*the ‘end of history’ & reconstructing The Birth of Tragedy—the figure of the Lyric Poet…

*(… —follows on from *the artist’s metaphysics, —on “incorporation”, & the Apollinian sublime, & —on “purgation”, & the Dionysian sublime. …).

 

*the Lyric Poet.
*—the fold in the self-creation of the artist. …

 

 *and so,… —the end of history. …
(—on ‘conjunction‘, & reconstructing The Birth of Tragedy).

 

*…

 

Having summarised his reading of what he defines as the four-fold shape of Hellenic cultural and artistic history, at the end of §4 of Birth (—§4, 47),… Nietzsche proceeds to use his intuition of the central role played by the Dionysian and the Apollinian modes of the sublime in this history as the basis for reaching the ‘real goal’ of his ‘investigation’…

 

*—‘knowledge of the Dionysian-Apollinian genius and its art product.’ (§5, 48)

 

 

—Nietzsche seeks to define the nature of the conjunction of the Dionysian and Apollinian, symbolised in his hyphenation—‘Dionysian-Apollinian’—and of tragedy as the ‘art product’ which is created in-and-by this conjunction.

*—and  I’ll adopt the term ‘conjunction’ here, in preference to that of ‘synthesis’,—used by, for example, Silk and Stern in Nietzsche and Tragedy. (62-89)

 

—In their ‘synopsis’ of Birth, Silk and Stern refer to the ‘synthesis of the tendencies’ of the Apollinian and Dionysian. (63) …

As I’ll argue,—the Dionysian and Apollinian are not cancelled and resolved into a third and separate term, as the (rather loosely) ‘dialectical’ reading implicit in the use of the term ‘synthesis’ would suggest, but, instead, remain distinct and yet in a relationship defined by a form of co-dependence…

—In Crossings: Nietzsche and the Space of Tragedy, John Sallis reaches a similar conclusion that ‘prohibits regarding tragedy as the mere synthesis of the Apollinian and the Dionysian, as a synthesis in which their opposition would be resolved into a higher unity’.

 *—He argues that Birth ought not to be ‘differentiated’ from Nietzsche’s later writings ‘in the manner proposed, for example by Gilles Deleuze’: ‘namely, by its alleged dialectical […] character’. (57[n].—See Deleuze, Nietzsche and Philosophy, [1-35]…).

 

 

—The *conjunction of the Dionysian and Apollinian modes of sublime, then, takes place, Nietzsche argues, in the process of the self-creation of the artist. …

 

*In order to render the self-creation of the artist and the Dionysian-Apollinian conjunction intelligible, it seem to me that it’s first necessary to reach an understanding of the need which motivates them. …

 

To accomplish this, in what follows, I want to (effectively) disassemble Nietzsche’s argument concerning the origins of lyric poetry and the lyric poet and the evolution of tragedy in §§5-7 of Birth, and to reconstruct it in reverse order. …

*And so,… (hmm) —I’ll begin with a reading of Nietzsche’s argument concerning the effect of the Dionysian and its relation to quotidian existence in §7, and then proceed to an analysis of the process of the self-creation of the lyric poet and the evolution of tragedy from dithyrambic poetry and the chorus in §§6-7, returning to the end of §7 to define the nature of tragedy and to analyse Nietzsche’s final comment in the section on the role of the tragic chorus and the definition of ‘art’. …

 

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2 thoughts on “*the ‘end of history’ & reconstructing The Birth of Tragedy—the figure of the Lyric Poet…

  1. […] & the Apollinian sublime’, ‘—on “purgation”, & the Dionysian sublime’, & ‘the Lyric Poet. *—the fold in the self-creation of the artist’. […]

  2. […] & the Apollinian sublime’, ‘—on “purgation”, & the Dionysian sublime’, ‘the Lyric Poet’, and *‘on the Rapture, then, and the Nausea.*—the… root, & the nature, of artistic […]

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