Examine Nietzsche?S Statement in the Birth of Tragedy That It Is Only as an „Aesthetic Phenomenon? That Existence Can Be „Justified? to Eternity.

meet Nietzsches statement in The fork up of Tragedy that it is totally as an Aesthetic Phenomenon that founding house be justified to timelessness. According to the qualities of eternity and origination that Nietzsche and Schopenhauer prescribe it is by definition that something can solo be justified in the phenomenal world the world of existence. Although this statement describes existence justifying itself-importance to eternity, The origin of Tragedy tends to illustrate the inverse eternity justifying itself appearing d one(a)(a) existence.However the movement in the midst of the states of the carnal and practical(prenominal) is not directional in the empirically spatiotemporal manner that Schopenhauer takes on. Unlike transcendentalist ideas, what Nietzsche depicts is an app arnt wave-particle duality born in the fusion of the minds twofold reality that has knowledge and perception altogether of existence. Aesthetic phenomenon offers us delight in semblance and si multaneously offers a greater, metaphysical delight in the destruction of the ocular world of semblance (BT 24).The exigency that a phenomenon must be aesthetic is universal in the feel that in that respect is no requirement as to what an aesthetic thing is. Supposedly it can be anything phenomenal even the ugly and disharmonious is an creative personic game which the testament, in the unremitting fullness of its delight, plays with itself. (BT24) Clearly there ar degrees of aesthetic quality that render more delight, just now the delight is equally achievable in the version as it is in the phenomenon that is acting as a trigger.Maybe it is more appropriately imagined that eternity justifies itself in the phenomenal because the justification takes place when an object awakens a sense of the eternal, so it is rattling a matter of seduction, and how exerciseively this aesthetic phenomenon allows the noumenal to thrust itself upon the perceiver. nevertheless to rate that this takes place wholly on account of how aesthetic the phenomenon is, would be to ignore how easily the perceiver is seduced, or how he perceives all together.It is make that different people find strike in different things. It is also clear that some may find beauty in nothing, as with meditation. But that brings into question whether we can really have a nothing in human experience, for even the most isolated and detached human experience cannot be fully impartial to the world of experience. The suggest however is that although aesthetic phenomenon is a necessity it is the openness and sight of the perceiver that allows the object to justify existence to the eternal.For beauty can exist in everything, but only on occasion do we see beauty to such high intensity that it awakens a placeable feeling of the eternal. For Nietzsche, art is a more powerful form of aesthetic phenomenon, than naturally occurring beauty the human is more familiar with art, often because it relates m ore to qualities in the realm of human experience, be it situational or emotional. This familiarity lures the perceiver into a greater degree of belief, acting as a catalyst to the erosion of self identity, as they more easily forget the self, and become overwhelmed by the will.Nietzsche places attic tragedy at the peak of this process, as he mentions the audience become the play, and the combination of two separate art forms allows the present of a new less physically obsessed, and more enchanting work of art. The degree, to which the audience can animize the moment that the artist felt in creating the piece, depends partly on the artists ability to veer the feeling into an aesthetic phenomenon, but also on the audiences ability to empathise (hence humanist art is more effective).This empathy or mitleiden, requires the demolition of the concept of the individual and the rise of the innate primordial unity, in order for this eternal intensity, that Schopenhauer, quite carelessly called the will, to overtake. It is because art is a reproduction of the eternal in a phenomenal form that Nietzsche believes we are far from truly creation the creators of that world of art (BT5), the artist is merely the mediator of the eternal, who engages in procreation. The world that art represents itself in is impartial to the world it came from.The description of the predict impregnating the humanly to beget a great art generates a dualistic concept, that implies a transcendence from the noumenal into the phenomenal the continuous evolution of art is bound up with the duality of the Apolline and the Dionysiac in much the same path as reproduction depends on there creation two sexes(BT1) whereas a sexual co-existence involves two opposites, that are of the same substance, Nietzsche is presenting a relation with the being and the immortal.But it seems he places this sense of superiority not in the aspects themselves, rather ascribable to the difficulty of escaping worldl y attributes and the natural inclination to view what is beyond us as greater than what we are or possess. He compares our awareness of our artistic significance