Donna Tartt’s The Secret History Essay

Nietzsches philosophy has made for itself a unique cornerst atomic number 53 in the sense that it is non involved with pedantic aspects of ethics and other branches of epistemology. This originative German thinker moves swiftly on majority of philosophical coachs of thought. His exploration of the classical elements in literature, as found in the ancient authoritative society, is manifested beautifully in Birth of calamity. The longstanding debate amidst the subjectiveness and the objectivity of art is addressed to critically by Nietzsche in this book.The staple fibre idea he propagates in Birth of Tragedy involves reality with forms and the resembling without, and the comparison therein. Known as the Dionysian and the Apollonian, this classical Greek simulation sums up hu creations perpetual struggle to arrive at a state of equilibrium. Nietzsche argues that in our effort to pursue a meaningful existence, we need to discard the preposterous viewpoints of the Apollonian and have to embrace the Dionysian. Similar thoughts are expressed in Hermann Hesses illustrious work Steppenwolf which thematically deals with the Nietzschean Apollonian versus the Dionysian.The wiz Haller is psycho analytically preoccupied with devil contrasting facets of personality the sensible and logical faculty of mind as opposed to the passionate and appetitive. Nietzsche assigns the terms Apollonian and Dionysian to these dickens primal populationviews of Greek cataclysm. This essay is going to drag a comparative study between the Apollonian and the Dionysian with reference to modern literature. To make the comparison, we have chosen Donna Tartts The secret History, one of the originative post-modern fictions from the fatalistic school of literary works.In many ways, this novel echoes the Athenian apprehension of fate as being an overpowering element responsible for alter the desirable course of events. Idiosyncrasy is the detect conceptual component in Nietzsches ethical doctrines. Time and again, he interrogates the acceptability of the prevalent trends that adumbrate the social norms and fashions. What is far less understood in a generic endeavor manifests itself intelligibly when associated with a context. Nietzsche does not present us with a systematic theory of knowledge.Any attempt to construct one on the basis of his scattered remarks, aphorisms, poetry, and myth would be a difficult, if not impossible, task. It would, supra all, be contrary to the intention of his thought and lead to a aberrancy of his views. Nietzsche, as Walter Kaufmann rightly asserts, is not a system builder, besides a problem thinker. (Pfeffer, p. 95-96) Now in the context of the ancient Greek anthology, some(prenominal) the Apollonian and the Dionysian worldviews were present, resulting in a clash of ideologies. Nietzsche borrows these dickens terms from the two Greek gods Apollo and Dionysus.The former symbolically represents clarity of form and inter pretation, and wherefore is connotative of a linear human personality. Dionysus, on the other hand, stands for frolic and extravagance, hinting at the presence of multiple personalities within a single entity. On one hand he is the god of chaos and unrestrained emotions. merely at the same time, he is also the divine countenance of richness and productivity. and so the Dionysian school of thought deals with formlessness of expression which is closer to art perceived from an unbiased and liberal standpoint.Greek tragedy in its heydays attained sublimity when the two distinctive art forms merged with one another to form a seamless continuum. The beginning of Athenian tragedy was hinged on the Dionysian customs before the other one sprang up, neutralizing the discordant elements. In a way, liquid state of the Dionysian elements renderk platitude through the Apollonian directness. It was a matter of keen curiosity for Nietzsche that such contrasting ideologies should ever be abl e to delineate tragedy (Pfeffer, p. 32).The flowing disposition of Greek opera is worth mentioning in the context of the Dionysian. Music to a great extent is governed by the independence of form and expression. Normative aspects of the Apollonian do not comply with the ecstatic jubilance conveyed through music. It evokes directly to mans impulsive and spontaneous nature and hence, is not limited to the external forces of reason and dependence. The ingrained harmony in music is therefore counterbalanced by the Apollonian concept of plastic humanities and epic poetry.What makes Greek tragedy a culmination of the Apollonian and the Dionysian is that the poetical genre characterized by reasoning can actually strike a harmonious chord and reach a level of elevated rapture as well as greater profundity. So the expansive verticalness of this blending highlights Nietzsches exemplary vision of thought and his engineering electrical capacity to induct precision qualities into the ph ilosophy of literature. His unique interpretation of art and tragedy is not based on the received techniques.Rather it dissociates itself from the content and creates an atm of universality which can be aptly applied to any era of literary practices After recognizing this immense antithesis, I felt a productive need to explore the nature of Greek tragedy which is the profoundest manifestation of the classical genius only now did I seem to possess the key to probe deeply