We shall have gained much for the science of ?sthetics, when once we have perceived not only by logical inference, but by the immediate1 certainty of intuition, that the continuous development of art is bound up with the duplexity of the Apollonian and the Dionysian: in like manner as procreation is dependent on the duality of the sexes, involving perpetual conflicts with only periodically intervening reconciliations3. These names we borrow from the Greeks, who disclose to the intelligent observer the profound mysteries of their view of art, not indeed in concepts, but in the impressively clear figures of their world of deities5. It is in connection with Apollo and Dionysus, the two art-deities of the Greeks, that we learn that there existed in the Grecian world a wide antithesis6, in origin and aims, between the art of the shaper, the Apollonian, and the non-plastic art of music, that of Dionysus: both these so heterogeneous7 tendencies run parallel to each other, for the most part openly at variance8, and continually inciting9 each other to new and more powerful births, to perpetuate10 in[Pg 22] them the strife11 of this antithesis, which is but seemingly bridged over by their mutual12 term "Art"; till at last, by a metaphysical miracle of the Hellenic will, they appear paired with each other, and through this pairing eventually generate the equally Dionysian and Apollonian art-work of Attic13 tragedy.
In order to bring these two tendencies within closer range, let us conceive them first of all as the separate art-worlds of dreamland and drunkenness; between which physiological15 phenomena16 a contrast may be observed analogous17 to that existing between the Apollonian and the Dionysian. In dreams, according to the conception of Lucretius, the glorious divine figures first appeared to the souls of men, in dreams the great shaper beheld18 the charming corporeal19 structure of superhuman beings, and the Hellenic poet, if consulted on the mysteries of poetic20 inspiration, would likewise have suggested dreams and would have offered an explanation resembling that of Hans Sachs in the Meistersingers:—
Mein Freund, das grad' ist Dichters Werk,
dass er sein Tr?umen deut' und merk'.
Glaubt mir, des Menschen wahrster Wahn
wird ihm im Traume aufgethan:
all' Dichtkunst und Poeterei
ist nichts als Wahrtraum-Deuterei.[1]
[Pg 23]
The beauteous appearance of the dream-worlds, in the production of which every man is a perfect artist, is the presupposition of all plastic art, and in fact, as we shall see, of an important half of poetry also. We take delight in the immediate apprehension21 of form; all forms speak to us; there is nothing indifferent, nothing superfluous22. But, together with the highest life of this dream-reality we also have, glimmering23 through it, the sensation of its appearance: such at least is my experience, as to the frequency, ay, normality of which I could adduce many proofs, as also the sayings of the poets. Indeed, the man of philosophic24 turn has a foreboding that underneath25 this reality in which we live and have our being, another and altogether different reality lies concealed26, and that therefore it is also an appearance; and Schopenhauer actually designates the gift of occasionally regarding men and things as mere27 phantoms28 and dream-pictures as the criterion of philosophical29 ability. Accordingly, the man susceptible30 to art stands in the same relation to the reality of dreams as the philosopher to the reality of existence; he is a close and willing observer, for from these pictures he reads the meaning of life, and by these processes he trains himself for life. And it is perhaps not only the agreeable and friendly pictures that he realises in himself with such perfect understanding: the earnest, the troubled, the dreary31, the gloomy, the sudden checks, the tricks of fortune, the uneasy presentiments32, in short, the whole "Divine Comedy" of life, and the Inferno33, also pass before him, not merely like[Pg 24] pictures on the wall—for he too lives and suffers in these scenes,—and yet not without that fleeting34 sensation of appearance. And perhaps many a one will, like myself, recollect35 having sometimes called out cheeringly and not without success amid the dangers and terrors of dream-life: "It is a dream! I will dream on!" I have likewise been told of persons capable of continuing the causality of one and the same dream for three and even more successive nights: all of which facts clearly testify that our innermost being, the common substratum of all of us, experiences our dreams with deep joy and cheerful acquiescence36.
This cheerful acquiescence in the dream-experience has likewise been embodied37 by the Greeks in their Apollo: for Apollo, as the god of all shaping energies, is also the soothsaying god. He, who (as the etymology38 of the name indicates) is the "shining one," the deity39 of light, also rules over the fair appearance of the inner world of fantasies. The higher truth, the perfection of these states in contrast to the only partially40 intelligible41 everyday world, ay, the deep consciousness of nature, healing and helping42 in sleep and dream, is at the same time the symbolical43 analogue44 of the faculty45 of soothsaying and, in general, of the arts, through which life is made possible and worth living. But also that delicate line, which the dream-picture must not overstep—lest it act pathologically (in which case appearance, being reality pure and simple, would impose upon us)—must not be wanting in the picture of Apollo: that measured limitation, that freedom[Pg 25] from the wilder emotions, that philosophical calmness of the sculptor-god. His eye must be "sunlike," according to his origin; even when it is angry and looks displeased46, the sacredness of his beauteous appearance is still there. And so we might apply to Apollo, in an eccentric sense, what Schopenhauer says of the man wrapt in the veil of Maya[2]: Welt als Wille und Vorstellung, I. p. 416: "Just as in a stormy sea, unbounded in every direction, rising and falling with howling mountainous waves, a sailor sits in a boat and trusts in his frail47 barque: so in the midst of a world of sorrows the individual sits quietly supported by and trusting in his principium individuationis." Indeed, we might say of Apollo, that in him the unshaken faith in this principium and the quiet sitting of the man wrapt therein have received their sublimest48 expression; and we might even designate Apollo as the glorious divine image of the principium individuationis, from out of the gestures and looks of which all the joy and wisdom of "appearance," together with its beauty, speak to us.
