VOL. IV (XXI) 2009 - Departamentul de Filosofie si Stiinte ale ...

AHMED MIHAELA MERAL 6
observed the removal of the mimesis of the mask. The manifestation of the
mask represents the illusion, the only illusion capable to contain the truth.
The relation between master and disciple is described by Bertram appealing
to the symbolism of mask:
„The one that becomes himself master recognizes that the master,
especially through his wisdom and art, makes the mask suitable for him like
a beautiful privilege of the oldness. It doesn’t concern an oldness that wants
to be preserved for her sake, but which must and wants to resist in many
people. That is because only the mask has the capacity to give the
impression of truth. All that is life calls to life in mask only like a chimera.” 2
In The Birth of Tragedy the culture is a dynamic, never completely
finished, process, representing „a permanent replacing of deceiving
representations”. The desire of absolute of these representation, of these
values that aspire to continuity with any price, the desire of persistence of a
single mask represents the domination of the evil mask, represents the mask
that only hides. The evil mask appears in contrast with the mask that accepts
to be changed being consciously of its own illusory force.
George Bondor describes this uninterrupted game of masks, this
festival named by Nietzsche culture accenting the vulnerability of diverse
cultural paradigms:
„The masks of author don’t hide a last expression, an approach with
excellent underlined appearance. Behind them are just other masks, and all
send one to another, in a game lead by one or another. (…) All the
genealogic exercises, all the experiences at whom he invites us, stand for
the universal dance of masks, a game of the surface with itself in which the
pretended gravity, the interiority, the depths of all kind are proven to be
derived, second, deceiving. So culture, is not other thing than the walk of
these masks, of illusions, of a festival so putrid 3 , but hence dazzling of the
world” 4
These considerations are bound to underline the necessity of mask, in
this festival named culture; the mask is the inevitable tool of the performer.
The mask is necessary also like a protective mask, like a mask that hides the
vulnerability but also the aristocracy of the individual. Here stops the role of
the breaker of evil masks, because the respect for mask interferes. The
mask is the one that hides the character commanding, therefore, respect,
because what it offers UUdoesn’t represent the innate in the character but
the attempt to build a mask.
I consider the perspectivism in this context representing the necessity
of permanent conflict between masks. Therefore, the process of
2
Ibidem, page 149, my translation
3
the Italics are inserted by me
4
George Bondor, Dansul măştilor. Nietzsche şi filosofia interpretării, Editura
Humanitas, Bucureşti, 2008, p. 21