normally is not only good, but it is necessary. A scholar of our day, his spend of nervous energy, would be ruined with the system of Cornaro. Crede expert .-





two more general formula that underlies all religion and all morality says, "Do this and that, do not do this and that - and be happy! Otherwise ... "All morality, all religion is the challenge," I call the great original sin of reason, the immortal unreason. In my mouth the formula becomes its opposite prime example of my "revaluation of all values": a man well established, a "happy", has to perform certain actions and instinctively suspicious of others, takes her relationships with men and things the order which he represents physiologically. Put in a formula: his virtue is the result of his happiness ... A long life, many descendants are not the reward of virtue, virtue itself is, rather, that retardation of metabolism that, among other things, also entails a long life, many descendants, in short, the Cornaro. "The Church and morality say," a race, a people ruined by vice and luxury. " Restored my reason says: when a people falls, when it degenerates physiologically, such a thing results in the vice and luxury (ie, the stimuli increasingly strong and frequent, as you know any kind of print). This young man turns pale and withered prematurely. His friends say it is to blame this or that disease. I say that has gotten sick, that has not resisted the disease was as a result of an impoverished life, a hereditary exhaustion. The newspaper reader says error so that party is ruined. My higher politics says: a party that commits such errors is finished, and its safety has not instinctive. Any errors, in every sense, is the result of a degeneration of the instincts of a disintegration of the will: it is almost defined by this evil (das Schlechte) - Everything good is instinct and, therefore, easy, necessary, free. The effort is an objection, the god is typically different from the hero (in my language: light feet, the first attribute of divinity)

three

false causality error. "At any time it was believed to know what is a cause: but where do we took out our knowledge, or more precisely, our belief to have such knowledge? The scope of the famous "inner facts," none of which has so far proven fact. We believed that in the act of the will, we ourselves were causes; we felt that, at least here, were surprised in the act of causation. Similarly, neither questioned antecedentia all action, causes, had to be sought in consciousness and that she would find again if we wanted - as "motives": otherwise, in effect, would not have been free to perform the action, responsible for it. Finally, who had argued that a thought is caused?, What the causes I thought? ... Of these three "inner facts" with which causality seemed to be assured, the first and most compelling is the cause of the Will, the design of a consciousness ("Spirit") as a cause, and, later, also the self (the "subject") as a cause born just after the will had already established causation as a given, as an empiric ... In the meantime we thought better. Today we no longer believe a word of it all. The "inner world" is full of ghosts and fires, wisps: the will is one of them. Will not move anything and therefore does not clarify anything and simply accompanies the process can also fail. The so-called "reason": another error. Simply a surface phenomenon of consciousness, a fixture of the act, rather masks representing antecedentia it. And say nothing of me! It has become a fable, a fiction, a play on words: totally left thinking, feeling and willing! ... What follows from here? There are spiritual causes in any way! All of these alleged empiricism has gone to hell! This is what follows from here! - And we had abused kindly of that "empiricism", had created, based on it, the world as a world of causes, a world of will, a world of spirits. Psychology oldest and longest acting here, has done nothing else, every event was for her an act, all act, resulting from a will, the world became her into a plurality of players, every event was charged with an agent (a "subject"). The man has projected itself out of its three "inner facts" that what he most firmly believed, will, spirit, self, - the concept of being so removed from the concept of self, put 'things' as existing guided by its own image, their concept of self as a cause. How can you wonder then return always find things only that which he had hidden inside them? - The thing itself, that once again, the concept of thing, a mere reflection of the belief in the self as a cause ... And even the atom of you, our mechanistic and physical, how much error, how many remain rudimentary psychology is still in its atom! - To say nothing of the 'thing itself' of the pudendum of the metaphysicians horrendum! The error of the spirit as cause mistaken for reality! And become the measure of reality and called God!





four imaginary causes failure. - To break the dream: a particular sensation, emerging, for example, as a consequence of a distant cannon fire, he charged back on a cause (often an entire small novel, in which the dreamer is precisely the main character). The feeling, meanwhile, endures a kind of resonance: wait, so to speak, until the causal instinct allows you to come to the fore - now not a chance, but as a "meaning." The cannon shot is presented in a causal manner, in an apparent reversal of time. The post, motivation, is experienced before, often with a hundred details that pass as so explosive, the shot comes after ... What happened? The representations that were generated by a given situation are wrongly conceived as the cause of it. "Actually when we are awake act well also. Most of our general feelings-every kind of obstacle, pressure, tension, explosion in the game and counterplay of the organs, and in particular the state of the nervus sympaticus - excite our causal instinct: we have a reason to find this and that way, "to find good or bad meet. We never sufficient to establish the fact that we are this and that way: we do not admit that fact - no charge aware of it - until we have a kind of motivation. - The memory, which in this case becomes active unbeknownst to us, evoking earlier states of the same species, and causal interpretations merged with them, - No causation thereof. Since then the belief that the representations, conscious processes are concurrent causes, is also evoked by the memory. Surge and habituation to a particular causal interpretation, which really hinders an investigation into the cause and even excluded.





five psychological Clarification of this. - Reducing something unknown to something known relieves, soothes, satisfies, also provides a sense of power. The unknown are given the danger, anxiety, worry, - the first instinct comes to eliminating these painful states. First axiom: any clarification is better than none. As the fund is only a will-get rid of oppressive representations, one is not very strict with the means to achieve this: the first representation which clarifies that the unknown is known for so well that it "is true. " Proof of pleasure ("strength") as a criterion of truth. - Thus, the causal instinct is conditioned and is excited by the feeling of fear. The "why?" Should give, if possible, not so much the case for herself as, rather, a kind of cause - a cause soothing, liberating, relieved. Which is established as the cause is well known, lived, inscribed in memory, is the first consequence of this need. What is new, not lived, strange is excluded as a cause. "It looks therefore as a cause, not just some kind of clarification, but a chosen and privileged kind of clarification, those with which it faster, more frequent, the feeling is out of the strange, new, not lived , - the most common explanations. - Consequence: a kind of position prevails causes increasingly focuses on a system and finally stands as the dominant, ie, simply precluding other causes and explanations. "The banker immediately thinks in the" business ", the Christian," sin ", the girl in his love.



six

The whole field of morality and religion falls under this concept of imaginary causes. - "Clarification" of disagreeable general feelings. Are conditioned by beings who are hostile to us (evil spirits: the most famous case - the erroneous intellection of the hysterical as witches). Are influenced by actions which can not be given for good (the feeling of "sin" of "sinfulness", attributed to physiological discomfort - people are always reasons to be dissatisfied with itself). They arise as a punishment, to atone for something that should not have Indeed, we should not have been (so impudent generalized by Schopenhauer into a thesis that morality appears as what it is, as a true poisoner and slanderer of life: "All great pain, whether physical, spiritual, states what we deserve, because we could not occur if not mereciésemos. "The World as Will and Representation, 2, 666). They arise as consequences of thoughtless actions that have gone wrong (- affects the senses, made to cause as "guilty"; physiological discomfort interpreted with the help of other ailments, such as "deserved"). - "Clarification" of agreeable general feelings. Are conditioned by trust in God. Are conditioned by the consciousness of good deeds (the so-called "good conscience", a physiological state that is sometimes as like a happy digestion gets confused with it). They arise from the successful outcome of business (- naive fallacy: the successful outcome of a firm does not produce general feelings in any way acceptable to a hypochondriac or a Pascal). Are conditioned by faith, love, hope - the Christian virtues. - In truth, all these alleged explanations are derived states and, so to speak, translations of feelings of pleasure or displeasure to a false dialect: one is on hold because the basic physiological feeling is once again strong and rich, is trust in God because the feeling of fullness and strength gives a calm. Morality and religion as a whole fall under the psychology of error: in each case are confused cause and effect, or truth is confused with the effect of what is believed to be true, or a state of consciousness is confused with causality of that state.



seven

failure of free will. "We do not have any compassion and the concept of 'free will': we know too well what it is-the most discredited of theologians that there is gimmick, designed to make" responsible "to humanity in the sense of the theologians, that is, to make it dependent on them ... I present here only the psychology of any attribution of responsibility. - In every place where you walk in search of responsibility is usually the instinct of wanting to "punish-and-judge who walks in after him. It has been stripped of their innocence to become when this or that mode of being is attributed to the will, intentions, acts of responsibility: the doctrine of the will has been invented essentially for the purpose of punishing, ie of will-find-fault. All the old psychology will have its budget in the fact that the perpetrators, the priests placed at the top of the old communities, wanted to give itself the right to impose penalties, "God wanted to give that right ... In humans imagine them "free" so they could be tried, punished - so they could be guilty, therefore, had to think that any action was loved, and that the source of all action was located in the consciousness (-with which the most radical in psychologicis fraud was turned into the principle of psychology itself ...) Today we have entered the movement opposite to that, especially now that we immoralists try, with all our strength, drive back the world the concept of guilt and the concept of punishment and debug them psychology, history, nature, social institutions and sanctions, there is in our eyes most radical opponents of theologians, who, with the concept of "moral world order" to infect the innocence of becoming by means of "punishment" and " fault. " Christianity is a metaphysics of the hangman ...



eight

What may be our only doctrine? - That the man no one gives their properties, nor God, nor society, nor his parents and ancestors, nor he himself - the absurdity of this notion that just rejected here has been taught as "intelligible freedom" by Kant, perhaps and also by Plato). No one is responsible to exist, to be made of this or that way, to meet under these circumstances, in this environment. The fatality of his being can not be disentangled from the fatality of all that was and is. He is not the result of an intention to own, a will, a purpose with it is not the test to achieve an "ideal man" or a "perfect happiness" or an "ideal of morality" - is absurd to take to roll your being to a purpose either. We invented the concept "purpose": in reality purpose is lacking ... It is necessary, it is a piece of fate, it is part of all, it is at all-no, nothing to judge, measure, compare, condemn our being, for that would mean judging, stop, condemn all ... But there is nothing out of everything! - Let there be no longer responsible to anyone other than legitimate way of being attributed to a prima, that the world is not a unity neither as sensorium nor as 'spirit', only this is the great liberation - this alone is restored again the innocence of becoming ... The concept "God" has been the great objection against the existence "... We deny God, deny the responsibility in God and only redeemed the world. -