into the essential problems of tragedy that were no longer derived from conventional aesthetics. (Pfeffer, p. 32) What is stated in the previous part of discussion is affirmed moreover by Ansell-Pearson in A companion to Nietzsche.In Birth of Tragedy, he develops a style which is not only mechanical in discourse, but also highly sporadic in terms of articulating the individualistic notions so distinctive of Nietzsche (Ansell-Pearson, p. 58). The metaphysical utterance of Nietzsche deviates from what the contemp orary philosophers such as Schopenhauer propagated in their doctrines. Many Greek authors, Euripides for in view, viewed the cosmos as a continuous passage of creation primarily in accordance with the Apollonian traits.The Dionysian break subdue of form is not associated with the fictional content of human existence. The antithetical elements infixed in any human being are overlooked by Euripides in Bacchae. Claims made by Kant and Goethe that form and matter are irreversible in nature are given a refreshing unsanded direction by Nietzsche in Birth of Tragedy. He establishes a gene linkage between what Euripides calls organic fiction and plurality of human nature. He does not try to draw any gracious of imposed distinction between the two incongruous constructs.Euripides Bacchae does not fit into Nietzsches delineation of metaphysics. If we assay to look into Bacchae in the light of the Apollonian and the Dionysian derivatives, we would be able to see clearly into the dubiousn ess of the latter one. Chronicling the historical event of Dionysus arrival to the purplish court of Greece, Euripides presents a controversial topic involving mans stance in relation with god. Even though this drama is written to question many of the old systems of belief, what remains extremely perplexing is the playwrights ultimate focus.Euripides questions the vague borderline between intellect and feeling, reality and vision, and logic and craziness. But at the same time, he refrains from arriving at any determinate outcome that would give a clue to the reason behind mankinds endless misery. What Donna Tartt portrays in The Secret History resembles the thematic literary genealogy of Bacchae. The idea which is propagated through this novel involves the secularism of spirit as the ultimate winner in modern world. The sheer fatality of occurrences at ergodic does not leave a chance of revisiting the past to find credible explanations.In this sense, this novel is comparable wit h Birth of Tragedy and its promotion of the Dionysian worldview. This novel can be seen as a modernistic attempt to recreate the primitive world of the Dionysian rites and rituals. On the surface it is solely a murder mystery which does not deserve any deeper analysis. But Tartt invests in this apparent murder mystery a profound mind of the Apollonian versus the Dionysian, and the oppositeness between reality and imagination, between social impositions and the human inclination for liberation.Aristotles viewpoint on the Catharsis is also dealt with effectively, creating an opening for see life outside the beauty of literary premises. A deeper understanding of The Secret History is bound to reveal the classical and literary elements explored in the novel. The etymology of this vocalism work is closely analogous to both Nietzsches Birth of Tragedy and Euripides Bacchae. It is indeed fascinating to find a connective bonding with two introductory works dissimilar in nature.First and foremost, Nietzsches confrontation with disillusionment in the context of Athenian literature dominated by the Apollonian worldview is stripped off in The Secret History. Events occurring within a timeline which is non-linear in nature do not imply Schopenhauers doctrine of the world as maya (Segal, p. 361). The gradual disorientation of the lives of six students predates Nietzsches preoccupation with say the question involving human individualism and its manifold expressions.The Secret History propels the earlier school of thought introduced by Schopenhauer Although Nietzsche frequently speaks of illusion in inter-group communication with Dionysus and tragedy, he has in mind Schopenhauers notions of the world as maya, the self-deceit with which human beings (with the exception of the Nietzschean philosopher) mask the emptiness and meaninglessness of their lives, and hardly the kind of theatrical, and metatheatrical, illusion of my chapter on metatragedy. (Segal, p. 361)It is clear from the three readings that The Secret History along with Steppenwolf is ideologically in proximity to Nietzsches Birth of Tragedy. What emerges out of Euripides Bacchae is a different doctrinal claim which does not provide any critical ground for either the Apollonian or the Dionysian worldviews. Euripides leaves it ambiguous as to which school of thought should the literary definition of tragedy comply with. It is rather a mixture of the Dionysian revelry associated with choir singing and the Apollonian poetry.However, the drama does not provide too much room for calculating the extent of each, therefore making the task of classification immensely difficult and problematic. References Pfeffer, R. (1972). Nietzsche disciple of Dionysus. Lewisburg University of Bucknell. Segal, C. (1997). Dionysiac poetics and Euripides Bacchae. Princeton Princeton University Press. Ansell-Pearson, K. (2006). A compilation to Nietzsche. Hoboken Wiley-Blackwell.