Apollo - Dionysus
Culture - Nature
Tighten - Loosen
Together - Apart
Modern - Postmodern
Construct - Deconstruct
Vertical - Horizontal
Narrow - Wide
Mono - Poly
Centre - Periphery
Reason - Intuition
Known - Unknown
High - Low
Inflate - Deflate
Spirit - Soul
Conscious - Unconscious
Light - Dark
Heaven - Earth
In The Birth of Tragedy Apollo and Dionysus, whatever character each of them possesses in other contexts and different bodies of lore, are defined as opposing forces.
Dionysus is a god of nature, associated with forces biological and violent, orgiastic mysteries, with everything that refuses to be civilised. Apollo is the god of civilisation: if he were linguistic, he would be the perfectly formed sentence, self-possessed in its transparency.
Dionysus wants not to possess himself but to lose himself in an ecstasy in which he and nature are one and the same: the methods of ecstasy are intoxication, sexuality, the Dionysiac music and dance, the dithyramb in which the barrier between man and nature are overwhelmed.
As he appears in the Bacchae, Dionysus is wild, god of maddened group, people who drive themselves out of civilisation by wine, drugs, dismemberment. Modern versions of the Dionysiac include the forces active in bullfights, cockfights, rock concerts, wrestling, charismatic revival meetings.
In Nietzsche, tragedy is the form in which Dionysus and Apollo are reconciled.
The Dionysiac music, by itself, would be unbearable, because it would defeat culture and shatter the necessary limits implied in character and individuality. The Apolline hero is a hero because he takes upon himself the Dionysiac experience and, not at all transcending it, incorporates it in himself, reconstituting his experience now as form and beauty.
[…] the Greeks allowed for an Apolline incorporation of Dionysus, and did not try to suppress him:
“The delight in drunkenness, delight in cunning, in revenge, in envy, in slander, in obscenity - in everything which was recognised by the Greeks as human and therefore built into the structure of society and custom: the wisdom of their institutions lies in the absence of any gulf between good and evil, black and white.
Nature, as it reveals itself, is not denied but only ordered, limited to specified days and religious cults. That is not the root of all spiritual freedom in the ancient world; the ancients sought a moderate release of natural forces, not their destruction and denial.”
We are not supposed to hanker after an aboriginal state of union with nature, as if culture had never happened. Drink and drugs are deemed to be harmful for many reasons but mainly because they remove the cultural distinction between a man and the nature from which he has been rescued. Apollo must win.
Each society recognises that there are Dionysiac forces at large, and it makes some provision for them. The carnival of Fasting in Germany is a few days of tumult and licence followed by Lenten rectitude. Public entertainments, sports, including blood sports, motor racing, and sporadic limited wars are provided, as far as possible under controlled conditions.
If we continue extending the definition of culture so that it covers virtually the whole of experience, leaving nothing to nature, we will make it impossible for ourselves to understand violence and obscenity except as failures of ‘the system’.
It would be wise to regard culture as a partial and improbable transformation of natural impulse rather than a comfortable norm. That way, manifestations of violence could be considered without the normal accompaniment of shock, horror, and insult.
[Denis Donoghue]
The Arts Without Mystery, p. 83-5
The Dionysian Mysteries were a ritual of ancient Greece and Rome which used intoxicants and other trance-inducing techniques (like dance and music) to remove inhibitions and social constraints, liberating the individual to return to a natural state.
It also provided some liberation for those marginalized by Greek society: women, slaves, homosexuals and foreigners.
'Dionysian Mysteries'
Dionysus was called Lysios, the loosener.
[...] Lysis means loosening, setting free, deliverance, dissolution, collapse, breaking bonds and laws, and the final unraveling as of a plot in tragedy.
[James Hillman]
Mythical Figures, p. 29
Different from Immanuel Kant's idea of the Sublime, the Dionysian is all-inclusive rather than alienating to the viewer as a sublimating experience. The sublime needs critical distance, while the Dionysian demands a closeness of experience.
According to Nietzsche, the critical distance, which separates man from his closest emotions, originates in Apollonian ideals, which in turn separate him from his essential connection with self.
