In his first book, The Birth of Tragedy, Nietzsche explores the Apollonian dream and the Dionysian intoxication. He aims to offer a scientific analysis of aesthetics that surpasses mere intellectual understanding. Instead, he seeks to establish a direct comprehension of the significant link between art’s evolution and the duality of the Apollonian and the Dionysian (BOT, 11).
The intersection of the Apollonian dream and the Dionysian intoxication is where Nietzsche creates a specific aesthetic of art. However, in later books like Beyond Good and Evil and On The Genealogy of Morals, these principles also play a subtle role in Nietzsche’s discussion on the will. According to Nietzsche, the truest development of both art and will can be found in this intersection. In The Birth of Tragedy, Nietzsche argues that art is produced when the Apollonian and Dionysian principles come together. This combination of forces gives rise to the most authentic form of art.
According to Nietzsche, Greek society successfully exemplified these principles through the deities Apollo and Dionysus. While the extent to which Nietzsche links Greek mythology to these principles may be debated, the principles themselves are universal and can be understood through human experience. Nietzsche describes these principles as akin to the artistic realms of dreams and intoxication, contrasting with the opposition seen in the Apollonian and Dionysian energies (BOT, 11).
Nietzsche introduces the Apollonian principle by using the metaphor of a dream. According to him, dreams have an immediate understanding, where every shape and element has meaning. However, they also carry a sense of their illusory nature. Dreams encompass the entire spectrum of human experiences, including suffering, and although they feel real, there is also a fleeting sense of illusion involved (BOT, 12).
According to Nietzsche, dreams provide a realm where truth, which goes beyond rational thought, is unquestionably accepted and understood immediately. However, due to their nature, dreams are only illusions and do not hold the same significance as experiences in the wakeful state. Nietzsche connects this aspect of dreams, the certainty and immediate comprehension of truth, with the god Apollo.
Nietzsche characterizes Apollo as the deity embodying the “higher truth,” reflecting a state of perfection that stands in contrast to our limited understanding of reality. Apollo symbolizes the realm of dreams, which entails a profound awareness of healing and helpful forces within sleep and dreaming. Additionally, Apollo’s symbolism extends to the capacity for prophesying truth and encompasses art as a whole, which gives life meaning and value. Dreams, with their elusive metaphors, serve as a forecaster of truth, reaching out beyond rational thought to grasp fragments of reality.
However, even though the dream-state enables the dreamer to uncover truths beyond conscious awareness, dream-state thinking is limited to the confines of the dream. According to Nietzsche, there is a fragile boundary that the dream image must not exceed to avoid exerting a pathological influence – otherwise, the illusion would deceive us as an unrefined reality. When the truth from the dream intrudes into actuality, its pure certainty and immediacy are diminished.
The dream-state encompasses both freedom to understand distant truth and limitations tied to the dream itself. This concept may appear contradictory, but it can be comprehended as even in the most vivid dream reality where the dreamer is free to uncover metaphorical truth, they may dismiss it as just a dream. The dreamer must not get carried away by the illusion and mistake the dream for reality.
Nietzsche uses the concept of restraint in the dream-state to describe the character of Apollo. He argues that Apollo must also possess this line of restraint, which represents moderation and freedom from excessive excitement. Nietzsche’s point is intriguing as he not only portrays Apollo as the god of restraint, but he also highlights the relationship between restraint and excitement in the paradoxical nature of the dream-state.
Despite the deceptive nature of the dream-state, it allows for the flourishing of fantastical experiences. However, these experiences fail to evoke the same level of excitement when compared to reality. Dreams offer a unique sense of individuality as they are created by the dreamer themselves. Nietzsche refers to Schopenhauer’s metaphor of the “principle of individuation” to emphasize this individuality in dreams. This principle is likened to a sailor peacefully seated in a rowboat amidst tumultuous waves on an endless sea, symbolizing reliance and trust (BOT, 12). It encompasses the development of unique individuals within a collective. In dreams, dreamers distance themselves from the chaos of wakefulness and exist autonomously.
His perception is solely shaped by his dream consciousness, which, although influenced by his previous interactions with others, is entirely unique and self-governing in the creation of the dream. Therefore, according to Schopenhauer’s analogy, the external world can be likened to a turbulent sea – vast and formidable – capable of significantly impacting and overwhelming the individual. On the other hand, the dream-state can be compared to a boat that, while confined by its physical boundaries, provides a protective sanctuary where the dreamer is shielded from being engulfed by the collective influence of the external world.
