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Analysis:

On the tragic spirit of ancient Greece

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According to Nietzsche, from the perspective of opposition, interaction and integration between Dionysian spirit and Apollo spirit.

If we go deep into the Greek tragedy, then we may be able to grasp the unexplained side of the Greek group image and see the great ancient musical instruments.

Sages' pursuit of the truth of existence. This is also the basis on which we try to rely.

The opposition between Apollo and Dionysus, two gods of art, was originally in plastic arts and.

The mutual struggle of musical consciousness. As Nietzsche said, the synonym "art" only superficially eliminates this struggle.

Only [1]. The ultimate orientation-tragedy-is precisely because of the mutual integration of these two spirits. Nietzsche compared Apollo and Dionysus.

Sotheby's spirit is simply described by "dream" and "drunkenness", pointing directly to the foundation of plastic arts and non-plastic arts.

Why is the Apollo spirit represented as a "dream"? In Nietzsche's view, dreams show two important characteristics: creation

Type a prototype and an illusion representation. Artists interpret life according to the image in their dreams, write down life, and more importantly, write down life.

Let people show the most inner essence: experience dreams and feel joy [2]. It's like being in danger on a rough sea.

The pleasure of sitting and coming out tells people that you are an individual, a complete individual, and you coexist perfectly.

At the scene! The impulse contained in this situation is not only the pleasure of the individual, but also the premise that the individual cannot destroy himself.

Next, a complete description of this beautiful and substantial appearance-modeling. People deeply reflect on the separation and combination of dreams.

Save ("this is a dream! But I want to do it! " ), in this indescribable ecstasy, Apollo spirit

It reveals its forms of expression, whether in all plastic arts that describe mythical scenes or as Apollo art.

Artists, poets and writers all complete their works in this clear thinking situation.

If the "individualization principle" cannot be regarded as extremely important here, then Dionysus's soul will arrive immediately.

In the crushing of the individual and the frantic excitement and melting from the deep heart, the essence of the two spirits is brought into the light at the same time.

In contrast, when intoxicating individuals split, they sublimate into the fusion between people. The ancient Greek tragedy originally originated from

Ode to Dionysus, people dress up as Satya, sing and dance, and worship Dionysus through actions [3]. This action is

"Crazy"-the essence expressed in the form of singing and dancing and * * * *, makes people blend in with each other.

First, abandon personal existence and realize the arrival of the gods in extreme excitement. This kind of "madness" also puts people in it.

All the inner feelings, contradictory and true feelings, are vented together, gushing, uncontrollable, and sometimes deeply degraded.

People are no longer self-controlled and temperate individuals, but have completely become Dionysus's dolls. This kind of * * *

It later became the core of the tragedy. In Nietzsche's view, the soul of tragedy is so drunk.

However, the essence of existence without form is unacceptable to metaphysics, and the Apollo spirit has been great in the past.

The power of arrival in the great epic and myth pedigree endows tragedy with a tragic body and a struggle between the two gods.

And its inner perfection and molding are what the artist can give at this time.

Its different coats tell different stories and create different worlds.

Let's go back to the most fundamental opposition mentioned at the beginning: plastic arts and music arts. What have we found here?

Music, as a direct portrayal of spirit, is expressed as will. When the poet interprets music with the image of Apollo, he is

Conversely, talk about music with things that music doesn't need. Anyway, metaphysical Nietzsche was influenced by 18 after all.

Classical philosophy and romanticism since the 20th century, but in Wagner's music, he found a companion. His nature

Because of this, people think that the essence of music precedes its symbols, and no visualized schema or discourse can reveal the core of music.

Truth, in the tragic spirit, all calm essence and explanatory connection can not occupy the center, but can only be used as.

Chorus existing in music is the origin, "it is only the initial chorus". Nietzsche wisely abandoned it.

When all kinds of pseudo-art criticism, even beyond all political and social factors, only as a tragic spirit, its origin.

No need for far-fetched carving. Musicality makes Nietzsche instinctively feel the highest spiritual pursuit of the Greeks, which is related to civilization.

The confrontation with nature is closely linked. Satya, a natural elf, uses music and the establishment of civilization as resistance, which is like the integration of nature.

With unity and tolerance, the Greeks sang their tenacious side with the help of music in the birth of civilization and the revelation of nature.

Face, endless pursuit of "metaphysical comfort". They found the artwork. They found it.

