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Pity: The Birth Of The Realism And Modernism

The Birth Of The Realism And Modernism Video

The Apollonian and the Dionysian are philosophical and literary concepts represented by a dichotomy, or dialecticbetween the figures of Apollo and Dionysus from Greek mythology. The concept has since been widely invoked and discussed within Western philosophy and literature.

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In Greek mythology, Apollo and Dionysus are both sons of Zeus. Apollo is the god of the sun, of rational thinking and order, and appeals to logic, prudence and purity. Dionysus is the god of wine and dance, of irrationality and chaos, and appeals to emotions and instincts. The Ancient Greeks did not consider the two gods to be opposites or rivals, although they were often entwined by Moderbism.

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Nietzsche found in classical Athenian tragedy an art form that transcended the pessimism found in the so-called wisdom of Silenus. The Greek spectators, by looking into the abyss of human suffering depicted by characters on stage, passionately and joyously affirmed life, finding it worth living.

The main theme in The Birth of Tragedy is that the fusion of Dionysian and Apollonian Kunsttrieben "artistic impulses" forms dramatic arts or tragedies. He argued that this fusion has not been achieved since the ancient Greek tragedians. Apollo represents harmony, progress, clarity, and logic, whereas Dionysus represents disorder, intoxication, emotion, and ecstasy. Nietzsche used these two forces because, for him, the world of mind and order on one side, and passion and chaos on the other, formed principles that were fundamental to the Greek culture : [2] [3] the Apollonian a dreaming state, full of illusions; and Dionysian a state of intoxication, representing the liberations of instinct and dissolution of boundaries. In this mold, a man appears as the satyr.

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He is the horror of the annihilation of the principle of individuality and at the same time someone who delights in its destruction. Apollonian and Dionysian juxtapositions appear in the interplay of tragedy: the tragic hero of the drama, the main protagonist, struggles to make Apollonian order of his unjust and chaotic Dionysian fate, though he dies unfulfilled. Elaborating on the conception of Hamlet as an intellectual who cannot make up his mind, and is a living antithesis to the man of action, Nietzsche argues that a Dionysian figure possesses the knowledge that his actions cannot change the eternal balance of things, and it disgusts him enough not to act at all.

Hamlet falls under this category—he glimpsed the The Birth Of The Realism And Modernism reality through the Ghost, he has gained true knowledge and knows that no action of his has the power to change this. He describes primordial unity as the increase of strength, the experience of fullness and plenitude bestowed by frenzy.

Frenzy acts as intoxication and is crucial for the physiological condition that enables the creation of any art. In this state one enriches everything out of one's own fullness: whatever one sees, whatever wills is seen swelled, taut, strong, overloaded with strength.

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Thw A man in this state transforms things until they mirror his power—until they are reflections of his perfection. This having to transform into go here is—art. Nietzsche's idea has been interpreted as an expression of fragmented consciousness or existential instability by a variety of modern and post-modern writers, especially Martin HeideggerMichel Foucault and Gilles Deleuze. Extending the use of the Apollonian and Dionysian onto an argument on interaction between the mind and physical environment, Abraham Akkerman has pointed to masculine and feminine features of city form. Anthropologist Ruth Benedict used the terms to characterize cultures that value restraint and modesty Apollonian and ostentatiousness and excess Dionysian.]