Nietzsche's View Of Dionysus

In the first section of Odyssey, mortal women are presented to us as controlled by the stereotypes and expectations of the culture of the day, and it is only within that context that we can consider the examples Homer provides of women to be admired or despised. He provides us with clear contrasts, between Penelope and Eurycleia on the one hand, and Helen and Clytemnaestra on the other.

Nietzsche is widely known as a critic of religion. In fact, he talks in depth about morality in regards to religion in his essays about the genealogy of morals. But the problem is not within religion itself or within morals. The problem is involved in the combination of the two to create society’s understanding of morality through a very religious lens. In fact, Nietzsche has criticism for almost any set of morals constructed by a group of individuals and meant to be applied to society as a whole. True morality, according to Nietzsche, requires a separation from these group dynamic views of morality- or at least a sincere look into where they originated and why they persist- and a movement towards a more introverted, and intrinsically personalized understanding of what morals mean in spite of the fact that “the normative force to which every member of society is exposed, in the form of obligations, codes of behavior, and other moral rules and guidelines, is disproportionally high” (Korfmacher 6).

Friedrich Nietzsche’s own skepticism symbolized the secular changes in contemporary Western civilization, in which he details mankind’s break away from faith into a new rule of chaos. In Book 5 of The Gay Science, Nietzsche establishes that “God is dead”, meaning that modern Europe has abandoned religion in favor of rationality and science (Nietzsche 279). From this death, the birth of a ‘new’ infinite blossoms in which the world is open to an unlimited amount of interpretations that do not rely on the solid foundations of faith in religion or science. However, in contrast to the other philosophers of his age such as Immanuel Kant and Georg Wilhelm Friedrich Hegel, Nietzsche deviates from the omniscient determinism of history towards a

This sculpture was given the title, “Dionysus,” and is dated at 50 – 150 A.D. During that period, the Roman Empire went through a civil war, multiple rebellions, a couple disastrous fires, the building of the Colosseum, the eruption of Mount Vesuvius, the peak of Roman military expansion and thirteen different Emperors. One of which started the Flavian Dynasty, which would bring stability to the empire that was crumbling because of financial strife. With all of these events happening, good and bad, it seems difficult to pin point the inspiration or message behind this sculpture. But if you break that period of time down into parts, it may be easier to get a feel for what the artist was feeling so strongly about, whether it was inspired by

Throughout his writings, Nietzsche aims to inform his readers that we as humans can only reach our potential by following our passions and ignoring the flawed ideals of the church. Under the doctrine of the church’s morality, innate passions of its followers must be abolished in order to become proper Christians. By destroying the inner passions of its followers, the church is doing a great disfavor by using morality to rule out nature from their lives.

Homer’s epic, The Iliad, highlights the influence and jurisdiction that beauty provides. The prizes and glory a man accumulates from war measure his power, while beauty measures a woman’s power. Since conquering a woman is the ultimate prize to a man, her beauty represents ultimate power. Though the beauty of mortal women has the power to turn men against each other, mortal women have no influence over this power and are instead objectified by men. Immortal women, however, have authority over their beauty and are able to control men with their power. Helen, on the other hand, though mortal, has the beauty of a goddess. Yet, Helen is bound by her fate to Paris, making her power obsolete. By presenting Helen’s hopeless power and supplying the reader with insight on her suffering through her thoughts, Helen is portrayed as a tragic hero.

The Apollonian and the Dionysian is a philosophical concept based on different mythologies, many Philosophers and figures have invoked this dichotomy in critical and creative works. Both are one of the important themes within Nietzsche’s first major work, The Birth of Tragedy and they are terms used to designate the two central principles in Greek culture.

