LATER CURRENTS OF THOUGHT
instrument whereby Nietzsche as an existing individual, to use
Kierkegaard's phrase, seeks to realize his own possibilities. His
ideas represent a medium through which
we
have to
try
to discern
the significance of an existence.
We
then have the sort
of
interpreta-
tion of Nietzsche's life and work of which
Karl]
aspers has given
us a
fine
example.
1
The present writer has no intention of questioning the
va.lue
of
the existential interpretation
of
Nietzsche's life and thought. But
in a book such as this the reader has a right to expect a summary
account of what Nietzsche said,
of
his public face or appearance.
so to speak. After all, when a philosopher commits ideas to paper
and
publishes them, they take on, as
it
were, a life
of
their own and
exercise a greater or lesser influence, as the case may be.
It
is true
that
his philosophy lacks the impressiveness of systems such as
those of
Spinoza
and
Hegel,a
fact of which Nietzsche was well
aware. And if
one wishes to find in
it
German 'profundity', one has
to look beneath the surface.
But
though Nietzsche himself drew
attention to the personal aspects
of
his thinking and to the need
for probing beneath the surface, the fact remains
that
he held
certain convictions very strongly and
that
he came to think
of
himself as a prophet, as a reforming force,
and
of his ideas as
'dynamite'. Even if on his own view
of
truth
his theories necessarily
assume the character of myth,· these myths were intimately
associated with value-judgments which Nietzsche asserted with
passion. And
it
is perhaps these value-judgments more
than
any-
thing else which have been the source
of
his great influence.
3.
We
have already referred to Nietzsche's discovery, when he
was a student
at
Leipzig, of Schopenhauer's World as Will and Idea.
But
though Nietzsche received a powerful stimulus from the great
pessimist, he was
at
no time a disciple of Schopenhauer.
In
The
Birth
oj
Tragedy, for example, he does indeed follow Schopenhauer
to
the extent of postulating what he calls a 'Primordial Unity'
which manifests itself in the world and in human life. And, like
Schopenhauer, he depicts life as terrible
and
tragic and speaks
of
its transmutation through art, the work
of
the creative genius. At
the same time even in his early works, when the inspiration derived
from Schopenhauer's philosophy
is
evident, the general direction
of Nietzsche's thought
is
towards the affirmation of life rather
than
towards its negation. And when in 1888 he looked back on The
1
In
his Nietzsche:
Einfuhmng
in
das
Yerst/2ndnis seines Philosophierens (Berlin
1936).
For
Jaspers
Nietzsche
and
Kierkegaard represent
two
'exceptions',
two
embodiments of different possibilities of
human
existence.
NIETZSCHE (r)
397
Birth
oj
Tragedy and asserted
that
it
expressed
an
attitude to life
which was the antithesis of Schopenhauer's, the assertion was not
without foundation.
The Greeks, according to Nietzsche in
The Birth
oJ
Tragedy, knew
very well
that
life
is
terrible, inexplicable, dangerous.
But
though
they were alive to the
real
character of the world
and
of human
life, they did not surrender to pessimism
by
turning their backs on
life. What they did
was to transmute the world
and
human life
through the medium of art. And
they
were then able to
say
'yes'
to
the world as an aesthetic phenomenon. There were, however,
two ways
of
doing this, corresponding respectively to the Dionysian
and Apollonian attitudes or mentalities.
Dionysus
is
for Nietzsche the symbol of the stream of life itself,
breaking down all barriers and ignoring all restraints
..
In
the
Dionysian or Baechic rites
we
can see the intoxicated votaries
becoming, as
it
were, one with life. The barriers set up
by
the
principle of individuation tend to break down; the veil of Maya is
turned aside; and men and women are plunged into the stream of
life, manifesting the Primordial
Unity. Apollo, however, is the
symbol of light, of measure, of restraint. He represents
the
principle of individuation. And the Apollonian attitude is expressed
in the shining dream-world of the
Olympic deities.
.
But
we
can, of course, get away from metaphysical theories
about the Primordial
Unity and Schopenhauer's talk about
the
principle of individuation,
and
express the
matter
in a psycho-
logical form. Beneath
the
moderation so often ascribed to
the
Greeks, beneath their devotion to
art
and beauty
and
form,
Nietzsche sees the dark, turgid and formless torrent of instinct
and
impulse and passion which tends to sweep away everything
in its path.
Now,
if
we
assume
that
life is in itself
an
object of horror
and
terror and
that
pessimism, in the sense of the no-saying attitude
to life, can be avoided only
by
the aesthetic transmutation of
reality, there are two ways of doing this.
One is
to
draw
an
aesthetic veil over reality, creating
an
ideal world of form
and
beauty. This is the Apollonian way. And itfoUIid expression in
the
Olympic mythology, in the epic
and
in the plastic arts. The other
possibility is
that
of triumphantly affirming
and
embracing
existence in
all its darkness and horror. This is
the
Dionysian
attit~de,
and its typical
art
forms are tragedy
and
music. Tragedy
does mdeed transmute existence into
an
aesthetic phenomenon,