The Dionysian embraces the chaotic nature of such experience as all-important; not just on its own, but as it is intimately connected with the Apollonian. The Dionysian magnifies man, but only so far as he realizes that he is one and the same with all ordered human experience. The godlike unity of the Dionysian experience is of utmost importance in viewing the Dionysian as it is related to the Apollonian, because it emphasizes the harmony that can be found within one's chaotic experience.
'Apollonian and Dionysian'
Wikipedia
The fragilista [...] defaults to thinking that what he doesn't see is not there, or what he doesn't understand does not exist. At the core, he tends to mistake the unknown for the nonexistent.
So thanks to the fragilista, modern culture has been increasingly building blindness to the mysterious, the impenetrable, what Nietzsche called the Dionysian, in life.
[Nassim Nicholas Taleb]
Antifragile, p. 9-10
[Nietzsche] sees two forces, the Apollonian and the Dionysian. One is measured, balanced, rational, imbued with reason and self-restraint; the other is dark, visceral, wild, untamed, hard to understand, emerging from the inner layers of our selves.
Ancient Greek culture represented a balance of the two, until the influence of Socrates on Euripides gave a larger share to the Apollonian and disrupted the Dionysian, causing this excessive rise of rationalism. It is equivalent to disrupting the natural chemistry of your body by the injection of hormones. The Apollonian without the Dionysian is, as the Chinese would say, yang without yin.
[Nietzsche] called [Dionysus] “creatively destructive” and “destructively creative.” […] Nietzsche understood something that I did not find explicitly stated in his work: that growth in knowledge - or in anything - cannot proceed without the Dionysian.
It reveals matters that we can select at some point, given that we have optionality.
In other words, it can be the source of stochastic tinkering, and the Apollonian can be part of the rationality in the selection process.
[Nassim Nicholas Taleb]
Antifragile, p. 255-6
Where spirit lifts, aiming for detachment and transcendence, concern with soul immerses us in immanence: God in the soul or the soul in God, the soul in the body, the soul in the world, souls in each other or in the world-soul.
Centre - Periphery
Reason - Intuition
Known - Unknown
High - Low
Inflate - Deflate
Spirit - Soul
Conscious - Unconscious
Light - Dark
Heaven - Earth
Dionysus is a god of nature, associated with forces biological and violent, orgiastic mysteries, with everything that refuses to be civilised. Apollo is the god of civilisation: if he were linguistic, he would be the perfectly formed sentence, self-possessed in its transparency.
Dionysus wants not to possess himself but to lose himself in an ecstasy in which he and nature are one and the same: the methods of ecstasy are intoxication, sexuality, the Dionysiac music and dance, the dithyramb in which the barrier between man and nature are overwhelmed.
As he appears in the Bacchae, Dionysus is wild, god of maddened group, people who drive themselves out of civilisation by wine, drugs, dismemberment. Modern versions of the Dionysiac include the forces active in bullfights, cockfights, rock concerts, wrestling, charismatic revival meetings.
In Nietzsche, tragedy is the form in which Dionysus and Apollo are reconciled.
The Dionysiac music, by itself, would be unbearable, because it would defeat culture and shatter the necessary limits implied in character and individuality. The Apolline hero is a hero because he takes upon himself the Dionysiac experience and, not at all transcending it, incorporates it in himself, reconstituting his experience now as form and beauty.
[…] the Greeks allowed for an Apolline incorporation of Dionysus, and did not try to suppress him:
“The delight in drunkenness, delight in cunning, in revenge, in envy, in slander, in obscenity - in everything which was recognised by the Greeks as human and therefore built into the structure of society and custom: the wisdom of their institutions lies in the absence of any gulf between good and evil, black and white.
Nature, as it reveals itself, is not denied but only ordered, limited to specified days and religious cults. That is not the root of all spiritual freedom in the ancient world; the ancients sought a moderate release of natural forces, not their destruction and denial.”
We are not supposed to hanker after an aboriginal state of union with nature, as if culture had never happened. Drink and drugs are deemed to be harmful for many reasons but mainly because they remove the cultural distinction between a man and the nature from which he has been rescued. Apollo must win.
