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
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