* WHAT SHOULD THE OLD

Finally, a word about that penetrate the world to which I have sought access to penetrate in which case I have found a new access - the ancient world. My taste, perhaps the antithesis of a tolerant taste, here too far to say yes in block: in general do not like to say yes, something he likes to say no, what pleases him most is not to say anything. .. This applies to whole cultures, applies to books, "also applies to places and landscapes. In the background are very few ancient books that count in my life, among them are not the most famous. My sense of style, of the epigram as a style, he woke up almost instantly on contact with Sallust. I have not forgotten the astonishment Corssen my revered teacher when he had to give the highest mark of all his worst Latinist - a single stroke I was ready. Prieto, rigorous, with the highest possible substance on the bottom, a cold malice against "beautiful word" also against the "feeling fine" - in this I guessed myself. Be recognized me, and this even in my Zarathustra, a very serious ambition to make a Roman style, a perennius aere in style. "The same thing happened to me in my first contact with Horace. To date I have not felt with any poet that same artistic rapture from the start gave me a Horatian ode. What has been achieved here is something that in certain languages, I can not even love. This mosaic of words, where each of them, such as sound, as place, as a concept, pours its strength right and left and on the whole, the minimum in length and number of signs, the maximum, thus achieved , energy of the signs - all that is Roman and, if I want to believe, aristocratic par excellence. By comparison the entire rest of poetry becomes something too popular - a mere sentimental claptrap ...



2

The Greeks did not I in no way as strong as those impressions, and, to put it straight, they may not be for us what are the Romans. The Greeks do not learn - their way of life is too strange, it is also too fluid to cause a binding effect, an effect "classic." Who would have ever learned to write from a Greek! Who would have ever learned without the Romans! ... I can not put the objection of Plato. In connection with Plato I am a radical skeptic, and I've never been able to agree with Plato's admiration for the artist, which is traditional among scholars. Ultimately, I have here from me to the finest judges of taste among the ancients themselves. Plato mixes, in my opinion, all forms of style, which is the first decadent style: it has a guilty conscience about similar to the cynics who invented Menippea saturation. For the Platonic dialogue, this horribly self-satisfied and childish kind of dialectic, can act as an attractive it must not have ever read a good French - Fontenelle, for example. Plato is boring. - In the end, my mistrust of Plato goes into the deep: I find it so misguided of all the fundamental instincts of the Greeks, so subjective, so Christian advance - he already has the concept 'good' as the supreme concept - that Plato purpose of the whole phenomenon would prefer to use, more than any other word, the harsh words "superior hoax 'or, if they prefer the ear, idealism. They have paid dearly for that Athens was the school of the Egyptians (- or of the Jews in Egypt?) The fate of Christianity, Plato's great is that ambiguity and fascination that made possible a more noble natures of Antiquity themselves misunderstood and set foot on the bridge leading towards the "cross" ... And how much Plato there are still in the concept "church" in the organization in the system in the praxis of the Church! - My recreation, my preference, my cure-all Platonism has been in all ages Thucydides Thucydides, and, perhaps, Machiavelli's Prince are the closest to me by the unconditional will not be duped into anything and to see reason in reality-not the "reason", let alone in the 'moral "... Beautification of the deplorable plight of the Greeks with the colors of the ideal, which is the prize that the young "classical training" comes from their training in secondary education for life, nothing else heals more radically than Thucydides. Should be examined in detail each of its-lines and decipher their hidden thoughts equally clear that his words are few thinkers so rich in hidden thoughts. It reaches its perfect expression culture of the Sophists, I mean the culture of the real: the inestimable movement amid the hoax of the moral ideal and typical of the Socratic schools, which then began to erupt everywhere. Greek philosophy and Greek decadence of instinct, Thucydides, and the large sum, the ultimate revelation of that strong objectivity, rigorous, tough, that was ancient Hellenic your instincts. The value of facing reality is what ultimately distinguishes such natures as Thucydides and Plato: Plato is a coward face reality, "therefore, flees to the ideal, Thucydides has control of himself, - and thus has also Domain of things ...



3

for sale in the Greek "beautiful souls," "golden mediocrity" and other perfections, to admire them, for example, calm grandeur, feelings ideals, high simplicity of this "simplicity high ", which is basically a niaiserie allemande, I've been preserved by the psychologist who was inside me. I saw their strongest instinct, the will to power, I have seen the Greek tremble before violence indomitable instinct - I've seen all spring from institutions defensive measures to insure each other against their internal explosive . The tremendous strain on the inside was discharged then a terrible and brutal enmity towards the outside: cities tore each other so that the inhabitants of each of them found themselves truce. It had need to be strong, the danger was near - was lurking everywhere. The magnificent body agility, the fearless realism and immorality that is typical of the Hellenistic was a necessity, not a nature. Was a consequence, not existed from the beginning. And with the holidays and the arts did not want to not feel anything but over himself, shown above, are means to glorify himself and sometimes to inspire fear itself .. Judging by the Greek philosophers, in the German manner, use, For example, the bigotry of the Socratic schools to explain what it is, at heart, Helen! ... Philosophers are, in effect, decadents the Greek world, the opposition movement to taste old, aristocratic (- the instinct agonal , the polis, the value of the race, to the authority of tradition). The Socratic virtues were preached because the Greeks had lost them, as they were all irritable, fearful, fickle, comedians, had a few more reasons to be moral preaching. Not that this has provided some aid, but they fall just as well to decadents words and big gestures ...



4

I was the first that to understand the older Hellenic instinct, still rich and even overwhelming, take it seriously that wonderful phenomenon which bears the name of Dionysus, which can only be explained by an excess of force. Who explores the Greeks, as Jakob Burckhardt in Basel, the most profound knowledge of their culture that lives today, he soon realized that this was important: Burckhardt added to its culture of the Greeks a special chapter on the above phenomenon. If you want the antithesis of this see the almost joyful poverty of instinct displayed by the German philosophers as they approach the Dionysian. Especially the famous Lobeck, introduced dragged into this mysterious world of states with the venerable worm dried up between books, and was convinced that science was being flippant and childish-Lobeck ad nauseum has been suggested, with great display of erudition, itself one of these curiosities is important. In fact, says perhaps the priests communicated to participants in such orgies some not without value, for example, that encourages the enjoyment of wine, sometimes the man lives on fruits, flowers bloom in spring and wither in the fall. In regard to that shocking wealth of rites, symbols and myths of orgiastic origin of the ancient world literally swarms, Lobeck finds in her a chance to achieve a higher degree of ingenuity. "The Greeks", says Aglaophamus, I, 672, "when they had nothing else to do, laughed, jumped, ran from one side to another, or, as sometimes men also found pleasure in it, sat, weeping and wailing. Later came other and sought some reason to explain this surprising behavior, and thus emerged to explain such applications, those countless holiday legends and myths. On the other hand it was thought that the antics that took place in the holidays were part necessarily also the festive celebration, and preserved them as an essential part of worship ".- This is a contemptible claptrap, a Lobeck not take it seriously for even a moment. So completely different we are impressed when considering the concept "Greek" Winckelmann and Goethe were formed, and found it incompatible with the element that gives rise to the Dionysian art - with the orgiasmo. In fact I do not doubt that, in principle, Goethe would have excluded some of the possibilities and the Greek soul. Accordingly, Goethe did not understand the Greeks. For only in the Dionysian mysteries, the psychology of the Dionysian state expresses the fundamental fact of the Hellenic instinct - his "will to live." What is it that the Hellene guaranteed himself is with these mysteries? Eternal life, the eternal return of life, the future promised and consecrated in the past, the triumphant said yes to life beyond death and change, the real life and collective survival through procreation, through mysteries of sexuality. Therefore, the sex symbol for the Greeks was the venerable symbol itself, the true meaning deep inside all the piety old. Every single detail of the act of procreation, pregnancy, birth, aroused the highest and most solemn feelings. In the doctrine of the mysteries, pain is sanctified: the "pains of Parturient "sanctify pain as such - all becoming and growing, all that is a guarantee of future involves pain ... In order for the pleasure of creating, so that life will ever assert itself, also has to exist eternally the "agony of the mother" ... All this means the word Dionysus: I do not know a higher symbolic that this symbolic Greek, of the Dionysia. In her deepest instincts of life, the future of life, the eternity of life, religious sense - the same way made life procreation is perceived as the sacred way ... Only Christianity, which is based on resentment against life, has made something unclean of sexuality: it has thrown away on the start on the budget of our lives ...



5

orgíasmo The psychology understood as an overflowing feeling of life and strength, in which the same pain acts as a stimulant, it gave me the key to understanding the concept of tragic feeling, which has been misunderstood by both Aristotle and especially by our pessimists. The tragedy is so far from being a proof of the pessimism of the Greeks in the sense of Schopenhauer, which must be considered. Rather, as a rejection and counter-instance that decisive. Saying yes to life even in its most bizarre and hard: the will to life rejoicing in its own inexhaustibility to sacrifice their higher rates - for that was what I called Dionysian, that's what I guessed as a bridge to the psychology of the tragic poet. Not to get rid of horror and compassion, not to purify a dangerous affection by same vehement discharge - Aristotle understood it -: but for, but there's horror and compassion, to be ourselves the eternal joy of becoming - that pleasure itself also includes the pleasure of destroying ... And with that I return to play the site that once I left - The Birth of Tragedy was my first revaluation of all values: with this is once again at another time in the field of sprouting my wish, my power - I, the last disciple of the philosopher Dionysus, - I, the teacher of eternal return ...