Thus, music discovered tragedy [4].

"Metaphysical comfort" is Nietzsche's explanation of the reason why Greeks pursue musical expression and tragic expression. If we say,

If we go further, we can see the true meaning of "metaphysical spirit".

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Prometheus, written by Aeschylus, stole the skyfire and was ordered by Zeus to be tied to the Caucasus Mountain for punishment. tie

In Prometheus, the river god Oxius, his daughters and the Vulcan hephaestus are all sympathetic.

I will realize Prometheus' ambivalence, but who can really realize what this anti-emotion means?

? If we only stay in Prometheus' resentment and resistance to Zeus' dictatorship, we can't understand its tragedy.

Spirit, because this spirit is completely divorced from the social reality it directly reflects. Nietzsche put Prometheus' torture

In essence, it reveals that "individuals who strive to make progress like the Titan are bound to blaspheme" [5]. In this contradiction and unresolved trade-off,

Dionysus's spirit, the power to resist the sacred authority of Apollo, rose desperately for its own existence.

Find a seat. Prometheus, as the product of the struggle between the two, stood in this position. The Greeks are in the text.

This ambivalence in the balance between Ming and nature is embodied in the will to survive, which is the great Prometheus. However, for the sake of

Are we close to the tragic spirit here? Does Nietzsche's exposition not involve tragedy itself? He is more

Did you miss the tragedy or didn't reach it? "I am doomed to die" and "I know everything" [6], among which

What do these words mean?

Let's go back to the tragic world for a while and look at Sophocles' Oedipus. Oedipus was arrested by his parents.

Following Apollo's instructions, he was abandoned. Fortunately, the shepherd didn't kill it, but caressed it and gave it to the king of Corinth.

When I grew up, I heard that it was not born by King Corinth, so I went to the East. Later, he killed his father and married his mother, killing himself.

Eyes, the story of self-exile In this tragedy, Sophocles really let the plot develop and generate itself.

Great pioneering work. His perfect and exquisite layout has always been praised by people, but here, it seems that the plot is purely accidental.

People lament for this noble Oedipus. Hegel made a wonderful analysis in his interpretation of this tragedy. he thinks

"In the heroic age, since the subject is directly linked with all his will, actions and achievements, it is also necessary for him.

Take full responsibility for the consequences of actions. "In contrast, it is a sign that this generation is trying to push evil away from itself as much as possible.

Morality, because "the subject's cognition of the situation, confidence in good deeds and inner intentions are the masters of moral behavior."

Compared with the view that the individual is essentially a whole in the heroic age of ancient Greece, modern people obviously put three factors together.

Differences create reasons between morality and improve morality [7]. And Aristotle in Nicomachean ethics, the third volume of the first.

In this chapter, by distinguishing between "unintentional" and "unintentional" behavior, three kinds of injuries mentioned later are also mentioned: misfortune.

Things, mistakes, crimes, the word "mistake" seems to refer to Oedipus' patricide [8].

What we see in these words is the explanation of moral ethics, but we can't find the tragedy of Oedipus' self-harm in the future.

The root of sex. Although Nietzsche transcended morality, he saw unnatural means to resist and try before Oedipus.

Overcome nature, crack nature-when you crack the power of the goddess of fate, you will fall into a situation of falling apart from nature.

The sublimation of will realized in the process of mutual pursuit and struggle between initiative and passivity. But what does this rising spirit mark?

So what? He fell silent again. After Nietzsche solved the Oedipus complex, we waited and watched outside the door.

Antigone is another immortal masterpiece of Sophocles. After the death of Oedipus, King Creon came to power in Thebes.

, wave Lv Nie carved with his eldest brother Eteocles for the throne has long died, Creon ordered not to bury the traitor wave Lv Nie carved.

Runks. Creon is the embodiment of the city-state, which symbolizes order, law and prohibition in the play. But this time the death order is

Oppose the religious beliefs of ancient Greece. Only by burying the body can the ghost of the deceased enter the ghost land, so relatives have the obligation to bury the deceased.

. In this contradictory situation, antigone finally chose the divine method, chose his brother and buried his body, so he was.

Imprisoned in a tomb, and finally committed suicide. Her fiance failed to convince her father. Seeing that antigone was dead, she drew her sword and committed suicide. Creon saw him.

From ruin was heartbroken, and his wife was heartbroken at this time, and then committed suicide. This series is breathtaking.

