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page061from Building IdeasThe target of Geothe’s poem is the reductivist tendency of scientific fact, the loss of the qualitative grasp of things that the work of art is able to provide. We “murder to dissect”, as Wordsworth wrote summing up the prevailing outlook, where the process of anatomical dissection had become the paradigm for all forms of knowledge (see Figure 2). By contrast, the nineteenth century saw a series of reactions to this position, where philosophers attempted to support the claims for the contribution of the creative artist. Arthur Schopenhauer, responding to Hegel, proposed that the world was indeed driven by an energizing force – where this differed from Hegel’s “spirit” was in the manner of its highest expression, which according to Schopenhauer was neither philosophy nor science. He in fact saw the work of art as the hightest expression of human consciousness, being more universal, and hence more powerful, than the fragmentary “dissections” of rational concepts. A fellow German, Friedrich Nietzsche, writing in the second half of the nineteenth century, produced a similarly powerful critique of the dominance of logic and rationality. In his later work he was to call for a “revaluation of all values”, as they had been handed down by tradition within the Western intellectual canon. The basis for this call came from his suspicion of the dominance of science, which he regarded as a form of illusion, as he did both philosophy and art.
In The Birth of Tragedy (1872), Nietzsche made a study of Greek theatre and its origins in the “spirit of music”. In the period prior to the systematic philosophy which began with Socrates in the pages of Plato, he detected a high point of cultural expression in the manner that Hegel had done before him. In the best of Greek tragic drama he sensed the resolution of contrary forces – the rational and emotional tendencies symbolized by the deities Apollo and Dionysus. What happens with the rise of philosophy is the separation of these two traditions, as the Apollonian tendency dominates, with its emphasis on intelligibility: Socrates is the archetype of the theoretical optimist who, in his faith in the explicability of the nature of things, attributes the power of a panacea to knowledge and science, and sees error as the embodiment of evil.13 13 Friedrich Nietzsche, The Birth of Tragedy, translated by Shaun Whiteside, Penguin Books, London, 1993, p 74.
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