Nietzsche: Apollonian vs. Dionysian and the Essence of Art
The Duality of Apollonian and Dionysian in Art
Both poles are needed and stimulate each other, representing the essence of Greek art and all art, as well as the measure of immunity. In their struggle, two whole relationships emerge victorious. Neither is nullified. For Nietzsche, its most finished expression is tragedy and its apparel. Nietzsche argues that from Socrates (and Euripides) onward, this unity breaks down, giving priority to the figure of Apollo. Life is subordinated to reason, not vice versa, implying a reduction of life and vital values. This marks the beginning of the decadence of Western culture (nihilism). The dynamic and passionate aspect of life is nullified, based on a static transmission of absolute values and ideas. This process, begun by Socrates and Plato, is consolidated in the vulgarized form of Platonism that is Christianity, according to the author.
Nietzsche does not underestimate the Apollonian aspect of man. He actually stated that both issues have configured his life. Only those who understand the two trends together achieve the artistic dimension in their lives, placing themselves beyond good and evil. For him, the only philosopher who knew how to do this was Heraclitus, who understood the world as a struggle of opposites under the universal logos (“War is the parent of all things”).
Key Issues in Nietzsche’s Work
Nietzsche’s work is difficult to interpret. It’s hard to know what he truly means, as he doesn’t write consistently or clearly, but through aphorisms, metaphors, and poetry. He presents phrases that attract much attention, but to what end? He doesn’t write in a normal manner because he believes that reality cannot be expressed with rational categories; concepts do not serve to capture reality.
Concepts are a synthesis of everything common to a number of objects, a representation of what is intellectual, a universal image file, but not really fluent. Concepts reduce reality. He believes that to express the reality and richness of life (as a vitalist philosopher), it can only be done with images, through intuition, not rationally or logically. Reality is changing, flowing, life itself.
Like Hegel, Nietzsche offers an interpretation of Western culture (for Hegel, it’s a development of reason, a process). Nietzsche makes a devastating critique of Western culture. He says: “I am not a man, I am dynamite.” He debunks the esprit roi, hiding behind the Western cultural tradition; he discovers that nothing is pure intentions, but wishes, vainglory, pride, and fear of discovering their own spiritual weakness.
Nietzsche’s metaphorical style has led to his work being read and interpreted in many ways. Some have justified the Nazi theory of racial superiority based on his theory of the superman, while others, including environmentalists and pacifists, justify their vision of the future through his work. Nietzsche is contradictory, but he said the truth was contradictory (different depending on perspective).
Nietzsche was little read at the time. He was already famous when he went mad. During his conscious life, he said: “I write for everyone and no one.” Despite his theory of the superman, he speaks very little about it, for the few who are able to follow his thoughts, the stronger, the more authentic, able to accept criticism as it is.
Nietzsche had the awareness of being a messenger, having a mission: to provoke a crisis of thought, a collision of conscience.