This is the first comparative study of Nietzsche's Birth of Tragedy and Schiller's Aesthetic Letters, two crucial texts in aesthetic and cultural theory. Schiller: Johann Christoph Friedrich von Schiller (1759-1805), German poet, playwright, and philosopher; Shelley: Percy Bysshe Shelley (1792-1822), a major English poet in the Romantic era; Byron: George Gordon Byron (Lord Byron) (1788-1824), English poet in the Romantic era, a leading international presence in European Romanticism. In light of this tension, it is necessary to reconsider both Nietzsche’s conception of artistic falsity and his reasons for commending it. The ascetic, he says, displays “a revulsion at that essence, whose expression is his own appearance, at the will to life, at the kernel and essence of that world that he has recognized as wretched” (1972, 2:449, emphasis added). This is the reason why Nietzsche claims that it is only “the good will to semblance” that allows us “to remain joyous in our wisdom” (GS 107). And, indeed, Nietzsche suggests on a number of occasions that art ought to present us with unvarnished images of reality as it actually is (ASC 4; GS 370; TI “Skirmishes,” 24). Schiller’s adherence to the imitative conception of art allows him to infer immediately that such judgments concern the work of art qua semblance; they involve explicit pleasure in the fact that the work of art is an illusion. But this is precisely to say that, in such a case, the ideal of amor fati cannot be satisfied, and thus that trying to satisfy it will terminate in despair. subscribe Note that a work can be mimetically false without being representationally false. This reveals that our pleasure in such illusions is independent of whether they deceive us. Note further that this fact cannot be concealed, given the fact that the will to truth is committed to the untrammeled acquisition of knowledge—indeed, it is the will to truth itself that has revealed this fact (GS 107). Carl Jung, having benefited from the insight of the two previously mentioned thinkers’ typological works, included chapters in recognition and criticism of their types in his main typological work, Psychologische Typen (1921). the definition in (Kirchner 1897): “conscience … is the consciousness [Bewusstsein] of our relation to God” (154). These two conclusions reveal that Nietzsche’s valorization of artistic falsity is not rooted in the claim that art produces deceptive yet ameliorative distortions, and so is compatible with his demand that such distortion play no role in genuine affirmation. He was named after king Frederick th… Now, however, our honesty has a counterforce, which helps us avoid such consequences: art, in the sense of the good will to semblance [den guten Willen zum Scheine]… . Copy this link, or click below to email it to a friend. Schiller grew up in a very religious family and spent much of his youth studying the Bible, which would later influence his writing for the theatre. The Development of German Aesthetic Theory From Kant to Schiller a Philosophical Commentary on Schiller's "Aesthetic Education of Man". First, Nietzsche does not hold that art is false because it distorts or “beautifies” its objects; it is false because it produces mere imitations or semblances of what it depicts. Illusion is a necessary condition of life. But this suggestion, when examined carefully, still fails to resolve the dilemma. Pure consideration without desire is only possible with respect to the semblance that is recognized as semblance … and to this extent does not stir our will at all. Because much of Nietzsche’s philosophical work has to do with the creation of self—or to put it in Nietzschean terms, “becoming what one is”— some scholars exhibit uncommon interest in the biographical anecdotes of Nietzsche’s life. If something is a necessary condition of life, then the ascetic ideal condemns that thing unconditionally. This latter point is explicit in the idea that “the lie sanctifies itself” in art. Instead, “the vulgar charm of illusion [Illusion] should give way to a higher charm,” and he insists that the Greek tragedians explicitly contrived to avoid “overpowering the spectator through affects” (GS 80). Schiller’s theory of aesthetic semblance had a significant impact on a number of Nietzsche’s most influential contemporaries (e.g., Hartmann [1879, 158, 112; 1885–1900, xiii, 1–38]; Lange [1887, 2:538–62]; Vaihinger [1921, 177–78]). Instead, imitations are false in the way a friend or documents can be “false”—they seem to be something they are not, they are fake rather than real, inauthentic rather than genuine. For P2 garners support from texts such as GS 107, in which Nietzsche claims that “delusion and error” are conditions of cognition, and so may seem to commit him to the notorious ‘falsification thesis’.31 A sustained discussion of these complex issues is beyond the scope of the present paper. This work is written by a US Government employee and is in the public domain in the US. cultural crisis, In this book, we shall argue that the missing perspective, to use one of Nietzsche’s favorite terms, is that of Weimar Classicism. Friedrich Schiller’s quotes about willing “Mankind is made great or little by its own will.” by Friedrich Schiller Design it! Nietzsche’s opposition to the putative naturalism of Euripidean drama is intimately connected with the claim that it lacks “the affectless coolness of the true actor, who … is entirely semblance and pleasure in semblance,” instead seeking to produce “fiery affects” (BT 12). In particular, the proposal is that art “falsify” only those aspects of things that cannot be changed or removed, and with which we otherwise could not live (2007, 130–33). Such ‘evaluative reorientation,’ I argue, is not merely consistent with, but integral to, achieving Nietzsche’s ideal of honesty. Nietzschean Concept of aesthetic semblance developed in earlier works Government employee and in... October 15, 1844, in Röcken ( near Leipzig ), where his was... ( e.g., BGE 33 ; GM III.6 ) and action prominent owner of certain! The Goethe-Schiller Archives were managed disgust and suicide as its consequences ( 2013, 421 ) Nietzsche! That will holds sway, the eldest instead presenting aesthetic appreciation concerns the purely formal features a! Of a single chapter of a work can be found in Nehamas ( 1982, )... In citations to the ascetic ideal because it places value on semblance, while for Schiller a... 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