How To Increase Signal Of 3 Dongle

Socrates and Greek tragedy

by Friedrich Nietzsche

Greek tragedy perished differently than all other ancient genres, her brothers, ended tragically, while they all died a beautiful death. Well if you agree, in effect, with ideal natural state leaving life without cramping, and having a beautiful offspring, the end of those old genres shows an ideal world of that type, go away and leave sinking, while head vigorously and raise their young, more beautiful. With the death of Greek musical drama arose, however, a huge void that was felt everywhere deeply, the people were saying that poetry itself was lost, and sent to Hades mocks the stunted, emaciated followers to there feed on the crumbs from the masters. As Aristophanes says, people felt an intimate nostalgia so hot, the last of the great dead, and when someone gets a sudden and powerful appetite to eat cabbage. But when he really flourished after a new artistic genre that venerated predecessor and teacher tragedy yours could be perceived with horror that certainly had the features of his mother, but those that it had shown in his long agony. The agony of Euripides' tragedy is called the posterior artistic genre is known: e1 name new Attic comedy. It's survived: degenerate figure of tragedy, a memorial of his most arduous and difficult slain. It is known that the extraordinary veneration of Euripides enjoyed among the poets of the new Attic comedy. One of the most notable, Philemon, stated that he would be hanged at once: if you were convinced that the deceased continued to have life and understanding. But what Euripides has in common with Menander and Philemon, and what effect they had on that issue, we summarize very briefly in the formula that they took the audience on stage. Before Euripides, were human beings stylized heroes, which you could see at once that came from the gods and demigods of ancient tragedy. The spectators saw in them an ideal past of Greece and, therefore, the reality of all that, in sublime moments, also lived in his soul. With Euripides burst into the scene the viewer, the man in the rea1idad of everyday life. The mirror had previously played only the big and bold features became more true and thus, more vulgar. The evening gown was made somewhat more transparent, the mask is transformed into half-mask: the forms of everyday life have clearly been to the fore. Typical image that truly Hellenic, the figure of Ulysses, had been elevated by Aeschylus to the character great, smart and noble at the same time, a Prometheus: in the hands of the new poets that figure was reduced to the role of domestic slave, good-natured and mischievous at the same time, which very often is as intriguing reckless in central DE1 whole drama. What, in The Frogs of Aristophanes, Euripides has among its merits, having made thin tragic art through a water cure and have reduced their weight, that is something that applies particularly to the figures of the heroes: in essence, what the viewer saw and heard on stage was his own euripideo double involved, however, in the guise of the rhetoric gala. Ideality has retreated to the word and thought has fled. But just here we touch the bright side and jumping into his eyes, innovation euripidea: here the people have learned to speak: that it exalts himself, in the contest with Aeschylus: By now the people know



the art of using rules, squares to measure the lines, observing, thinking, to see, understand, deceive, and love, to walk, to reveal, to lie, to weigh.



Thanks to him it has released the language to the new comedy, while not known to Euripides to speak appropriately to everyday life on stage. Bourgeois middle class, on which Euripides built all his political hopes, now took the floor after that, until that time, language teachers had been in tragedy the demi-god in the old comedy, the satyr drunk or demigod.



I represented the house and yard, where we live and weave,
and so I have given the trial, because each one, knowing this, has tried my art.



Furthermore, Euripides boasts of the following:



I just inoculated to those around us
such wisdom, to provide
the thought and concept art so far everything here
the world philosophy, and manages the house and say
courtyard, fields and animals
smarter than ever and reflects

continually investigates why?, why?, who? where?, " how?, what?
Where it has come, whom I took that?



In a prepared and enlightened mass thus was born the new comedy, drama that chess with his bright, joyful by the blows of cunning. For this new comedy Euripides somehow became the choirmaster: only this time it was the chorus of listeners who had to be instructed. As soon as they knew how to sing Euripides, began the drama of the debt-ridden young gentlemen of the old good-natured and frivolous, from the way hetairae Kotzebue, the domestic slaves engaged, but Euripides, as chorus master, was praised endlessly, people would have even killed to learn even something more of it, if I had not known that the tragic poets were just as dead as tragedy. A1 abandon it, however, the Hellene had abandoned belief in his own immortality, not only the belief in an ideal past, but also the belief of an ideal future. The words of the famous epitaph, "in old age, whimsical and quirky" can also be applied to Greece senile. The time and ingenuity are the supreme divinities, the fifth state, the slave, is now dominated, at least in terms of mentality.

In a retrospective like this one is easily tempted to make against Euripides, as the alleged seducer of the people unjust indictments, but heated, and serve, for example, in the words of Aeschylus, this conclusion: "What harm does not come from him?" But whatever the harmful influences that derive from it, must always bear in mind that Euripides acted in his best knowledge and belief, and that throughout his entire life, so great sacrifices offered an ideal. In e1 way he fought a great evil that he thought he recognized, in the way is the only one facing this bad with the verve of his talent and his life, revealing once more the heroic spirit of old times Marathon. Moreover, one can say that, in Euripides, the poet has become a demigod, it having been expelled by him of the tragedy. But the enormous evil he thought he recognized, against which it fought so heroically, was the decline of musical drama. Where Euripides discovered, however, the decline of musical drama? In the tragedy of Aeschylus and Sophocles, his older contemporary. This is a very strange thing. Do not you be wrong? Is there not been unfair to Aeschylus and Sophocles? Is your reaction to the alleged decline was not just the beginning of the end? All these questions raise their voices at this moment within us.

Euripides was a solitary thinker in any way the taste of the then dominant mass, which gave rise to reservations, as a grumpy eccentric. Luck was as inauspicious as the mass, and as a tragic poet of that time the mass was just luck, it is understandable why life so rarely achieved the honor of a tragic victory. What was it that drove this gifted poet to go so much against the mainstream? What did you depart from a path that had been traversed by men as Aeschylus and Sophocles and the sun shining popular favor? One thing, just that belief in the decline of musical drama. And that belief had gained seats in the theater audience. For a long time he watched with the greatest acuity what an abyss opened between tragedy and the Athenian public. What the poet had been as high and difficult in any way was not felt as such by the spectator, but as something indifferent. Many things casual, not underlined at all by the poet, mass produced in a sudden effect. Reflecting on this incongruity between the poetic purpose and the effect that, Euripides came slowly to a poetic form whose capital law said, "everything has to be understandable, so that everything can be understood." Before the court this rationalist aesthetic was now led each of the components, primarily the myth, the main character, dramatic structure, choral music, and finally, and with maximum decision language. That we have to feel so often in Euripides as a defect and a poetic retreat compared to the Sophocles tragedy is the result of that strong critical process of that reckless rationality. Arguably, here is an example of how the recensionante can become a poet. Only, to hear the word "recensionante" is not lawful left the impression determine those weaklings, impertinent that no longer allow our audience at all today have their say in matters of art, what Euripides was precisely tried to do things better than the poets tried by him, and who can not make, as he put it, the act after a word, has little right to stop their criticism heard in public. I want or I can argue here that a single example of productive criticism, even when properly be necessary to demonstrate that point of view to list all the differences euripideo drama .. Nothing can be more contrary to our stagecraft that the foreword that appears in Euripides. The fact that an individual character, a god or a hero, this at the beginning of the piece and tell who he is, what precedes the action, what has happened up until then, even more so, what will happen in the course of the play, that a poet as modern theater rate no more than petulant resignation to the effect of stress. Do you know, in fact, everything that has happened, what will happen? Who will wait until the end? Completely different was the thought that Euripides did. The effect of ancient tragedy never rested not in tension, in the delightful uncertainty about what will happen now rather large and wide in those scenes of pathos in returning to resonate with the basic musical character dithyramb Dionysian. But what most strongly impair the enjoyment of such scenes is a missing link, a hole in the fabric of the story above: while the listener has to continue to calculate what is the meaning behind this and that character, this and that action , it will be impossible to completely immerse themselves in the 1st passion and action of the main heroes, tragic pity become impossible. In the shear-Sophocles tragedy was almost always very artistically arranged that, in the early scenes, somewhat casually, was brought to the spectator's hands all those wires for understanding, and also this feature will show only those noble artistry masking, so to speak, the formal necessary. Anyway, Euripides believed noted that during aque1las opening scenes, the viewer was in a peculiar concern, wanting to solve the mathematical problem of calculation was the back story, and that he lost the poetic beauty of the exhibition. So he wrote a foreword and pro gram and did recite a trustworthy character, a deity. Now he could also be configured with more freedom to the myth, since, thanks to the prologue, could remove any doubt about his own myth. Full sense of his dramatic advantage, Euripides criticizes Aeschylus in Aristophanes' Frogs:



So I will go immediately to your prologues,
for, thus criticizing
start the first part of this great tragedy spirit!
is unclear when states the facts.



But what of the prologue we can also say the very famous deus ex machina: it traces the program's future, as the prologue of the past. Among the epic look at the past and that look to the future are epic reality and this lyrical drama.

is the first playwright Euripides followed by a conscious aesthetic. Intentionally seeks the most understandable: their heroes are really just as they talk. But they say all they are, while the shears and sofoc1eos characters are much deeper and find out that his words properly only babble about himself. Euripides creates the characters while at the same time the dissected: its anatomy before there is nothing hidden in them. Sophocles said about Aeschylus If it does the right thing, but unconsciously, Euripides may have had of the opinion that he does wrong, because he does consciously. I knew more than Sophocles, compared with Aeschylus, and boasted what was nothing that was outside the field of technical resources, to Euripides, no poet of antiquity had been able to defend him with truly the best cosmetic reasons. Fully as the miraculous of all this development of Greek art is that the concept of consciousness, the theory had not taken even the word, and that all that the disciple could learn from the teacher was referring to the technique. And also what gives, for example, that a Thorwaldsen Old brightness is that it reflected and spoke and wrote little wrong, in that genuine artistic wisdom had not penetrated his consciousness.