If we continue extending the definition of culture so that it covers virtually the whole of experience, leaving nothing to nature, we will make it impossible for ourselves to understand violence and obscenity except as failures of ‘the system’.
It would be wise to regard culture as a partial and improbable transformation of natural impulse rather than a comfortable norm. That way, manifestations of violence could be considered without the normal accompaniment of shock, horror, and insult.
[Denis Donoghue]
The Arts Without Mystery, p. 83-5
The Dionysian Mysteries were a ritual of ancient Greece and Rome which used intoxicants and other trance-inducing techniques (like dance and music) to remove inhibitions and social constraints, liberating the individual to return to a natural state.
It also provided some liberation for those marginalized by Greek society: women, slaves, homosexuals and foreigners.
'Dionysian Mysteries'
Dionysus was called Lysios, the loosener.
[...] Lysis means loosening, setting free, deliverance, dissolution, collapse, breaking bonds and laws, and the final unraveling as of a plot in tragedy.
[James Hillman]
Mythical Figures, p. 29
Different from Immanuel Kant's idea of the Sublime, the Dionysian is all-inclusive rather than alienating to the viewer as a sublimating experience. The sublime needs critical distance, while the Dionysian demands a closeness of experience.
According to Nietzsche, the critical distance, which separates man from his closest emotions, originates in Apollonian ideals, which in turn separate him from his essential connection with self.
The Dionysian embraces the chaotic nature of such experience as all-important; not just on its own, but as it is intimately connected with the Apollonian. The Dionysian magnifies man, but only so far as he realizes that he is one and the same with all ordered human experience. The godlike unity of the Dionysian experience is of utmost importance in viewing the Dionysian as it is related to the Apollonian, because it emphasizes the harmony that can be found within one's chaotic experience.
'Apollonian and Dionysian'
Wikipedia
The fragilista [...] defaults to thinking that what he doesn't see is not there, or what he doesn't understand does not exist. At the core, he tends to mistake the unknown for the nonexistent.
So thanks to the fragilista, modern culture has been increasingly building blindness to the mysterious, the impenetrable, what Nietzsche called the Dionysian, in life.
[Nassim Nicholas Taleb]
Antifragile, p. 9-10
[Nietzsche] sees two forces, the Apollonian and the Dionysian. One is measured, balanced, rational, imbued with reason and self-restraint; the other is dark, visceral, wild, untamed, hard to understand, emerging from the inner layers of our selves.
Ancient Greek culture represented a balance of the two, until the influence of Socrates on Euripides gave a larger share to the Apollonian and disrupted the Dionysian, causing this excessive rise of rationalism. It is equivalent to disrupting the natural chemistry of your body by the injection of hormones. The Apollonian without the Dionysian is, as the Chinese would say, yang without yin.
[Nietzsche] called [Dionysus] “creatively destructive” and “destructively creative.” […] Nietzsche understood something that I did not find explicitly stated in his work: that growth in knowledge - or in anything - cannot proceed without the Dionysian.
It reveals matters that we can select at some point, given that we have optionality.
In other words, it can be the source of stochastic tinkering, and the Apollonian can be part of the rationality in the selection process.
[Nassim Nicholas Taleb]
Antifragile, p. 255-6
Where spirit lifts, aiming for detachment and transcendence, concern with soul immerses us in immanence: God in the soul or the soul in God, the soul in the body, the soul in the world, souls in each other or in the world-soul.
Owing to this immanence, dialogue is not a bridge constructed between isolated skin-encased subjects and objects, I's and Thou's, but is intrinsic, an internal relationship, a condition of the souls immanence. The I-Thou is a necessity, a given a priori with the gift of soul.
So soul becomes the operative factor in converting the it into a Thou, making soul of objects, personifying, anthropomorphizing through psychizing, turning into a partner the object with which it is engaged and in which it has implanted soul. Through our souls, as our dreams, projections, and emotions show, we are immanent in one another.