From beginning to end, the plot left a suspense for later readers: Who is right and who is wrong in this disaster? In the author's opinion

For many years, Creon's legislator was also a tyrant, and his ban on burial was not only aimed at ancient Greece, but was handed down all the time.

Sacred beliefs also violate historical habits. As early as Homer's time, there was a rule that the enemy buried the bodies of dead soldiers. horse

In the Battle of Lasong, it was the Athenians who buried the bodies of Persians. These histories did not teach Creon how to order, but let.

The crazy dictator lost his mind and suffered painful consequences.

Here, we have to pause again, because Sophocles' point of view-it should be said that Sophocles is in our eyes.

Crixus traces the root of this tragedy to tyranny, which seems to be the end of the influence of the democratic spirit of Berkeley era on poets.

About the lifeblood of this masterpiece. Isn't antigone, which best reflects the current social situation and mainstream consciousness at that time, different?

Has also become the greatest expression of tragic will? Creon is the focus of sociologists, historians and politicians.

Things, but the real tragic spirit stubbornly pushed antigone, who is full of love and kindness, strong and brave, onto the stage.

Center!

What is special about antigone is that it doesn't put the hero who realizes the strength of strong will in the Lord at all.

In terms of angle position, it is not to make antigone a electra or Medea woman, but to be completely different.

Create a unique model hero in a sense! If our eyes could be deeper, we would be there.

In it, we can see the face of the tragic spirit of ancient Greece, and all the truly great and primitive tragic spirits are revealed.

The last of the three tragedies, which has never been mentioned, is euripides. According to his personal data,

It is easy to understand why Nietzsche called it "the beginning of tragic decline". Euripides is not as pure as Aeschylus.

Simple sketch of characters, and there is no such thing as Sophocles deliberately arranging a large number of unexpected and reasonable layouts.

Very straightforward to introduce their opening. Although despised by Sophocles, it is also original. Rule out the so-called

"Socratic optimism", euripides's writing style can be described as a subversion of the traditional tragic content. He is considered

In Homer's epic, he despises the social and national policies at that time and praises everyone. The demigod holds the spirit of extreme rebellion.

I deeply sympathize with ordinary people who are silent and don't ask for Wen Da. In these honest people,

He found his heroic ideal "[10].

Compared with the two elders, euripides is more like a philosopher and a student of Socrates. If Nietzsche is interested in his

If the evaluation is very correct, then the clear euripides is the subversive and terminator of the ancient Greek tragedy-Zheng.

Just as Nietzsche is the terminator of metaphysics. Euripides's language kept Dionysus away from Apollo.

Compared with art, it also keeps a distance. His works contain Socrates' calmness and euripides's madness.

Hot, but these will never make Apollo and Dionysus appear, but a new opposition. This opposition is not so much unity.

This kind of confrontation, rather than the transformation of roles, is the role exchange between tragic writers and actors.

Why do people today regard the spirit of Apollo and Dionysus as the opposition between rationality and irrationality? It's a long way.

Degree was blinded by euripides and Socrates. They undoubtedly represent rationality, logic and powerful logic.

The wheel of Mars. If there is anything against them, it is undoubtedly the spirit called "irrationality". But we chase

Tracing back to the source, when the spiritual leaders of Aeschylus era were obsessed with the tense confrontation between Apollo and Dionysus, today,

And "rationality" and "irrationality" may just be derivatives in another sense. The masters of plastic arts are facing their works.

His joy in the peace and tranquility of the world is an expression of his ideal world-that is, the reappearance in his "dream"

Reach, that is, Nietzsche's "representation of representation" [1 1]. This excitement, great wisdom and calm heart are confined to today.

People who are "rational and irrational" are beyond words. Similarly, the opposite Dionysus is a non-plastic artist, or

The ecstatic people were also surpassed in their original music world, combined with the Apollo spirit, and a tragedy was born.

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On the other hand, euripides's works describe this complex and elusive mentality in both content and form.

In order to simplify, inspired by Socrates' "clarity is beauty", he opposed anti-sociality with sociality and degraded to "tragedy"

Sex has profoundly subverted the traditional tragedy and given it a "literary form". Suppose he is one of the three tragedies.

The most influential person in later generations [12], then the reason is that he made the tragedy move from heroism and rationalism to realism.

, make the "myth" into "people's talk", and make the tragic art close to today's literature and art like never before. ..

