Chapter 19 The Birth of Tragedy Chapter Five

birth of tragedy chapter Five We are now approaching the real object of our investigation, which is to acquaint the Dionysian and Oneiroi genius with his works of art, at least first of all with a preliminary mystical combination.At this point, we will first discuss how this sprout first appeared in the Greek world, and later developed into tragedy and Dionysus.Regarding this point, the ancient Greeks themselves gave us a symbolic answer.They regard the images of Homer and Archilochus juxtaposed on sculptures, ornaments, etc., as the ancestors and torch bearers of Greek poetry. They deeply feel that only these two ingenious geniuses of the same generation are worthy of respect. For from them a current of enthusiasm flows through all the history of late Greece.Homer, the gray-haired poet who was meditating deeply, is now amazed to see the impassioned talent of the wild, heroic and galloping warrior poet Archilochus. Modern aesthetics can only interpret this as the first objective poet and the first poet. A subjective poet stands apart.This explanation does not help us very much, because we think that the subjective artist is just a poor artist, and especially in various arts and artistic peaks, it is necessary to first overcome the subjective element, liberate from the self, and restrain individual will and desire.Really, any trivial work, if there is no objectivity and pure detached contemplation, we don't believe it is real art.Therefore, our aesthetics must first answer such questions. In terms of the experience of all ages, the so-called lyric poets always talk about "I" and always sing about their love and admiration to us vividly and vividly. What about the artist?Compared with Homer, Archilochus thrills us with his cries of resentment and contempt, and his intoxicating enthusiasm; then, is he not an artist who is called the first subjective artist?In this case, however: how to account for the admiration that is accorded him, even in the extraordinary oracle of Delphi, the source of objective art, as a poet?Schiller's psychological observations and his account of his creative process seem plausible, though he himself cannot explain them.He admitted that the mood in the preparatory stage before creative activities is not a series of images arranged in accordance with the thinking program in front of the eyes or in the mind, but rather a musical mood. ("For me, the sensations do not have a definite and fixed purpose at first, which is formed later. I first have a certain musical mood, and only after that do poetic thoughts arise.") Besides, let me point out everything One of the most important phenomena in ancient lyric poetry-the lyric poet and the musician are often naturally combined and even the same person.In this respect, modern lyric poetry is, by comparison, like a god without a head.So, on the basis of the above aesthetic metaphysics, we can state the lyric poet as follows.First of all, the lyric poet, as an intoxicating artist, is completely consistent with the One and its pain and contradictions; if music can be called the reproduction or recasting of the world, it can be said that the lyric poet imitates the One and makes music.But now, inspired by Oneiroi, he sees a dreamscape in which music becomes a symbol.As a result, the original pain is vaguely reflected in the music, and is relieved through illusions, which produces a second reflection, which becomes a unique symbol or model.In the process of entering the state of intoxication, the artist has already sublated his subjectivity.Now, the picture that made him feel assimilated with the universal mind became the dream scene: it embodies the original contradiction, the original distress, and even the original joy of the world of illusion.Therefore, the "I" of the lyric poet is the voice from the depths of his heart, and the so-called "subjectivity" of the lyric poet by modern aestheticians is nothing but a self-righteous fantasy.When Archilochus, the first Greek lyric poet, expressed both his love and his contempt for the daughter of Lyoambas,1 we not only see his passion throbbing with intoxication, we also see Dionysus and His maids saw the drunken Archilochus in the state of sleep, just as Euripides described in "The Attendant of Dionysus" lying high in the alpine meadow at noon.Now the Oneiroi approaches and touches him with a laurel twig, and the magic of the Sleeping Poet's Dionysian music sparks picturesquely. This is lyric poetry, whose highest developed form is called Tragedy and Dionysus. .

