Blackwood's Edinburgh Magazine 2 March
Friedrich Nietzsche 1 We will have achieved much for the study of aesthetics when we come, not merely to a logical understanding, but also to the immediately certain apprehension of the fact that the further development of art is bound up with the duality of the Apollonian and the Dionysian, just as reproduction depends upon the duality of the sexes, their continuing strife and only periodically occurring reconciliation.
We take these names from the Greeks who gave a clear voice to the profound secret teachings of their contemplative art, not in ideas, but in the powerfully clear forms of their divine world.
With those two gods of art, Apollo and Dionysus, we link our recognition that in the Greek world there exists a huge contrast, in origins and purposes, between visual plastic arts, the Apollonian, and the non-visual art of music, the Dionysian.
In order to get closer to these two instinctual drives, let us think of them next as the separate artistic worlds of dreams and of intoxication, physiological phenomena between which we can observe an opposition corresponding to the one between the Apollonian and the Dionysian. According to the ideas of Lucretius, the marvelous divine shapes first appeared to the mind of man in a dream.
It was in a dream that the great artist saw the delightful anatomy of superhuman existence, and the Hellenic poet, questioned about the secrets of poetic creativity, would have recalled his dreams and given an explanation exactly similar to the one Hans Sachs provides in Die Meistersinger.
Believe me, the truest illusion of mankind Is revealed to him in dreams: All poetic art and poeticizing Is nothing but interpreting true dreams.
The beautiful appearance of the world of dreams, in whose creation each man is a complete artist, is the condition of all plastic art, indeed, as we shall see, an important half of poetry.
We enjoy the form with an immediate understanding, all shapes speak to us, nothing is indifferent and unnecessary. For all the very intense life of these dream realities, we nevertheless have the thoroughly disagreeable sense of their illusory quality. At least that is my experience.
For their frequency, even normality, I can point to many witnesses and the utterances of poets. Even the philosophical man has the presentiment that this reality in which we live and have our being is an illusion, that under it lies hidden a second quite different reality.
And Schopenhauer specifically designates as the trademark of philosophical talent the ability to recognize at certain times that human beings and all things are mere phantoms or dream pictures.
Now, just as the philosopher behaves in relation to the reality of existence, so the artistically excitable man behaves in relation to the reality of dreams.
He looks at them precisely and with pleasure, for from these pictures he fashions his interpretation of life; from these events he rehearses his life. This is not merely a case of agreeable and friendly images which he experiences with a complete understanding.
And perhaps several people remember, like me, amid the dangers and terrors of a dream, successfully cheering themselves up by shouting: I want to dream it some more! These facts are clear evidence showing that our innermost beings, the secret underground in all of us, experiences its dreams with deep enjoyment, as a delightful necessity.
The Greeks expressed this joyful necessity of the dream experience in their god Apollo, who, as god of all the plastic arts, is at the same time the god of prophecy. In accordance with the root meaning of his association with brightness, he is the god of light.
He also rules over the beautiful appearance of the inner fantasy world. The higher truth, the perfection of this condition in contrast to the sketchy understanding of our daily reality, as well as the deep consciousness of a healing and helping nature in sleep and dreaming, is the symbolic analogy to the capacity to prophesy the truth, as well as to art in general, through which life is made possible and worth living.
His eye must be sun-like, in keeping with his origin. Even when he is angry and gazes with displeasure, the consecration of the beautiful illusion rests on him. And so one may verify in an eccentric way what Schopenhauer says of the man trapped in the veil of Maja:He is delighted by researches that prove “by anatomical structures of certain portions of the human frame, that they were capable of receiving from the hand of the Creator the faculty of thinking,” and he is equally delighted by further researches showing “that they have received it” (A ).
October 31, by Mike Klimo | Star Wars RING THEORY: The Hidden Artistry of the Star Wars Prequels.
How George Lucas used an ancient technique called “ring composition” to reach a level of storytelling sophistication in his six-part saga that is unprecedented in cinema history. Sick human soul and disturbed human mind, each 1 In what the wisest people of centuries refer to as the most supreme, and that is Nature as the per fect work of the Creator, is and must reside.
The last woman in the myth, the Lady of Tubber Tintye, plays the role of a creator goddess who nourishes and protects the world(), he stays with her six days and six nights but still continues and completes his quest (Jeremiah Curtin ).
The message of Star Wars is universal to human culture, and your essay did a fantastic job of exploring that in a serious way, and supporting it with excellent research. So all I can say now, is: Thank you. This is a memento mori: human beings die, but the word of God lives on.
Patrick de Rynck, “How to Read a Painting: Lessons from the Old Masters”, Harry N. Abrams, Inc., , p. – The dazzling light in which Caravaggio clothed St. Jerome, the light of divine inspiration.