nietzsche, friedrich - dionysian vision of the world (univocal, 2013)

7/22/2019 Nietzsche, Friedrich - Dionysian Vision of the World (Univocal, 2013)

1/83

FRIEDRICH NIETZSCE

THE

DIONYSIANVISIO

OF

HEWORL.

TRANSLAED BY IR J. LLEN

INRODUCON BY FRDCH LE

NVOCAL


2/83


3/83


4/83

RIEDRICH NIETZSCHE

THE

DIONYSANVISION

OFTHE

WORD

ASLAE BY J. ALLE

ROUO BY FRERH ULFERS

UOAL


5/83

"Die dionysische Weltanschauung

Friedrich Nietzsche,

1928 Leipzig Richard Had!

Translated by Ira J. Allenas "he Dionysian Vision of the World

First EditionMinneapolis 2013, Univocal Publishing

Published by Univocal123 North 3rd Street #202

Minneapolis, MN 55401wunivocalpublishingcom

No part of this book may be reproduced or transmitted in any rmor by any means electronic or mechanical, including photocopying

recording or any other inrmation storage or retrieval system,without prior permission in writing om the publisher

Designed & Printed by Jason WagnerDistributed by the University of Minnesota Press

ISBN 978193756102Library of Congress Control Number: 2013930205


6/83

Trr' Pr by r J Allen

r by Fred Ufers

D V f Wr

Trr' N......


7/83


8/83

PRF

Any tranlaton owe t extence to ome rebearthe tronger a tranlaton, the more t owe. In thcae, Netzche trkng early eay, De donycheWeltanchauung ha und capable expreon n Englhat the hand of Clauda Crawford, and ha been rendered

by Ronald Sper a well Alo, Netzche ued everalecton om the eay verbatm n Gebrt der Trgdie,and thee are thu gven n Walter Kaufmann e Birtho Traged. he preent tranlaton ha beneted omthee predeceor a well a om converaton wth FredUlr, whoe crtcal ntroducton a valuable reourcen t own rght. T edton, e Dionsian Vision o theWorld, nonethele a eh look at the text, commttedabove to the tak of tranlaton a mnmal nteretatonof an orgnal. Te tranlated text, that to ay, chargedwth preentng the ame nterpretve dlemma, engma,and dculte-or a cloe a poble-a are und n theorgnal. Accordngly, n ome ntance where Crawrd,

Sper, and Kaufmann have made trong nterpretvedecon (mot notably n renderng multvalent termuch a Schein, dcued here n note but alo vatrategc captalzaton and talczaton), I have oughtterm and phrae that mght better preent n Englh the

v


9/83

ambiguiie und in he original. e excepion o hipolicy i he capializaion of Will becaue Niezchehi beween peaking of he will in an everyday ene

and in he echnical ene paricular o hi philoophy Ihave llowed oher ranlaor in emphaizing he laer(a pographic innovaion impoible in German whichcapialize all noun alike) I i my hope (expreedmore lly in noe 16) ha ome ambiguiy remain allhe ame. Equally, I have worked o reain he birdongeonance beween variou rooword chaering backand rh behind he ex melody making Niezcheex ielf an incomparable harmon Wih he caveaha any work of ignicance preen a lifeime worhof uch reonance, he reader will nd ome of he keylinguiic and hioricalphiloophical linkage dicuedin endnoe Finally i bear menion ha I have llowed

Niezche own ypographic preference (preervedin Giorgio Colli and Mazzino Moninari KrtscheStdenasgabe ediion of he ex om which hiranlaion ha beneed): marking emphai by pacingraher han ialicizaion Given Niezche commimeno ono, lierally a reching (ee noe 8, 9 and ,

hi pacing-which Univocal Publihing i uniquelywelluied o repreen-undercore he ex muicalqualiy. e Donsan Vson o the World mu be a onceboh abou muic and ielf muical.

v


10/83


11/83


12/83

DUby Fredrch Ulfer

In e Dionsian Vision o the World, Netzche lay outan undertandng of the becomng1 of the world a anaethetc proce an undertandng that wll run throughall h later phloophy In all the wrtng leadng upto and ncludng e Birth o Traged, there alway

a rerence to ome aethetc rm (uch a tragedytelf) The only text among thee to rer to an actualvon of the world th one: e Dionsian Visiono the World e von Netzche oer here not anaethetc that relate to an nnerworldly, e., humanenblt A we wl ee, th aethetc o the world.

1 Beoing [ Werden] i he Erlosung or relief of wha Niezhe all in TheBirth f Traedy, he Ur-Eine a riorial uniy o ooie ha i he oureof all eoing he worl eoe as eeing a Schein relieving he ainloverullne of he UrEne a eing ha i ivie in i very eing e UrEinei no reiely eing or non-eing u raher an Unruhe or inquieue ha ialway reay o anife a a worl of aearane Beoing or Werden i hiinqueue of eing iie again ielf relieving ielf a aearane or Schein.2 hee inlue ruially wo leure an an eay o 170 he ae year

Niezhe olee The Dinsian sin fthe Wrd: Greek Muial Draaan Sorae an Tragey an he Birh of Tragi hough reeivelyEqually ioran r he eveloen of Niezhe hough a hi on arehe eay On Truh an Lie in an Eraoral Sene an he unnihe voluePhisph in the Tragic Age fthe Gree oh o 173 The Birth f Tragedr ulihe in 172 wa reiue in 17 an 17 an ulihe in i naleiion a New Eiion wh an Ae a a Self-Criique in 1.


13/83

So when Netzche talk about the world beng anaethetc phenomenon he not talkng about the worldbeng there r human percevng. Rather the world

aethetc n t very becomng n a hon that cannot beretrcted to or lly contaned by human experencng.It th aethetc mmoderaton that graped by theDonyan von of the world. One could almot call than ontology of muc3 where an "ncomparable harmony"that not onl cononance but alo donance ervea the ource of the world' becomng. Netzche talkhere about the multanety of comng nto beng andpang away whch although they occur together arenot dentcal. h a comologcal perpectve omwhch muc appear a pror to phenomena pror toappearance Beyond conceptual language there alanguage of muc that operate a an mmedate or drect

echo of a trctly ungrapable nature. Here muc amatter of the prmordal and aymmetrcal entanglementof donance and cononance he world come to be aan aethetc mucal proce an ncomparable harmonycompred of both donant and cononant note.

Netzche begn to lay out h aethetc comology orontology whch apprehend the world a an "aethetcphenomenon" ( 864) by tatng that nature anartt.4 Nature an artt nor a two arttc energe

3 Chistoph Co oes ust that in his contiution to A Cmpann Nezche(E Keith Ansell Pearson Nietzsche, Dionysus, an the Ontolog o Music(O Blackwell Pulishing, 913 In reaing The Dnsan Vn f he rld I have ha equent recourseto Nietzsches elaoation on certain key points in The rh f Traged. helatte text incorporates verati large sections o this earlier essay, an thusoes illuination o any o those sections his sai The Dnan snf he rld oes stan on its own as a tet an, inee ay regue cetaino ou unerstanings o The Brh f Traged To accoplish that eguring


14/83

the Apollonan and the Donyan burt rth omnature herelf wthot the medaton o the hman artst(BT 28 45) ee energe named aer the Greek

god Apollo and Donyu at "nature' art mpulen the mot mmedate and drect way" (BT 28) andtructure the world wth two art rm: the magtcApollonan art of pantng culpture and the epc andthe nonmagtc Donyan art of muc Nature then rt and remot a certan need or dere r "worldng"or mantng by way of aethetc or art What at

take here a compulon to mant that rooted notn lack but n overllne th an "mmoderaton" orberma of nature herelf Nature "world" or becomen two oppong tyle whch merge n "the art of tragedyn the bloomng of the Hellenc Wll' (29) e Wll auch whch a "prmordal unty" (BT passim) of beng

and notbeng releve telf of the pan of overllneby manfetng a a world of comng nto beng andpang away e Apollonan urge to art hde th worldof becomng precely through t own empha onappearance In creatng a world of beautful eemng theApollonan dtract telf om precely that whch

the exemplary cu of the Donyan: the temporarneof nature worldng he Hellenc "Wll" a ubet of thegreater Wll of nature reache t hgh pont n the mergerof the two tyle.

however not y a here I uote the Kaufann tranlaton of The Brth fTraged wth BT y eton an page Rerene to the preent tet are gveny page nuer only5 he Hellen Wll whh Netzhe plae n uotaton ark, utone ultural anfetatonalet a treenouly gnant oneof thatproral wllng that nature herelf the aulturaton of natureown art pule


15/83

The Beautiful Seemingof the Apollonian Dreamworld

Netzche agn the artwork of cupture pantng and

the epc to the Apoonan and of muc to the Donyanand he attrbute the owng tate to Apoo andDonyu repectvey "dreams and "intoxication"9 What characterze the Apoonan dreamword eemng" Schein 9, whch ha a range of meanng athe way om umnoty to veng or coverng up. huthere the ene of beauty n t meanng of radance ofa heen or go. h Apoonan eemng or empha onbeaut appearance work a a ort ofecondary appearngof a word that tef come nto beng not a ubtance butony ever a "mere" appearance. Donyan ntoxcatonthat come coet to grapng the nubtantve prmaryappearng that a that word .

Schein ao aude to proprety or good rm whchaow u to mmedatey undertand a gre" or Gestalt9; t Schen that enabe u to apprehend "gure"ntanty and wthout medatng concept or dea. Thenthere the epthet of Apoo a the "hnng one" der

Scheinende (30) "n h deepet root the god of un andght who revea hmef n radance" (30) he carty ofght that Apoo doman make hm the god of "truecognton of wahre Erkenntnis, ncudng cognton ofthe uned ef nce ght gve cearcut contour towhat to be cognzed. atter apect make hm thegod of the "principim individationis" 31), that prncpewhch nt that every entty mut be efencoed andnot ubject to any admxture that woud make t efcontradctory. Apoonan eemng thu governed bythe prncpe of noncontradcton and ndvduaton


16/83

wherea Donyan ectay a we wll ee precely thellng away of thee prncple.