Within the confines of the boat, one can peacefully experience their own identity. Nietzsche has described the Apollonian dream-state as a contained escape, where truth can be grasped through metaphor but is ultimately undermined by its illusionary nature. Although the dreamscape offers infinite possibilities, its tangible effects are limited to the dream itself. Nietzsche shapes the character of Apollo to embody these traits of calm and structured understanding, as well as restraint in acknowledging illusion. According to Nietzsche, Apollo represents the highest expression of unwavering trust in the principle of individuation, and he can even be seen as a divine image of this principle, as his gestures and gaze convey the joy, wisdom, and beauty of “illusion” (BOT, 12).
In Nietzsche’s philosophy, the Apollonian principle is represented through the concept of the dream. In the dream, the individual exists within a confined escape, but what occurs when the dreamer awakens? What happens when the metaphorical small boat of the dream, symbolizing the principle of individuation, overturns and plunges into the turbulent sea? Nietzsche once more turns to Schopenhauer’s theory to guide us on this new path.
Schopenhauer, according to him, also talked about the intense feeling of awe one experiences when they begin to question their understanding of illusion. This is especially true when the principle of reason appears to have an exception. What happens when the dreamer starts doubting their interpretation of the dream? In this state of heightened awareness and control, the dreamer exceeds the boundaries of the dream. Consequently, the dream breaks apart, individuation collapses, and the dreamer wakes up.
According to Nietzsche, when the dreamer is awakened by a sense of awe and ecstatic rapture due to the collapse of individuality’s foundation, we can glimpse into the essence of the Dionysian. This essence originates from both humans and nature. As the individual emerges from the dream influenced by Apollo, they are consumed by the Dionysian principle, which can be compared to intoxication. It is important to highlight that Nietzsche defines this intoxication as broader than mere drunkenness.
According to the author, intoxication can be experienced in two ways. The first way is through narcotic drinks, which are mentioned in the hymns of primitive men and peoples. The second way is through the intense arrival of spring, which brings joy to all of nature. The Apollonian dream allows individuals to escape from the outside world and enter into their own individuality and illusions. On the other hand, Dionysian intoxication allows individuals to escape from their internal dream world and immerse themselves in the collective consciousness. Nietzsche explains that during Dionysian excitement, the subjective experience fades away completely and individuals forget about themselves.
According to Nietzsche, individuals cease to exist individually when they forget about themselves. He argues that the Dionysian experience enables a reconnection between people and nature, even if there was prior disconnection or hostility. This reconnection is known as a “festival of reconciliation” between humanity and nature. In the state of Dionysian intoxication, the individual becomes part of a larger unity described by Nietzsche as a “mysterious primordial unity.” These Apollonian and Dionysian principles are grounded in nature.
According to the text, the Apollonian dream and Dionysian intoxication are artistic forces that originate from nature itself, without the need for human intervention. These forces provide direct satisfaction to the artistic drives of individuals in two ways. Firstly, they manifest as a world of dream images, unaffected by one’s intellectual capability or artistic education. Secondly, they exist as an intoxicating reality that disregards the individual and aims to abolish individuality by redeeming individuals through a mystical sense of collective unity (BOT, 14).
According to Nietzsche in The Birth of Tragedy, art is grounded in the principles of the Apollonian and Dionysian, which are also inherent in nature. Nietzsche claims that true art resides at the intersection of these two principles. He suggests that all artists imitate and can be classified as either Apollonian or Dionysian. However, the greatest artists possess both qualities, crafting art that combines intoxication and dreams. These artists experience a state of Dionysian drunkenness and self-oblivion while simultaneously unveiling their unity with the essence of the world through Apollonian dream-like imagery. Nietzsche argues that the Apollonian dream can be seen as an artistic expression since dreaming itself is an art form based on appearances.
Nietzsche further explores the concept of Dionysian intoxication as art by connecting it to the Greeks. According to him, the Greek festivals were a celebration where nature reached its artistic peak. It was during these festivals that the division between individuals became a form of art. Nietzsche describes it as nature expressing a sentimental aspect and lamenting its fragmentation into separate individuals (BOT, 15).