to that which painted soldiers have of the struggle depicted on the same canvas (BT5) reiterating the impossibility of viewing artistic creation from both angles as player and spectator alike.Within the realm of existence, aesthetic delight serves the purpose of awakening that dormant artlessness which provides openness to the primal spirit. This instinct put to sleep by our view of the world that quantifies things a perception we naturally take on, as the phenomenal world becomes more apparent and through with(predicate) childhood we come up a new paradigm that becomes less aware of the qualitative. This becoming of the individual is characterised by experience, and traded with innocence.For Nietzsche Aesthetic phenomenon is needed to ca-ca delight which awakens our dormant self, by detaching us from our conscious u nderstanding, and giving way to a high delight. Nietzsche describes this battle between the innocent and experienced lenses as a snub not only in the life of the individual but also in culture and its cultivation. The cryptic relationship between Apollo and Dionysus parallels the trend in most cultures to become more like Apollo, and forget their wilder innate counterpart whose characteristics are often mistaken for hedonism.Eruptions of the Dionysian culture are evident in the Romantic period and during the discontinue love period in the 1960s, both characterised by the use of drugs to liberate one(a) from the sense of identity. These periods, contrasted the Greek period, remained movements rather than revolutions, as the use of drugs, unlike the use of art was damaging to the economical requirement for a revolution. The Dionysiacs disregard for conventional barriers, such as the sexual, arise from the ability to be suggest and empathise with any being more than the Apollonia n can hope to achieve with even one.This is due to the Apollonians failure to empathise as Schopenhauer would say, because they are too enthralled with the manifest of their will in its equal form to see that the will is universal whenever this breakdown of the principium individuationis occurs, we catch a glimpse of the essence of the Dionysiac (BT1) one who has no sense of self. Nietzsches vision of Dionysian art resolves the question Aristotle asks about the sad effect Why is it that we voluntarily subject ourselves to depictions of the terrible in life? Schopenhauer called tragedy the highest art form in which we surrender to the feeling of the sublime. As Nietzsche describes, our horror is replaced by a metaphysical comfort where the terrible dissolves our vision of beauty in the Apollonian form that is designed to protect us and secure our drive to live, this velum of Maya is suppressd and We really are for a brief moment, the primordial being itself. It is because our Ap ollonian view of the world cannot remove its inherent characteristics, that the sublime is regarded by Schopenhauer as higher than beauty, and why for Nietzsche, the Dionysian aspect is more fundamental. Moslem Poet Khalil Gibran explains The veil that clouds your eyes shall be lifted by the hands that wove it, these idea raise the question as to whether Aesthetic Phenomenon is justifying the world to eternity, or revealing eternity to the world, as Aesthetic Delight propels the interpreter, detaching him from the phenomenal. Nietzsche contra Schopenhauer, believes that the terrible is not single handedly a higher form of art, as the Apolline realm is needed as the vehicle that man understand, to transit one into the eternal.Hence for Nietzsche, attic tragedy is the supreme art form that allows the Dionysian to knock up the Apollonian traversing the line between intoxication and dream, and being reborn in the world of the individual. Unlike music, which is a reflect image of the D ionysian, a direct reflection from one world into the other, tragedy captivates the audience with Apollonian dreamlike images, through which the Dionysian chorus Discharges itself, dissolving the apparent dichotomy from a world of semblance, and unleashing the eternal.For Nietzsche the duality between Dionysus and Apollo is only a psychological one and his liking to the dominant organic notion of the Dionysian in The Birth of Tragedy is possibly a result of his youth, and desire to escape the overly Apollonian culture he endured and despised. Heidegger offers an exposition of Nietzsches use of the devise Chaos that differs to those non-Greek translations whose etymology of the term, reduce it to words like primordial that do not capture the meaning which echoed in its use in mythic tradition. Heideggers classical reading of the word imbues an idea of that which yawns, the gaping out of itself. Applied to Nietzsches aesthetics, this would trivialise the role of the phenomenal which essentially repeats itself through time, in waves, a result of procreation that facilitates the reversal into the non-human, which is simultaneously the same effect as the eternal gaping out of itself. The two dimensional effect is really of the same thing, and for Nietzsche has no direction or duration in the empirical senses of space and time a concept better felt than imagined due to our impartiality, hence the difficulty Nietzsche mentions