In the same work Schopenhauer has described to us the stupendous awe49 which seizes upon man, when of a sudden he is at a loss to account for the cognitive50 forms of a phenomenon, in that the principle of reason, in some one of its manifestations51, seems to admit of an exception. Add to this awe the blissful ecstasy52 which rises from the[Pg 26] innermost depths of man, ay, of nature, at this same collapse53 of the principium individuationis, and we shall gain an insight into the being of the Dionysian, which is brought within closest ken14 perhaps by the analogy of drunkenness. It is either under the influence of the narcotic54 draught55, of which the hymns56 of all primitive57 men and peoples tell us, or by the powerful approach of spring penetrating58 all nature with joy, that those Dionysian emotions awake, in the augmentation of which the subjective59 vanishes to complete self-forgetfulness. So also in the German Middle Ages singing and dancing crowds, ever increasing in number, were borne from place to place under this same Dionysian power. In these St. John's and St. Vitus's dancers we again perceive the Bacchic choruses of the Greeks, with their previous history in Asia Minor60, as far back as Babylon and the orgiastic Sac?a. There are some, who, from lack of experience or obtuseness61, will turn away from such phenomena as "folk-diseases" with a smile of contempt or pity prompted by the consciousness of their own health: of course, the poor wretches62 do not divine what a cadaverous-looking and ghastly aspect this very "health" of theirs presents when the glowing life of the Dionysian revellers rushes past them.
Under the charm of the Dionysian not only is the covenant63 between man and man again established, but also estranged64, hostile or subjugated65 nature again celebrates her reconciliation4 with her lost son, man. Of her own accord earth proffers66 her gifts, and peacefully the beasts of[Pg 27] prey67 approach from the desert and the rocks. The chariot of Dionysus is bedecked with flowers and garlands: panthers and tigers pass beneath his yoke68. Change Beethoven's "jubilee-song" into a painting, and, if your imagination be equal to the occasion when the awestruck millions sink into the dust, you will then be able to approach the Dionysian. Now is the slave a free man, now all the stubborn, hostile barriers, which necessity, caprice, or "shameless fashion" has set up between man and man, are broken down. Now, at the evangel of cosmic harmony, each one feels himself not only united, reconciled, blended with his neighbour, but as one with him, as if the veil of Maya has been torn and were now merely fluttering in tatters before the mysterious Primordial69 Unity70. In song and in dance man exhibits himself as a member of a higher community, he has forgotten how to walk and speak, and is on the point of taking a dancing flight into the air. His gestures bespeak71 enchantment72. Even as the animals now talk, and as the earth yields milk and honey, so also something super-natural sounds forth73 from him: he feels himself a god, he himself now walks about enchanted74 and elated even as the gods whom he saw walking about in his dreams. Man is no longer an artist, he has become a work of art: the artistic75 power of all nature here reveals itself in the tremors76 of drunkenness to the highest gratification of the Primordial Unity. The noblest clay, the costliest77 marble, namely man, is here kneaded and cut, and the chisel78 strokes of[Pg 28] the Dionysian world-artist are accompanied with the cry of the Eleusinian mysteries: "Ihr stürzt nieder, Millionen? Ahnest du den2 Sch?pfer, Welt?"
