After these general premisings and contrastings, let us now approach the Greeks in order to learn in what degree and to what height these art-impulses of nature were developed in them: whereby we shall be enabled to understand and appreciate more deeply the relation of the Greek artist to his archetypes, or, according to the Aristotelian expression, "the imitation of nature." In spite of all the dream-literature and the numerous dream-anecdotes of the Greeks, we can speak only conjecturally15, though with a fair degree of certainty, of their dreams. Considering the incredibly precise and unerring plastic power of their eyes, as also their manifest and sincere delight in colours, we can hardly refrain (to the shame of every one born later) from assuming for their very dreams a logical causality of lines and contours, colours and groups, a sequence of scenes resembling their best reliefs, the perfection of which would certainly justify16 us, if a comparison were possible, in designating the dreaming Greeks as Homers and Homer as a dreaming Greek: in a deeper sense than when modern man, in respect to his dreams, ventures to compare himself with Shakespeare.
On the other hand, we should not have to speak conjecturally, if asked to disclose the immense gap which separated the Dionysian Greek from the Dionysian barbarian17. From all quarters of the Ancient World—to say nothing of the modern—from Rome as far as Babylon, we can[Pg 30] prove the existence of Dionysian festivals, the type of which bears, at best, the same relation to the Greek festivals as the bearded satyr, who borrowed his name and attributes from the goat, does to Dionysus himself. In nearly every instance the centre of these festivals lay in extravagant18 sexual licentiousness19, the waves of which overwhelmed all family life and its venerable traditions; the very wildest beasts of nature were let loose here, including that detestable mixture of lust20 and cruelty which has always seemed to me the genuine "witches' draught21." For some time, however, it would seem that the Greeks were perfectly22 secure and guarded against the feverish23 agitations24 of these festivals (—the knowledge of which entered Greece by all the channels of land and sea) by the figure of Apollo himself rising here in full pride, who could not have held out the Gorgon's head to a more dangerous power than this grotesquely25 uncouth26 Dionysian. It is in Doric art that this majestically-rejecting attitude of Apollo perpetuated27 itself. This opposition28 became more precarious29 and even impossible, when, from out of the deepest root of the Hellenic nature, similar impulses finally broke forth and made way for themselves: the Delphic god, by a seasonably effected reconciliation30, was now contented31 with taking the destructive arms from the hands of his powerful antagonist32. This reconciliation marks the most important moment in the history of the Greek cult7: wherever we turn our eyes we may observe the revolutions resulting from this event. It was the reconciliation of two antagonists,[Pg 31] with the sharp demarcation of the boundary-lines to be thenceforth observed by each, and with periodical transmission of testimonials;—in reality, the chasm33 was not bridged over. But if we observe how, under the pressure of this conclusion of peace, the Dionysian power manifested itself, we shall now recognise in the Dionysian orgies of the Greeks, as compared with the Babylonian Sac?a and their retrogression of man to the tiger and the ape, the significance of festivals of world-redemption and days of transfiguration. Not till then does nature attain34 her artistic jubilee35; not till then does the rupture36 of the principium individuationis become an artistic phenomenon. That horrible "witches' draught" of sensuality and cruelty was here powerless: only the curious blending and duality in the emotions of the Dionysian revellers reminds one of it—just as medicines remind one of deadly poisons,—that phenomenon, to wit, that pains beget37 joy, that jubilation38 wrings39 painful sounds out of the breast. From the highest joy sounds the cry of horror or the yearning40 wail41 over an irretrievable loss. In these Greek festivals a sentimental42 trait, as it were, breaks forth from nature, as if she must sigh over her dismemberment into individuals. The song and pantomime of such dually-minded revellers was something new and unheard-of in the Homeric-Grecian world; and the Dionysian music in particular excited awe43 and horror. If music, as it would seem, was previously44 known as an Apollonian art, it was, strictly45 speaking, only as the wave-beat of rhythm, the formative power of[Pg 32] which was developed to the representation of Apollonian conditions. The music of Apollo was Doric architectonics in tones, but in merely suggested tones, such as those of the cithara. The very element which forms the essence of Dionysian music (and hence of music in general) is carefully excluded as un-Apollonian; namely, the thrilling power of the tone, the uniform stream of the melos, and the thoroughly46 incomparable world of harmony. In the Dionysian dithyramb man is incited47 to the highest exaltation of all his symbolic13 faculties48; something never before experienced struggles for utterance—the annihilation of the veil of Maya, Oneness as genius of the race, ay, of nature. The essence of nature is now to be expressed symbolically49; a new world of symbols is required; for once the entire symbolism of the body, not only the symbolism of the lips, face, and speech, but the whole pantomime of dancing which sets all the members into rhythmical50 motion. Thereupon the other symbolic powers, those of music, in rhythmics, dynamics51, and harmony, suddenly become impetuous. To comprehend this collective discharge of all the symbolic powers, a man must have already attained52 that height of self-abnegation, which wills to express itself symbolically through these powers: the Dithyrambic votary53 of Dionysus is therefore understood only by those like himself! With what astonishment54 must the Apollonian Greek have beheld55 him! With an astonishment, which was all the greater the more it was mingled56 with the shuddering57 suspicion that all this was in[Pg 33] reality not so very foreign to him, yea, that, like unto a veil, his Apollonian consciousness only hid this Dionysian world from his view.