That souls are ontologically entailed means that we are existentially involved. Whether we like this or not, whether spirit pulls away and above, we are involved as a psychic necessity. Thus involvement becomes the first condition for admission to the psychic realm, to the field of psychology.
[James Hillman]
The Myth of Analysis, p. 27
She pops put into the pond’s clearing. The starry sky erupts above her, all the explanation a person needs for why humans have waged war on forests forever. Dennis has told her what the loggers say: Let’s go let a little light into that swamp. Forests panic people. Too much going on there. Humans need a sky.
[Richard Powers]
The Overstory, p. 275
Every return to nature is a regressive phenomenon, including any protest in the name of instinctual rights, the unconscious, the flesh, life uninhibited by the intellect, and so forth.
Every return to nature is a regressive phenomenon, including any protest in the name of instinctual rights, the unconscious, the flesh, life uninhibited by the intellect, and so forth.
The man who becomes “natural” in this way has in reality become denatured.
[Julius Evola]
Ride the Tiger, p.123
We ought to understand the indication that the “Titans” existed (and reigned) before the gods, sub specie aeternitatis, either as a logical continuity, or as an indication of their place in the structure of the synchronic topology of the noetic cosmos.
The Titans always existed, just as the Black Logos of Cybele or the regime of the mystical nocturne. “Before” means either “higher” or “lower” depending on the viewpoint of the zone of the noetic Universe where we stand. For Mother Earth, with respect to the Titans, “before” means “better.” For the Olympians, the converse is true, since they think of themselves as the “new gods” who have won eternity in contrast to the endless cycles of the Titans’ self-closing duration. From the standpoint of the Logos of Apollo, the Titans are “ancient” because they did “not yet” know eternity, and they dwell below because they will never know it.
The discrepancy between the interpretation of the “before” and “after” is not simply the consequence of relative positioning, but an episode – and a fundamental one – of the Titanomachy, which is an expression of nothing more nor less than the choice of side in the never-ending battle of eternity against time.
The war of the gods and titans is a war for the position of the “observatory point”, a war to control it. Those who determine the paradigm, the grille de la lecture, will rule.
We thereby find ourselves in the very epicenter of the wars of the mind. The titans seek to overthrow the gods of Olympus in order to assert their Logos as the exemplary and normative one, while the gods insist on the triumph of the diurne. Therefore, the nature of any mythical figure or account depends on from what sector of the noetic cosmos we view such, and to which army we ourselves belong.
It would be highly naive to suppose that all people choose the camp of the gods, the Logos of Apollo and the solar regime of the heroic diurne. If this was the case, the Earth would be Heaven. Some tend towards the chthonic forces of the Earth, in solidarity with the worlds of the Great Mother. Some intuitively or consciously see themselves as warriors of the army of Dionysus.
As follows, we have the right to expect from such different treatments of myths, philosophical notions, and corresponding figures of Love between the three human types.
[Aleksandr Dugin]
The Three Logoi: An Introduction to the Triadic Methodology of NOOMAKHIA, Chap. 2
Stranger: There appears to be a sort of war of Giants and Gods going on amongst them; they are fighting with one another about the nature of essence.
Theaetetus: How is that?
Stranger: Some of them are dragging down all things from heaven and from the unseen to earth, and they literally grasp in their hands rocks and oaks; of these they lay hold, and obstinately maintain, that the things only which can be touched or handled have being or essence, because they define being and body as one, and if any one else says that what is not a body exists they altogether despise him, and will hear of nothing but body.
Theaetetus: I have often met with such men, and terrible fellows they are.
Stranger: And that is the reason why their opponents cautiously defend themselves from above, out of an unseen world, mightily contending that true essence consists of certain intelligible and incorporeal ideas; the bodies of the materialists, which by them are maintained to be the very truth, they break up into little bits by their arguments, and affirm them to be, not essence, but generation and motion.
Between the two armies, Theaetetus, there is always an endless conflict raging concerning these matters.
[Plato]
The Sophist
Male bonding and patriarchy were the recourse to which man was forced by his terrible sense of woman’s power, her imperviousness, her archetypal confederacy with chthonian nature.