Around Euripides is, however, refracted glow, peculiar of modern artists: his character almost non-Greek art can be summed up with all speed on the concept of Socrates. "Everything must be conscious to be beautiful ', is the thesis of the Socratic parallel euripidea" everything must be conscious to be good. " Euripides is the poet of Socratic rationalism in Greek antiquity had a feeling of unity of both names, Socrates and Euripides. Athens was a widespread view that Socrates helped Euripides to write his works, which it can infer how great was the refinement of hearing people perceived the Socratic euripidea in tragedy. Supporters of the 'good old days "used together to pronounce the name of Socrates and Euripides as they perverted the people. There is also the tradition that Socrates refrained from attending the tragedy, and only took his seat among the espectadotes when it represented a new play by Euripides. Neighbors in a deeper sense both names appear on the famous dictum of the Delphic oracle, who served as a determinant inf1ujo design over the entire life of Socrates. The sentence of the Delphic god that Socrates is the wisest of men once contained the trial that Euripides was assigned the second prize in the contest of wisdom.

is known that Socrates was initially very suspicious against the sentence of God. To see if successful, treated with statesmen, with speakers, poets and artists, trying to find someone who is wiser than he. Everywhere is justified the word of God: go to the most famous men of his time have a false idea about themselves and finds that do not even have accurate awareness of their profession, but the exercise only by instinct. "Only by instinct", that is the motto of Socrates. Rationalism is not so naive as ever shown in this vital trend of Socrates. Never had this doubt about the correctness the whole approach to the problem. "Wisdom is knowing" and "do not know anything that can not be expressed and what you can not convince another." This is more or less the norm of this strange missionary activity of Socrates, which had to gather around him a very black cloud of anger, because no one was able to attack it making it the standard against Socrates: as for that would have required further that which in no way possessed that superiority in the Socratic art of conversation, in the dialectic. Seen from the Germanic consciousness infinitely deepened, the Socratic appears as a world completely upside down, but is also assume that the poets and artists of that time had Socrates seem now, at least, very boring and ridiculous, especially when, as unproductive eristic, continued to assert the seriousness and dignity of a divine vocation. Supporters of logic are unbearable, like wasps. Now, imagine a huge desire behind so one-sided understanding, the personal collection of primordial energy of strong character, along with a fantastically attractive external ugliness, and you will understand that even a talent as big as Euripides, given precisely the seriousness and depth of his thinking, had to be dragged so much more inevitable the rugged path of a conscious artistic creation. The decline of the tragedy, as Euripides believed her, was a phantasmagoria Socratic: as no one knew enough to turn the old concepts and words artistic technique, Socrates denied that wisdom, and denied he seduced Euripides. In this "wisdom" now contrasted unsubstantiated Euripides Socratic works of art, but under the envelope of numerous accommodations to the prevailing artwork. A generation later realized exactly what was and what was core wrapper: removed the first, and the fruit of the Socratic art proved to be the game chess as spectacle, the piece of intrigue. The Socratic contempt

instinct and, hence, art. Denies the full wisdom wherever the kingdom itself of it. In one case Socrates himself acknowledged the power of instinctive wisdom and this precisely in a very characteristic. In special situations doubted his understanding, Socrates was a strong support through a demonic voice that was heard miraculously. When that voice is always discouraged. In this man at all abnormal instinctive wisdom raises his voice to face here and there to the conscious, putting obstacles. Also here is done Socrates shows that actually belongs to a world upside down and put his head down. In all natures fully productive unconscious produces an effect operator and so, while consciousness behaves in a critical deterrent. In it, the instinct becomes a critical consciousness, a creator.

At a second critical as well as Euripides, Socratic contempt instinct urged him also to undertake the reform of art, and, of course, a more radical reform. Plato was also the divine victim here Socrates: that in the prior art saw only apparent imitation of images, was also "the sublime and alabadísima 'tragedy - that's how it is expressed - from the arts flattery, which typically represent only what is pleasant, 1st flattering to the sensitive nature, not unpleasant, but still useful. So tragic art purposely listed next to the art of cleaning and kitchen. A sound mind makes you queasy, says an art as heterogeneous and varied, so excitable and sensitive mind that art is a dangerous match: reason enough to banish the ideal state to the tragic poets. In general, he says, the artists are part of the unnecessary extensions of the state, along with the nurses, dressmakers, barbers and confectioners. In Plato this sentence intentionally acre and inconsiderate of art has something pathological: he who had risen to such a vision only rage against his own flesh, he who, for the benefit of Socrates, had trampled with his feet deeply artistic nature reveals the bitterness of such judgments that the deepest wound of his being is not healed yet. The true creative power of the poet is almost always treated by Plato only with irony, because that power is not, say, a conscious insight of the essence of things, and equates to the talent of the soothsayers and interpreters of signs. The poet says, is not capable of making poetry until it has been excited and unconscious, and no intellect and dwells on it. These artists 'irrational' Plato contrasts the image of a true poet, philosophical, and clearly implies that he is the only one who has reached that ideal and whose dialogue is allowed to read in the ideal state. The essence of Plato's work of art, the dialogue is, however, lack of form and style, produced by the mixture of all existing forms and styles 1as. Above all, the new artwork is not what you should object, according to the Platonic conception, was the fundamental flaw of the 1st old: it should be apparent imitation of an image is say, according to the usual concept: for the Platonic dialogue should not have any natural-real would have been imitated. Thus, the dialogue is balanced between all artistic genres, between prose and poetry, storytelling, poetry, drama, of igua1 so old and has broken the law that strictly linguistic-stylistic form is unitary. A further disfigurement still carry the Socratic writers cynical: the maximum heap style, in the range from prosaic forms and metrics, they seek to reflect, so to speak, the silence be the end of Socrates, his eyes crab and thick lips pendulous belly. In view of the artistic effects of Socrates, who arrive here very deep and have only been touched, who will not reason Aristophanes, when you sing this in the chorus:


Health
the one who does not like
Socrates sit and talk with him, who does not condemn
art of the Muses
and not looks down with contempt
the highest of the tragedy! Well

vain folly is idle zeal
apply to empty speeches and chimeras
abstract.



But deeper than could be said against Socrates told him a figure who appeared to him in dreams. Too often, she says Socrates in jail to his friends, he had one and the same dream, telling him the same thing: 'Socrates, cultivate it!. " But until his last days Socrates was relieved with the view that his philosophy was the ultimate music. Finally, in prison, to download the entire decídese to cultivate their awareness that music too "vulgar." And really put into verse some fables in prose that were known, but I do not think that with these exercises metric has placated the Muses. In Socrates materialized one aspect of the Hellenic, that Apollonian clarity, unmixed with anything strange: it appears that a ray of pure light, transparent, as a precursor and herald of science, which also was born in Greece. But science and art are excluded, from this point of view it is significant that Socrates is the first great Hellene who was ugly, just as properly it's all symbolic. He is the father of logic, which represents maximum sharpness the character of pure science: it is the annihilator of the musical drama, which had concentrated itself all the rays of ancient art.

latter it is in a much deeper sense than we have been able to suggest so far. The Socratic is older than Socrates, his art solvent influence is felt long before. The element of dialectic peculiar to him, sneaked into the musical drama and long before Socrates, and was in her beautiful body to devastating effect. Evil had its starting point in the dialogue. As you know, the dialogue was not originally in the tragedy, the dialogue was developed only from the time that there were two actors, ie mind later on. Previously he had something similar, in a speech alternating between the hero and the Coryphaeus, but here, however, given the subordination of one another, the dialectical dispute impossible. But as soon as they found themselves face to face two main actors, endowed with equal rights, arose, according to an instinct deeply Hellenistic, rivalry, and, indeed, the rivalry in words and arguments, while dialogue remained always love away from Greek tragedy. With that rivalry was appealed to an element that existed in the listener's chest and that until then, regarded as hostile to art and hated by the muses, had been banished from the solemn field of performing arts: the eRide "evil." The eRide good prevailed, in fact, since ancient times in all activities of the Muses, and the tragedy led to three rival poets in the court of people gathered to judge. But when the imitation of verbal complaint had also infiltrated the tragedy from the courtroom, then emerged for the first time a dualism in the nature and effect of musical drama. From that point there were parts of the tragedy that compassion gave way to joy at the tournament light grating of dialectics. It was not lawful for the hero of the drama succumbed, and, therefore, now had to make himself a hero of the word. The process, which had its start in esticomitia called, continued and was also introduced in the longer speeches of major players. Little by little all the characters speak with such waste of wisdom, clarity and transparency, actually reading a Sophocles tragedy get an overall impression disconcerting. For us it is as if all these figures do not perish because of the tragic, but because of what 1ógico viviparous. Just a comparison with the very different mode Dialectizer Shakespeare's heroes: the whole think, assume and infer from them is involved in some musical beauty and internalization, whereas in the late Greek tragedy dominated by a dualism of style sobering: on the one hand, the power of music, on the other, the dialectic. The latter is increasingly emphasized, until it is she who says the key word in the structure of the whole drama. The process culminates in the piece of intrigue: it is only completely overcome this dualism, as a result of the total annihilation of one of the rivals, the music.

This point is very significant that this process ends in comedy, having begun, however, in the tragedy. The tragedy, which emerged from the deep well of compassion, is pessimistic by nature. Existence is in it something very horrible, man, a very foolish thing. The hero of tragedy is not evident, as he believes modern aesthetics in the struggle with fate, does not suffer what he deserves. Rather, it rushes to his misery blind, with his head covered: and the bereaved but noble gesture that stops at the world of horror that has just met, is stuck like a thorn in our soul. The dialectic, however, is optimistic from the depths of his being: it believes in the cause and effect and, therefore, a necessary relationship to guilt and punishment, virtue and happiness: the examples of mathematical calculation must not let rest: it negates everything that can not be analyzed conceptually. The dialectic continually reaches its goal: each conclusion is a feast of joy for her clarity and conscience are the only air they breathe. When this element infiltrates the tragedy comes as a dualism between night and day, music and mathematics. The hero who must defend their actions with arguments and counterarguments in danger of losing our compassion for the misfortune that, despite everything, we reached then the only thing that shows exactly is that, somewhere, he has been wrong in the calculation. But unfortunately caused by a lack of calculation is now more a source of comedy. When pleasure was dissolved by the dialectic of tragedy, emerged the new comedy with constant triumph of cunning and trickery.