Alo the art of the Apollonan dreamworld cue onta where Netzche ee the culpture of Phda acelebratng. He decrbe th culpture a "completelymmoble beauty" () More generally the Apollonanvalorze the noton of ubtance: the rm of "pertng"(Beharrendes KSA 5 and "abdng" (Blebendes KSA79. Apollo regn over thee a god of"the permanence

of the world" the Welbesand (KSA 70, god of "theradant glorcaton of the eternty of the phenomenon"(BT 0. he appearance of appearance namelyApollonan eemng make r omethng that we couldcall a "ubtance ontology" It refer to at leat a quapermanence and anchor th n a poted abolute

permanence Sen or Beng]. A ubtance ontology wantto grap the realty of beng, but the world of becomngdoe not allow r uch grapng

Apollonan beautl eemng extend then alo to thePlatonc noton of Beng o ons on, a epoued byDotma n the Symposm Dotma relate the "beautl"to the concept of "rm" whoe beauty cont n thect that t "alway is" . Form permanence reeany pat and any ture t alway preent and can berepreented. "Frt t alway and nether come to be norpae away nether waxe nor wane." Beauty a "rm" n no way relatve or contngent: "t not beautl th

Scholars of etzsche are nete to Gorgo Coll an Mazzno Montnarr ther monumental collecton of hs ork n the Krische Sdenasgabecte here as KSA th volume lloe y page numer7 I ork here om Alexaner ehamas an Paul Woorus translaton of theSympsm (Inanapols Hackett Pulshng Company, 199)


17/83

way and ugly that wa nor beautil at one time and ugly atanother, nor beautil in relation to one thing and ugly toanother nor is it beautil here but ugly there, as it would

be were it beautil r some people and ugly r others"(21 1a) at which is beautil in itself is not, om thisPlatonic view, at all relative Finally, "rm," the "beautilitself," is ee of any mixture or pollution: "absolute, pure,unmixed, not polluted by human lesh or colors or anyother great nonsense of mortality" (211e) By contrast, onysn hrusts us drecy into the comng to be andpassing away of mortality, into what Plato calls "nonsense"

Dionysus and he Inoxicaion of SueringNietzsche ascribes "intoxication" to the Dionysian visionof the world, deriving this om the orgiastic naturecults of race Celebrating the "drive of springtime"

and the Bacchanalia in honor of Dionysus, the god of"narcotic drink"-wine-Nietzsche interprets the term"intoxication" not as narcotic stupor but, on the contrary,as a kind of "rush," a Rasc that spells unboundednessIntoxication is "ecstasy" taking place under the aegisof Dionysus as o lysios-the "liberator"-who undoes

boundaries Dionysus sunders the Apollonian principimindividaionis on which the unied conscious ego andoppositional couples are based Speech-conceptuallanguage (the eris replaced by singing, and the

We ll nto the relm of mortlty, n the ueo-Chrstn n other stores,ecuse of gult n nother, Pltonc relm of pure rm etzsche escres

ecomng n ll nnocence, ut ccepts tht, whle t my not e logcl tcertnly s humn, to vew now, together wth Anxmner, ll comngtoes though t were n llegtmte emncpton om eternl eng wrong rwhch estructon s the onl pennce (Philph n th Tagic g f hG, hereer Ph) etzsche woul releve us of the gult ofecomngpssng wy s necessry prt of the worl ecuse ecomng, he sys, s whtthe worl i


18/83

measured seps of waking are overaken by dancingos imporan of a r Dionysus is he eemen ofmusic-"Dionysian music" which consiss of "he jarringrce of one and he absouey incomparabe wordof harmony" () In Dionysian harmony as Niezscheinerpres i here is an Unre, an unquie ogehernessof dissonance and consonance. For Niezsche harmonyis coningen on wha he refers o severa imes in eBr o raedy as "dissonance" I is no a consonanceof opposies bu raher a roubed uni a uniy ha

does no synhesize wihou remainder Dionysian musicis dissonany harmonious and in his serves as animmediae echo of a primordia and painy overuniy of peasure and pain. I is no an aspec of hephenomena word bu is "incomparabe"-i canno becompared o any phenomenon bu reaes direcy o he

source of a becoming or appearing.

In he Dionysian inoxicaion of suering here is agenera feeing of being ransrmed of being ou ofsasis (om Greek [ou of] -sass) in he sense ofbeing neiher a one poe of a specrum nor a he oher

Niezsche audes o his "bohand" aspec of Dionysusand he eec he has on hose in Dionysian ecsasy wihphrases ike "voupuous naure ceebraes is Saurnaiaand is wakes simuaneousy" (4) and "pain awakens

peasure jubiaion ears agonized ones om he breas"(4) Tese are hemseves a once eecs of Dionysianinoxicaion and he basic aecs of a primordia uniy of

9 tzsch, of cours, os not rt Unruh a ky trm of art r hsphlosophca rval Hgl onthlss t s unqutnss that s at stak hr.On Hglan Unrhe rstlssnss or nqutu, s Jan-Luc ancy, HegelThe Reslessness f he Negave Trans Jason Smth an Stvn Mlr(Mnnapols Unvrsty of Mnnsota Prss 2002)


19/83

nature in its becoming. ese are hints that, in Dionysusand the Dionysian, opposites are no longer opposite, butrm a chiasmic unitya term derived om x,the Greek

letter chi, and signiing irreducible entanglement.Chiasmic unity, by denition, violates the principle ofnoncontradiction, the principle upon which binary logicis based. But this violation does not call r a correctivethat would lead us back to binary logic. Rather, chiasmicunity is the domain of a dierent logic, one prior toboth contradiction and noncontradiction. Chiasmiclogic suspends the system of binary opposition on whichthe principle of noncontradiction is based, but withoutreducing oppositions to some rm of synthetic unity. Inother words, chiasmic unity is a one that holds oppositestogether while simultaneously keeping them apart; it is theundecidability of their sion and separation. In alluding

to a chiasmic unity of opposites in the gure of Dionysus,Nietzsche llows Heraclitus, whom he acknowledges isclosest to his own thinking.

e Inluene of Heralituse tenets of Heraclitus that Nietzsche recognized as

applicable to Dionysus and the Dionysian vision of theworld are (as paraphrased by Nietzsche in Pilosopy ine rai Ae o e Greeksthe llowing

Heraclitus' dictum that everything rever has its opposite along with it For this, according to Nietzsche,Aristotle accused him of the highest crime bere the

0 Brr Johnson oers useful consderton of chsmc unty n A WldncBltmore Johns Hopkns Unversy Press, 1987 esp 11415 hslso nds dscusson, s chosmos n Chrsoph Cox,Nzch Nulim ndInn Berkeley nd os Angeles Unversty of Clrn Press, 19991 1 In Ecc Hm, 7930


20/83

highes ribuna of reason: o have sinned agains heaw of conradicion (h 52) Niezsche commensha his Heraciean ruh is no arrived a by reason and hus by he aw of conradicion, bu by wayof a conuiive view" Zsammenscaen (h 6)ha sees opposies conneced wihou sing hem,i.e, as an enangemen nenander KSA 72)

The denia of he duaiy of oay diverse words,ie., he resa o disinguish a physica word om a

meaphysica one (h 5)

The denia of a saic Being (h 5 ) is is a referenceback o he Paonic noion of he permanence of hawhich simpy is Via Heracius, Niezsche is rejecinga Paonic opposiion beween Sen (Being) and Scen

(appearing), beween Seenden (exisens) and Erscennen (phenomena), an opposiion in which Beingsimpy s, ouside of a ime and appearance.

e armaion of becoming (h 5) ie., he everasing and incessan comingobe and passing away,wihou any resouive sasis of being (h 54)

Te sri of opposies [ha] gives birh o a hacomes o be (h 55) This ension, a polemos orkind of war, is eading no ony oward some deahbow bu is aso creaive. Tis srife is a ension ofoverness, much ike pregnancyr Heracius,

srife is no negaive, bu armaivey generaive.

Te noion of conradicions run[ning] ino harmony (h 6) Here, we have in Heracius whaNiezsche cas incomparabe harmony Li in is


21/83

construction and destruction is eternal, but not in aJudeoChristian sense of life aer death-rather, contradictions run into harmony in the eternal liveliness

of constructiondestruction cycles Destruction as an integral part of the ever selfre

newing impulse in a game that life plays with itselfin which coming tobe and passing awa are modesof structuring and destroying, without any moraladditive, rever in equal innocence (Ph Via innocent destruction, life renews itself Te game thatNietzsche refers to is that which Zeus plays as a child:he constructs a sandcastle and, when sated, destroysit in order to start over again

he play of antinomies with propositions such as

we are and at the same time are not the same or being and nonbeing is at the same time the same andnot the same (Ph 77. Tese contradictions or paradoes characterize the philosophy of Heraclitus, andare always associated with what he calls harmonyarmon.13

Bere going on to show how Dionysus turns out to be thevery gure of chiasmic unity-along the lines suggested

1 n one of Fve ntrouctons to Fve Unrtten Books rtten n 187 rCosma Wagner (speccally, n On the Pathos of Truth Netzsche escresHeracltus as attenng, lke no other mortal ere hm to the play of thegreat orchl Wltnknd Zeus an thus to the eternal sport of orlsntegraton Wltrtrmmrng an orlemergence Wltntthng"(KA 1758)13 See Charles Kahn Th Art and Thght f Hraclit An Editin f thFragmnt wth Tranlatn and Cmmntar Camrge CamrgeUnversty Press 1979) r a ve of harmony as a speccall Heraclteannoton of the structure or ttng together of the cosmc orer as a untyprouce om conlct (197)


22/83

by this ist o eacitean tenetsI st tun to Nietzsche'saccount o the ionysian euption upon the scene opoonian cutue It is cucia to undestand how this

encounte ed to the ionysian "wisdo o suein"(7)

In this wisdo, which is ecstatic intoication, chiasicnatue epesses itse; it does so in the atwok o taedyand o usic

e Seriousness of Greek ReigionNietzsche taces the oots o ionysus to a cut in his honoin Tace, which esetted in the poonian cutue othe oeicGeek wod he Geeks taed the "awestuneashin o the owest dives" (2) that occued, asaeady entioned, duin oiastic ceebation o the

ites o spin and Bacchanaian sevices is ionysiannatuecut was aked by "seua icentiousness" and"unbounded hetaeis" (5) Tus, it aounted to an"ideaization o the oy" (2) when unde the aeis opoo, the eenes inteated ionysus and his cut o"intoication" into thei itua ie, to the etent o dividincetain annua nctions between poo and ionysusNietzsche eaves no doubt that this act o assiiatin theionysian to the poonian is not to be undestood as thesot o laisseaire "payin aound" Spielerei o whichthe "eiion o the Geeks"poo and the Oypianodshad oen been accused (6)

