Chapter 16 The Birth of Tragedy Chapter Two

birth of tragedy Chapter two Until now, we have regarded the dream state and its opposite, the drunken state, as two kinds of natural artistic creativity without artificial participation. Among these forces, the natural artistic impulse can obtain the most convenient and direct satisfaction: On the one hand, it is the realm of painting in dreams, its perfection does not depend on personal high knowledge and artistic accomplishment; The mysterious sense of the unity of all species came to his rescue.As far as these two natural and immediate artistic realms are concerned, every artist is an "imitator", in other words, he is either a dream artist like the Oneiroi, or a drunken artist like the Dionysian, or finally The artist who is both dream and ecstasy, such as the Greek tragedians; in the case of the tragedian, we may imagine that he was at first lost in Dionysian ecstasy and mystical ecstasy, alone, away from the ecstasy of song and drink. Then, inspired by the dream of Oneiroi, his own realm, that is to say, his unity with the source of the universe, immediately appeared before his eyes as a symbolic dream-picture.

Having stated the general premises and contrasts, let us now proceed to the study of the ancient Greeks, and see to what heights the natural artistic impulse developed among them; The relationship to its prototype is what Aristotle called "imitation of nature".Although the ancient Greeks had many dream writings and dreams, we can only discuss their dreams by guesswork, if not without proper conclusions.Considering their subtle eye for shape, their frank and vivid love of colour, we cannot but imagine (to the shame of posterity): that even their dreams had lines, contours, colours, arrangements, etc. There is also a kind of comic strip scene resembling the finest Greek reliefs.And it is so perfect that we have reason, if we may use metaphors. —To call the dreaming Greek Homer, and Homer the dreaming Greek.This has far-reaching significance than modern people dare to compare themselves to Shakespeare when talking about their dreams.On the contrary, we don't have to guess for sure: there is of course an insurmountable gulf between the ancient Greeks in drunkenness and the barbarians in drunkenness.In all parts of the ancient world, not to speak of the modern world, from Rome to Babylonia, we can point out that everywhere there are Dionysian festivals, but these types of festivals are at best like the Leaping Sheep. The long-bearded satyr of the dance (the name and characteristics are taken from the goat) is only to Dionysus.At the heart of all these festivals is almost an excess of sensuality, the tide of which overwhelms all family life and its respectable traditions; I feel that this can be called the real "dirty drug for witches".Sometimes, however, the ancient Greeks seem to have had a complete antidote to the frantic enthusiasm for festivals brought to Greece from land and sea, as long as on this occasion the majestic image of Apollo , he took out the head of Medusa, and he could subdue any power more dangerous than the barbaric and grotesque Dionysus.This majestic demeanor of the Oneiroi is immortalized in Dorris' art.However, once the Dionysian impulse finally vented from the depths of the ancient Greeks' soul and opened up a way out, the confrontation between the two became more difficult, or even impossible; at that time, the power of Apollo, the god of Delphi, was reduced. He had no choice but to reconcile with the powerful enemy in time and snatch the destructive weapon from him.This reconciliation was the most important moment in the history of Greek religious worship; wherever we look, we see the transformation which this great event brought about.The two old enemies had reconciled, drawn a line of separation, and sometimes exchanged tribute gifts, but the gulf had not been bridged.If, however, we see how the magic of Dionysus appears under the pressure of this peace treaty, let us take the orgies of the Greek Dionysian mysteries, and the Babylonian Sakea which degrades men into tigers. Comparing the bad habits of apes, we can comprehend the significance of the Christian Salvation Day and the Transfiguration Festival in the Dionysus Sacrifice.On the festive morning, for the first time, spirituality has its artistic celebration, and the destruction of the principle of individuality becomes an artistic phenomenon for the first time; on this occasion, too, the obscene "drug of the witch" combined with lust and cruelty has no effect; Only the Dionysus believers' strange mixed duality of emotions reminds us of the psychological phenomenon of weeping for joy when sorrow is extreme, and moaning and moaning for joy, just as good medicine reminds us of poisonous poison.This is the bewildered exclamation of joy, or the nostalgic wail of hatred and shipwreck.At the Greek festivals, the spirit seems to show a sign of sadness, and sighs for its own fragmentation.The songs and dances of these dual-mood drunkards were novelties unknown to the Greeks in Homer's day; moreover, the Dionysian music aroused confusion and fear.Although we seem to have always admitted that music is the art of dreams, strictly speaking, it refers only to the movement of rhythm; in order to express the dream state, the modeling ability of rhythm has been developed.Dream music is really Doris in terms of tonality, just suggestive tones, like the harp.However, the components of Dionysian music, and even music in general, such as thrilling tones, rapid flow of rhymes, and sublime realms of harmony, have been carefully eliminated and regarded as non-dream elements.In the Dionysian hymn, all the symbolic abilities of man are stimulated to the highest degree; some emotions that have never been experienced can't wait to pour out-the curtain of "phantom" is torn, and the race soul and the spirit itself All in one.Now, the true meaning of spirituality is expressed in symbolic ways, we need a new symbolic world, in which all the symbolic abilities of the body appear together, not only the lips, face, and language are rich in symbolic meaning, but also the colorful dancing postures make the hands and feet become melodic movement.Then other symbolic capacities follow, and the symbolic capacity of music explodes suddenly into melody, timbre, and harmony.In order to master how to release all these symbolic abilities together, one must have reached the state of selflessness in order to express them symbolically through these abilities.Therefore, believers in Dionysus Sacrifice can only be understood by fellow-minded people.How amazed would the Oneiroi Greeks be upon seeing these drunkards!What's more, in addition to astonishment and doubts, I vaguely feel that this kind of emotion is familiar to me after all, but my Oneiroi consciousness is like a curtain covering the intoxicated state in front of me!

① Satyr is a spirit of wilderness in the mountains and forests in Greek mythology. He indulges in lust and drinks, and represents the natural impulse of primitive people. During the sacrifice of Dionysus, ancient Greek farmers celebrated the harvest, often wearing horns on their heads and sheepshoe-shaped boots on their feet. .Dress up as a satyr and dance and have fun.This is the most primitive prototype of Greek drama. ② Medusa (Medusa), a witch in Greek mythology, her hair is like a snake and scorpion, and when people see it, it becomes a fossil. After being killed by Apollo, she used her head as a weapon to deter the enemy.