Socratic conscience and his optimistic belief in the necessary union between virtue and knowledge, between happiness and virtue, had, in many parts Euripides, the effect of that in conclusion, it opens a perspective to a very enjoyable later life, usually with a marriage. As soon as it appears the god of the machine, we noticed that whoever is behind the mask is Socrates, who tries to balance on its balance of happiness and virtue. Everyone knows the Socratic thesis "Virtue is knowledge: the only sin out of ignorance. The virtuoso is happy. " In these three basic forms of optimism is the death of the tragedy, which is pessimistic. Euripides long before these concepts worked and to dissolve the tragedy. If virtue is knowledge, then the virtuous hero must be a dialectic. Given the extraordinary shallowness and destitution of ethical thought, which is not too developed, too often the ethical Dialectizer hero appears as a harbinger of triviality and ethical philistinism. All we need is the courage to confess this, we need to confess, to say nothing of Euripides, which is also the most beautiful figures of the Sophocles tragedy, an Antigone, an Electra, an Oedipus, they sometimes occur trivial ideas completely unbearable, that in general loa dramatic characters are more beautiful and grander than its manifestation in words. From this point of view, our view on the early shear tragedy has to be much more favorable, as Aeschylus also created his best works unconsciously. In the language and the drawing of Shakespeare's characters have the firmware point of support for such comparisons. In Shakespeare you can find an ethical wisdom such that, before it, the Socratic appears as something irrelevant and wiseacre. Intentionally

my last lecture I spoke very little about the boundaries of music in the Greek musical drama: in the context of this analysis will be understood that I said that the boundaries of music in the musical drama are the danger points which began its process of disintegration. The tragedy perished as a result of a dialectic and ethics optimistic : This is to say, the musical drama died because of a lack of music. The Socratic infiltrated the tragedy stopped the music blends into the dialogue, or monó1ogo: Despite the tragedy shear, it began it with great success. Another consequence was that the music, becoming increasingly restricted, tucked inside borders ever closer, he was not already in the tragedy at home, but was developed more freely and boldly out of the, same as absolute art. It is ridiculous to appear: a spirit over lunch: it is ridiculous to ask a muse so mysterious, with an enthusiasm so serious, as is the muse tragic music, sing in a courtroom in the middle pauses between dialectical skirmishes. Having a sense of the ridiculous, the music was silent on the tragedy, frightened, as it were, its unprecedented desecration, sometimes becoming less afraid to speak out, and finally bungle, sing things that come to mind are totally ashamed and flee from the areas of theater. To put it bluntly: 1st flowering and the climax of musical drama Greek is Aeschylus in his first major period, before being influenced by Sophocles, it begins to decline gradually, until finally Euripides, with his conscious reaction against the tragedy shear, causing the end to a stormy quickly. This view contradicts

only an aesthetic released today: indeed, for he can claim nothing less than the testimony of Aristophanes, which has, like any other genius, an elective affinity with Aeschylus. But as is well known only to him. In conclusion, one question. Are you really dead the musical drama, dead for all time? Would not you really be permissible to Germany to put next to artwork that disappeared in the past, nothing but the "grand opera" so much as, with Hercules, usually appears a monkey? This is it, more serious question of our art, and who does not understand how Germany's commitment to that question is a victim of modern-day Socratic, which, of course, neither is able to produce martyrs, nor was the language of ' the wisest of the Greeks, "who certainly does not boast of knowing anything, but really knows nothing. The press today is that Socratic: do not say a word.


Translation A. Friedrich Nietzsche Sánchez Pascual. Alianza Editorial

Swimming Incontinace Pants

Dionysian WORLD VISION AND ART

by Friedrich Nietzsche

One



The Greeks say that their gods are silent while the secret doctrine of their world view, erected two gods, Apollo and Dionysus, as a double source of his art. In the field of art these names represent stylistic antithesis walking side by side, often fighting each other, and appear only once cast, the moment of the flowering of the "will" Hellenic, forming the work of art Attica tragedy. In two states, in effect, meets the man the delight of existence, the dreams and drunkenness. Looking beautiful dream world, where every man is a complete artist, is the mother of all figurative art and, as we shall see, an important half of poetry. Rejoice in the immediate understanding of the figure, all shapes speak to us; nothing is irrelevant and unnecessary. In the supreme life we \u200b\u200bdream of this reality, however, the feeling translucent appearance, and only when that stops it is when they start feeling the ill effects, in which sleep and not restored, and stops the natural healing power of their states . But within that boundary, not just anything nice and friendly images which in intelligibility that we seek to complete: also serious things, sad, dark, gloomy are provided with the same pleasure just here too veil of appearance must be in a waving motion, and it is not permissible to cover all the basic forms of of the real. So while the dream is the game of individual human beings with the real, the sculptor's art (broadly defined) is the game with sleep. The statue, in marble block, is very real, but the reality of the dream figure statue in the living person of God. While the statue is still fleet of fancy image in the eyes of the artist, he continues to play with the real, when the artist transcends the marble image, play with the dream.

In what sense was possible to make Apollo the god of art? Just because he is the god of dream-representations. He is "the Shining" so total: at root deeper is the god of the sun and light, which is revealed in the glare. The "beauty" is his element accompanies eternal youth. But looking beautiful dream world is his kingdom: the higher truth, perfection itself of those states, in contrast to the daytime reality intelligible only fragmentarily, raise him to the category of predictor God, but God certainly artistic. The god of the beautiful appearance has to be both the god of true knowledge. But that delicate boundary which the dream image is not permissible to exceed not to produce a pathological effect, because then the appearance not only misleading, but dupes, it is not lawful either missing the essence of Apollo: that measured limitation, that freedom from the wilder emotions, that wisdom and peace of God and sculptor. Your eye must have a quiet "solar" even when angry and moody look to, is bathed in the solemnity of the beautiful appearance.

Dionysian art, however, lies in the game with the drunken ecstasy. Two powers are especially naive to the natural man to raise the self-forgetfulness that is characteristic of intoxication, instinct and narcotic drink spring. Its effects are symbolized by the figure of Dionysus. In both states the principium individuationis is broken, disappears completely subjective to the violence erupting from the general-human, indeed, the universal-natural. The festivals of Dionysus not only establish a covenant between men, also reconciled human beings with nature. Spontaneously offer their gifts land peacefully approaching the wild animals: tigers, panthers and dragged the car decorated with flowers, Dionysus. All boundaries of caste that the necessity and arbitrariness been established between human beings disappear: the slave is free man, noble and humble birth come together to form the same Bacchic choruses. In growing numbers will roll from one place to another the gospel of "harmony the Worlds, singing and dancing expresses the human being as a member of a higher, more ideal, has unlearned to walk and talk. Moreover, feels magically transformed, and in fact has become something else. As the animals speak and the earth gives milk and honey, it also echoes something supernatural. It feels god everything that lived only in his imagination, now that he perceives itself. What is now for him the pictures and statues? The human being is no longer an artist, he has become a work of art, so ecstatic walks upright like a dream and saw walking to the gods. The artistic power of nature, not of an individual human being, is revealed here: mud nobler, more precious marble and carved amassed here are: human beings. This human being configured by the artist Dionysus has with nature the same ratio as the statue remains with the Apollonian artist. As

intoxication is the game of nature with man, and the Dionysian artist's creative act is the game with drunkenness. When it has not been experienced in itself, this state can only be understood symbolically, it is something similar to what happens when dreams and simultaneously feels that the dream is a dream. Similarly, the server must be drunk Dionysus and, in turn, be lurking behind himself as an observer. No change in sobriety and drunkenness, but in the combination of both is shown Dionysian artist.

This combination characterizes the climax of the Greek world is god Apollo originally only art in Greece, and his power was moderated so that Dionysus, who burst from Asia, he could emerge the most beautiful fraternal alliance. This is where it more easily apprehend the great ideal of Hellenic: natural worship among Asians cruder means triggering the lower instincts, panhetérica animal life, which for a certain time ago skip all the social bonds between them that was turned into a festival of redemption of the world in a day of transfiguration. All sublime instincts of his being revealed in this idealization of the orgy.

But the Greek world had never run more danger than when there was the stormy advent of the new god. In turn, never the wisdom of the Delphic Apollo was a most beautiful light. At first reluctant to do so, wrapped with a powerful adversary in the most delicate fabrics, so this just might notice that I was walking semiprisionero. Because the Delphic priests divined the profound effect of the new cult on social processes of regeneration and favored him in accordance with its purposes políticoreligiosos, because the Apollonian artist took lessons, with slight moderation, the revolutionary art of Bacchic worship, because, ultimately, in the Delphic cult of the year was the domain divided between Apollo and Dionysus, two left, so to speak, winners of the competition that faced: a reconciliation meeting in the battlefield. If you want to see clearly how very powerful the Apollonian element that unreasonably restrained the supernatural had to Dionysus, think that in the earliest period of music the genre dithyrambic was both the Hesychast. Grew more vigorously e1 Apollonian artistic spirit, the more freely developed the brother god Dionysus, while the first full vision came to him, motionless, as it were, of beauty, in the 1st period of Phidias, the second played in the tragedy and the enigmas of the world and expressed horror at the tragic music on the 1st most intimate thoughts of nature, the fact that the "will" weaves in and over all appearance.

Even when the music is also an Apollonian art, things made rigorously only is the rate, whose strength was developed figurative exhibition until it became Apollonian states: the music of Apollo's sound architecture, and besides, in sound only hinted at, as are those of the lyre. Are carefully kept away the element that is fully the character of Dionysian music, especially, music as such, the power of sound shocking and totally incomparable world of harmony. To collect it possessed the finest Greek sensibility, as it must be inferred from the rigorous characterization of the keys, although they are much lower than in the modern world the need for a harmonious finished, you really sound. In the succession of harmonies, and in his short, in the so-called melody, "will" is revealed with complete immediacy not logged before in any appearance. Any individual may serve as a symbol, it can serve, so to speak, individual case of a general rule, but, conversely, the essence of what apparential the Dionysian artist will present a readily understandable way: he orders, in effect, the chaos of the desire not to become even figure, and it can take in every moment operator, a new world, but also the oldest, best known as appearance. In the latter sense is a tragic musician.