Nietzsche vioousy contests the eductive intepetationo the poonian deawod that had been coonaon schoas does eadiy adit that Geek"eiion" is not "seious" in a oa sense, the senseo owin cetain edicts that pohibit and aow


23/83

only certain actions or declare behavior to be eithergood or evil Rather reek religion is serious about"an oen unrecognized wisdom" (36) namely that

suering and pain necessarily accompany individualeistence and more generally the world of "phenomena"(BT 171 04) or appearances" (BT 1 61 04) his sueringstems om the ct that phenomena are always passingaway he beauy and lightheartedness of Apollonianreligion are intimately related to even based upon thepain and suering of a eeting world of appearancesNietzsche describes this in terms of an insight into the"perpetual destruction" (BT 862) and the "ceaseless uof appearances" (BT 1 61 04) and into the ct "that all

that comes into being must be ready r a sorrowlend" (BT 17 1 04) What Nietzsche is claiming is that theHomericreek world understood this suering; the

beautil Apollonian pantheon has to do with insightinto the inherent pain of a sorrowl end As evidencehe cites a lament r "shortlived Achilles" in the iad(38)an indication of the poets awareness of humandeathboundness a horror that must be veiled so that onemight go on living

"he pain of Homeric man [that was bound to departureom eistence is to be hidden by the radiantrm" of Apollo (3738) hat is Apollo himself servesas a beautil cover r the painlness of a world oftransient appearances "For how else could such a peopleso innitely sensitive so brilliant in their capacity r

suering have borne existence if this itself had not beenrevealed to them" in the Apollonian seeming of beauty(34) A primordial llness relieves itself by coming intobeing as a wold of appearng and passing away a wod ofsuering The painlness of this ct must be represented


24/83

even as t s covered over e pollonan s not only astyle devoted to beauty and serenty; that serenty tself sa delberate cover r nsght nto the nherent suerng ofshortlved estence o see estence as t actually sn a transgurng mrror and to protect tself (37) wthths mrror om the pan and suerng of deathboundeistence-ths was the ngenous strategy of te omercGreeks, of the epc artwork and the unblemshed sculpture

For etzsche, the omercGreek world, r whch

the pollonan sphere of beauty s a way of dealngwth ts background (37)-the horror of the death anddestructon of all that comes to be-makes of beauty aweapon wth whch to battle that talent correlatve tothe [pollonan] , the talent r sern (39) In otherwords, pollonan beauty s a weapon that corresponds

n ts eectvty to a Greek capacty r pan The world ofcomng to be and of passng away, the mere appearancethat s all that any world s, produces suerng and thushas to be guarded aganst he omerc Greeks, saysetzsche, are unusuy atned to ths ct nd the beautyof pollonan dreamng, the appearance of appearancesthat we cannot help but regard as reality KSA 39 ), s theweapon wth whch they guarded themselves s battletakes place aganst ther own sense of the phenomenalworld Ersceinnswel, away om whch the Donysanvson draws the vel s we have seen, n the eraclteanconguraton adopted by etzsche, the Donysan vsonof the world s more drect s s an ntocated but

cleareyed vson of radcal becomng, of everlastng andncessant comngtobe and passng away (Ph 5, of thechasmc unty or smultanety of beng and nonbengTe suerng related to ths vson of world as eternalbecomng, whch mples that everythng whch comes to


25/83

be is soon destroyed-alluded to as the "background"comes out into the open in the battle of the Apollonianagainst the Dionysian, of beautil seeming against the

"truth" of suering. It is Silenus, the "rest god" , whoemblematizes this dangerous coming into the open, whichcould lead to an absolute disgust r the world

e Wisdom o SilenusSilenus, a companion of Dionysus, is thus part of theDionysian rce that, as "intoxication" or "ecstasy" hadthreatened to overrun Homeric Apollonian culture and allits measures and boundaries However, as we have alreadynote this rce was tmed by Apolonin culture, tegrated,allowed to have celebrations in honor of Dionysus side byside with those r Apollo and to enter the sphere of artby way of Dionysian music is said, Silenus still poses a

problem He speaks out about the "truth" of the sueringthat lies beneath Apollos beautil seeming, saying thatliving is dying and dying living, conluding with the advice"Best is not to be, secondbest to die quickly" 7 He pointsout what it would mean r us if we did not develop somewisdom of suering; he is, then, the gure who embodies

the horror of unending coming to be while passing awayhe question is how the Dionysian vision manages toovercome the disgust at living that might be prompted byDionysus companion

Nietzsche interprets Silenus pessimistic message as a"truthl" insight, as a point of departure om whichthe Dionysian makes inroads into Apollonian cultureBut Silenus is only a moment in the process of acceptingthe appearing of a world that is nothing more thanappearance What Nietzsche has in mind is a penetrationof the Apollonian by the Dionysian that embodies, as


26/83

an extension of Silenus truth, the intoxicatedecstaticdisposition that envisions everyhing, including truthitself, as chiasmic unity. The wisdom of suering at the

heart of the Dionysian vision develops a dierent kind oftruth, wherein what Silenus describes directly and withoutadornment as suering is ecstatically entangled with itsopposite, becoming painl pleasure. Te Dionysianview of suering must always be a double view, a chiasmicview.

In cononting this Dionysian truth, Apollonian beautilseeming lls short With its attempt to eternalize theindividual and the world of appearances, and with all thatthus r counted as limits, as measuring determinationunding the truth of the principle of noncontradiction,the beauty of Apollo proved itself here but articial

seeming knslscer Scen (42) Here, then, what isarticial and what is artistic cannot be neatly separated.Tat is to say, the artistic seeming knslscer Scenof Apollo, celebrated in the artwork of sculpture, painting,and the epic and based on simplici or moderation"medn an" (42)turns out to be an artice r veilingthe complex, immoderate truth of Dionysus. Tis truthalways already exceeds the moderation of the Apolloniantruth by being a contradiction that is not a logical, butrather a chiasmic, ontological one. It is in the ecstaticselffrgottenness Selbsveressene of theDionysian state, as an ontological structure, that

14 etzsches ve thus ns an echo n Deean unecalty hchs example an excessa panl pleasue . hch patakes of oth gooan of e ageeale an the sageeale ssemntn Tans BaaaJohnson (Lonon Contnuum 004) 10 etzsche hmself of cousethe evelops hs ve of tuths contngency n On Tuth an Les n anExtamoal Sense15 s Delphc som tanslates lteally as nothng mmoeately


27/83

"immoderation laid itself bare as the truth!" Here,"contradiction, the bliss born of pain, spoke out om the

very heart of nature" (BT 7 The "heart of nature"

Nietsche speaks of here is also called the "Will" ,the "world of the Will" , the "primordial unity" Bpassm, the "essence of nature" 55, the "essence of thething" 55, the "essential being [Wesen] of appearances" Primordiality is not Being, but that Unre orimmoderation or overllness that could be called acreative tension Tis is not just creative tension in anindividual human being or even specic to the humanspecies; rather, at the heart of nature is some creativedesiring, a Will [Wlle] or a wanting [Wollen] to manifest

e Divided Hear of NaureIn contrasting the "heart of nature"-the "Will" or

"primordial unity"-with "appearance," Nietsche is notparticipating in the traditional Western opposition ofBeing and appearance [Sen and Scen], all rerences to"essence" notwithstanding In the progression om thepessimistic wisdom of Silenus regarding suering andpain to a ller Dionysian wisdom, it is necessary to

realie that the latter is gained by an nterpretaton of thesuering of incessant coming to be and passing away as"ntoxcaton" 9 Dionysus "interpreted the enigma andthe horror of the world in tragedy and epressed in tragicmusic the innermost thoughts of nature, e weag of the

16 What etzsche calls Wll here later ecomes a Wll to poer a We zuMacht hs shoul not e nterprete n strctly human termsr from tutrather as a esreto-manest a potentalty-pathos that posslzes the orlo ecomng In The Human Cniin, Hannah Arent notes somethng o thesort oservng that he or [poer] tsel ts Greek equvalent nam,lke the atn pena th ts varous moern ervatves or the GermanMacht (hch erves om mogen an mogch, not om machen) ncates tspotental character (Chcago: Unversty o Chcago Press 1958) 200


28/83

Wi i d byod ppc Ersennen ()Th Wi i o impy byod bu o i ppcA h Wi cuiz if, i i imuouy byod

bu o ju much n d oppc, comi o bd pi wy.

Dioyi widom ip h ui ih ih wod i pc of h h of u,of h Wi h oud of phom, im of ioxicio o cy i c oy m h

owi Th Wi ui i h vy co of himmodio h do o bid by h picip ofocodicio d prnpm ndvdaons. Rh,h chimic uiy of oppoih Hci uioof oppoi dicud i i coucio wih hiy of h Dioyi d Hci viio of h

wod, i pphib i d houh cic upkof ui I oh wod, h ioxicio of uih cho h moio of h Wi o pimodi uiyi h m of pi and pu H, hDioyi viio of h wod ovcom Siu' diu h pi of h wod codicio, owih Hci dicum h vyhi v h ioppoi o wih i (Ph 52), m h ui, oo,h i oppoi wih i u i i h Nizch iv u pimy cic O i which bi i] bo of pid vic v (BT 7

Nizch o o o y h h Dioyi viio of h

Wi pibi cocio i d o h Wi biy ui d codico KSA 138) i

ui Wi, h ii c of u, d hpuou viio, pub mi, i coiuoui f KSA 138) W whoy cpud by d


29/83

comprised of this seeming, which we are compelled toapprehend as empirical reality, in other words, as thatwhich is truly not, an ongoing becoming in time, space,

and causality KSA 138-39) There is, properly speaking,no empirical reality, but only becoming. e Willthat drives this becoming, then, must be understood asa paos, 1 in the sense of an overllness of pleasureand pain, which is, as such, simultaneously an ardentlonging r seeming, to be relieved through appearancesK l.38) t s as pathos rather than substance that theWill nds relief om its overlness of pleasure and painby manisting itself in seeming, as a world that is trulynot, ie. , as perpetual becoming KSA 139) Once again,Nietzsche is llowing Heraclitean tenets the ionysianWill 49) as contradiction, is a stri out of whichthe world of phenomena Ersceinnswel as perpetual

becoming is born o put it dierently, the ionysianWill, as stri, is a suering om the overllness of selfcontradiction that nds relief in the pleasure of seemingor appearances Scein What is important to note hereis that, r Nietzsche, the appearances generated by theionysian Will's primordial desire to nd relief through

seeming Scein precede, as it were, the beautil seemingof Apollo's dreamworld. As Nietzsche puts it, If we glanceaway om our own reality' r even an instant, conceivingof our empirical existence, as also of the world's in general,as a continuously generated presentation of the primordialunity UrEine, we shall then have to take the dream tobe the seemin of seemin, a still higher satisction of theprimordial desire r appearances KSA 139)

