The Birth Of Tragedy The Birth Of Tragedy The 146th effect of the Clarion Tragedy

2016-08-27 「 2437 words / 5 minute 」
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Among the peculiar art effects of musical tragedy we had to emphasize an Apollinian illusionby means of which we were supposed to be saved from the immediate unity with Dionysian music, while our musical excitement could discharge itself in an Apollinian field and in relation to a visible intermediary world that had been interposed.
At the same time we thought that we had observed how precisely through this discharge the intermediary world of the action on the stage, and the drama in general, had been made visible and intelligible form the inside to a degree that in all other Apollinian art remains unattained.
Where the Apollinian receives wings from the spirit of music and soars, we thus found the highest intensification of its powers, and in this fraternal union of Apollo and Dionysus wehad to recognize the apex of the Apollinian as well as the Dionysian aims of art.
To be sure, the Apollinian projection that is thus illuminated from inside by music does not achieve the peculiar effect of the weaker degrees of Apollinian art.
What the epic or the animated stone can do, compelling the contemplative eye to find calm delight in the world of individuation, that could not be attained here, in spite of a higher animation and clarity.
We looked at the drama and with penetrating eye reached its inner world of motives--and yetwe felt as if only a parable passed us by, whose most profound meaning we almost thought we could guess and that we wished to draw away like a curtain in order to behold the primordial image behind it.
The brightest clarity of the image did not suffice us, for this seemed to wish just as much to reveal something as to conceal something. Its revelation, being like a parable, seemed to summon us to teat the veil and to uncover the mysterious background; but at the same time this all-illuminated total visibility cast a spell over the eyes and prevented them frompenetrating deeper.