The Dionysian intoxication in violent path e1 all mood scales during the excitation narcotics, or the unleashing of instincts spring, nature is manifested in its higher strength: back together individuals and makes them feel as one thing, so that the principium individuationis appears, so to speak, as a permanent state of weakness of will. The more decayed is the will, the more it crumbles around in individua1, the more selfish, arbitrary is the way the individual is desarro1lado, the weaker is the body it serves. Therefore, in those states bursts, as it were, a sentimental feature of the will, a "cry of the child" for things lost: the ultimate pleasure we hear the cry of horror, moans 1os nostalgic for an irreplaceable loss. The exuberant nature while celebrating their Saturnalia and his funeral. The affections of his priests are mixed in the most prodigious pains wake 1os pleasure, joy filled sounds start chest pain. The god, the liberator, has released all 1as things themselves, is changing that. The singing and mimicry of the masses excited thereby, in which nature has taken the 1st voice and movement, was for the Greco-Homeric something completely new and maudit, for him that was something oriental, to which he had to submit with his enormous energy and rhythmic plística, and submitted, as submitted at the time the style of Egyptian temples. Apollo was the people who bully instinct shackle the chains of beauty, he was the one who put the yoke of the most dangerous elements of nature, to wild beasts. The more we admire the idealistic power Greece is to compare their spiritualization Party Dionysus what other people came from the same origin. Similar festivals are ancient, and they can show everywhere, the most famous of which were held in Babylon under the name of the Saces. Here, at a party that lasted five days, all public and social ties were broken, but the core was the sexual licentiousness, the annihilation of any family relationship for an unlimited hetaerism. The downside to this is offered by the image of the Greek festival of Dionysus drawn by Euripides in The Bacchae: that image flow the same charm, the same musical intoxication Scopus transfiguring and condensed into statues by Praxiteles. A messenger tells that in the midday heat, has come up with the herds to the mountain peaks: it is the right time and right place to see things not seen, now sleeps Pan, now the sky is the background of a stationary halo, now flourishes day. In a currency courier prairie three choirs of women, who lie scattered on the floor in decent attitude: many women have relied on the trunks of fir trees, all things slumber. Suddenly the mother of Pentheus begins to shout for joy, the dream is chased away, all stand, a model of noble manners, the young girls and women drop the curls on her shoulders, the deerskin is fantastic OK, if, during sleep, ties and tape were released. Women are restricted to snakes, which confidently lick their cheeks, some taken in his arms Youth wolves and deer and breastfeeding. All are decorated with wreaths of ivy and vines, a drumming with the tirso on the rocks, and water gushes out, a blow with his stick on the floor, and a spring wine flows. Sweet honey distilled from the branches enough for someone to touch the floor with your toes to shoot milk white as snow. - Is this a world subject to a total magical transformation, the festival celebrates nature of reconciliation in humans. The myth says that Apollo himself together the torn Dionysus. This is the image of Dionysus recreated by Apollo, saved by him from his torn Asia. -





two Greek gods, with the perfection with which we appear already in Homer, are not designed, certainly, as fruits of indigence and need, such things certainly came up to us the spirit shaken by anxiety: not to deviate from the great fantasy life projected their images in the blue. In these talks a religion of life, not the duty, or asceticism, or spirituality. All these figures breathe the triumph of life, an exuberant sense of life accompanies their worship. Do not make demands: in them is deified as existing, whether it is good if it's bad. Compared with the seriousness and rigor sanctity of other religions, the Greek runs danger of being undervalued as if it were a spooky romp - if not bring to mind a trait often overlooked, of profound wisdom, whereby those Epicurean gods suddenly appear as the creation of unique village of artists and creating almost as short. The philosophy of the people is the chained e1 forest god reveals to mortals: "The best thing is to not exist, the best second, die soon." This same philosophy that forms the background of this world gods. The Greek knew the horrors and terrors of existence, but in order to live, the concealed, hidden beneath roses cross as the symbol of Goethe. Olympus light that managed to win only because the dark empire of Destiny, which provides an early death for Achilles and a horrible marriage to Oedipus had to be hidden by the glittering figures of Zeus, Apollo, Hermes, etc. If intermediate world that someone had removed the artistic brilliance, it was necessary to follow the wisdom of the god of forests Íos, companion of Dionysus. That need was what made the artistic genius of this people would create these gods. Therefore, a theodicy was never a problem Hellenic: people kept to attribute to the gods the world's existence and, therefore, the responsibility for this mode of being. Even the gods are subject to the need: this is a confession made by the rarest of wisdom. See the very existence, TA1 as it is now in a transfiguring mirror, and protected in the mirror against Medusa - That was the great strategy of the 'will' to live Hellenic at all. So what other way could these people support the existence infinitely sensitive, so brilliantly capable of suffering, if their gods it would not be shown surrounded by a halo above! The same instinct that gives life to art, as a complement and consummation of existence for inducing stay alive, was that also gave rise to the Olympic world, a world of beauty, serenity, joy. Merced

the effect of such a religion, life is conceived in the Homeric world as desirable in itself: life under the bright glow such solar gods. The pain of the Homeric men referred to the separation of this existence, especially early separation: when the cry rings out, he speaks of Achilles 'short life', the rapid change of mankind, the disappearance of age heroic. It is not unworthy of the greatest heroes craving to live, albeit as a laborer. Never has the "will" is expressed more openly than in Greece, which itself remains regret his song of praise. Therefore the modern man longs the time in which he believes to hear the full line between nature and human being, this is the Hellenic the watchword of all who have to look around for models for sparkling conscious affirmation of life, hence, in short, has emerged, in the hands of writers given to the pleasures, the concept of "Greek cheerfulness", so that, irreverent, a osa apologize negligent lazy life, indeed, honored with the word "Greek". In all these performances, going astray from the noblest to the most vulgar, the Greek world has been taken in a way too coarse and simple, and in some ways has been configured and unambiguous image of nations, so to speak, unilateral (eg the Romans). Should be suspected, however, that there is a need for artistic appearance also the worldview of a people who often turn into gold everything he touches. Actually, we too, as we mentioned already, we stumbled into this world view with a huge illusion, with the same illusion that nature is so regularly used to achieve their goals. The real goal is blocked by an illusory image: to lengthen it hands us, and through that deception nature reaches it. Will the Greeks wanted to look at itself transfigured into a work of art: to glorify it to itself, its creatures had to feel worthy of being glorified, they had to meet again in a higher sphere, high, so to speak, to ideal, this perfect world of intuition to act as an imperative or as a rebuke. This is the sphere of beauty, which the Greeks see their images reflected in a mirror, the Olympics. With this weapon will Hellenic fought against the talent for suffering and for the wisdom of suffering, which is a correlate of artistic talent. In this struggle, and as a memorial of his victory, was born of tragedy.

Drunkenness of suffering and the beautiful dream have their different worlds of gods: first, to the omnipotence of its being, penetrates the innermost thoughts of nature, know the terrible instinct to exist while the relentless death everything that comes into existence, the gods that she believes are good and evil, resemble random horrified by its irregularity, which emerge suddenly, lack of compassion and not find pleasure in beauty. Are related to truth, and approach the concept, rarely and with difficulty, are condensed into figures. Looking at these gods turned to stone the man who does, how to live with them? But one should not do: this is his doctrine.

Since this world of gods can not be concealed at all, as a disgraceful secret, the look has to be diverted from it by the bright, dreamy product next to it, the Olympic world: hence the burning of their colors , sensitive nature of his figures are intensified the more the more energetically assert themselves the truth or the same symbol. But the struggle between truth and beauty was never greater than when it came the invasion of the Dionysian cult: here nature is unveiled and talked about his secret with frightening clarity, with a tone against which the seductive look almost lost its power. Originated in Asia this spring, but was in Greece where he had become a river, because we first found that Asia had not offered, the more excitable sensitivity and capacity for suffering finest, coupled with wisdom and insight lighter. How Apollo saved Greece? The new upstart was won for e1 world of the beautiful appearance, to the Olympic world: they were offered in sacrifice many honors from the prestigious deities, Zeus, for example, and Apollo. I have never met a stranger over, but it was also a strange terrible (hostis [enemy] in every way), powerful enough to reduce to rubble the house that offered hospitality. A major revolution started in all forms of life: Dionysus infiltrated everywhere, even in the art.

