Friedrich Nietzsche’s aesthetics

Introduction

Nietzsche’s work was heavily influenced by his early and ongoing interests in Greeks art. His aesthetic use of Apollonian and Dionysian concepts enabled him to fuse the two and form dramatic arts or tragedies. The two concepts forms a central theme for Nietzsche’s work , where they are presented as two forces of nature that are opposing each other, and which he used primarily to analyze the general Greek Culture and more specifically the Greek art. Apollonian is derived from the Apollo concept - Greek god of light – said to rule over the self-consciousness realm and is thus associated with individuation through which he provides a sensible structure to the world. Dionysus is the god thing such as festival, which is centered on sexual licentiousness unleashing the most natural instincts.  He alludes to this concept by indicating how his instinct turned against morality, inventing a doctrine that is fundamentally opposed and a purely artistic counter-evaluation of his life. He named this concept Dionysiac. 

Main body

The continuous development of art is informed by the link between the Apolline and Dionysiac in a similar manner the reproduction depends on the presence of two sexes that are perpetually conflicting and a reconciliation period is the only interruption.  The two terms have been borrowed from Greeks who show deep mysteries of their perception of art through clear figures of their deities. Apollo and Dioynsos helps in the recognition that in the Greek’s world, there is a massive opposition between the Apolo image making art and Dionysos music art which is imageless(Geuss &Speirs 14). The two forces are in close existence and are in constant open conflict provoking each other to reproduce an offspring to perpetuate the conflict. This indicates the relationship between A & D in which the work of art is engendered in a pairing of Appoline and Dionysiac.   These two are shown as either different art-worlds of intoxication and dream (Geuss &Speirs 14). All human beings are artist when dreaming which is likened to image-making and in such dreams they take pleasure. Given that Apollo was viewed as the god of energies involved in image-making he is presented as governing the semblance produced in the one’s fantasies. An opposition can be dream and intoxication which resembles the opposition between Apolline and Dioynsiac.

The Apollo as the god of beauty is indicated in the references to him as the luminous one, linked with light and the lovely semblance shown in the inner fantasy world. The ability to prophesy is symbolically shown in the perfection of dream-states and a consciousness of the power to help and heal which can be found in a dream and sleep (Geuss &Speirs 16). The Olympian gods help the profound understanding of Apolline culture through the magnificent features figures of the gods whose actions are shown in reliefs gleaming from a distance (Geuss &Speirs 22). The sense of beauty in Apollo would be shown if he is amongst these gods. A similar drive in which took over the Apollo’s form brought forth the whole Olympian world. Among the Olympian gods, there is no sign of moral loftiness, holiness, compassion or ghostly spirituality and anyone who comes looking for them there will go back disappointed (Geuss &Speirs 17).

The Dionysiac concept is the opposite of A and the blissful ecstasy arising from the nature, presented by the innermost man is seen in the confusion and loss of faith in the phenomenal world. This is the true sense of Dionysiac concept where confusion is represented by intoxication. On other hand, the artistic nature is manifested in the reconciliation with humankind in the Dionysiac concepts. Man is shown as the noblest clay (Geuss &Speirs 18) and who is freed from everything that held them captive such as impudent fashion, which brings about hostile barriers as a result of approaching the Dionysiac. The Apolline and Dionysiac are thus artistic powers arising from nature without the assistance of a human artist and its perfection is not related to the artistic formation or intellectual level of an individual(Geuss &Speirs 19). The Dionysiac barbarians engaged in all kind of licentious and sensual activities that involved the sexual indiscipline during the Dionysiac festivals and also cruelty so that human regressed to the condition of wild animals (Geuss &Speirs 20). The Dionysiac Greeks, on the other hand engaged in seemed to have been shielded from the orgies by the figure of Apollo (Geuss &Speirs 20) and their festivals comprised of celebration for redemption or transfiguration days (Geuss &Speirs 20). The Dionysiac music induced horror and terror since the expressive gestures and singing from enthusiasts was strange to Homeric-Greek. The music familiar to them was a wave-like rhythm but as a form of Apolline art.  The music had sound power capable of shaking us to our very foundation (21), extremely harmonious and melodious.  

2. Wisdom of Silenus

The wisdom of Silenus was that humans as children of chance would be at their best if they were not born and second best thing for them is to die soon (Geuss &Speirs 23). This artistic view of this wisdom is its relation to the vision of a tormented martyr. It shows the vanity of a universe where the human are born to undergo torments and struggle and the only rest is dying and thus escape the struggle.

Friedrich Nietzsche - On Truth and Lies in a Non-moral Sense

Nietzsche critical idea is that truth is objective and if one should think that there exist only one way of considering an issue , it is proof of inflexibility in thinking. He believes even if there is truth, there is no one right way of perceiving it (4). On the issue of intellect, the human brain can form concepts for anything it encounters. In addition, he argues that humans group everything so as to attain some form of organization so that it can look logical in the society. The result is a set of acceptable truth. While some have contrary view to that of Nietzsche, I think the grouping is necessary for the creation of order in the society.