However, we must see that even in euripides's plays, the real tragic spirit still exists.

With its remains, Medea's plight still exudes a little glory from the source of ancient Greek tragedy.

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Here, we no longer follow Nietzsche, and the tragic spirit is waving to us from a height, waiting for us to go by ourselves.

Climb up.

The core task in tragedy is always in a precarious position. As far as the task itself is concerned, he doesn't need to be Apollo.

Or the incarnation of Dionysus, he has to face a temporary situation, but this situation is eternal. This "

"Short eternity" is developed on two levels: in reality, it is the eternal choice of his life path. This choice

It is not only eternal for the protagonist, but also gradually spreads its meaning to all the characters in the play and changes it.

Their fate endowed the whole tragedy with eternal life.

The audience of Greek tragedy is not Apollo or Dionysus, nor can he sit still like a sculptor.

In the face of majestic and sacred works, he can't fall into a mental frenzy without mechanism. What he wants to do is to enter tragedy, not to act.

The external audience did not become the characters in the tragedy, but "dissipated in the tragedy". The attraction of tragedy is not to make people

Cry while watching, and then go on as usual-this appeal is what people are used to today, but it is not.

The protagonist who makes people feel the same-that can only destroy people's will, deprive people of their survival power and dissolve the tragedy itself. real

Great tragedy concentrates its meaning on the protagonist, but the audience can find it through the protagonist at the moment of understanding.

The most essential spirit-transcendence.

This core proposition is something we should fully understand here. It is not our practice to attribute the tragic meaning to sociality.

Moreover, using tragedy as a metaphor cannot penetrate its essence. In Nietzsche, we found the opposite situation.

Prometheus, an anti-civilization natural spirit, swaggered upward like a Titan, trying to unveil the Maya of nature and destroy it.

Oedipus of life, in these brave and tragic souls, Dionysus's beating flame illuminates all this.

The real existence under some appearances, let us give the tragic group the deepest glimpse.

Prometheus, Oedipus, antigone, Medea, their * * * same characteristics have been brought into a clear realm.

In the face of indomitable personal will, the more powerful Apollo majesty that stands proudly forbids Dionysus's

Puffed up. When Prometheus stole the skyfire, when Oedipus killed his father and married his mother, when antigone buried his brother,

When Medea killed pelias, tragedy was deeply rooted in their fate, if the tragic characters could.

Eventually escape from the disaster of fate, the tragedy will collapse and all the plots will come to an end, but the great Aeschylus has a deep understanding of this.

At this point, he put Prometheus's endless * * * and curse in the dialogue of the whole play, leaving them no room for "forgiveness".

"Any space, also through the mouth of Prometheus, denied the possibility of Zeus to give forgiveness. Sophocles is unparalleled.

Sympathy for Oedipus and his daughter put them in a dilemma. Similarly, Medea faced her son's

Life and death are also caught in an "either-or" situation.

What does the dilemma in tragic art mean? It points directly to destruction. When tragic characters commit crimes,

When he committed a dilemma, Logos' fast knot declared that the poor man could not escape from his world, any kind of instinct.

This kind of escape will lead to a powerful and irresistible test of the theme itself or its opposite-social will. This will

The collision reflected by tragic characters is the destruction of the body, but the Greeks must not stop there. An indomitable life

The existence of will forces them to turn to Olympus God for help in the pursuit that cannot be realized in the real world. Although the tragic masters didn't

Too many words can't ignore the power of Moira, the goddess of fate. There, they comfort themselves, no

Irresistible fate is the root of the tragic mission. However, in secret, they have realized the tragedy-meat.

The irreversible destruction of the body brings spiritual transcendence and ultimate victory! Why in Aeschylus' Prometheus?

In the trilogy, Zeus and Prometheus reconciled? In my opinion, this is a performance after spiritual transcendence, and it is a victory.

The song of triumph in the sun is an echo beyond existence.

If Aeschylus showed his profundity too directly, Sophocles let Oedipus completely.

Antigone and Zeus will sleep forever in the contradiction that cannot be detached. When they face the desperate situation with a cliff behind them, the day

God struck again, no one heard the cry, and everyone abandoned it, surrounded by a natural barrier with no retreat.

Obstacles are like the sea, eager to be saved, but swallowed up by greater terrible silence. This is the real desperate situation

! But if faced with this desperate situation, individuals will yield, kneel, beg for mercy and retreat, that is pessimism, not.

