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The Demonic in the Self 77ing into the air, dancing. His very gestures express enchantment. Just asthe animals now talk, and the earth yields milk and honey, supernaturalsounds emanate from him, too: he feels himself a god, he himself nowwalks about enchanted, in ecstasy, like the gods he saw walking in hisdreams. He is no longer an artist, he has become a work of art […]. 102The inversion of the traditional dualism between the subject and objectsignals also other transgressive features, that Nietzsche is able to perceive intragedy and the daimonic. He pays special attention to the connection oftragedy to the satyric, and claims that “the satyr, the fictitious natural being,bears the same relation to the man of culture that Dionysian music bears tocivilization.” 103 Nietzsche’s aesthetic interest was directed towards the tensionbetween harmony and dissonance, the Apollonian and the Dionysian,but he emphasises the significance of the discordant, often ignored by classicalscholars. The principal target of Nietzsche’s attack was not the harmoniousApollonian, but what he called the “demon of Socrates” – the intellectualanimosity towards the mythical “truths.” The first version of the studywas titled “Socrates and Instinct” 104 (in 1870), and Nietzsche wrote thattragedy was destroyed by the conflict between the Dionysian spirit and theSocratic version of rationality.Dionysus had already been scared from the tragic stage, by a demonicpower speaking through Euripides. Even Euripides was, in a sense, only amask: the deity that spoke through him was neither Dionysus nor Apollo,but an altogether newborn demon [Dämon], called Socrates. 105Nietzsche’s theory is nowhere presented clearly and unambiguously,but he actually opposed the figure of Socrates on the grounds of a daimonicview of selfhood. As Plato writes in the Apology, Socrates was notorious forquestioning the wisdom of his contemporaries; when he examined the poets,for example, he concluded that “it was not wisdom that enabled them towrite their poetry, but a kind of instinct or inspiration, such as you find inseers and prophets who deliver all their sublime messages without knowingin the least what they mean.” 106 Socrates also spoke about his daimonion, theinner voice which only dissuaded and warned him from making mistakes;Nietzsche’s alternative figure to this “perfect non-mystic” was the satyr, anddaimonic selfhood. “The satyr, as the Dionysiac chorist, dwells in a realitysanctioned by myth and ritual,” Nietzsche writes. 107 Satyrs are creatures ofmyths, and, according to Nietzsche, myth is necessary for our existence:“The images of the myth have to be the unnoticed omnipresent demonicguardians, under whose care the young soul grows to maturity and whose102Ibid., 37 [§ I].103 Ibid., 59 [§ VII].104 Silk - Stern 1981, 43.105Nietzsche 1872/1967, 82 [§ XII].106 Plato 1954/1969, 51 [21b-22e].107Nietzsche 1872/1990, 50 [§ VII]. Here in Golffing’s translation.
78Demonic Texts and Textual Demons“The Transfiguration” by Raphael (Vatican Museums).signs help the man to interpret his life and struggles.” 108 There can be nosuch separation of the rational self from the “errors” of myths and instinctsas the Socratic scepticism and Platonic idealism seem to suggest: Nietzscheadopts the figure of satyr to point out the borderline character of selfhood.Half-divine, having also the animal half, this “daimon” of Nietzsche powerfullyillustrates those ambiguous aspects of subjectivity that are not in consciousness.Nietzsche’s aim was to consider aesthetics seriously – as the “trulymetaphysical activity,” he claimed in his original preface. 109 He criticisesSchopenhauer, whose metaphysics he otherwise endorses, as sticking withthe distinction between subjective and objective in the area of aesthetics;108 Nietzsche 1872/1967, 135 [§ XXIII]. (Trans. Kaufmann.)109Ibid., 31.
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TAMPERE STUDIES INLITERATURE AND TE
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Tampere Studies in Literature and T
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ments, and also such further lines
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IllustrationsCover: “Possessed Re
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The BeginningsAnd Jesus asked him,
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The Beginnings 3mons form an import
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The Beginnings 5negative, demonic a
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The Beginnings 7chapter four), but
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The Beginnings 11that is produced o
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The Beginnings 13The History of the
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The Beginnings 15emphasised that su
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1. The Ancestry of the DemonicÑH.
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BibliographyA note on this bibliogr
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Index2001: A Space Odyssey; 207abje
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