7 Toar the en of his conscious career in the noteooks of 888 an 889,Nietzsche makes clear that the Will to poer is not a eing, not a ecoming,ut athe a pathosan, as such is the most elementary of cts, out of hichemeges all ecoming, all eecting (KSA 13260)


30/83

As phos, he "Wi" Niezsche evokes here is neiher morenor ess hn he suering of overuness nd he reief ofmnifesing The "Dionysin Wi" is, hen, "compred ohe Apoonin, he eern nd risic power h rscs he whoe word of phenomen he word of comingobe nd pssingwy] ino eisencend i is ony inhe mids of his word h new rnsguring iusionbecomes necessr in order o keep he nimed word ofindividuion ive" (BT 25.143 3) In he Apollonin, iis mos s hough he primordi uniy were king piy

on humn iy Vi he Apoonin, he Wi hs nohersko keep us in he business of iving on by hepinghod he disgus of Sienus by even s we move hroughi Wh Niezsche is eding up o here is h Dionysinwisdom, side om ying bre he immoderion ofnures Wi, so generes is own "seeming" In oher

words, he Dionysin Wi nd he Apoonin re bohinvoved in he producion of "seeming " As Niezsche pusi, "A h is cu gives wy o seeming Scen ndbehind i is nnounced he ntary natre o te W" ( 49) Aer ideniing boh he Dionysin nd he Apooninwih "seeming," Niezsche procims h "hese womnifesions of he Wi hd n erordinry im ocree er possblty o exstence, nd, so, o rrive inh stll er lorcaton (hrough r" (49) Whis ske in such goricion is he deveopmen of whNiezsche cs "mephysic comr" h wi no gossover e suering of coming o be nd pssing wy (BT759)

ragedy's Higher Goricationhe higher gorificion Niezsche describes is noonger he r of seeming, bu rher rgic r" (53) nd"Dionysin music" (36) rgedy, r Niezsche, mensn ccepnce nd ceebrion of he eern ife of he


31/83

Will, in its creation and destruction. We become caableof such accetance and celebration recisely throughthe destruction of the tragic hero he urose of this

destruction is not necessarily to evoke, la Aristotle,fear and ity, but is rather to gloriy that which creates.Desite, or even because of, the tragic heros demise, wecome to venerate life, which kees coursing on in andthrough destruction. Life eternally regenerates itselfbecause of destruction. is hels exlain how tragedy orthe concetion of the tragic, and also Dionysian music,nction as routes to a "higher ossibility of existence"and a "higher glorication" than the instruments of theAollonian dreamworld are caable of roducing.

What is essential here is Nietzsches association of thetragic and music with the Dionysian, and more recisely

with Dionysian wisdom in its merger with the Aollonianart imulse We recall here the insight of that wisdomgained through the "intoxication of suering," that is,that the chiasmic suering of nature constitutes the Will:"the rimordial contradiction and rimordial ain, alongwith the rimordial leasure of seeming" (KSA 44) As

Nietzsche uts it, "he Dionysian, with its rimordialoy exerienced even in ain, is the common source ofmusic and tragic myh" (BT 244) What, then, is the"higher glorication" that is suosed to occur in tragedyand music? With regard to the tragic mth, which relatesthe suering of the tragic hero, Nietzsche rooses thellowing there is an ecstatic Dionysian insight into theWill as a chiasmic unity of suering and leasure esuering of the Will is simultaneous with the Wills oyor relief in manifesting itself as "aearance," i.e., as ahenomenal world that is simultaneously a comingtobeand a assingaway, a world always being annihilated.


32/83

he "metphyicl comrt" oered by trgedy i nttunement to the "eternl life of tht core of exitencethe everongoing going under Untergang of phenomen"(KSA 59 Wht Nietzche clim r "higher gloriction"i tht it i rt through the trgic with it conception ofthe "intoxiction of uering" nd "ionyin widom"tht we cn undertnd the joy involved in the nnihiltionof the individul:

For it i only prticr exmple of uch nnihiltion

tht we ee ery the etel phenomenon of ionyinrt which give expreion to the Will behind theprncpm ndvdatons, the eternl li beyond llphenomen nd depite ll nnihiltion e joy thetrgic i the trnltion of the intinctive unconciouionyin widom into the lnguge of imge the

[trgic] hero i negted r our pleure becue hei only phenomenon nd becue the eternl life of theWill i not ected by hi nnihiltion (BT 60

e trgic hero i not to be pitied he i nniited r ourpleure We re to be thnl tht he embodie the eternlphenomenliztion of the Will uering nd pleure Inother word Nietzche upend the Aritotelin denitionof trgedy which relie on fer pity nd cthri 18

Fo Astotle tagey s mously an mtaton of an acton that s seouscomplete an of a cetan magntue that though pty an a eects thepope pugaton [cathass] of these emotons so long as the tagc heo e

sucently nole an the appopate moal compass e estoe y plays enPetic Tans SH Butche (e ok Hll an Wang, 96 6. By contastthe emse of the tagc heo s etzsche an ehec phenomenon nota moal one Inee etzsche snees at the Astotelan noton that thoughtagey e ae suppose to feel elevate an nspe y the tumph of gooan nole pncples (2232) Qute the contay, he clams To feel ths ays to have ha no expeence of tagey as a supeme r (2232)


33/83

o the extent that catharsis does occur here, it invovesthe joy that only phenomena are destroyed At its core,ife-as the comin to be and passin away of phenomena,

as neither more nor ess than the ambivaenty productivepathos of nature or Wioes on rever

On Musc as Immedate Symbozaton of te Whe roe of music, or, more specicay, of "Dionysianmusic," in terms of "hiher orication" derives, ike thetraic, om "Dionysian wisdom," ie. om insiht into thechiasmic unity of the Wi However, the dierence betweentraic art and Dionysian music is important. Whereastraic myth conveys the Dionysian wisdom reardin theeterna ife of the Wi despite and throuh a annihiation,it does so in the anuae of imaes Dionysian music,however, symboizes the Wi outside of and prior to the

word of appearances, that is, outside the ream of "imaemakin or visua art" (57) in a domain where the Wi"makes itsef immediatey understandabe" (55) In otherwords music does not refer to "a phenomenon of the WiWillensersceinn (59) to one or another moment ofseemin, but to the "truy existent" word of the Wi as

this itsef enerates phenomena, "appearances" (57)Now, there is somethin strane about Nietzsches wordinhere If the heart of nature is a Wollen, a wiin or wantin,it cannot be "truy existent" in the sense of substance.We can ony imaine that Nietzsche means that theUrEine, that "primordia unity" drivin a appearin, abecomin, is itsef not an appearin or a becomin. Thetruy existent, then, is neier some rm of static BeinSein northe specic ephemera of Appearin Scein is

truy existent insor as it never beons to the appearancesthat it enerates and yet "existence" sti does not denote


34/83

ubtance or groundng beng e prmorda unty not part of the Erscennswel, and yet the phrae "truyextenthoud not educe u nto beevng that Netzcheaddree a fune behnd a appearance Rather, what at take here a ort of ubtracton om appearance,omethng that no in at a, but a paos, a feeng It n th ene that Donyan muc can be the "symbolsm o e worl' (58); t the mmedate echo of the wordn t ymbozng actvty of wordng uc mmedate, tef the productve actvty of the feeng W, taken

a ymbo, rather an beng a et of ymbo producedby the W n t manfetaton a appearance h theDonyan oundng of the word

So, hat t Donyan muc that make t an "mmediate"ymbo of the W, of the chamu of peaure and pan

Netzche t "harmony" (54) and "muca donance"(BT 244) a the key charactertc of Donyan mucWth the dea of "harmony," he undoubtedy ha n mndthe harmony of contrary moton, e, the mutaneoumovement of tone n o ppote drecton, where one nemove up and the other down at the ame tme A keyource r th ene of harmony a proceedng om andva contradcton Heractu' undertandng of t a theunke beng joned together. For Heractu, harmony amatter of "grapng: whoe and not whoe, convergentdvergent, cononant donant, om a thng oneand om one thng a" (CXXIV, in Art and Thoughtof Heraclitus 85) In thee mpobe grapng, "the

counterthrut brng together, and om tone at varance

9 here s no escapng he c ha hs s a rerence o somehng psychcalFor a uller exposon of Nezsches panpsychsm, see Frerch Ulfers anMark Cohen, Nezsches Panpsychsm as he Equaon of Mn an Maer(rhcomng


35/83

comes perfect attunement, and all things come to passthrough conict" (XX inrt and ought 63) Harmonyhas r Nietzsche, om this Heraitean perspective, the

same relation to Dionysian wisdom as musical dissonance(T 244)20Namely, the feeling scarcely imagistic insightof Dionysus apprehends the Will as a joiningtogetherof unlikes, the chiasm of primordial joy and pain, thecontradiction or strife that is the source of all that comesto be and passes away It is in this, as Nietzsche puts it,that music serves as "the Dionysian mirror of the world"(T 99) and becomes "endowed with a Dionysiancosmic mission" (T 99) Finally, what is at stake rNietzsche in this essay is that the art of Dionysian music isactively symbolizing the order of the world, which is itselfan aesthetic phenomenon Via his music, the Dionysianmusician becomes one with that divided UrEne the

primordial unity of the Will

20 In Msi An Aeiatn 1" Editn Coumus OH McGrH,ogr Kmn chrctrzs dssonnc s n unst ton comnton tstnson dmnds n onrd moton to st chord us dssonnt chords rcv trdtony thy hv n consdrd hrsh nd hv xprssd pn,gr, nd conct 4) tzschs gnus s to rcognz n tht pn gr ndconct prmord oy 244)