Feminism has been simplistic in arguing that female archetypes were politically motivated falsehoods by men. The historical repugnance to woman has a rational basis: disgust is reason’s proper response to the grossness of procreative nature. Reason and logic are the anxiety-inspired domain of Apollo, premiere god of sky-cult. The Apollonian is harsh and phobic, coldly cutting itself off from nature by its superhuman purity.
[...] western personality and western achievement are, for better or worse, largely Apollonian. Apollo’s great opponent Dionysus is ruler of the chthonian whose law is procreative femaleness. As we shall see, the Dionysian is liquid nature, a miasmic swamp whose prototype is the still pond of the womb.
The tension and antagonism in western metaphysics developed human higher cortical powers to great heights. Most of western culture is a distortion of reality. But reality should be distorted; that is, imaginatively amended. The Buddhist acquiescence to nature is neither accurate about nature nor just to human potential. The Apollonian has taken us to the stars.
[Camille Paglia]
Sexual Personae, p.12-13
Everything great in western culture has come from the quarrel with nature. The west and not the east has seen the frightful brutality of natural process, the insult to mind in the heavy blind rolling and milling of matter. In loss of self we would find not love or God but primeval squalor.
This revelation has historically fallen upon the western male, who is pulled by tidal rhythms back to the oceanic mother. It is to his resentment of this daemonic undertow that we owe the grand constructions of our culture. Apollonianism, cold and absolute, is the west’s sublime refusal. The Apollonian is a male line drawn against the dehumanizing magnitude of female nature.
From the jammed glassy cells of sea roe to the feathery spores poured into the air from bursting green pods, nature is a festering hornet’s nest of aggression and overkill. This is the chthonian black magic with which we are infected as sexual beings; this is the daemonic identity that Christianity so inadequately defines as original sin and thinks it can cleanse us of.
[Camille Paglia]
Sexual Personae, p.28
From the outset Dionysus is insistently presented as the affirmative and affirming god. He is not content with "resolving" pain in a higher and suprapersonal pleasure but rather he affirms it and turns it into someone's pleasure.
This is why Dionysus is himself transformed in multiple affirmations, rather than being dissolved in original being or reabsorbing multiplicity into primeval depths. He affirms the pains of growth rather than reproducing the sufferings of individuation.
He is the god who affirms life, for whom life must be affirmed, but not justified or redeemed.
[Gilles Deleuze]
Nietzsche and Philosophy, p.13
Related posts:-
Escaping Uncertainty
Balance
Balancing Art
Pressure Valve
Rational / Irrational
[Julius Evola]
Ride the Tiger, p.123
We ought to understand the indication that the “Titans” existed (and reigned) before the gods, sub specie aeternitatis, either as a logical continuity, or as an indication of their place in the structure of the synchronic topology of the noetic cosmos.
The Titans always existed, just as the Black Logos of Cybele or the regime of the mystical nocturne. “Before” means either “higher” or “lower” depending on the viewpoint of the zone of the noetic Universe where we stand. For Mother Earth, with respect to the Titans, “before” means “better.” For the Olympians, the converse is true, since they think of themselves as the “new gods” who have won eternity in contrast to the endless cycles of the Titans’ self-closing duration. From the standpoint of the Logos of Apollo, the Titans are “ancient” because they did “not yet” know eternity, and they dwell below because they will never know it.
The discrepancy between the interpretation of the “before” and “after” is not simply the consequence of relative positioning, but an episode – and a fundamental one – of the Titanomachy, which is an expression of nothing more nor less than the choice of side in the never-ending battle of eternity against time.
The war of the gods and titans is a war for the position of the “observatory point”, a war to control it. Those who determine the paradigm, the grille de la lecture, will rule.
We thereby find ourselves in the very epicenter of the wars of the mind. The titans seek to overthrow the gods of Olympus in order to assert their Logos as the exemplary and normative one, while the gods insist on the triumph of the diurne. Therefore, the nature of any mythical figure or account depends on from what sector of the noetic cosmos we view such, and to which army we ourselves belong.