Dionysian intoxication can be seen as a form of artistic expression that involves both destruction and liberation. It is comparable to forcefully breaking open a paint bucket, resulting in a euphoric display of color and motion. Nietzsche closely associates the Apollonian dream with structured forms of art like painting and sculpture. These art forms rely on visual representation and are best appreciated by focusing on specific and tangible elements, such as the bust or canvas, which convey abstract truths.
According to Nietzsche, the Dionysian intoxication is a manifestation of an indescribable experience. It is a state where the individual becomes one with the collective, symbolizing the destruction of individuality. Music serves as the ideal form of expression for this harmonious blend of the Apollonian and Dionysian principles. Nietzsche states that we can only grasp the essential connection between these two principles through intuitive understanding (BOT, 19).
According to the author, the Apollonian dream is necessary in order to achieve the Dionysian intoxication. The principle of individuation is the only way for the goal of primordial oneness to be realized. The author states that Apollo demonstrates how the world of torment is essential, as it pushes individuals to create a redemptive vision. Once absorbed in contemplation of this vision, individuals can find tranquility amidst the chaos of life. This concept is illustrated by the metaphor of sitting quietly in a rowboat, tossing around in the middle of the ocean.
According to Nietzsche, suffering is essential in the world because it drives humans to create the Apollonian dream, also known as the little boat, as a means of escape. The Apollonian dream masks the suffering in the world with its illusionary nature. For those who embrace the Apollonian dream, their existence, filled with beauty and moderation, is built upon a hidden foundation of suffering and knowledge, which is revealed to them through the Dionysian.
According to (BOT, 19), the unity of Apollo and Dionysus is emphasized. The celebration of returning to the harsh reality is significant as it signifies that the dreamer does not have to confront the world’s suffering in solitude, as an individual. Coming back to the Dionysian reality implies a reunion with the collective, where intoxication yields a communal experience of intense aspects such as joy and suffering inherent in nature.
According to Friedrich Nietzsche, the truth lies in the excessive nature of existence. This contradiction, where ecstasy comes from pain, is a natural phenomenon. It forms a cycle where individuals try to avoid suffering by entering into a dream state governed by reason and logic (Apollonian). However, to escape the shallow and illusory nature of this dream state, individuals relinquish their own identity and awaken in a state of Dionysian intoxication. In this state, they find solace in the collective experience of both joy and suffering in the world.
According to Nietzsche, there are two important points regarding the interconnectedness of the Apollonian and Dionysian principles. Firstly, he highlights their interdependency as they both act as means of escaping from each other. Secondly, Nietzsche considers the Dionysian principle to be superior to the Apollonian one and claims that wherever the former appears, the latter loses its significance. However, this dynamic is reversed in Nietzsche’s concept of the will.
In Nietzsche’s Beyond Good and Evil, which was published fourteen years after The Birth of Tragedy, Nietzsche extensively delves into the notion of the will. Although his Apollonian and Dionysian concepts are only mentioned once throughout the book, the process of the will’s development that Nietzsche describes is closely related to the convergence of these two concepts that Nietzsche employs to define art in The Birth of Tragedy. In Beyond Good and Evil, Nietzsche’s understanding of the will diverges completely from the Judeo-Christian understanding.
The concept of the “soul” is central to the formation of the self, according to Nietzsche. He criticizes the Judeo-Christian understanding of the soul, viewing it as unworthy. Nietzsche argues against the belief that the soul is indestructible, eternal, and indivisible, like a monad or an atom. He asserts that this belief should be excluded from science. Nietzsche’s perspective on the soul provides a firm foundation for further exploration. The term “soul atomism” refers to the idea that the soul is the fundamental essence in the supernatural world, comparable to an integral and indivisible unit of matter in the natural world.
Nietzsche challenges the idea of a supernatural soul and aims to explain the origins of a natural soul. He acknowledges that the notion of a natural “soul” may appear contradictory, but he wants to address this misconception. According to Nietzsche, it is not necessary to completely discard the concept of the soul, but rather to approach it carefully and avoid losing it as clumsy naturalists often do.