36/83


37/83


38/83

H Y F H WD


39/83


40/83

e Greeks, wh in their gds t nce decre nd cnce

the secret dctrine f their isin f the wrd, estbishedtw deities s the twinned surce f their rt Apnd Dinysus In the dmin f rt, these nmes representppsing styes; nery wys entnged nd entering

int strugge with ne nther, they pper merged butnce, in the bssming f the Heenic Wi" in thertwrk f Attic trgedy A this is t sy, the humnchieves the biss feeing f existence in tw sttes: ind r e m s nd in i n t x i c t i n e beutiseeming [Schen3 f the drem wrd, in which everypersn is the cnsummte rtist, is the ther f thegisc rs nd, s we sh see, s gd hf f petWe enjy n immedite understnding f the f i g u r e[Ge] rms spek t us; there is nthing indierentnd unnecessr Even in ur utmst experiencing f thisdremctui hwever, we hve sti the senstin f itss e e m i n g , shimmering thrugh As sn s this

senstin is st, pthgic eects set in; the dremn nger reeshes nd the heing pwer f nture htsits pertin Within these bundries, hwever, it is ntmerey thse imges tht re greebe nd pesnt thtwewith tht tt cmprehendingseek ut within


41/83

ourselves he severe, the sorrowl, the blek, theobscure ll re viewed with the sme plesure. It is onlytht the veil o seeming must remin in luttering motion,

not lly conceling the bsic rms o the ctul. Wheresthe drem is thus the individul humn's ply with wht isctul, the rt o the imgemker (in the broder sense) isp y w i t h t h e d r e m . The sttue s block omrble is something very ctul, but the ctulity o thesttue s d r e m i g u r e is the living person othe god o long s the sttue ots bere the rtists eyess ntsy imge, he plys still with the ctul; when hetrnsltes this imge into mrble, he plys with the drem.

n wht sense, then, ws A p o o ble to be mde thegod o r t ? Only in his being the god o the drem

presenttion. He is the shining one [der Shenende

through nd through, in his deepest roo ts the god osun nd light who revels himsel in rdince. Beuty[Shnhet is his element, eternl youth his compnion.But the beutil seeming [hner Shen o the dremworld is his domin, too; higher truth, the perectiono these conditions in contrst to dytody ctulity's

tttered intelligibility, elevtes him to prophesyinggod, but just s surely to n rticing god The god obeutil seeming must be t the sme time the god o truecognition [der wahren Erkenntn But tht delicte limitover which the dremimge my not step i it is not tounction pthologiclly-where seeming does not merelychet but deuds-must not be missing om Apollo'sessentil being tht modest delimittion, tht eedomom the wilder impulses, tht wisdom nd trnquility o

the imgemking god. His eye must be sunnily trnquil;even when it glres nd looks blel, the benediction obeutil seeming lies upon it.


42/83

Conveey, Dionyin i ceneed on he y wihinoxicion, ih he e of ec ee e o owebove ee h eeve he nive men of nue o he

efgeing of inoxicion he dive of ingime ndncoic Tei woking e ymboized in e gueof Dionyu In boh e, heprnpm ndvdoni undeed nd he ubecive die eniey beehe euing ce of he geney humn, indeed, hecommono, he nu Te feiv of Dionyu noony ge union beween mn nd mn, bu econcie

mn nd nue Te eh oe u i gi eey, hewide be och eceby; he owegndedwgon of Dionyu i dwn by nhe nd ige Ahe encoing boundie id beween eon byneceiy nd coningency die: he ve i eemn, he nobe nd he owybon unie in he me

Bcchic choue In evegee hong, he goe of"he hmony of wod" o om ce o ce Singingnd dncing, he humn mni himef membe of high, moe ide commoniy; he h unen wkingnd eech Bu moe he fee himef enchned nd heh cuy become omehing ohe A he nim ek

nd he eh give h mik nd hone o hee oundou om him omehing uenu He fee himef god wh ee ive ony in hi powe of imginion, he

ene now wihin himef Wh e imge nd ue ohim now? Te humn i no onge i, bu h becomewok; he i ecicy nd exedy nmed bee he w he god nmed in dem Te

iic ce of nue, no onge h of humn, noweve ief- nobe cy, moe eciou mbe heei kneded nd hewn he humn Ti humn, medby he i Dionyu, nd in eion o nue heue doe o he Aoonin i


43/83

Now, if intoxication is nature's play with the human, thenthe Dionysian artist's creating is play with intoxication Ifone has not experienced it onesel this state can only be

grasped by analogy: it is similar to dreaming and at onceeling the dream to be a dream Just so, the serant ofDionysus must himself be intoxicated and at the sametime lying in wait behind himself, obsering. It is not inalternation between clarity and intoxication, but in theirentanglement, that Dionysian artistry shows itself.

is entanglement marks the high point of HellenismOriginally, Apollo alone is the Hellenic god of art; it washis power that tempered Dionysus storming out of Asia, soas to allow the most beautil aternal union to emerge.Here, one grasps most easily the incredible idealism of theHellenic mode of being: out of a nature cult-which among

the Orientals signied the rawest unleashing of the lowestdries, bursting r a certain time all social bonds-theregrew r the Greeks a stial of worldredemption, a dayof transguration. All the sublime dries of their modeof being reeal themseles in this idealization of the orgy

Hellenism was neer in greater danger, howeer, than it waswhen the new god stormily drew near. Neer, moreoer,did the wisdom of the Delphine Apollo show itself in aner [shner] light Reluctantly at rst, he wrapped hisprodigious opponent in the most precious gossamer, thatthis other might scarce mark that he had marched halayinto captiity Inasmuch as the Delphic priesthoodgrasped the new cult's pround eect on processes ofsocial regeneration and promoted it according to theirown politicalreligious intent, inasmuch as the Apollonianartist learned with deliberate moderation om thereolutionary art of the Bacchanalian serice, inasmuch


44/83

as dominion over the year in the Delphine order wasultimately divided between Apollo and Dionysus, bothgods emerged as victors om their struggle, so to speak

a reconciliation upon the eld o battle I one wouldsee quite clearly how violently the Apollonian elementsuppressed the irrational, supernatural aspect o Dionysus,however, one needs only to recall that, in the older musicalera, the gno dhyrmbkn was also the hechknTe more powerl the Apollonian artistic spirit nowgrew, the more eely did Dionysus, the brothergod,

develop in the time o Phidias, ust as the rmer arrivedat a completely immobile view o beauty [Schnhe asit were, the latter interpreted the enigma and the horroro the world in tragedy and expressed in tragic music theinnermost thoughts o nature, the weaving o the Will inand beyond all appearances [Erchenngen .

I music is also Apollonian art, it is, strictly speaking,only rhythm whose power o i m a g e m a k i n g wasdeveloped r representation o Apollonian states; the musico Apollo is architecture in tones,10 and rthermore onlyin the allusive tones proper to the chr Te very element

that constitutes the character o Dionysian musicindeed,o music as suchis gingerly held at a distance the arringrce o tone and the absolutely incomparable world oharmon Te Greeks had r these the nest sensibility,as we must conclude om the rigorous character othe m o d e s [ Tonren even as the need r a llye a b o r a t e d , actually sounded harmony was much

weaker among them than in the newer world In theharmonic progression and already in its abbreviation,in socalled melody, the Will reveals itsel quiteimmediately, without rst having entered into someappearance [Erchenng. Each ndvdm can serve as


45/83

a likeness much as a particular case does r a general ruleconversely the Dionysian artist would lay immediatelybare the essential being We en o appearances

Erchenngen ] -indeed he holds sway over the chaos othe notyetrmed Will and om it I I can in each creativemoment make a new world b u t a s o t h e o d known as appearance Erchenng. It is in the lattersense that he is a tragic musician

In Dionysian intoication in the tumultuous dash throughall the scales o the soul-in narcotic ecitations or in theunleashing o the drives o springnature epresses itsel inits greatest power it clasps individual beings together oncemore and lets them el themselves as one-such that theprncm ndvdon appears erchen as somethinglike a persistent weakness o the Will he more dissolute the

Will the more all crumbles into individual pieces the moreselwilled the development o the ndvdmthe weakerthe organism that it serves In this state something like asentimental motion o the Will at once erupts a creaturesigh r what is lost-om out o the greatest pleasuresounds n the cry o deepest dismay the yearning wail

o an irreparable loss Voluptuous nature celebrates itsSaturnalia and its wakes simultaneously The aects o itspriests are intermingled in the most wondrous shionpain awakens pleasure jubilation tears agonized tonesTne om the breast The god ho lyo has deliveredeverything om himsel transrmed everything Thesong and countenance o the masses aroused in this mannerthrough whom nature gained voice and movement wasr the HomericGreek world something entirely newand unheardo it was r this world something Orientalsomething it had rst to conquer by its own prodigiousrhythmic and imagemaking power just as it did the


46/83

Egptian tempe stye, It was the Apoonian peope whocast the overwheming rce of instinct into the fetters ofbeauty [Schnhe they brought the most dangerouseements of nature, its widest beasts, under beautys yokeWe marve most at the ideaistic power of Heenismwhen we compare its spirituaization of the Dionysianceebration with what emerged om that same sourceamong other peopes Simiar festivas are ageod and canbe pointed to over the word, most mousy in Babyonunder the name Sacaea Here, over the course of a veday

festiva, every civi and socia bond was sunderedbut thecenter of it a was sexua icentiousness, the annihiationof a miiaity through an unbounded hetaerism hepicture of the Greek ceebration of Dionysus, as set downby Euripides in e Bacchae oers the very counterimage; om it ows that same charm, the same musicay

transguring intoxication that Skopas and Praxiteesconcretized in statues A messenger tes of being drawnup with the herds to the mountaintops in the middayheat; it is the right moment and the right pace to seethe hitherto unseen Now, Pan seeps; now, the heavensserve as dispassionate backdrop to a spendor; now, day

b o o m s 13

he messenger marks three choruses ofwomen upon an apine meadow, ying dispersed anddemurey composed upon the ground many women are

eaning against the trunks of rsa are sumberingSuddeny, the mother of Pentheus begins rejoicing seep isbanished, a spring up, a mode of nobe customs; the girsand women et down their hair, ocks ing on shouders,

and arrange their doeskins if the ribbons and bows havecome undone whie seeping hey gird themseves withsnakes, whose tongues ick intimatey their cheeks, andsevera women take young woves and deer up in armsand sucke them are adorned with garands of ivy and


