Apollonian and Dionysian


Apollonian and Dionysian

The Apollonian and Dionysian is a philosophical and literary concept, or dichotomy, based on certain features of ancient Greek mythology. Several Western philosophical and literary figures have invoked this dichotomy in critical and creative works.

In Greek mythology, Apollo and Dionysus are both sons of Zeus. Apollo is the god of the Sun, dreams, and reason while Dionysus is the god of wine, ecstasy, and intoxication. The ancient Greeks did not consider the two gods to be opposites or rivals. However, Parnassus, the mythical home of poetry and all art, was strongly associated with each of the two gods in separate legends.

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German philosophy

Although the use of the concepts of Apollonian and Dionysian is famously related to Nietzsche's The Birth of Tragedy, the terms were used before him in Prussia.[1] The poet Hölderlin used it, while Winckelmann talked of Bacchus, the god of wine.

Nietzsche's usage

Nietzsche's aesthetic usage of the concepts, which was later developed philosophically, was first developed in his book The Birth of Tragedy, which he published in 1872. His major premise here was that the fusion of Dionysian and Apollonian "Kunsttrieben" ("artistic impulses") forms dramatic arts, or tragedies. He goes on to argue that that has not been achieved since the ancient Greek tragedians. Nietzsche is adamant that the works of above all Aeschylus, and also Sophocles, represent the apex of artistic creation, the true realization of tragedy; it is with Euripides, he states, that tragedy begins its "Untergang" (literally "going under", meaning decline, deterioration, downfall, death, etc.). Nietzsche objects to Euripides' use of Socratic rationalism in his tragedies, claiming that the infusion of ethics and reason robs tragedy of its foundation, namely the fragile balance of the Dionysian and Apollonian.

The relationship between the Apollonian and Dionysian juxtapositions is apparent, Nietzsche claimed in The Birth of Tragedy, in the interplay of Greek Tragedy: the tragic hero of the drama, the main protagonist, struggles to make order (in the Apollonian sense) of his unjust and chaotic (Dionysian) Fate, though he dies unfulfilled in the end. For the audience of such a drama, Nietzsche claimed, this tragedy allows us to sense an underlying essence, what he called the "Primordial Unity", which revives our Dionysian nature - which is almost indescribably pleasurable. Though he later dropped this concept saying it was “...burdened with all the errors of youth” (Attempt at Self Criticism, §2), the overarching theme was a sort of metaphysical solace or connection to the heart of creation, so to speak.

Different from 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, whereas 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 experiences.

Paglia's usage

American humanities scholar Camille Paglia writes about the Apollonian and Dionysian in her controversial 1990 bestseller Sexual Personae.[2]

The two concepts comprise a dichotomy that serves as the basis of Paglia's theory of art and culture. For Paglia, the Apollonian is light and structured while the Dionysian is dark and chthonic (she prefers Chthonic to Dionysian throughout the book, arguing that the latter concept has become all but synonymous with hedonism and is inadequate for her purposes). The Chthonic is associated with females, wild/chaotic nature, and unconstrained sex/procreation; the Apollonian is associated with males, clarity, rationality/reason, and solidity, along with the goal of oriented progress: "Everything great in western civilization comes from struggle against our origins."[3]

Paglia attributes all the progress of human civilization to masculinity revolting against the Chthonic forces of nature, and turning instead to the Apollonian trait of ordered creation. The Dionysian is a force of chaos and destruction, which is the overpowering and alluring chaotic state of wild nature. Rejection of – or combat with – Chthonianism by socially constructed Apollonian virtues accounts for the historical dominance of men (including asexual and homosexual men) in science, literature, arts, technology and politics. As an example, Paglia states: "The male orientation of classical Athens was inseparable from its genius. Athens became great not despite but because of its misogyny."[4]

Apollonianism in linguistics

Similar to Nietzsche's usage, some linguists use Apollonianism to denote "the wish to describe and create order, especially with unfamiliar information or new experience. An updated, albeit frivolous, example of this general tendency is the story about the South Dakotan who went to Athens and was happily surprised to find out that the Greeks are fans of NASA’s projects: wherever he went, he saw the name Apollo. As this anecdote shows, the ‘Apollonian tendency’ would also seem to include a significant dimension of ethnocentricity."[5]

"Specifically in linguistics, Apollonianism is manifested in justifications for the use of a word and in the craving for meaningfulness. Consider the perception of naïve young Israeli readers of the name דוקטור סוס dóktor sus (cf. Dr Seuss). Many Israelis are certain that he is ‘Dr Horse’ since in Hebrew סוס sus means ‘horse’ - cf. the etymythology that this arises from the prevalence of animals in Dr Seuss’s stories. This ‘misunderstanding’ might correspond to Einar Haugen’s general claim with regard to borrowing, that ‘every speaker attempts to reproduce previously learned linguistic patterns in an effort to cope with new linguistic situations’ (1950: 212)."[6]

Post-modern reading

Nietzsche's idea has been interpreted as an expression of fragmented consciousness or existential instability by a variety of modern and post-modern writers, especially Martin Heidegger in Nietzsche and the Post-modernists.[7] According to Peter Sloterdijk, the Dionysian and the Apollonian form a dialectic; they are contrasting, but Nietzsche does not mean one to be valued more than the other.[8] Truth being primordial pain, our existential being is determined by the Dionysian/Apollonian dialectic.