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1
immediate
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| adj.立即的；直接的，最接近的；紧靠的 | |
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2
den
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| n.兽穴；秘密地方；安静的小房间，私室 | |
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3
reconciliations
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| 和解( reconciliation的名词复数 )； 一致； 勉强接受； （争吵等的）止息 | |
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4
reconciliation
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| n.和解，和谐，一致 | |
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5
deities
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| n.神，女神( deity的名词复数 )；神祗；神灵；神明 | |
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6
antithesis
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| n.对立；相对 | |
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7
heterogeneous
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| adj.庞杂的；异类的 | |
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8
variance
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| n.矛盾，不同 | |
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9
inciting
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| 刺激的，煽动的 | |
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10
perpetuate
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| v.使永存，使永记不忘 | |
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11
strife
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| n.争吵，冲突，倾轧，竞争 | |
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12
mutual
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| adj.相互的，彼此的；共同的，共有的 | |
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13
attic
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| n.顶楼，屋顶室 | |
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14
ken
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| n.视野，知识领域 | |
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15
physiological
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| adj.生理学的，生理学上的 | |
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16
phenomena
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| n.现象 | |
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17
analogous
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| adj.相似的；类似的 | |
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18
beheld
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| v.看，注视( behold的过去式和过去分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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19
corporeal
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| adj.肉体的，身体的；物质的 | |
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20
poetic
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| adj.富有诗意的，有诗人气质的，善于抒情的 | |
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21
apprehension
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| n.理解，领悟；逮捕，拘捕；忧虑 | |
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22
superfluous
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| adj.过多的，过剩的，多余的 | |
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23
glimmering
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| n.微光，隐约的一瞥adj.薄弱地发光的v.发闪光，发微光( glimmer的现在分词 ) | |
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24
philosophic
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| adj.哲学的，贤明的 | |
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25
underneath
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| adj.在...下面，在...底下；adv.在下面 | |
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26
concealed
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| a.隐藏的，隐蔽的 | |
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27
mere
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| adj.纯粹的；仅仅，只不过 | |
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28
phantoms
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| n.鬼怪，幽灵( phantom的名词复数 ) | |
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29
philosophical
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| adj.哲学家的，哲学上的，达观的 | |
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30
susceptible
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| adj.过敏的，敏感的；易动感情的，易受感动的 | |
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31
dreary
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| adj.令人沮丧的，沉闷的，单调乏味的 | |
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32
presentiments
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| n.（对不祥事物的）预感( presentiment的名词复数 ) | |
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33
inferno
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| n.火海；地狱般的场所 | |
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34
fleeting
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| adj.短暂的，飞逝的 | |
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35
recollect
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| v.回忆，想起，记起，忆起，记得 | |
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36
acquiescence
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| n.默许；顺从 | |
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37
embodied
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| v.表现( embody的过去式和过去分词 )；象征；包括；包含 | |
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38
etymology
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| n.语源；字源学 | |
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39
deity
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| n.神，神性；被奉若神明的人(或物) | |
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40
partially
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| adv.部分地，从某些方面讲 | |
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41
intelligible
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| adj.可理解的，明白易懂的，清楚的 | |
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42
helping
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| n.食物的一份&adj.帮助人的，辅助的 | |
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43
symbolical
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| a.象征性的 | |
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44
analogue
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| n.类似物；同源语 | |
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45
faculty
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| n.才能；学院，系；(学院或系的)全体教学人员 | |
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46
displeased
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| a.不快的 | |
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47
frail
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| adj.身体虚弱的；易损坏的 | |
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48
sublimest
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| 伟大的( sublime的最高级 )； 令人赞叹的； 极端的； 不顾后果的 | |
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49
awe
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| n.敬畏，惊惧；vt.使敬畏，使惊惧 | |
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50
cognitive
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| adj.认知的，认识的，有感知的 | |
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51
manifestations
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| n.表示，显示（manifestation的复数形式） | |
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52
ecstasy
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| n.狂喜，心醉神怡，入迷 | |
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53
collapse
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| vi.累倒；昏倒；倒塌；塌陷 | |
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54
narcotic
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| n.麻醉药，镇静剂；adj.麻醉的，催眠的 | |
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55
draught
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| n.拉，牵引，拖；一网（饮，吸，阵)；顿服药量，通风；v.起草，设计 | |
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56
hymns
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| n.赞美诗，圣歌，颂歌( hymn的名词复数 ) | |
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57
primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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58
penetrating
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| adj.（声音）响亮的，尖锐的adj.（气味）刺激的adj.（思想）敏锐的，有洞察力的 | |
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59
subjective
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| a.主观(上)的，个人的 | |
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60
minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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61
obtuseness
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| 感觉迟钝 | |
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62
wretches
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| n.不幸的人( wretch的名词复数 )；可怜的人；恶棍；坏蛋 | |
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63
covenant
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| n.盟约，契约；v.订盟约 | |
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64
estranged
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| adj.疏远的，分离的 | |
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65
subjugated
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| v.征服，降伏( subjugate的过去式和过去分词 ) | |
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66
proffers
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| v.提供，贡献，提出( proffer的第三人称单数 ) | |
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67
prey
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| n.被掠食者，牺牲者，掠食；v.捕食，掠夺，折磨 | |
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68
yoke
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| n.轭；支配；v.给...上轭，连接，使成配偶 | |
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69
primordial
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| adj.原始的；最初的 | |
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70
unity
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| n.团结，联合，统一；和睦，协调 | |
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71
bespeak
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| v.预定；预先请求 | |
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72
enchantment
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| n.迷惑，妖术，魅力 | |
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73
forth
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| adv.向前；向外，往外 | |
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74
enchanted
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| adj. 被施魔法的，陶醉的，入迷的 动词enchant的过去式和过去分词 | |
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75
artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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76
tremors
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| 震颤( tremor的名词复数 )； 战栗； 震颤声； 大地的轻微震动 | |
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77
costliest
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| adj.昂贵的( costly的最高级 )；代价高的；引起困难的；造成损失的 | |
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78
chisel
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| n.凿子；v.用凿子刻，雕，凿 | |
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