It's tragic spirit. Jaspers correctly pointed out that the sacred spirit of ancient Greece has been confused with the pessimistic spirit of later generations.

The Difference between Gods points out that what is hidden in the souls of hungry Greeks in the tragic era is not pessimism, but detachment from everything.

It is not only pessimistic that the sacred will to establish individual survival on the basis of transcendence is the will to pursue survival.

It is not even optimistic, but before and above the two, rooted in the tree of life beyond existence [13].

Suddenly, Nietzsche's language-"metaphysical comfort" gained real meaning. If there is no primitive impulse

Individual consciousness, will to survive, how to pull up the tree of life, and how the surging love will keep us alive created Prometheus.

Theseus stole the flame of hephaestus, and antigone buried her brother in desperation? If there is no "transcendence", then

How can the most authentic "will to power" in life intentionally push people to realize themselves?

Work hard? Dionysus's spirit is the driving force beyond existence, but only it faces the prohibition of Apollo authority.

Only by combining, surpassing, evolving and progressing in the struggle can the keen nerves of the Greeks feel the highest meaning of life.

Near, feel the ecstasy of victory, this ecstasy is not only Dionysus's "drunkenness", but also Apollo's "dream", which is a kind of appearance.

And the inner essence of this * * * has both joy and transcendence.

However, we can't stop there, because the inevitable state of destruction is the essence of Greek tragedy, which is sad.

There is still a difference in the size of the play. Prometheus and antigone are the figures who can best embody "tragic behavior".

For more than two thousand years, people have deep respect and sympathy for them, but they also feel extremely sorry.

When we go deep into the plot, the profound meaning of tragic behavior becomes obvious. Prometheus and antigone are like

People who die heroically, while knowing the consequences of their actions, resolutely choose action and choose the will of the subject. as long as

As far as Nietzsche is concerned, it is not enough to boil it down to the victory of Dionysus' will, because it is obviously after the hero has experienced fierce competition.

The choice made after the struggle is completely rational and clear. When Prometheus said to Hermes, "I know all this"

A calm expression and a calm heart clearly show the firmness of a martyr. Antigone burial wave

Runeckers was ready to be arrested, but she didn't flinch. In the inner struggle, the power of love prevailed.

According to the upper hand, but this is not blind love, but a kind of self-will called by life. If Prometheus

Antigone, not with the most sober mind, they will make such a seemingly confused move? if there is no

With the deepest understanding of the meaning of existence and listening to transcendence, they will let the history of more than 2,000 years continue to echo this hero.

Moving? They sacrificed themselves for transcendence, and transcendence presented "immortality".

Here, tragic art is linked with human existence in a new sense. Ancient Greek sages in Dionysus

In the dual movement of Apollo, we found and gave a transcendental picture, which is the way to reach the highest state of life.

The road is occupied by the original reason, and only under the action of this reason can the tragedy reach its peak and be clear.

Roughly show the outline of the other shore. But we must see that the "primitive reason" here is by no means Socrates and his.

After all, rationality is the original logos, not the ratio. Logos here come from "ju" and "zai" and belong to people.

The manifestation of real existence. It rejects the framework of all formal logic and directly points to the "divinity" of human beings [14]. meanwhile

The tragic ending has repeatedly warned people of another cold and powerful truth: people can't really achieve transcendence.

Yes If we compare the constant pursuit of transcendental existence and unattainable transcendental situation to another level of Dionysus.

Struggle against Apollo, then Nietzsche's words will become the motto of the Greeks today, together with causing sadness.

The "original principle" of drama spirit constitutes the inherent essence of the image of ancient Greek gods. We can do it here.

Understand in what sense euripides has become the symbol of tragedy decline and "tragedy secularization": divine concealment and rationality.

Degeneration, replaced by a philosophy full of vividness and rigor.

When people today approach these sacred and touching tragedies again, no matter what their mood, they will not.

I have to pay high tribute to these great Dionysian artists. If Heidegger taught

We, only Heraclitus and parmenides in the pre-Socratic era really care about "existence" itself [15], then

Similarly, perhaps only the master of ancient Greek tragic art really put the meaning of human existence into the Dionysian spirit.

Soul and Apollo's language are spoken, through the dialogue of the victims of "either-or" choice, through

The annihilation of tragic characters-also the * * * death of Dionysus and Apollo spirits-naturally came.

Perhaps this is the birth of tragedy.