①The poet Archilochus is the son of a female slave. He fell in love with Lugambers' daughter, Niobuli. Lugambers did not allow them to marry. The plastic artist, and even the epic poet who is close to him, indulge in the pure contemplation of the image.The Dionysian musician needs no image; he himself is the original pain and its original repercussions of pure contemplation.The lyrical genius can only feel that a pictorial symbol world emerges from the mysterious realm of ecstasy and ecstasy.This realm has another kind of color, a kind of cause and effect, and a kind of speed, which is completely different from the world of plastic artists and epic poets.Because the latter lives in these paintings, and only in the paintings can he be content. He quietly observes everything, and he is not happy in autumn, but he is reluctant to part with it, and he is never tired of it.Even the image of an angry Achilles is, to him, no more than a picture.He admired Achilles' angry expression with the pleasure of chasing his dream.Therefore, under the cover of this phantom, he will not share joys and sorrows and breathe with the characters in the poem.On the contrary, the landscape described by the lyric poet is nothing but himself, and it seems to be only various projections of himself, so he seems to be the center of the movement of the universe, and he can talk about himself, but this "I" Of course, it is not the "I" of the sober practical man, but the only real and eternal "I" hidden in the foundation of all phenomena, and with the reflection of this self, the lyrical genius can penetrate the foundation of all phenomena.Now, let us assume again that he also sees himself in these images, genius and genius, in other words, sees his "subject", his subjective enthusiasm and excitement directed towards something that seems to him to be a genius. the real object; then the lyrical genius is as if united with the non-genius, and the genius seems to say the word "I" automatically.However, this superficial phenomenon can no longer lead us astray, although some people are indeed deluded by it and call the lyric poet a subjective poet.In fact, Archilochus, who is passionate, loves and hates mankind, is nothing more than a phantom of a genius; at this moment, he is no longer Archilochus, but a genius of the world under the guise of Archilochus. The man speaks symbolically of his original pain; but Archilochus, the man of subjective will and desire, can never be a poet.However, the lyric poet did not necessarily see only this phenomenon of the reflection of eternal existence through the person of Archilochus; Greek tragedy proves that the fantasy world of the lyric poet is related to this phenomenon, which is of course closely related to it. phenomenon, far from it.

Schopenhauer does not hide that the aesthetic contemplation of lyric poets is a difficult problem in philosophy, but he thinks he has found the answer, but I don't completely agree with this answer.It is true that in his profound philosophy of music he alone possesses the decisive solution to this difficulty.For I believe that I have settled the matter in his spirit, without injuring his name.However, he describes the characteristics of lyric poetry as follows: "What a singer's consciousness is conscious of is the subject of the will, that is to say, his own aspiration, which is sometimes a desire (pleasure) disengaged and satisfied, Mostly it is a suppressed desire (sorrow), but often it is an emotion, a passion, an excitement. Yet at the same time, seeing the nature around them, the singer feels together that he is pure Subject of knowledge without will; here and now, his unbroken quietness of mind is exactly in contrast to desire, always conditioned, always unsatisfied. This contrasting emotion, this alternating emotion, is the essence of all lyrical What the work expresses is mainly the factors that constitute the lyrical mood. On this occasion, pure knowledge appears, as if to rescue us from desire and its pressure; we follow, but only for a moment. Desire, think of us Personal purpose often takes us away from quiet contemplation again, but the beauty before us, which shows us knowledge of pure willlessness, always lures us again from desire. Therefore, in lyric poetry and lyrical mood, desire (Interest of personal purpose) and pure contemplation evoked by the environment are wonderfully intermingled. We shall explore and imagine the relationship between the two. Subjective mood, influence of will. Color the contemplated environment with one's own; environment And in turn reflects its color on the will. The true lyric is the reproduction of this whole coming-and-going state of mind." (Will and the World of Appearance, Volume III)

In this way, then, lyric poetry seems to be an art that is elusive, seldom attained, and only occasionally acquired by the skilled hand; indeed, lyric poetry is said to be a semi-art, whose essence is desire. And pure contemplation, that is, a wonderful mixture of non-aesthetic and aesthetic moods—who wouldn't understand this description in this way?Let us affirm: Schopenhauer still divides art into subjective and objective categories, and uses this contrast as a measure; however, this subject-object contrast is especially inappropriate for aesthetics; because the subject is the source of art.However, in so far as the subject is an artist, he is freed from his personal will and has, as it were, become a medium through which the only "subject" that really exists celebrates his relief from illusion.Because, no matter whether we are praised or criticized, we must first understand this; art, this comedy, is not performed to improve us and educate us, and we are not the real authors of this art world.On the contrary, we might as well say: For the real author, we are nothing but his beautiful scenery and artistic projection, and we have the great honor to call ourselves works of art in this sense;—because, only as an aesthetic Existence and the world are always justified in terms of phenomena—but, of course, our perception of our own meaning is hardly different from that of a painted warrior’s perception of his painted battle.Therefore, all our knowledge about art is very vain at all, because we who seek knowledge are not "existence" itself-existence is the only author and audience of this artistic comedy, and it prepares this for itself. Timeless entertainment.Only when a genius merges with the original artist of this world in the activity of artistic creation can he get a glimpse of the eternal essence of art; Roll your eyes to see yourself.In this way, the artist is both subject and object, poet, actor and audience.