47/83

morning glories a blow o the hyrss upon the rocks andwater springs out, a rap with the rod upon the groundand a winespring rises up Sweet honey drips om the

branches so much as touch the earth with ngertips, andsnowwhite milk bursts rth -This is a wholly enchantedworld nature celebrates its estival o reconciliation withhumans The mth tells o Apollo putting back togetheronce more the shattered Dionysus Tis is the image oDionysus created anew through Apollo, rescued om hisAsiatic dismemberment -

n their perect state,14 such as we encounter them alreadyin Homer, the Greek gods are certainly not to be conceivedo as born o necessity and want Certainly, the soul who

quavers with dread never dreamt up such a mode o being[Wesen; it was not in order to steer clear o li that aningenious ntasy projected images o the gods upon thesky A religion o lie, not o duty or ascesis or etherealspirituality, speaks out om these gods All these guresbreathe the triumph o existence a luxurious eeling

o living accompanies their cult Tey do not order ordemand: in them, what lies present at hand is deied,irrespective o whether it be good or evil easuredagainst other religions seriousness, holiness, and severity,the religion o the Greeks risks being undervalued asntastical playing about Spelere- we do not call tomind an oen unrecognized move o the deepest wisdom,through which that Epicurean being o the gods appears[erschen suddenly as the creation o a people artisticbeyond compare, very nearly as the highest creation oall It is the philosophy o the p e o p e that the restgod in his chains reveals to mortals: Best is not to be,


48/83

secondbest to de qucy It s ths same phlosophythat rms the background o the Greek pantheon eGreeks knew well the horrors and outrages o estence,

but cloaked them n order to go on lvng: a cross hddenbeneath roses, n the symbol o Goethe. That lumnousOlympan world came to domnance only because thegrm admnstraton o mor whch determnes rAchlles an early death and r Oedpus that loathsomemarrage, s to be hdden by the radant rms o Zeus,Apollo, Hermes, and so rth Had someone strpped that

n t e r m e d a r y w o r d o ts artstc s e e m n g knstlersher S h e n J they would have had to heed

the wsdom o the rest god, the onysan companonIt was out o ths adversty that the artstc genus oths people created ther gods For that reason, theodcywas never a Hellenc problem; they knew better than to

attrbute the estence o the world-and therewthresponsblty r ts stateto the gods Even the godswere submtted to nnke ths s an armaton o therarest wsdom o see ts estence as t actually s na transgurng mrror and to protect tsel om theedusa wth ths very mrror-ths was the ngenousstrategy pursued by the Hellenc Wll" n order to beable to lve at all For how else could such a people, sonntely senstve, so brllant n ther capacty rs u e r n g , have borne estence t h s t s e had not been revealedto them n ther gods, enguled n a greater glory!hat same drve that called art to l as the

supplement and percton o estence, that temptsmen nto lvng on, also made possble the emergenceo the Olympan world, a world o beauty Shnhet]o tranqulty, o enjoyment.


49/83

hrough the operation of such a religion, life wasgrasped in the Homeric world as that which was initself most worthy of struggle: life lived beneath the

bright sunshine [Sonnenshen of such gods hep a i n of the Homeric man was bound to departure omthis existence, above all to the nearness of that departure;when a complaint sounds out [ern] at all, it resoundsr "shortlived Achilles," r the rapid changing of thehuman race, r the disappearing of the age of heroes Itis not unworthy of the greatest heroes to yearn to live on,even as day laborers Never has the "Will" expressed itselfmore openly than in Hellenism, whose very complaint isstill a hymn of praise hat's why modern man longs rthis era in which he believes he hears a ll attunementbetween nature and the human that's why "Hellenic" is theterm of salvation r all those who must seek out lustrous

examples r their conscious armation of Will hat'swhy, nally, the concept of "Greek cheerlness" has arisenat the hands of hedonistic writers, such that a dilettantishlife of leisure dares in disreputable shion to excuse itself,even to honor itself, with the word "Greek"

In these conceptions, erring all, om the noblest to themeanest, Hellenism is taken too crudely and simply,rmed more or less in the image of nations that lackambiguity and are, so to speak, onesided (r instance,the Romans) All the same, one must presume a needr artistic seeming [ kunsersh Shen even in thevision of the world of a people that takes care to turn allit touches to gold Actually, as already suggested, we alsoencounter an extraordinary illusion [Ison within thisvision of the world the same illusion of which nature soregularly avails itself in the attainment of its goals. etrue aim is concealed by a hallucination; it is toward this


50/83

that we stretch out our hands, reachng nature throughths decepton n the Greeks, the W woud vew tsetransgured as a work o art: n order to exat tse, tsown creaton woud have to ee tse worthy o bengexated, woud have to reenvson tse ed up to ahgher sphereed up nto the ream o deaty, so tospeak, wthout ths perect word o the vson nctonngas mperatve or reproach Ths s the sphere o beautyShnheit n whch the Greeks catch sght o thermrror mages, the Oympans Wth ths weapon, the

Heenc W batted that taent correatve to the artstc,the taent r s u e r n g and r the wsdom osuerng Out o ths batte and as a monument to victory,tragedy was born

The n t o x c a t o n o s u e r n g and t h e

b e a u t u d r e a m have ther dstnct pantheonshe rst, n the omnpotence o ts beng, perces thennermost thoughts o nature t cognzes the arsomedrve toward exstence and at once the contnua dyng oa that enters nto exstence he gods t creates are goodand ev, resembng chance they horr wth suddenntentonaty, are ptess, and take no peasure n thebeaut Tey are akn to truth and approxmate theconcept Begrq sedom do they coaesce nto gures,and then wth dcuty o gaze upon them s to turn tostone how shoud one ve wth them? But one shoudnotths s ther esson

Te gaze must be drawn away om ths pantheon tcannot, ke a crmna secret, be hdden entreydrawnaway by the umnous dreambrth o the Oympan wordnearby Hence does the baze o Oympus' coors heghten,the sensuaty o ts gures grow ever greater, the more


51/83

strongly truth or its symbol asserts itself Never, however,was the struggle between truth and beauty greater thanwith the invasion of the Dionysian ritual in this ritual,

nature disclosed itself and spoke of its secret with terribleclarit with that tone against which seductive seemingSchen] nearly lost its sway e spring lowed up in Asia,but in Greece it became a river it had to, r here it undr the rst time what Asia could not oer it the mostexcitable sensibility and capacity r suering, coupledwith the lightest deliberateness and sharpsightednessHow did Apollo save Hellenism? e newcomer wastransported up into the world of beautil seeming dechnen Schen] the world of Olympus much of thehonor of the most esteemed divinities, Zeus and Apollo,r example, was given over to him Never has moretrouble been taken r a stranger-and he was a fearsome

stranger, too hot in every sense), powerl enough tosmash the hospitable house to pieces. A great revolutionbegan in all rms of li everyhere, Dionysus burst in,even into art

Beholding d Schen] the beautil or seemly d

Schne] what shines or seems Schen]18 these boundthe realm of Apollonian art it is the transgured worldof the eye that creates artistically, behind closed eyelids,in the dream It is into this dream state that t h e e p i cmeans to transport us with open eyes, we should see nothingand feast on internal images-rhapsody seeks, throughconcepts, to incite us to the production of these images e

eects of the imagemaking arts are here arrived at via adetour the imagemaker leads us through hewn marble tothe i v i n g god he beholds in the dreamsuch thatthe gure swimming bere him as authentic tlo becomesclear as much r the imagemaker as r the onlooker,


52/83

and the rmer give the latter t llw alng thrughthe m e d i a t i n g f i g u r e f the tatue Meanwhle,the epic pet ee thi ame living gure and wuld al

preent it r the view f ther, but he n lnger placea tatue between himelf and humanity. Much mre, henarrate hw thi gure demntrate it life in mvement,tne, wrd, actin; he rce u t trace a ht f eectback t their caue, requiring f u ur wn artiticcmpitin.19 He ha achieved hi aim when we ee thegure r cntellatin r image clearly bere u, when he

ha imparted t u that dreamle tate in which he himelfrt begat thee preentatin. hat the epic demand fu a p a t i c creating hw hw ablutely dierentlyric i m epic, ince lyric never ha a it aim the rmingf image The cmmnality between the tw i merelymething material, the wrd, r even mre generally, the

cncept; if we peak f petr we d nt thereby have mecategry wherein imagemaking art and muic wuld becrdinated, but have rather an agglmeratin f tw artmedia entirely dierentiated in themelve, f which thene cnnte a path tward imagemaking art and thether a path t muic. Bth, hwever, are nly path tward

the maing f, nt art themelve In thi ene, paintingand culpture t are naturally nly art media; authenticart i the ability t make image Erschenknnenvn Bdern, regardle f whether thi be makingup[ Vorschen r makingafter [chschen . It in thi characteritic, a generally human ne, that thec u t u r a i g n i f i c a n c e f art i baed

e artit-a the ne wh cmpel mtin thrughart media tward art-cannt be imultaneuly theabrptive intrument f art' wn activity


53/83

Apllnian c u t u r e idlatry, whether expreed intemple, tatue, r the Hmeric epic, had e ethical demandr meaure a it ublime aim, which ran parallel t the

aethetic demand r beauty. le a demand r meaurei nly pible where there i meaure, where the limit ic g n i z a b l e . be able t maintain ne bundarie,ne mut knw them: hence the Apllnian dictum, gnothetn e mirrr, hwever, in which the ApllnianGreek alne culd ee and thu cgnize himel, wa thelmpian panthen; but here he apprehended hi wnmtbeing [en egente Ween nce mre, hruded in thebeautil eeming the dream. Meaure, under wheyke the new panthen labred ppite the llen wrld the itan), wa the meaure beauty [Shnhet thelimit within which the Greek had t hld himel wa that beautil eeming [de hnen Shen Te innermt

purpe a culture riented tward eeming [Shenand meaure can nly be the veiling truth: the tireleeeker in it ervice were hailed, jut like the verthrwnitan, with the warning medn gn In Prmetheu, theGreek were given an example hw tgreat a care rhuman knwledge wa ruinu r bth the ne wh cared

and the caredr. He wh in hi widm wuld tandbere the gd mut, like Heid, mtron hen ophe

It wa int uch a cntructed and artitically prtected[kntlh gehtzte wrld that the ectatic tne theDinyian celebratin penetrated. In thi tne, nature' ttali m m d e r a t i n wa revealed: in pleaure, uering,and cgnitin all at nce. All that had thu r cunted alimit, a meauring determinatin, prved itel here butarticial eeming [kntlher Shen "immderatin"laid itel bare a the truth. Fr the rt time, in cmpletedrunkenne, the demnically cinating ng the


54/83

peple trumpeted ut an verpwering feeling. Againtthat feeling, what culd the palmdying artit f Aplligni with the nly fearfully alluive train f hi chara?