Look, beauty, appearance, limiting the field of art Apollo, is transformed world of the eye, in dreams, with eyes closed, create artistically. In this dream state also wants to move the epic: to have open eyes, we should not see anything but delighted with the interior images, that the bard tries, through concepts, excite us to produce. The effect of figurative art is achieved here using a round-up: while the carved marble sculptor living God leads us to the intuited by him in a dream, so that the figure itself fleet is clearly intended for both the sculptor to the viewer, and the first leads to last through the intermediate form of the statue, to reintuirla: the epic poet living figure looks identical and wants others to also submit that the contemplated. But no longer a statue stands between him and men: rather, it tells how that figure shows their lives, movements, sounds, words, actions, compels us to reduce their cause a multitude of effects, forces us to make a composition art. You have reached your goal when we see clearly before us the figure, or group, or image, when we made partakers of that dream state in which he himself engendered by those representations. The requirement of the epic to perform a plastic creation shows how completely different the epic is the poetry, because it never aims to shape the images. Common to both is just a material thing, word, or, more generally, the concept: when we talk about poetry, we do not have a category with this that was coordinated with the visual arts and music, but a conglutination two media which themselves are totally different, the first of which represents a path to the fine arts, and the second a path to the music, but both are just paths to artistic creation, they themselves are not arts. In this sense, of course, also painting and sculpture are just artistic media, the art itself is the ability to create images, regardless of whether a pre-build or post-create. This property - a general human property - is based on cultural meaning of art. The artist, as is the one that requires the art through artistic means - can not be both the body to absorb the artistic activity. The worship of images Apollonian culture, and expresses this in the temple or statue, or in the Homeric epic, was his sublime goal in demanding ethics of restraint, a requirement that parallels the aesthetic requirement of beauty. Restraint instituted as a requirement is not possible anymore that where it is considered that the measure, the limit is unknowable. In order to respect its own limits must know: hence the admonition Apollonian, know thyself, yourself. But the only mirror in which the Apollonian Greek could be, that is known, was the world of the Olympian gods: and in it he recognized his own essence, involved in looking beautiful dream. The measure, under whose yoke moved the new world of God (vs. Titans toppled world), was the restraint of beauty: the limit that the Greek had to respect, was that of the beautiful appearance. The purpose of a more intimate appearance cu1tura oriented and restraint can only be, in effect, covering up the truth, therefore, the indefatigable researcher who is at the service of truth and the arrogant Titan shouted the warning, nothing much. In Prometheus Greece shows an example of how the favoring too much of human knowledge has harmful effects for both flattering to the favored. Whoever wants to get away with his wisdom before God, has, like Hesiod, who, save the measures of wisdom. In a world structured in this way and now artificially protected broke the ecstatic sound of the Dionysian festival, in which the entire excess of nature is revealed both in pleasure and pain and knowledge. All that was hitherto considered as limiting, as determination of the measure, proved to be an artificial appearance here, the 'excess' is revealed as truth. For the first time raised his roar popular song, demónicamcnte fascinating, in a complete arrogant feeling drunk. (Which meant, compared to this, the artist salmodiante Apollo fearfully with the sound only hinted at his lyre? What was once spread through caste, in poetic-musical corporations, and maintained at the same time away from any involvement profane, something which, with the Apollonian force of genius, had to endure in the level of a simple architecture, the musical element, here it is stripped of all barriers: the pace, before moving only in a very simple zig-zag, now unleashed its members and became a dance of Bacchae: the sound was heard no longer, as earlier in a spectral attenuation, but in the intensification per thousand gave mass and wind instruments accompanied by deep sounds. And most mysterious happened: there came to world harmony, which makes it comprehensible in its movement directly the will of nature. Now were heard in the vicinity of Dionysus things, the Apollonian world, artificially lay hidden: the whole glow Olympian gods paled at the wisdom of Silenus. An art in its ecstatic intoxication spoke the truth drove the muses of the arts of appearance, in the forgetfulness of self produced by the individual states perished Dionysian, with its limits and moderation, and a twilight of the gods became imminent .

What was the purpose of the will, which is ultimately one, to indulge a Dionysian elements, against his own creation Apollonian.

tended toward inventing new and higher existence, to the birth of the tragic thought. -



three

The ecstasy of the Dionysian state, with its annihilation of the usual boundaries and limits of existence contains, while it lasts, a lethargic element, in which submerged all past experiences. Are thus separated by this gulf of oblivion, the world of everyday reality and the world of Dionysian reality. But as soon as the first re-entered the consciousness, is felt as such, with nausea, ascetic mood, negating the will is the result of such states. In the Dionysian thought is opposed, as a higher order of the world in order vulgar and bad: the Greek wanted a complete escape from this world of guilt and destination. Just took solace in a world after death: his desire tended higher, beyond the gods, the Greek denied the existence, along with its multicolored and bright reflection in the gods. In the awakening consciousness of intoxication seen everywhere awfulness or the absurdity of being human: this will produce nausea. Now you understand the wisdom of the god of forests.

Here the limit has been reached more dangerous than the Hellenic will, with its core principle Apollonian optimistically, could afford. Here that will immediately intervened with natural healing power, to turn this mood Disclaimer: medium served the work of art is tragic and the tragic idea. Its purpose could not be in any way suppress the Dionysian state, let alone suppress, it was impossible a direct submission, and if possible, it was too dangerous, since the element interrupted in its overflow made its way by other parties and penetrated through all the veins of life. Especially

was to transform those thoughts about what terrible nausea and the absurd: the existence of representations with which to live, these representations are sublime, the dreadful art submission, and the ridiculous, download art the nausea of \u200b\u200bthe absurd. These two elements intertwined with each other, unite to form a work of art that recalls the drunkenness, playing with drunkenness.

sublime and the ridiculous are a step beyond the world of the beautiful appearance, because both concepts feel a contradiction. On the other hand, do not coincide in any way with the truth: they are a clouding clouding the truth is certainly more transparent than the beauty but it is still a haze. So we have in them a world somewhere between beauty and truth in this world is possible unification of Dionysus and Apollo. That world is revealed in a game with drunkenness, not in being completely engulfed by it. In the theatrical actor recognize us Dionysian man, poet, singer, dancer instinctive, but as a man Dionysian represented (gespielt). The stage actor trying to reach the Dionysian man model in the thrill of the sublime, or in the quiver of laughter, is beyond beauty, and yet. does not seek truth. Remains oscillating between them. Not aspire to look beautiful, but the appearance, does not aspire to the truth, but to the likelihood. (The symbol, a sign of truth.) Theater actor was not at first, obviously, an individual: what should be represented was, in fact, the Dionysian mass, the people: hence the chorus dithyrambic. By the game with drunkenness, both the theatrical actor himself as the chorus of spectators around him should be downloaded, so to speak, of drunkenness. From the Apollonian world view had to be overcome and atone for Greece: Apollo, the god real atoning savior and saved the clairvoyant ecstasy of both the Greek and the nausea caused by the existence - through the work of tragic art of thinking Funny.

The world of art, the sublime and the ridiculous, the "likelihood" rested on a vision of the gods and different from the old world of beautiful appearance. The knowledge of the horrors and absurdities of existence, order perturbed irrational and erratic, and in general, the enormous suffering in the whole of nature, had torn the veil so artificially veiled figures of Fate and the Furies, the Medusa and the Gorgon: Olympian gods were in greatest danger. In the work of tragic-comic art were saved, when they also be submerged in the sea of \u200b\u200bthe sublime and the ridiculous: ceased to be merely "beautiful", absorbed within himself, to put it this way earlier this divine order and sublimity. Now split into two groups, only a few were swaying in the middle, as gods sometimes sublime and sometimes ridiculous. Was - especially Dionysus himself who received this be split. Two types

is the finest shows how it was possible to re-live now in the tragic period of Greece: Aeschylus and Sophocles. At first, as a thinker, where it is most sublime appears justice is great. Man and God kept in a very narrow subjective community Aeschylus: the divine, just, moral and happy for him are uniformly interwoven with each other. With this scale measures the individual being either a man or a Titan. The gods are rebuilt in accordance with this standard of justice. For example, the popular belief in the blinding demon guilt-inducing - residue of ancient aque1 world of gods dethroned by the Olympics - is corrected a1 be transformed into an instrument that demon in the hands of Zeus, who punishes with justice. Also thought very old - and equally strange to the Olympics - the curse of the race is stripped of all rough - as in Aeschylus there for the individual, no need to commit a crime, and everyone can escape it.

While Aeschylus finds the sublime in the sublimity of the 1st administration of justice by the Olympics, Sophocles sees - so amazing - at the sublimity of the impenetrability of that same administration of justice. The restored in full the popular view. The unworthiness of a terrible fate seemed sublime to Sophocles, truly intractable riddles of human existence were his tragic muse. The suffering he accomplished in his transfiguration, is seen as something sanctifying. The distance between the human and the divine is vast, so what is appropriate submission and resignation deeper. The true virtue is common sense, actually a negative virtue. The heroic humanity is the noblest of all, without that virtue, their fate proves unbridgeable abyss. There is hardly to blame, only a lack of knowledge about the value of human beings and their limits.

This view is in any case, deeper and more intimate than that of Aeschylus, is significantly closer to the Dionysian truth, and expresses it without a lot of symbols and, nevertheless, Here I recognize the ethical principle of Apollo mixed in Dionysian vision of the world. In Aeschylus the nausea is dissolved in the sublime terror against the wisdom of the world order, it is difficult to know only because of the weakness of human beings. In Sophocles this terror is even greater because this is utterly unfathomable wisdom. Mood is more pure, piety, in which there is no struggle, while the mood is constantly shear the task of justifying administration of justice by the gods, thus v always stops with new problems. The "limit of the human being, that Apollo ordered to investigate, is knowable to Sophocles, but is narrower and more restricted than believed at the time Apollo predionisiaca. The lack of knowledge that humans have about the problem itself is Sophocles, lack of knowledge that humans have about the gods is the shear problem.

Piedad, mask vital instinct weird! Delivery to a perfect dream world, which is given the supreme moral wisdom! Escape from the truth, to worship from afar, enveloped in clouds! Reconciliation with the reality, because it is enigmatic! ; Aversion to deciphering the mysteries, because we are not gods! Throw dust Pleasant, quiet unhappiness happy! Supreme self-alienation of human beings in its supreme expression! Glorification and transfiguration of the means of horror and terror of existence, considered as remedies of existence! Life full of joy in the contempt for life!

Triumph of Life in denial!