in describing notions such as the eternal go across.To what extent then, does Nietzsche see the Dionysian and the eternal as relevant to one another, and separate from the Apollonian and phenomenal? If aesthetic delight leads the path from the phenomenal to the noumenal then at what point and to what degree do these dualistic entities that fit that divide the physical from the virtual relate to each other as properties? Nietzsche claims that attic tragedy is the art form which bonds the Dionysian with the Apollonian, the symmetry of opposit ion.He also differs from Kant and Schopenhauer on the nature of the duality between the noumenal and phenomenal, somewhat paradoxically, he accepts the superficial claim, but when digging into the root of the two spheres, becomes constrained by the possibility of analysing such a void, as capital of Minnesota de Man claims the reader is condemned to an apparently endless process of deconstruction .This assessment is unfair on Nietzsches attempt to find a good answer and thus sacrificing a degree of clarity that is pass judgment in describing something that language cannot describe language, as the organ and symbol of phenomena, can never, under any circumstances, jut out the innermost depths of music the heart of the primordial unity, (BT5) his passage summarises the futility of all phenomena in relating to the eternal, but the need for phenomena to create art as a birth giver to the eternal, whereby language is a weaker tool than music and tragic myth.In The Birth of Tragedy, Nie tzsche constantly reiterates the predominant nature of the Dionysiac that shows itself, in comparison with the Apolline, to be the eternal and accepted power (BT25). Although not entirely in keeping with Kant and Schopenhauers duality, he still bastardises the Apollonian state, highlighting the severalty of the two art forms.This must mean that there is a significant point where the border between states is crossed, in order to form the attic tragedy, and similarly must mean there is a point where the justification of the world to the eternal takes place. But Nietzsche offers no explanation, possibly because these dualities are only a manifestation, that grows as naivety is replaced by experience, and the dream state that verges on the state of intoxication succumbs to a newer physical reality.But Nietzsche holds that these two artistic domains are required to unfold their energies in rigid, reciprocal proportion so that one can only be permitted to enter an individuals conscious ness as can be overcome, in its turn, by the other (BT25), if such is the case, then either Nietzsche believes these drives truly are the essence of a strict duality, or that they are too rigidly lain into the mindset to be abstracted from and comprehended as a whole.However, if the latter is the case, then the justification of the world to eternity is a human matter, a question of interpretation, where being superhuman is being eternal, and aesthetic phenomenon plays no role. In later writings such as thusly Spoke Zarathustra he begins to point in this direction the human is something that must be overcome, for existence is to some degree a sense understood by the being, but if one can go beyond the being, then one can go beyond world that requires justifying to eternity.His notion of eternal return which suggests that the world repeats itself is more ambiguous on the nature of eternity and its relation to the phenomenal . Contra Schopenhauer Nietzsches spatiotemporal relation to the world is not one of distance in space, or places in time, rather one of duration, where the movement between the physical and virtual reality is unmeasured, and possibly non-existent as the removal of these relations kind the way in which existence and the eternal can relate to one another.Walter Arnold Kaufmann asserts that Nietzsches conception of the will to power is perhaps just as much the heir of Apollo as it is that of Dionysus his suggestion for a monist interpretation comes from Nietzsches idea that quantitative degrees of power might be the measure of value. Clearly Nietzsche in The Birth of Tragedy is unsure or unfinished on the nature of the duality between existence and the eternal, and where its root ends.But certainly, the matter of existence being justified to eternity is a matter of being itself, and the reception of the eternal is integral, where the aesthetic phenomenon is just the tonality. The impartiality of the consciousness with the eternal requires su ch a key to open this door, but evidently there is a degree to which the mind can feel the eternal, and to say that only an aesthetic phenomenon can achieve this is to say that the door can only be receptive from one side. BibliographyPg153 Nietzsches philosophy of science reflecting science on the ground of art and life Babette E. Babich Pg 295 Nietzsche Knows no thing-in-itself David B. Allison Pg199 Nietzsche, philosopher, psychologist, antichrist- Walter Arnold Kaufmann The Eternal Return of the Overhuman The Weightiest Knowledge and the Abyss of Light. Journal of Nietzsche Studies 30 (1)1-21. Keith Ansell-Pearson. Pg 39 The Prophet- Kahlil Gibran The Birth of Tragedy- Friedrich Nietzsche (Cambridge texts)