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1 antithesis | |
n.对立;相对 | |
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2 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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3 forth | |
adv.向前;向外,往外 | |
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4 mediation | |
n.调解 | |
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5 immediate | |
adj.立即的;直接的,最接近的;紧靠的 | |
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6 pictorial | |
adj.绘画的;图片的;n.画报 | |
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7 cult | |
n.异教,邪教;时尚,狂热的崇拜 | |
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8 heed | |
v.注意,留意;n.注意,留心 | |
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9 redeem | |
v.买回,赎回,挽回,恢复,履行(诺言等) | |
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10 ecstasies | |
狂喜( ecstasy的名词复数 ); 出神; 入迷; 迷幻药 | |
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11 revelling | |
v.作乐( revel的现在分词 );狂欢;着迷;陶醉 | |
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12 primal | |
adj.原始的;最重要的 | |
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13 symbolic | |
adj.象征性的,符号的,象征主义的 | |
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14 symbolical | |
a.象征性的 | |
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15 conjecturally | |
adj.推测的,好推测的 | |
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16 justify | |
vt.证明…正当(或有理),为…辩护 | |
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17 barbarian | |
n.野蛮人;adj.野蛮(人)的;未开化的 | |
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18 extravagant | |
adj.奢侈的;过分的;(言行等)放肆的 | |
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19 licentiousness | |
n.放肆,无法无天 | |
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20 lust | |
n.性(淫)欲;渴(欲)望;vi.对…有强烈的欲望 | |
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21 draught | |
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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22 perfectly | |
adv.完美地,无可非议地,彻底地 | |
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23 feverish | |
adj.发烧的,狂热的,兴奋的 | |
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24 agitations | |
(液体等的)摇动( agitation的名词复数 ); 鼓动; 激烈争论; (情绪等的)纷乱 | |
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25 grotesquely | |
adv. 奇异地,荒诞地 | |
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26 uncouth | |
adj.无教养的,粗鲁的 | |
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27 perpetuated | |
vt.使永存(perpetuate的过去式与过去分词形式) | |
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28 opposition | |
n.反对,敌对 | |
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29 precarious | |
adj.不安定的,靠不住的;根据不足的 | |
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30 reconciliation | |
n.和解,和谐,一致 | |
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31 contented | |
adj.满意的,安心的,知足的 | |
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32 antagonist | |
n.敌人,对抗者,对手 | |
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33 chasm | |
n.深坑,断层,裂口,大分岐,利害冲突 | |
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34 attain | |
vt.达到,获得,完成 | |
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35 jubilee | |
n.周年纪念;欢乐 | |
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36 rupture | |
n.破裂;(关系的)决裂;v.(使)破裂 | |
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37 beget | |
v.引起;产生 | |
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38 jubilation | |
n.欢庆,喜悦 | |
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39 wrings | |
绞( wring的第三人称单数 ); 握紧(尤指别人的手); 把(湿衣服)拧干; 绞掉(水) | |
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40 yearning | |
a.渴望的;向往的;怀念的 | |
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41 wail | |
vt./vi.大声哀号,恸哭;呼啸,尖啸 | |
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42 sentimental | |
adj.多愁善感的,感伤的 | |
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43 awe | |
n.敬畏,惊惧;vt.使敬畏,使惊惧 | |
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44 previously | |
adv.以前,先前(地) | |
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45 strictly | |
adv.严厉地,严格地;严密地 | |
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46 thoroughly | |
adv.完全地,彻底地,十足地 | |
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47 incited | |
刺激,激励,煽动( incite的过去式和过去分词 ) | |
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48 faculties | |
n.能力( faculty的名词复数 );全体教职员;技巧;院 | |
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49 symbolically | |
ad.象征地,象征性地 | |
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50 rhythmical | |
adj.有节奏的,有韵律的 | |
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51 dynamics | |
n.力学,动力学,动力,原动力;动态 | |
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52 attained | |
(通常经过努力)实现( attain的过去式和过去分词 ); 达到; 获得; 达到(某年龄、水平、状况) | |
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53 votary | |
n.崇拜者;爱好者;adj.誓约的,立誓任圣职的 | |
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54 astonishment | |
n.惊奇,惊异 | |
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55 beheld | |
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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56 mingled | |
混合,混入( mingle的过去式和过去分词 ); 混进,与…交往[联系] | |
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57 shuddering | |
v.战栗( shudder的现在分词 );发抖;(机器、车辆等)突然震动;颤动 | |
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