1. Dionysus was the god of wine and festivity but is also considered a patreon of the arts.

“As soon as a religion comes to dominate it has as its opponents all those who would have been its first disciples.” Nietzsche was one of the first modern philosophers to rebel against rationalism and when World War I came about, the revolution against religion truly became a legitimate statement. Friedrich Nietzsche strongly believed that many of those that practiced religion were led to the acceptance of slave morality. Religion had always played a fundamental role in society as it sets strict boundaries and standards of what is morally correct and incorrect. However, Nietzsche claims that, “Human nature is always driven by “ ‘the will to power’ ”, but religion will tell one otherwise, saying that one should forbid their bad desires. In Nietzsche’s

The chosen art piece, from Roman origin, is titled “Dionysus” and portrayed Dionysus, the god of wine, with his follower Pan. This artwork is a great example of Greek art’s influence in Roman artwork. The main elements of Greek’s naturalistic art, specifically of High Classical period, are rendered beautifully in this piece combined with distinctive elements from verism, unique to Roman art. So, the idealism of Greek art and the individualism of Roman art come together to create an art piece that is divine, mythical, and yet very human and therefore, relatable.

In Nietzsche’s aphorisms 90-95 and 146-162 he attacks what he believes to be the fundamental basis of the “slave” morality prevalent in the Judeo-Christian tradition as well as other religions and societies. From the beginning, he distinguishes the two different types of moralities he believes to exist: the “master morality”, created by rulers of societies, and the “slave” morality, created by the lowest people in societies. The former stresses virtues of the strong and noble while looking down upon the weak and cowardly. This type of morality, however, is not as widespread as the “slave morality” that has been adopted by so many religions. Nietzsche looks through the psychology and logic of

In Twilight of the Idols Nietzsche emphasizes that the Christian Church is a false idol. He dares to say, “..God to be an enemy of life..” and, “Life ends where the ‘kingdom of God’ begins..” because he believes that Christian morality is against life itself (Idols, 23). The reason for this is because Nietzsche believes that, “to have to fight against the instincts- this is the formula for decadence: so long as the life is ascendant, happiness equals instinct” which simply means that if one goes against instincts, or an intuitive way of carrying ones life, then as a consequence it will lead to the degeneration of society and intellect while if life is on the rise, happiness must be equivalent to following ones’ instinct (Idols, 15). Because of his belief it is understood that Nietzsche wants one to embrace their instincts. Nietzsche states that a life in which

The guards’ ropes fell apart, their latches opened, and they realized that they could not imprison Dionysus and his followers. Dionysus was taken to Pentheus, and tried to explain his worship. Pentheus only listened to his own anger, and insulted Dionysus. “Dionysus gave up and left Pentheus to his doom. Pentheus pursued Dionysus followers up into the hills where they had gone after walking away from his prison. Many of the local women including Pentheus’ mother and sister had joined them there. Then Dionysus appeared to his followers in his most

The encounter of Dionysus, Xanthias, and Aiakos at the doorstep of Hades’ palace in Frog’s presents an episode of structural neutrality as well as confusion or loss of identity emphasized by the role reversals. Although role reversals may function as a humor device by virtue of absurdity and may be a characteristic of comedy, it may also be interpreted from multiple perspectives.

3). In his most basic claims, Nietzsche implicitly negates the possibility of a “disinterested” or “objective” truth. He would not urge so definitively for an affirmation of reality, if he held out for the possibility of fantasy or god. The ‘innocence of becoming’ is a clear example of how Nietzsche, for all intents and purposes, “debunk[‘s]” the relevance of claims made by traditional authorities. In essence, Nietzsche basically nullifies the relevance of societal hierarchy. Not only this, but the further claims made by such a society regarding morality and philosophical thinking, are seen to be – at best – gullible and naïve. The ‘innocence of becoming’ refers to even the lowest classes of society finding power in their status. In lieu of accepting that we are completely alone in the world, Nietzsche asserts that we have a constant need to blame others for our state. It is simply much easier to do than to accept that everything we do has no genuine or reaching consequences. While the ‘innocence of becoming’ is not necessarily an innocent process as those we choose to blame are usually blameless, it is fair to say that we are innocent of it; much like the ‘will to power’ it also works through self-deception. Evidently we are able to commit to life affirmation by essentially taking no responsibility for our weakness. Christianity itself is closely connected with the ‘becoming’ process as in its