What nce had been ealuly bxed and tranplantedint the peticmuical guild ha and imultaneuly heldat a ditance m all prne participatin, what had tbe zen with the rce f the Apllnian geniu t thelevel f a imple architectnic-the muical elementhere cat all cntraint Rhthmic, which bere hadmved in nly the implet f zig and zag, nw let le

it limb in the Bacchanalian dance. n e undedut, n lnger a bere with wraithlike thinne, butrather with the thuandfld intenificatin f themae and with the accmpaniment f deeptned windintrument And that greatet mytery f all tranpired:harmny came here int the wrld, in it mvement

making the Will f nature immediately undertd. w,in Dinyu urrunding, the thing that had beenecreted the Apllnian wrld becme clamruall the heen f the lympian gd dulled bere thewidm f Silenu An art that pke the truth in ectaticintxicatin banihed the mue f the art f eeming[de en der Schenkne

in the elfrgttenne[Sebvergeenhe f the Dinyian tate f being, thendvdm- it limit and meaure-went underA twlght f the gd td near at hand

What wa the intentin f the Will, which i aer all aingular n e , in permitting the Dinyian element t

make inrad int it wn Apllnian creatin?

A new and higher mchan f exitence had cme intplay, the birth f t r a g i c t h u g h t -


55/83

3.

e ectay f the Dinyian tate with it annihilatinf exitence' cutmary cntraint and limit include

thrughut it duratin a e t h a r g i c element inwhich all that i lived ink dwn int the pat Thrughthi gulf f rgttenne the wrld f qutidian andDinyian actuality eparate m ne anther. An a that qutidian actuality nce mre enter intcnciune it i lt a uch with d i g u t [Ekelan a c e t i c Willdenying dipitin22 i the uitf thee cnditin In thught the Dinyian i et upa a higher rdering f the wrld ppite methingcmmn and bae; the Greek wanted ttal light mthi wrld f guilt and te. He did nt cmrt himelfwith a wrld aer death; hi lnging re higher verand abve the gd denying exitence all it brightly

gleaming mirrring f the gd. In the cnciunef cming t m intxicatin he ee everywherethe awulne and aburdity f human being-itdigut him. w he undertand the widm f theretgd.

Here we arrive at the mt dangeru limit that theHellenic Will with it Apllnianptimitic undingprinciple culd tlerate. Here the Hellenic Will ett wrk immediately with it natural healing pwerrevering that negating dipitin; it mean are thetragic wrk f art and the tragic idea It intent ablutelyculd nt be t weaken till le t uppre theDinyian tate; direct cercin wa impible andif it wa pible r t dangeru-r if detained init utpuring the element wuld then break r itelfme ther cure and ine all the vein f li.


56/83

Abve ll, tht dguted thught f the wflne ndthe burdty f extence hd t be trnrmed ntpreenttn wth whch ne culd lve: thee re the u b l m e the rttc tmng f the wl nd ther d c u u the rttc dchrge f dgut tthe burd ee tw ntertwnng element re unedn wrk f rt tht mtte ntxctn, tht plywth ntxctn

e ublme nd the rdculu g tep beynd the wrld

f beutl eemng, r n bth cncept there ened cntrdctn n the ther hnd, n n wy d theecncde wth truth; they re the velng f the truth, mretrnprent thn beuty, t true, but velng ll thee In them, therere, we hve n n t e r m e d r ywrld between beuty nd truth; here, unctn f

Dnyu nd Apll pble Th wrld revel telfn ply wth ntxctn, nt n beng why cught up nt In the ctr Shpeler]23 we pprehend nce mrethe Dnyn mn, the ntnctve pet nger dncer, butnw p y c t e d Dnyn mn He eek tttn t h mdel n the cnvln f ublmty r elen the cnvln f lughter; he trncend beuty ndyet he de nt eek truth. He remn ltng n beteenthe tw He trve nt r beutl eemng nh demhnen Shen] but r eemng nh dem Shen]nnethele; nt r truth nh der Whrhe] but r the e e m n g f t r u t h nh Whrhenlhke]2Symbl, gn f truth.) Intlly, f cure, the ctr

w nt ltry ndvdul; the Dnyn m,the peple, w ment t be repreented-hence, thedthyrmbc chru. Thrugh ply wth ntxctn,the ctr, lng wth the urrundng chru fnlker Zher] w ment t be mre r le


57/83

rlivd of itoxictio From th stdpoit ofth Apolloi world Hllism dd to bh d d x p i t d Apollo th propr god

of hlig d xpitio rscd th Grks omc r yd cstsy d disgst t xistc-throghth rtwork of trgiccomdic thoght

Th w world of rt th world of th sblim d thridiclos of "th smig of trth" [ Wahrsheinlihkeit] ws cocrd with othr visio of th gods d ofth world th ws tht oldr o of btil smig[des shnen Sheins] Cogitio of th horrors dbsrditis of xistc th drgd ordr of thigspl lik bt withot rso-ltogthr th mostmostros s f f r i g i ll of tr vild thrty clokd grs of mof d th riys of ds

d th Gorgo; th Olympi gods wr i th grvstdgr I trgiccomic works of rt thy wr svd bybig thmslvs plgd ito th s of th sblim dth ridiclos; thy csd to b mrly "btil" dbsorbd ito thmslvs so to spk tht oldr ordr ofgods d thir sblimity ow thy split ito two grops

with bt fw lotig i btw s somtims sblimsomtims ridiclos diviitis Abov ll Dioysshimslf ws ccordd this birctd rm of big

ow i th trgic priod of Hllism to chrctrs bstdisply how it gi bcm possibl to liv Aschyls dSophocls T sblim pprs [ersheint] to Aschylss thik most o i th most xtodiry sticFor him d god shr th tightst sbctivcommoli: th divi st thicl25 d th h p p y26r irmly twid with o othr is o thsscls tht th idividl big whthr m or it


58/83

is msd gods w costctd ccodig to thisom of jstic So xmpl th lk blif i dmowho blidd d tmptd popl to gilt- mt oftht pimodil ptho dthod by th Olympisws coctd mkg of this dmo tool i th hds of jstly pishig Zs Th qlly pimodil-likwisig to th Olympis-thoght of mily cs wsstippd of ll bittss sic with Aschyls th is o d idividl wickdss d vyo c scpth cs

Whl Aschyls ds th sblim i th sblimity of thOlmpi dmiisttio of jstic Sophocls ss this-iwodos shio-i th sblimit of th impiosssof th Olympi dmiisttio of jstic H covsth lk stdpoit t vy poit Th dsvdss of

wl t smd to him sblim th tly isolblpzzls of hm xistc w his tgic ms Withhim Sig ttis its tsgtio it is cocivdof s somthig sctifyig h distc btw thhm d th divi is immsbl ccodigly thmost pod sbmissio d sigtio ttig pop vit is sophrosyne, poply gtiv vitHoic hmity is th costlist hmity withot thisvit; its t dmostts this iit divid Th issccly sch thig s g i t oly lck of cogitiococig th vl of th hm d its limits

This stdpoit is ctily dp d mo itisic

th tht of Aschyls comig clos to sigifyigth Dioysi tth d xpssig it withot mysymbols-d yt! w pphd h th thiclpicipl of Apollo bidd ito th Dioysi visioof th wold With Aschyls disgst is dissolvd i th


59/83

sblim shdd at th wisdom of th odig of thwold, which is d i f f i c t to cogiz oly bcas ofhma wass With Sophocls, this shdd is gad

still, bcas that wisdom is wholly thomabl This isth p voic of pity, which is withot stggl, whasAschyls cotially has th task of stifyig th diviadmiistatio of stic ad, that aso, alwaysmais stadig b w poblms Th "limit of thhma," which Apollo odd xamid, is Sophoclsogizabl, bt is aow ad mo costaid thawas mat i th pDioysia a of Apollo. Hmalack of slfowldg is th Sophocla poblm, hmalack of kowldg of th gods, th Aschylia.

Pity, most wodos mask ofth lidiv! Ddicatio toa pfctd d a m w o d , to b awadd by th highst

thical w i s d o m ! Flight om tth, th btt to woship itom a, shodd i clods! Rcociliatio with actality,b a s it is a igma! Rplsio by iddlig,bcas w a o gods! Lstl postatio i th dit,cottmt Glucksrhe] i ill ft Unglck] !Highst kenosis of hmaity i its highst xpssio!

Gloicatio ad tasgatio of xistc's mdia ofhoo ad tiigss as th vy c xistc!Joyl livig i th digatio oflif! imph of th Willi its gatio!

At this stag of cogitio th a oly two pathsthat of th sait ad that of th t a g i c a t i s t .27

Both hav i como that thy ca liv o ortleben]with th clast cogitio of th llity of xistc,withot flig a i i thi visio of th wold Disgstat still livig Weiterleben] is tak as th mas ofcatio, whth this b saitly o atistic Th hoibl


60/83

or h brd plg, bc oly mgly[scenbar] horrbl or brd h Doy powrof chm hr prov lf, v h hgh

po of h vo of h world; ll h cl gvwy o mg [Scen] d bhd ocd h r y r o f h W l l ,wholly wrppd h glory of wdom d rh, dzzlg brllc I l o , d o p k -

ow, wll o logr b hogh comprhblh h vry m Wll h, Apollo, ordrdh Hllc world cm o corpor ohrmfo [Erscenngsorm], h DoyWll rggl bw h wo mfoof Wll hd xrordry m: o cr

h g h r p o b y o f x c d, lo,o rrv h l h g h r g l o r f c o hrogh r) o logr h r of mg [Knsdes Scens], b rhr rgc r w h rm of hglorco; , howvr, h r of mg rlyborbd Apollo d Doy hv mrgd J h

Doy lm lrd Apollo lf, mg[Scen] blhd lf lm v hr, o, oo, Doyrgc r o logr rh" o logr hgg d dcg cv, rl oxcoo logr h m of h chor, Doycllyzd, h m of h popl, grppd cocolyby h drv of prg. rh ow y m b o z d

I vl lf of mg, d hrr c d mlo mk of h r of mg Alrdy, howvr, gr drc om rlr r how lf ow, llof mg rc md [Knsmel des Scenes] rc o l c v y b r o g h o b r d,


61/83

thmo th stt is tsmd th pitigsof th periatoi shid o d th sm wllis pstd to th y ow s tmpl ow s

plc. W ot lso t th sm tim ctii d i f f c t o w d s m i g Shei],which mst ow sd its immotl clims itssovig dms Smig is o log oyd t l ss m i g bt th s s y m b o I , s sig of tthHc th cosolidtio-ihtly osiv-of tisticmdi clst vidc of this disdi smigis t h m s k .

