Apollonian, Dionysian. There are two conditions in which art manifests itself in man even as a force of nature, and disposes of him whether he consent or not: it may be as a constraint to visionary states, or it may be an orgiastic impulse. Both conditions are to be seen in normal life, but they are then somewhat weaker: in dreams and in moments of elation or intoxication.[9]
But the same contrast exists between the dream state and the state of intoxication; both of these states let loose all manner of artistic powers within us, but each unfetters powers of a different kind. Dreamland gives us the power of vision, of association, of poetry: intoxication gives us the power of grand attitudes, of passion, of song, and of dance.
[9] German: "Rausch."—There is no word in English for the German expression "Rausch." When Nietzsche uses it, he means a sort of blend of our two words: intoxication and elation.—Tr.
799.
Sexuality and voluptuousness belong to the Dionysiac intoxication: but neither of them is lacking in the Apollonian state. There is also a difference of tempo between the states.... The extreme peace of certain feelings of intoxication (or, more strictly, the slackening of the feeling of time, and the reduction of the feeling of space) is wont to reflect itself in the vision of the most restful attitudes and states of the soul. The classical style essentially represents repose, simplification, foreshortening, and concentration—the highest feeling of power is concentrated in the classical type. To react with difficulty: great consciousness: no feeling of strife.
800.
The feeling of intoxication is, as a matter of fact, equivalent to a sensation of surplus power: it is strongest in seasons of rut: new organs, new accomplishments, new colours, new forms. Embellishment is an outcome of increased power. Embellishment is merely an expression of a triumphant will, of an increased state of co-ordination, of a harmony of all the strong desires, of an infallible and perpendicular equilibrium. Logical and geometrical simplification is the result of an increase of power: conversely, the mere aspect of such a simplification increases the sense of power in the beholder.... The zenith of development: the grand style.
Ugliness signifies the decadence of a type: contradiction and faulty co-ordination among the inmost desires—this means a decline in the organising power, or, psychologically speaking, in the will. The condition of pleasure which is called intoxication is really an exalted feeling of power. ... Sensations of space and time are altered; inordinate distances are traversed by the eye, and only then become visible; the extension of the vision over greater masses and expanses; the refinement of the organ which apprehends the smallest and most elusive things; divination, the power of understanding at the slightest hint, at the smallest suggestion; intelligent sensitiveness; strength as a feeling of dominion in the muscles, as agility and love of movement, as dance, as levity and quick time; strength as the love of proving strength, as bravado, adventurousness, fearlessness, indifference in regard to life and death.... All these elated moments of life stimulate each other; the world of images and of imagination of the one suffices as a suggestion for the other: in this way states finally merge into each other, which might do better to keep apart, e.g. the feeling of religious intoxication and sexual irritability (two very profound feelings, always wonderfully co-ordinated. What is it that pleases almost all pious women, old or young? Answer: a saint with beautiful legs, still young, still innocent). Cruelty in tragedy and pity (likewise normally correlated). Spring-time, dancing, music, —all these things are but the display of one sex before the other,—as also that "infinite yearning of the heart" peculiar to Faust.