Extending the use of the Apollonian and Dionysian onto an argument on interaction between the mind and physical environment, Abraham Akkerman has pointed to masculine and feminine features of city form.[9]

Michael Pollan

The dichotomy is a major theme in Michael Pollan's book, "The Botany of Desire" in which he details humanity's attempt at controlling nature through large-scale production of food crops. He argues any attempt to bring control to a single variable in a natural system only results in more variables to which disorder and entropy will reign. Thus, all control is partial, temporary and largely illusory. Some farmers accept this and use strategies like crop rotation, variety and secondary crops which complement their main crops with beneficial insects and such. Other farmers try to sustain monocultures, which is the ultimate attempt at order among chaos, and must depend on chemicals or genetic tampering to defend against encroaching disorder. Farmers who embrace the chaos are usually far more successful and less beholden to corporations, but can't match the production or homogeny necessary to supply restaurant chains.

Stephen King's usage

American novelist Stephen King uses Apollonian and Dionysian analysis in Danse Macabre (1981),[10] a non-fiction survey of horror literature that was expanded from King's lecture notes for creative writing and literature courses he taught at the University of Maine in the late 1970s. Though wary of indulging what King describes as "academic bullshit," he nonetheless argues that mythology can illuminate recurring themes in horror. E.g., "I used the terms Apollonian (to suggest reason and the power of the mind) and Dionysian (to suggest emotion, sensuality, and chaotic action)."[11]

See also

References

  1. ^ Adrian Del Caro, "Dionysian Classicism, or Nietzsche's Appropriation of an Aesthetic Norm", in Journal of the History of Ideas, Vol. 50, No. 4 (Oct. - Dec., 1989), pp. 589–605 (English)
  2. ^ Paglia, Camille (1990). Sexual Personae: Art and Decadence from Nefertitit to Emily Dickinson, New York: Vintage Books.
  3. ^ Paglia, 1990, p. 40
  4. ^ Paglia, 1990, p. 100.
  5. ^ See pp. 244–245 of Zuckermann, Ghil‘ad (2006), "'Etymythological Othering' and the Power of 'Lexical Engineering' in Judaism, Islam and Christianity. A Socio-Philo(sopho)logical Perspective", Explorations in the Sociology of Language and Religion, edited by Tope Omoniyi and Joshua A. Fishman, Amsterdam: John Benjamins, pp. 237–258.
  6. ^ See p. 245 of Zuckermann, Ghil‘ad (2006), "Etymythological Othering' and the Power of 'Lexical Engineering' in Judaism, Islam and Christianity. A Socio-Philo(sopho)logical Perspective", Explorations in the Sociology of Language and Religion, edited by Tope Omoniyi and Joshua A. Fishman, Amsterdam: John Benjamins, pp. 237–258.
  7. ^ Postmodernism and the re-reading of modernity By Francis Barker, Peter Hulme, Margaret Iversen, Manchester University Press,1992, ISBN 978-0719037450 p. 258
  8. ^ Thinker on Stage: Nietzsche's Materialism, translation by Jamie Owen Daniel; foreword by Jochen Schulte-Sasse, Minneapolis, University of Minnesota Press, 1989. ISBN 0816617651
  9. ^ Akkerman, Abraham (2006). "Femininity and Masculinity in City-Form: Philosophical Urbanism as a History of Consciousness". Human Studies 29 (2): 229–256. doi:10.1007/s10746-006-9019-4. http://www.springerlink.com/content/9337128m117q48k2/. 
  10. ^ King, Stephen (1981). Stephen King's Danse Macabre. New York: Everest House, ISBN 0896960765.
  11. ^ King, 1981, p. 181.

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  • Apollonian — /ap euh loh nee euhn/, adj. 1. pertaining to the cult of Apollo. 2. (l.c.) serene, calm, or well balanced; poised and disciplined. 3. (l.c.) having the properties of or preferring classic beauty. Cf. Dionysian (def. 2). [1655 65; < Gk… …   Universalium

  • Apollonian — [ap΄ə lō′nē ən] adj. 1. of, like, or having to do with Apollo 2. well ordered, rational, and serene: distinguished from DIONYSIAN …   English World dictionary

  • Dionysian — [dī΄ənish′ən; dī΄ənis′ē ən, dī΄əniz′ē ən] adj. 1. Dionysiac 2. of the orgiastic nature of the Dionysia; wild, frenzied, and sensuous: distinguished from APOLLONIAN 3. of any of several historical figures named Dionysus …   English World dictionary

  • Dionysian — /duy euh nish euhn, nis ee euhn, nuy see /, adj. 1. of, pertaining to, or honoring Dionysus or Bacchus. 2. recklessly uninhibited; unrestrained; undisciplined; frenzied; orgiastic. [1600 10; DIONYS(US) + IAN] * * * ▪ characteristic… …   Universalium

  • Apollonian/Dionysian — Contrast introduced by Nietzsche in The Birth of Tragedy (1872) between the spirit of order, rationality, and intellectual harmony, represented by Apollo, and the spirit of ecstatic, spontaneous will to life, represented by Dionysius. In later… …   Philosophy dictionary

  • dionysian — adjective wild, irrational, and undisciplined Ant: apollonian …   Wiktionary

  • apollonian — adjective clear, harmonious, and restrained Ant: dionysian …   Wiktionary

  • APOLLONIAN —    the RATIONAL, harmonious and orderly. A term used by NIETZSCHE to describe one tradition of Greek art. The other tradition he described as DIONYSIAN …   Concise dictionary of Religion

  • Narcissus and Goldmund — Narziss and Goldmund   New …   Wikipedia

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