T Dioysi dmd is ths md of th olook:tht h imgi vythig chtd tht hs lwys mo th th symbol tht th tivisibl wold of th sc d ochst b th

I m o f w o d m t Bt wh is th ctht will tspot him ito this dispositio of blif imicls thogh which h will s ll s chtd? Whovqishs th c of smig d lgts it to symbol?is is m s i c . -

.Philosophy i th Schophi vi tchs sto cociv of wht w tm "flig" s complx ofcoscios psttios [ Vorstellge] d stts ofWill [Willeszstde]. T Wills spitios howvcommict thmslvs oly s pls o displsd thi s mly qtittiv dititio. T o spcis of pls thogh th ctilydgs d wlt of ccompyig psttiosW mst dstd pls s gtictio of tho Will displs s its ogtictio.


62/83

I wh mr h dos lg mpr slf? Prllyb oly vry prll c b rsposd o hoghsh s o coscos prsos; obvosly hs olyholds r poro of h ccompyg prsos.Tr lw rms hs r of flg howvr dssolbl rmdr. Lgg h s h cocp scocrd solly h wh s solbl; hcrh h lmof " p o r y " s drmd by h flg's cpcyr xprsso

h ohr wo sors of mprg r scvhrogh d hrogh who coscosss d ycolly prposv. Ts r h lggs ofg s r d of o Th lgg of gsr scomprsd of grlly drsdbl symbols d sprodcd hrogh rx movms Ts symbols

r vsbl h y h ss hm mmdly mprsh crcmscs h gdrd h gsr whchhy symbolz; r h mos pr h o who ssfls symphc rvo of h sm prs of hc or lmbs h prcvs28 Symbol sgs hr q mprfc pcml lkss llsv sg hprclr drsdg of whch sds o b god; s oly h hs cs h drsdg commo oll s s c v h s hs o pssd hroghh lgh of coscosss.

W h h dos g s r symbolz of h dlscbg [ Delwesen ] , of lg?

Clrly s h c c o m p y gp r s o sc oly hs c b llddo hrogh vsbl gsclo mprcly d pcml mg c oly b symbolzd by mg9


63/83

itig d sclpt pst hms i th gst,tht is, thy imitt th symbol d chiv thi ctswh w dstd tht symbol pls of viwig

[Anschaen] cosists i dstdig th symbol dspitits ppc [Schein]

Th cto [Schaspieler], by cotst, psts thsymbol i ctlit ot mly i ppc [zmScheine]; yt his ct o s dos ot is om ounanng of this symbol ch mo, w plgito th symbolizd flig d o log ty with opls i ppcs [Lst am Schein], with btilsmig [schnen Schein] .

Ths, th scy i dm dos ot os th plsof smig Lst des Scheins] i th lst th, w gsp

it s symbol d dstd th ctlity lldd tothwith qis d ctl plts , logsidclly pitd os, tily dmissibl s vidc thth w mk pst ctlity [Wirklichkeit], ot tisticsmig [knstvoller Schein] Liklihood, o th smigof tth [Wahrscheinlichkeit]- o log bty

[Schnheit]- h th tskBt wht is bty? - "Th os is btil" ms olyth os hs ic ppc [hat einen gten Schein];it hs somthig ppligly lmios bot it othigbot its ssc is mt to b commictd hbyIt ppls, it wks pls s smig Schein]: thtis, hogh is ppig Scheinen] , th Will is gtidpls i xistc is std thi Th os isccodig to its ppc [Schein]- ithl likssof its Will o, idticl to this mltio, i its smig[Schein], it cospods to th ditio of th gs


64/83

Te bette t doe o, the moe beautl [t3 f t veybeg t coepod to that deto, the t "good.

"A beautl patg" ge oly th: the otothat we have of a patg hee accomplhed. Whe,howeve, we call a patg "good," te we degateou oto of a patg a that whch accod wth thee e c e of th patg. Fo the mot pat, howeve,what udetood a beautul a patg thatepeet omethg beautful th the judgmet of

laypeople. Tey ejoy the beauty of the mateal, adj u t o ae we to ejoy the magemag at dama, except that hee the tak caot be to epeetoly what beautl: t eough f t eem t u e[schent wahr Te object epeeted hould be coceved of a eualy alve a faho a poble t hould ctio

a tuth-a equemet whoe o p p o t e clamed evey wok of beautl eemg [des schnen Schens . -

If, howeve, the getue ymbolze the peetatoaccompayg a feelg, by what ymbol ae thetg of the W l telf to udetadg to be m p a t e d ? Whch hee the tctve medato?

e m e d a t o o f t o e . Moe pecely, t the vaou mae of pleaue ad dpleaueabet evey accompayg peetato [begletendeVorstelung -that toe ymbolze.

All that we could clam to be chaactetc of the vaoueato of dpleaue ae mage of the peetatothat become legble though the ymbolm of getuea, example, whe we peak of a udde hock, of the"thobbg, tag, wcg, tckg teag btg


65/83

thri" of pin31 With this, ertin of the Wi's "rms ofintermittene" seem to e reveed pt riey-in thesymoism of the ngge of tone- r h y t h m i s

We ognize one more, in the d y n m i s of tone,the penitde of the intensitions of the Wi, theternting qntity of pesre nd dispesre.Bt the proper eing of the Wi tkes rege inh r m o n y, not owing itsef to e expressed yomprison e Wi nd its symo-hrmony-othp u e o g i c t se! Whie rhymis nd dnmis rep to point st the exerior of Wi tht is nnoned insmos, indeed, re neary the mode of ppearanes sh[Erschenn n sch] hrmony is the symo of the preessene of the Wi In rhymis nd dnmis, ordingthe individ phenomenon [Enzelerschenn] is stito e hrterized s n pperne [Erschenn]

i t i s f r o m t h i s s i d e t h t m s i n ed e v e o p e d s t h e r t o f s e e m i n g[Knst des Schens]. Hrmony, the indissoereminder, speks of the Wi within nd withot mnifesttions [Erschennsormen] nd is, therere,not merey s y m o i s m of feeing t rther

o f t h e w o r d In i t s sphere, the onept is entireypoweress 32

ow we omprehend the signine of the nggeof gestre nd the ngge of tone f o r t h eD i o n y s i n r t w o r k In the peopes primitivespringdithyrm, mn wod express himsef not s

ndvdm t s speiesmn ht he eses to e nindivd mn is reveed throgh e smoism of the eye,expressed in the ngge of gestre sh tht he speks s s t y r , s ntr eing mong ntr eings, in gestresnd, indeed, in the intensied ngge of gestre, in


66/83

e t u e o f d a n c e . Thouh tone howevehe expee the innemot thouht of natueit i not ony a the eniu of the pecie a in e t u e but a the eniu of exitence in itef thatthe Wi hee make itef immediatey undetandabe.With etue then the Wi emain within the boundaieof the pecie that i in the wod of appeaance[Ercennwelt] but with tone it diove the wod ofthe appeaance [ Welt der Ercenn] o to peak intoit oiina nit the wod of the Maya dippea bee

it enchantment

But when doe natua man come to the mboim of tone?hen doe the nuae of etue no one uce? hendoe tone become muic? Above a in the Wi hiettate of peaue and dipeaue a exutant Wi o when

ihtened to death in hot in the i n t o x i c a t i o n o ff e e i n : in the c e a m . 33 How much moepowe and immediate i the ceam than the aze Buteven the mide excitation of the wi have thei tonaymboim in enea a tone i paae to evey etueto inteni the tone to pue ound fa to the intoxicationof ein aone

It i the mot intimate and common mixtue of aot of etua ymboim and tone that we ca a n u a e .34 In the wod thouh tone and cae theemphai and hthm of it ound the eence of thethin [ Ween de Dne] i ymboized thouh the

etue of the mouth the accompanyin peentationthe imae the appeaance of the eence [Ercenn deWeen] Symbo can and mut be mutipe they deveophoweve intinctivey and with eat and wie euaity.An appehended mbo i a c o n c e p t ince in bein


67/83

t mmory th to s trly wy th cocpt oly th symol of th ccompyprstto s rt. ht whch o c st

rtt o hs rsp."

I th tscto of fl th ssc of th worrvls tslf mor clrly sslly th symolof to [Ton] ths s why t rsos [t6nt] mor.35Sprechgeang s mor or lss rtr to tr th symoltht hs com th cors of s rs tsorry powr.

I th rrmt of wors tht s throh ch of symols somth w rr sto symolclly rprst ths cpctyrhythmcs ymcs hrmoy oc mor com

cssry. Ths wr crcl ow rls ovr th morrrow o of th vl wor wors mst lctwly posto-potry s. h oprtc rcttoof stc s ot som sort of sccsso of worsos r wor hs oly vry rltv so sc tsssc ts cott s rprst y th symol vrs

p o ts posto. I othr wors ot of thhhr ty of th stc th ssc symolzthroh t th l symol of th wor s prptllytrm w. A ch of cocpts s thoht ths sth th hhr of th ccompy prsttos. ssc of th th s ot of thoht's rch-tht tothlss wors po s s motv s xcttoof th Wll s xplcl y th ct tht th thoht slry pprh symol r phomo of Wll[Wllenerchenng] r th strr th pprcof th Wll [Ercheinng de Willen] ll t oc. It s sspo howvr tht s wth th symolsm of to


68/83

h he Will works o icomrly greer moreirec eec. Sg-here i is he highoi ofis eeciviy s log s he meos is he ersle

symol of is Will whe his is o he cse he seqeceof oes he rrgeme of wors ec s hehogh remis is mer of iierece.

Deeig o wheher he wor is o work rimrily ssymol of he ccomyig preseio or s symolof he origiry sirrig of he Will wheher herere

imges or feeligs re o be symolize wo hs ofoery iverge: he eic he lyric e rmer les oimgemkig or visl r he ler o msic lesre ierces [Lst n der Erschenng rles over he eicwhile he Will revels iself i he lyric. cs looseom msic his remis i lege wih i.

I he Dioysi ihyrmb however he Dioysiic36 is icie o he highes iesicio of hissymolic cciy-somehig everye fel resses rexressio he ihilio of he ndvdto oeeig[ Enssen i he geis of he secies iee re iselfow he essece of re seeks exressio. A ew worlof symols is ecessry he ccomyig reseiosecome symols i imges of iesie hmessece re

nietzsche, friedrich - dionysian vision of the world (univocal, 2013)

Documents