those inside themselves, the man of genius lays them bare, people look and are overwhelmed.” [966W-{5/20/79}CD Vol. II, p. 311]
[967W-{6/79} On Poetry and Composition: PW Vol. VI, p. 140-141]
[P. 140] {anti-FEUER} {SCHOP} “To the sound of heroic songs the chorus of youths approached the mazes of the ‘imitative’ dance. We know the choral chants to the priestly ceremonies, the dithyrambic choral dances of the Dionysian rites. What [P. 141] there was inspiration of the blind seer, becomes here the intoxication of the open-eyed ecstatic, before whose reeling gaze the actuality of Semblance dissolves to godlike twilight. Was the ‘musician’ artist? I rather think he made all Art, and became its earliest lawgiver.
{FEUER} {anti-FEUER} {SCHOP} The shapes and deeds beheld by the blind poet-teller’s second sight could not be set before the mortal eye save through ecstatic palsy of its wonted faculty of seeing but the physical appearance: the movements of the represented god or hero must be governed by other laws than those of common daily need, by laws established on the rhythmic ordering of harmonious tones. The fashioning of the tragedy belonged no more in strictness to the poet, but to the lyrical musician: not one shape, one deed in all the tragedy, but what the godlike poet had beheld before, and ‘told’ to his Folk; merely the choregus led them now before the mortal eye of man itself, bewitching it by music’s magic to a clairvoyance like to that of the original ‘Finder.’ The lyric tragedian therefore was not Poet, but through mastery and employment of the highest art he materialised the world the poet had beheld, and set the Folk itself in his clairvoyant state. – Thus ‘musical’ art became the term for all the gifts of godlike vision, for every fashioning in illustration of that vision. It was the supreme ecstasy of the Hellenic spirit. What remained when it had sobered down, were nothing but the scraps of ‘Techne’ – no longer Art, but the arts … .” [967W-{6/79} On Poetry and Composition: PW Vol. VI, p. 140-141]
[968W-{6/22/79}CD Vol. II, p. 328]
[P. 328] “In the evening we come to talk about the death of Prince Napoleon, and R. again refers to the righteousness of history, which in this case has been directed against his mother. R. observes that she started the war with Germany … ; now, also for the sake of glory, she sends her son out on a sort of hunt against the Zulus! Fate takes a solemn view – Zulus are also human beings like ourselves, and he dies, not gloriously, but surprised, fleeing.” [968W-{6/22/79}CD Vol. II, p. 328]
[969W-{7/8/79} CD Vol. II, p. 337]
[P. 337] {FEUER} “… he goes on to describe an artist’s vision, how completely dissociated it is from personal experience, which only clouds it. He thinks that no artist ever describes what he is experiencing at the moment … – he sees all the possibilities contained in it.” [969W-{7/8/79} CD Vol. II, p. 337]
[970W-{7/13/79} CD Vol. II, p. 339]
[P. 339] {FEUER} “Then he reiterates his thought about ‘human make-believe, God as truth through compassion.’ He asks himself whether one should assume that Nature deliberately set out
