The Joyous Struggle of the Sublime and the Musical Essence of Joy

The Joyous Struggle of the Sublime and the Musical Essence of Joy The Joyous Struggle of the Sublime and the Musical Essence of Joy MICHEL HAAR Université de Paris I Greek tragedy, for Nietzsche, does not express a pessimistic vision of the world but heralds the "artistic jubilation" that belongs to "tragic joy." The exaltation of the festival, under the commotions of music, in the magic of the dithyramb, the celebration of the immemorial-all of this mirrors the dance of "Dionysian madness" that eclipses the Apollinian surface.' Dionysian madness is Dionysian excess, which portends the "joyous" struggle of two kinds of sublime that perhaps constitutes sublimity, the "Spirit of music" (Geist der Musik) : the Apollinian sublimity of appearance and limits over against the Dionysian sublimity, which exceeds all limits. For Nietzsche-as for Schopenhauer before him-("in its principal determination, the sentiment of the beautiful is the same as the sentiment of the sublime") 2-and for Schelling ("the sublime in its absoluteness encompasses [beb eift] the beautiful, just as the beautiful in its absoluteness encompasses the sublime"),3 and later for Rilke ("The beautiful is nothing but the first stage of the terrifying")4-the beautiful is sublime insofar as it is the tamer and master of a shapeless or multiform diversity. But how http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Research in Phenomenology Brill

The Joyous Struggle of the Sublime and the Musical Essence of Joy

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Publisher
Brill
Copyright
© 1995 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0085-5553
eISSN
1569-1640
D.O.I.
10.1163/156916495X00059
Publisher site
See Article on Publisher Site

Abstract

The Joyous Struggle of the Sublime and the Musical Essence of Joy MICHEL HAAR Université de Paris I Greek tragedy, for Nietzsche, does not express a pessimistic vision of the world but heralds the "artistic jubilation" that belongs to "tragic joy." The exaltation of the festival, under the commotions of music, in the magic of the dithyramb, the celebration of the immemorial-all of this mirrors the dance of "Dionysian madness" that eclipses the Apollinian surface.' Dionysian madness is Dionysian excess, which portends the "joyous" struggle of two kinds of sublime that perhaps constitutes sublimity, the "Spirit of music" (Geist der Musik) : the Apollinian sublimity of appearance and limits over against the Dionysian sublimity, which exceeds all limits. For Nietzsche-as for Schopenhauer before him-("in its principal determination, the sentiment of the beautiful is the same as the sentiment of the sublime") 2-and for Schelling ("the sublime in its absoluteness encompasses [beb eift] the beautiful, just as the beautiful in its absoluteness encompasses the sublime"),3 and later for Rilke ("The beautiful is nothing but the first stage of the terrifying")4-the beautiful is sublime insofar as it is the tamer and master of a shapeless or multiform diversity. But how

Journal

Research in PhenomenologyBrill

Published: Jan 1, 1995

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