Because Dionysus was the only Olympian with a mortal mother, because he was raised on the mythical Mount Nysa which was believed to be either far to the south or the eastand because he wandered Asia before arriving in Greece, Dionysus was seen as an outsider.
Art saves him, and through art life saves him. Under the impulse to speak of music in Apollonian metaphors, he understands all nature and himself in nature only as eternal willing, desiring, yearning.
This is not merely a case of agreeable and friendly images which he experiences with a complete understanding. However, he later dropped this concept saying it was " In comparison Apollo and dionysus gods of art music, each appearance is far more a mere metaphor.
His longing goes out over the world, even beyond the gods themselves, toward death. At least that is my experience.
The idea of multiplicity correlates to the idea of the duality of art that Nietzsche describes in The Birth of Tragedy.
Here, the lofty and highly much praised artistic achievement of Attic tragedy and the dramatic dithyramb presents itself before our eyes, as the common goal of both artistic drives, whose secret marriage partnership, after a long antecedent struggle, celebrated itself with such a child, simultaneously Antigone and Cassandra.
It is a harmony, as the individual combines with the collective in the creative destruction of the principle of individuation, and this harmony is best expressed through the medium of music.
In those Greek festivals it was as if a sentimental feature of nature is breaking out, as if nature has to sigh over her dismemberment into separate individuals. The aesthetic phenomenon is fundamentally simple: Zimmerman, Dictionary of Classical Mythology.
Vitus Dance refers to a document phenomenon of manic dancing that historically took place Germanic and Latvian cultures.
He was born on the island of Delos. The enchantment speaks out in his gestures. Given the incredibly clear and accurate plastic capability of their eyes, along with their intelligent and open love of colour, one cannot go wrong in assuming that to the shame all those born later their dreams also had a logical causality of lines and circumferences, colours, and groupings, a sequence of scenes rather like their best bas reliefs, whose perfection would justify us, if such a comparison were possible, to describe the dreaming Greek man as a Homer and Homer as a dreaming Greek man, in a deeper sense than when modern man, with respect to his dreams, has the temerity to compare himself with Shakespeare On the other hand, we do not need to speak merely hypothetically when we have to expose the immense gap which separates the Dionysian Greeks from the Dionysian barbarians.
These images, with their bright colours, sudden alteration, and their wild momentum, reveal a power completely foreign to the epic illusion and its calm forward progress. In comparison with him the man of culture was reduced to a misleading caricature.
He was accompanied by the Maenads, wild women, flush with wine, shoulders draped with a fawn skin, carrying rods tipped with pine cones. But that emphatic tradition speaks here against Schlegel.
Dionysus explained his own eminence calmly, but Pentheus was unreceptive.
The un-Apollonian character of Dionysian music keeps such an element of gentle caution at a distance, and with that turns music generally into emotionally disturbing tonal power, a unified stream of melody, and the totally incomparable world of harmony.
Both medicine and healing are associated with Apollo and were thought to sometimes be mediated through his son, Asclepius.
Even the image of the angry Achilles is for him only a picture whose expressions of anger he enjoys with that dream joy in illusions, so that he, by this mirror of appearances, is protected against the development of that sense of unity and being fused together with the forms he has created.
Now, with the gospel of world harmony, every man feels himself not only united with his neighbour, reconciled and fused together, but also as if the veil of Maja has been ripped apart, with only scraps fluttering around before the mysterious original unity.
And perhaps several people remember, like me, amid the dangers and terrors of a dream, successfully cheering themselves up by shouting: Nietzsche claims in The Gay Science that when Socrates drinks the hemlock, he sees the hemlock as the cure for life, proclaiming that he has been sick a long time.
To further the split, Nietzsche diagnoses the Socratic Dialectic as being diseased in the manner that it deals with looking at life.
These facts are clear evidence showing that our innermost beings, the secret underground in all of us, experiences its dreams with deep enjoyment, as a delightful necessity. And when they degenerated, the gods implanted in men the desire of union with them, creating in man one animate substance and in woman another in the following manner: He then wandered across Asia teaching mortals the secrets of winemaking.
It is much rather a world possessing the same reality and credibility for the devout Greek as the world of Olympus, together with its inhabitants.
For Nietzsche, tragedy represents the greatest art form because there both impulses meet and co-produce each other at once in the ultimate aesthetic experience of the sublime —or, in Aristotelian terms, catharsis.Somewhere between Apollo & Dionysus Apollo Friedrich Nietzsche not only loved Greek art and culture per se but he was also, as we discussed the other day, always searching for timeless lessons from the Greeks to help us understand modernity and ourselves.
Nietzsche's Birth of Tragedy casts the Greek Olympian gods Apollo and Dionysus as symbols in a dialectic of two distinct but complementary styles of art that meet in Tragedy. Nietzsche names these two styles the Apolline and Dionysiac (or Apollonian / Dionysian) after two important, complex, and radically different Greek gods.
Apollo and Dionysus: Gods of Art and Will In Nietzsche’s first book, The Birth of Tragedy, he introduces two principles with which he drives his discourse on the nature of art: the Apollonian dream, and the Dionysian intoxication.
Apollo and Dionysus: Gods of Art and Will. In Nietzsche’s first book, The Birth of Tragedy, he introduces two principles with which he drives his discourse on the nature of art: the Apollonian dream, and the Dionysian intoxication - Apollo and Dionysus: Gods of Art and Will introduction.
He states his purpose in writing the book, saying that “we will. Apollonian/Dionysian Dichotomy. Apollo and Dionysus were gods in ancient Creek religion. More to the point, the were both gods in the Ancient Greek pantheon, despite representing nearly opposing values and orientations.
Apollo was the god of light, reason, harmony, balance and prophesy, while. Apollo is one of the most complex and important gods, and is the god of many things, including: music, poetry, art, oracles, archery, plague, medicine, sun, light and knowledge. He is the son of Zeus and the Titan Leto, and was born in the Greek island of Delos, along with his older twin sister Artemis – goddess of the hunt.Download