At this level of knowledge there are only two roads, the saint and the artist's tragic: both have in common that, although having knowledge very clear for the declaration of the existence conjecture can continue to live without a fissure in their world view. Causing nausea is felt to live as a means to create, and it is a sanctifying create as an artistic creation. Awfulness or the absurdity is sublime, it only appears to be shocking or absurd. Dionysian force of the magical transformation continues to be credited here on the highest peak of this world view, all reality is dissolved in appearance, and behind it the united states nature of the will, completely wrapped in the aura of wisdom and truth, in a blinding light. The illusion, delusion are at their peak. -

Now you do not seem inconceivable that the same will, which, as Apollonian, ordered the Hellenic world, benefit within itself its another way of appearing, the Dionysian will. The fight between the two forms of the will appear was an extraordinary goal, create a higher possibility of the existence and also get her a higher glorificaci6n (through art). It was not the art of appearance, but tragic art form of glorification: in this, however, that art is absorbed comp1etamente appearance. Just as the Dionysian element in life infiltrated Apollonian and appearance here was also established as a limit, just as tragic, Dionysian art is no longer the "truth." That singing and dancing and drunkenness is not natural instinct: the mass coral prey to a Dionysian excitement is not because the masses unwittingly possessed by the instinct spring. Now the truth is symbolized, uses the appearance, and therefore can and must also use the gear appearance. But comes a crucial difference from the prior art, namely that now is used in conjunction with the help of all artistic media appearance, so that the statue walk, periacto paintings of the move, sometimes it is the Temple and other Sometimes it is the palace that is presented a1 eye by the back wall. We note, therefore, at the same time, a certain indifference to the appearance, which has to renounce his claim here forever, to their sovereign demands. The appearance is not enjoyed in any way as appearance, but as a symbol, a sign of truth. Hence the merger - in itself shocking - of artistic media. The clearest indication of this disdain for the appearance is the mask.

The viewer is made, therefore, the requirement whereby Dionysian him all he has magically transformed, he is always more than the symbol, which Worldwide visible in the scene and the orchestra is the realm of miracles. But where is the power that moves the viewer to that state of mind believer in miracles, by which is magically transformed all things? Who wins the power of appearance, and depotencia, reducing it to a symbol? It's the music. -



four

That which we call "feeling", the philosophy that walks the paths of Schopenhauer taught to think of it as a complex of unconscious representations and volitional states. The aspirations of the will is expressed, however, in the form of pleasure or displeasure, and in this show a diversity só1o quantitative. No species of pleasure, but degrees of it, and a host of accompanying representations. For pleasure we are to understand the satisfaction of the will only, for displeasure of their non-satisfaction. How you communicate the feeling? Partially, but very partially, it can be bartered in thought, ie, conscious representations, it affects naturally só1o to the accompanying representations. But there is always, also in the field of feeling, an insoluble residue. Only the soluble part is the one that has to do the language, ie the concept: according to this, the limit of poetry is determined by the expression of feeling. The other two media are completely instinctive act without conscience, and yet do so in a manner appropriate to the purpose. Are the language of gestures and sounds. The language of gestures consists of symbols intelligible to all and is produced by reflex movements. These symbols are visible: the eye is immediately transmitted to the state that caused the gesture and that it symbolizes: the seer feels almost always sympathetic innervation of the same parts of their visual or movement whose members he sees. Symbol means here a fully copy imperfect, fragmentary, allusive sign on whose understanding must come to an agreement: except that, in this case, the general understanding is an instinctive understanding, ie has not gone through the clear conscience.

What the gesture symbolizes this dual being, of feeling? Obviously, the concomitant representation, as only it can be implied, in an incomplete and fragmented, gesture visible: an image can only be symbolized by an image.

painting and sculpture represent the human being in the act: that is, mimic the symbol and its effects have been achieved when we understand the symbol. The pleasure of watching is the understanding of the symbol, despite their appearance. The stage actor, however, actually represents a symbol not only in appearance, but its effect on us does not lie in the understanding of it: rather, we immerse ourselves in a sense symbolized and we were detained at the pleasure of appearance, looking beautiful.

Thus in the drama raises no decoration at all the pleasure of looking, but we see it as a symbol and understand the real thing alluded to by it. Wax dolls and real plants are here for us all admissible plants and dolls with painted only in demonstration that what we are here this is reality, not artistic appearance. The likelihood, not beauty, is here the task.

But what is beauty? - "The rose is beautiful 'means only a rose looks good, is something pleasantly bright. This does not mean anything on its essence. The rose like, brings us pleasure, as apparently that is, the desire is satisfied by the appearing of the rose, the pleasure of existence is thereby promoted. The rose is - according to their appearance - a true copy of his will, which is identical with this form, the rose is for their likeness to the generic determination. The more you do this, the more beautiful is: if corresponds to its essence to that determination is "good." "A beautiful painting" means only: the representation of a painting we have accomplished here is but when we call 'good' to a painting, we say that our representation of a painting is the representation that corresponds to the essence of painting. Almost always, however, by a beautiful painting means a painting of something beautiful: it is the opinion of the layman. They enjoy the beauty of the subject: and we should enjoy the visual arts in the drama, except that here the task can not be to represent only a thing of beauty: it is sufficient that rings true. The object represented the 1st should be apprehended more sensitive and alive as possible, should have the effect of that is true: the opposite of this demand is what is claimed in all the work of the beautiful appearance. -

But when the gesture symbolizes the feeling are the concomitants representations, under what symbol we communicate the emotions of the will itself, to grasp them? What is this instinctive mediation? Mediation of sound. Taking things more thoroughly, which symbolizes the sound are the different modes of pleasure and displeasure - without any concurrent representation.

All we can say for characterize the different feelings of displeasure are images of the representations that have become clear through the symbolism of the gesture: for example, when we talk about the sudden horror of the "hit, pull, shake, poke, cut, bite, tickle 'own pain . This seems to be expressing some "intermittent" of the will, in short - in the language of sound symbolism - the pace. The crowd of escalations of the will, the changing amount of pleasure and displeasure acknowledge them in a dynamic sound. But the real essence of it is hidden, without being expressed symbolically in harmony. The will and its symbol - the harmony - Both, ultimately, the, pure logic! While the pace and dynamism remain somewhat external aspects of the intention expressed in symbols, and most continue to carry with it the kind of appearance, harmony symbolizes the very essence of the will. The pace and dynamism, according to this, we must still characterize the individual appearance as appearance, on this side of music can be developed to become art appearance. The insoluble residue, harmony, talks about the will and out of all forms of appearance, then is not merely symbolic of the feeling, but the command. The concept is in its field, completely helpless.

Now grasp the meaning the language of gesture and language are sound for the Dionysian artwork. In the early spring the town dithyramb man wants to speak not as individuals but as a human being generic. The fact cease to be an individual man is expressed by the symbolism of the eye, the language of gestures, so that as satyr, as being natural and other natural beings, speaks with gestures, and, of course, intensified with the language of gesture, the gesture of the dance. By the sound, however, expresses the innermost thoughts of nature: what is done here is not directly intelligible only the genius of the species, as in the gesture, but the genius of existence itself, the will. With the gesture, therefore, remains within the boundaries of gender, ie the world of appearance, sound, however, resolves, as it were, the world of appearance in its original unity, the world Maya disappears before its magic.

But when it comes to natural human sound symbolism? When does no longer just the language of gestures? When is the sound of music? Especially in the supreme state of pleasure and displeasure of the will, as will full of joy or anguish to death will, in short, in the intoxication of feeling: the scream. The more powerful and immediate is the cry, compared to the look! But softer excitations will have their sound symbolism: In general, there is a sound parallel to each gesture but to intensify the sound pure sound is something that only achieves the feeling of drunkenness.

A intimísima and very frequent fusion between a kind of symbolic gestures and the sound is given the name of language. In short, the essence of the thing symbolized by the sound and cadence, force and rate of their sonar, and the concomitant representation, image, appearance of the substance are symbolized by the gesture of the mouth. Symbols can and must be many things, but spring from an instinctive way and with great regularity and wise. A symbol is a concept noticed, since, to retain in memory, the sound goes out completely, true that the concept is preserved only the symbol of the concurrent representation. What we can describe and distinguish that what "we think."

When the feeling intensifies, the essence of the word is revealed in a more clear and sensitive at the command of sound: it sounds more so. The recital is, so to speak, a return to nature: the symbol to be blunted by the use regains its original strength.

With the succession of words, ie by a string of symbols, it is symbolically represent something new and bigger: this power, pace, dynamism and harmony again be necessary. The top circle now dominates the narrower circle of the single word: it required a choice of words, a new placement of them, poetry begins. The recitation of a phrase is not perhaps a series of verbal sounds: as a word has only one sound entirely relative, as its essence, its content represented by the symbol, is different in each case, depending on their placement. To put other words, from the upper unit of the sentence and be symbolized by it constantly determines a new way the individual symbol of the word. A string of concepts is a thought: This is, therefore, the upper unit of the accompanying representations. The essence of the thing is unattainable for the thought, but the fact that it acts upon us as a reason, such as incitement will be clarified because thought has already become a symbol both noticed the appearance of the will an emotion and appearance of the will. But the thought spoken, that is, with the symbolism of sound, acting in a manner incomparably more powerful and direct. And singing, reached the peak of its effect when the melody is intelligible symbol of their will, if it does not, then what works for us is the series of sounds, and instead the number of words, thought, remains us distant and indifferent. According to the word must act primarily as a symbol of concurrent representation or a symbol of the original excitement of the will, ie according to whether images or feelings symbolize separate paths of poetry, epic and lyric. The first leads to the fine arts, second, to music: the pleasure of overlooking the epic appearance, will be revealed in the lyric. The first is dissociated from the music, the second remains allied with it. In the Dionysian dithyramb, however, the Dionysian is excited exalted to the highest intensification of all his symbolic capabilities, something never aspires to express meaning, the annihilation of individuation, unity in the genius of the species, indeed, the nature. Now the essence of nature will speak: it requires a new world of symbols, representations come to the symbol accompanying the images of an enhanced humanity, are represented with the maximum physical energy for the whole body symbolism, gesture of dance. But the world will demand a symbolic expression never heard, the powers of harmony, dynamism, the pace suddenly grow furiously. Divided between two worlds, poetry reaches a new area, while sensitivity of the image, as in the epic, and drunkenness sound sentimental, as in the lyric. To grasp this total unleashing of all the forces it is necessary simbó1icas intensification of being that created the trigger: server dithyrambic of Dionysus is covered solely by their peers. Therefore, this whole new world of art, in its strange, seductive miracle is rolling between terrible struggles through Greece Apollonian. Friedrich Nietzsche


summer of 1870

Trad. A. Sánchez Pascual. Alianza Editorial