It would be highly naive to suppose that all people choose the camp of the gods, the Logos of Apollo and the solar regime of the heroic diurne. If this was the case, the Earth would be Heaven. Some tend towards the chthonic forces of the Earth, in solidarity with the worlds of the Great Mother. Some intuitively or consciously see themselves as warriors of the army of Dionysus.
As follows, we have the right to expect from such different treatments of myths, philosophical notions, and corresponding figures of Love between the three human types.
[Aleksandr Dugin]
The Three Logoi: An Introduction to the Triadic Methodology of NOOMAKHIA, Chap. 2
Stranger: There appears to be a sort of war of Giants and Gods going on amongst them; they are fighting with one another about the nature of essence.
Theaetetus: How is that?
Stranger: Some of them are dragging down all things from heaven and from the unseen to earth, and they literally grasp in their hands rocks and oaks; of these they lay hold, and obstinately maintain, that the things only which can be touched or handled have being or essence, because they define being and body as one, and if any one else says that what is not a body exists they altogether despise him, and will hear of nothing but body.
Theaetetus: I have often met with such men, and terrible fellows they are.
Stranger: And that is the reason why their opponents cautiously defend themselves from above, out of an unseen world, mightily contending that true essence consists of certain intelligible and incorporeal ideas; the bodies of the materialists, which by them are maintained to be the very truth, they break up into little bits by their arguments, and affirm them to be, not essence, but generation and motion.
Between the two armies, Theaetetus, there is always an endless conflict raging concerning these matters.
[Plato]
The Sophist
Male bonding and patriarchy were the recourse to which man was forced by his terrible sense of woman’s power, her imperviousness, her archetypal confederacy with chthonian nature.
Feminism has been simplistic in arguing that female archetypes were politically motivated falsehoods by men. The historical repugnance to woman has a rational basis: disgust is reason’s proper response to the grossness of procreative nature. Reason and logic are the anxiety-inspired domain of Apollo, premiere god of sky-cult. The Apollonian is harsh and phobic, coldly cutting itself off from nature by its superhuman purity.
[...] western personality and western achievement are, for better or worse, largely Apollonian. Apollo’s great opponent Dionysus is ruler of the chthonian whose law is procreative femaleness. As we shall see, the Dionysian is liquid nature, a miasmic swamp whose prototype is the still pond of the womb.
The tension and antagonism in western metaphysics developed human higher cortical powers to great heights. Most of western culture is a distortion of reality. But reality should be distorted; that is, imaginatively amended. The Buddhist acquiescence to nature is neither accurate about nature nor just to human potential. The Apollonian has taken us to the stars.
[Camille Paglia]
Sexual Personae, p.12-13
Everything great in western culture has come from the quarrel with nature. The west and not the east has seen the frightful brutality of natural process, the insult to mind in the heavy blind rolling and milling of matter. In loss of self we would find not love or God but primeval squalor.
This revelation has historically fallen upon the western male, who is pulled by tidal rhythms back to the oceanic mother. It is to his resentment of this daemonic undertow that we owe the grand constructions of our culture. Apollonianism, cold and absolute, is the west’s sublime refusal. The Apollonian is a male line drawn against the dehumanizing magnitude of female nature.
From the jammed glassy cells of sea roe to the feathery spores poured into the air from bursting green pods, nature is a festering hornet’s nest of aggression and overkill. This is the chthonian black magic with which we are infected as sexual beings; this is the daemonic identity that Christianity so inadequately defines as original sin and thinks it can cleanse us of.
[Camille Paglia]
Sexual Personae, p.28
From the outset Dionysus is insistently presented as the affirmative and affirming god. He is not content with "resolving" pain in a higher and suprapersonal pleasure but rather he affirms it and turns it into someone's pleasure.
This is why Dionysus is himself transformed in multiple affirmations, rather than being dissolved in original being or reabsorbing multiplicity into primeval depths. He affirms the pains of growth rather than reproducing the sufferings of individuation.
He is the god who affirms life, for whom life must be affirmed, but not justified or redeemed.
[Gilles Deleuze]
Nietzsche and Philosophy, p.13
Related posts:-
Escaping Uncertainty
Balance
Balancing Art
Pressure Valve
Rational / Irrational
