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, including Plutarch, Friedrich Nietzsche, Carl Jung, Robert A. Heinlein[1], Ruth Benedict, Thomas Mann, Hermann Hesse, singer Jim Morrison, literary critic G. Wilson Knight, Ayn Rand, Stephen King, and cultural critic Camille Paglia.
In Greek mythology, Apollo and Dionysus are both sons of Zeus. Apollo is the god of the Sun, lightness, music, and poetry, while Dionysus is the god of wine, ecstasy, and intoxication. In the modern literary usage of the concept, the contrast between Apollo and Dionysus symbolizes principles of wholeness versus individualism, light versus darkness, or civilization versus primal nature. The ancient Greeks did not consider the two gods as 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.
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 [2]. 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 summit 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' utilization 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.
Apollo (Apollonian or Apollinian): the dream state or the wish to create order, principium individuationis (principle of individuation), plastic (visual) arts, beauty, clarity, stint to formed boundaries, individuality, celebration of appearance/illusion, human beings as artists (or media of art's manifestation), self-control, perfection, exhaustion of possibilities, creation, the rational/logical and reasonable.
Dionysus (Dionysian): chaos, intoxication, celebration of nature, instinctual, intuitive, pertaining to the sensation of pleasure or pain, individuality dissolved and hence destroyed, wholeness of existence, orgiastic passion, dissolution of all boundaries, excess, human being(s) as the work and glorification of art, destruction, the irrational and non-logical.
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.
Paglia's Use
Camille Paglia writes about the Apollonian and Dionysian in her book Sexual Personae [3]. The two concepts split a set of dichotomies that create the basis of Paglia's theory. For her, the Dionysian is dark and chthonic while the Apollonian is light and structured. The Dionysian is associated with females, wild/chaotic nature, and unconstrained sex/procreation, while the Apollonian is associated with males, clarity, rationality/reason, and solidity, along with the goal of oriented progress. Paglia attributes all the progress of human civilization to males revolting against the Dionysian forces of females, 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, and the turn away from it towards socially constructed Apollonian virtues accounts for the prevalence of asexuality and homosexuality in geniuses and in the most culturally prosperous places such as ancient Athens.
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. [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 Israeli 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]
See also
References
- ^ Heinlein, Stranger in a Strange Land, 1961
- ^ 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 Template:En icon
- ^ Paglia, Sexual Personae, 1990
- ^ 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.
{{cite journal}}: Cite has empty unknown parameter:|coauthors=(help) - ^ 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.
- ^ 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.
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Apollinien