According to Nietzsche, the concept of the “soul” is too intriguing to be dismissed due to its supernatural implications. Nietzsche argues that there is the possibility for new interpretations and advancements in the understanding of the soul. He suggests that concepts such as the “mortal soul,” the “soul as multiplicity of the subject,” and the “soul as social structure of the drives and emotions” should now be considered legitimate within scientific discourse. It is his description of the natural soul, specifically as a multiplicity of subjects, that serves as the foundation for this ongoing argument.
The concept of multiplicity is interconnected with the concept of art’s duality as described by Nietzsche in The Birth of Tragedy. To grasp the notion of multiplicity, one must first comprehend Nietzsche’s fundamental idea of the human being. Nietzsche’s philosophy does not differentiate between humans and animals. He posits that human consciousness is not an inherent quality bestowed upon humanity by a divine entity to distinguish humans from animals. Instead, Nietzsche argues that consciousness is purely an outcome of evolutionary progress.
According to Nietzsche, man is described as a complex and cunning animal who invented the concept of the good conscience to experience his soul. This consciousness is seen as a space where man’s individuality and self can be enjoyed, similar to the Apollonian dream. Nietzsche further explains that morality is a prolonged deceit in order to find pleasure in witnessing the soul. This separate dimension of conscience is created to indulge in the individuality and soul.
Consciousness can be represented by Schopenhauer’s boat metaphor or the Apollonian dream, both equally effective. Nietzsche claims that the concept of art may contain more than commonly believed, referring subtly to his argument in The Birth of Tragedy about the importance of the Apollonian dream in art. Nietzsche argues that consciousness is an evolutionary adaptation, but he questions how such a crucial aspect evolved in humans.
Nietzsche discusses the process of evolution in another publication called On the Genealogy of Morality, which was released a year after Beyond Good and Evil. In this work, Nietzsche argues that when instincts are not expressed outwardly, they turn inward, resulting in what he refers to as the internalization of man. This internalization led to the development of what later became known as the soul. Initially, the inner world of man was as thin as a membrane but over time it expanded and grew in depth, breadth, and height as the external discharge was inhibited (OGM, 16).
The consciousness of Homo sapiens is a product of natural development and is referred to as the “inner world” by Nietzsche. This consciousness is considered a natural “soul” that exists within the limitations of human existence and is brought about by human evolution. It is important to note that this consciousness is a creation of humanity. Nietzsche discusses the concept of the “internalization of man,” which refers to the various aspects of human nature being internalized. This process occurs through the internal dynamics of human instincts. As humans started living in society, certain instincts were suppressed.
The human being experiences pressure due to the suppression of their instincts. Unlike animals, who express and release their instincts, humans allow them to build up inside, leading to the formation of consciousness. This consciousness can be seen as a result of the internal implosion of desires. Nietzsche states that when a person exercises their will, they are essentially commanding something within themselves that they believe will obey.
But what is truly remarkable about the will is that in the given circumstances, we both command and obey it. The side that obeys experiences sensations of constraint, compulsion, pressure, resistance, and motion immediately after the act of will. However, we often ignore or deceive ourselves about this duality by using the concept of ‘I’. This ‘I’ is the synthesis of our entire self and soul, even though our conscious bubble consists of multiple instincts.
Before understanding duality, we must grasp multiplicity, which implies chaos. In On the Genealogy of Morality, Nietzsche refers to this chaos when he recounts that “Thus began the most serious and eerie illness, from which humanity has not yet recovered – man’s suffering at the hands of man, of himself – the outcome of a violent separation from his animal past, as if a leap and plunge into new surroundings and conditions of existence, a declaration of war against the old instincts on which his strength, happiness, and dreadfulness have relied so far” (OGM, 16).
The Dionysian principle corresponds to the development of the will, signaling a shift from pure instinct. The human’s initial state is animalistic, and the Dionysian intoxication represents this primal state where instinct reigns supreme and life is lived without limitations. Throughout this essay, the Apollonian dream has been linked to conscious experiences in evolved individuals, while the Dionysian intoxication has been associated with the multitude of instincts seen in animalistic beings.
However, just like Nietzsche’s focus in The Birth of Tragedy is to comprehend the interaction between the Apollonian and Dionysian in art, this essay aims to understand how the same intersection shapes the soul. Understanding this dynamic is equivalent to understanding the will. The will serves as the means by which suppressed Dionysian instincts give rise to a distinct Apollonian consciousness. Overall, this interaction forms the essence of the “I,” the self, or the soul.
According to Nietzsche, ‘Freedom of will’ refers to the complex state wherein the person who commands and identifies himself with the executor of the command experiences pleasure. This pleasure arises from the triumph over resistances, which the person believes was achieved through his own will. Additionally, by adding the sensations of pleasure experienced by the successful executive agents or ‘under-wills’ to his own sensations of pleasure as commander, the person enhances his overall pleasure. The development of this will occurs at the intersection of the Apollonian and Dionysian. The Apollonian aspect, representing consciousness or the dream-state, shapes the individual by selecting which instincts to manifest and which to suppress. On the other hand, the Dionysian aspect, representing the multiplicity of instincts, fills the body’s “social structure composed of many souls” and is intimately connected with the primal unity through a natural state of collective instinct. While Nietzsche considers the Dionysian principle as overpowering in relation to art, he believes it is the opposite when it comes to the development of will.
In Nietzsche’s discourse on the will, the Apollonian dream empowers the Dionysian intoxication by commanding the serviceable instincts. Man embodies both tangible instinctual excess and intangible conscious influence. Nietzsche exemplifies this through his examination of the creature and creator, asserting that “in man, creature and creator are united: in man there is matter, fragment, excess, clay, mud, madness, chaos; but in man there is also creator, sculptor, the hardness of the hammer, the divine spectator and the seventh day—do you understand this antithesis? (155).” The development of the will is an art that intertwines these two Greek principles, which represent true art. While these principles are not explicitly mentioned elsewhere in the three books discussed, Nietzsche incorporates the Dionysian principle in the climactic conclusion of Beyond Good and Evil.
Although Nietzsche subtly incorporates both principles in his discourse throughout the three books, he explicitly mentions the Dionysian principle in his closing aphorism. This principle embodies the genius of the heart possessed by a hidden and manipulative god, the mesmerizing pied piper of consciences. With a voice that exudes allure, this god effortlessly delves into the depths of every soul, leaving no word or glance untouched by temptation. Those who follow him feel compelled to draw closer, following him inwardly and wholly. The genius of the heart silences all noise and self-satisfaction, teaching one to listen and smoothing rough souls, instilling in them a new desire to experience stillness like a mirror reflecting the vast sky. This genius teaches even the most hasty and clumsy hand to hesitate and grasp delicately, uncovering hidden treasures and forgotten drops of goodness and spirituality beneath layers of ice. It serves as a divining-rod for every grain of gold, long imprisoned among mud and sand.The heart’s brilliance lies in its ability to enrich all who experience its touch. It does not favor or surprise, nor does it bestow blessings or burdens from others. Instead, it enriches one’s inner self, revealing a newer, more vulnerable, yet hopeful version of oneself. Like being broken open and revived by a warm wind, it embodies uncertainty, delicacy, fragility, and brokenness. It is filled with unnamed hopes, new desires, and opposing currents. But wait, my friends! Who am I referring to? Have I forgotten myself so much that I haven’t even mentioned his name? Unless you have already guessed who this enigmatic deity and spirit is, craving such unique praise.
Being constantly on the move and in foreign lands since childhood, I have encountered many strange and dangerous spirits. However, the one I was just speaking of surpasses them all – none other than the god Dionysus. In secrecy and reverence, I once offered my first-born to him, making me perhaps the last person to have made such a sacrifice. Unfortunately, I have found no one who could comprehend my actions at that time. Nevertheless, I have acquired a vast understanding of the philosophy of this god through word of mouth. In fact, I consider myself the last disciple and initiate of Dionysus. Perhaps now I can provide you with a taste of this philosophy, my friends, if I am allowed to do so (220-221). Nietzsche asserts his dedication to Dionysus and clearly demonstrates his preference for the freedom found in the Dionysian state of intoxication.
In his discourse on the will, Nietzsche mentions the Dionysian principle but affirms the presence of both the Apollonian and the Dionysian in the philosophy of will due to their reciprocal necessity. The Apollonian and Dionysian principles of dream and intoxication described by Nietzsche in The Birth of Tragedy have the original intention of creating an aesthetic through the intersection of these two principles. However, these principles are also relevant to the development of art and the will in Beyond Good and Evil and On the Genealogy of Morals. In both contexts, they serve as metaphors that explain the dynamics of true art and true will, according to Nietzsche.
