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In his book Twilight of the Idols, Nietzsche wrote: “Herewith I again stand on the soil out of which my intention, my ability grows – I, the last disciple of the philosopher Dionysus.” (Twilight of the Idols)For the entirety of his writing career, Nietzsche was heavily influenced by the ancient Greek god Dionysus – the “god of many forms” and inexpressible depths. Describing the multifaceted nature of Dionysus, Walter Otto wrote: “All of the antiquity extolled Dionysus as the God who gave man wine. However, he was known also as the raving god whose presence makes a man mad and incites him to savagery and even to lust for blood. He was the confidant and companion of the spirits of the dead…The flowers of spring bore witness to him, too. The ivy, the pine, the fig tree were dear to him. Yet far above all of these blessings in the natural world of vegetation stood the gift of the vine…
尼采在《偶像的黄昏》一书中写道
我，这个哲学家狄俄尼索斯最后的信徒--我，这个永恒轮回的老师….
在他的整个写作生涯中，尼采深受古希腊神狄俄尼索斯 - “多种形式的神”和无法形容的深度--的影响
沃尔特·奥托在书中描述了酒神狄俄尼索斯的多面性
所有的古代人都颂扬狄俄尼索斯，他是赐酒给人类的神。
然而，他也被认为是一个疯狂的神，他的存在使人疯狂，并煽动人的野蛮本性，甚至对血的欲望。
他是死者灵魂的知己和伴侣......
春天的花朵也向他证明了这一点。
常春藤、松树、无花果树都是他所喜爱的。
然而，在自然界所有这些祝福中，最重要的是葡萄树的恩赐
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Dionysus was the god of the most blessed ecstasy and the most enraptured love. But he was also the persecuted god, the suffering and dying god, and all whom he loved, all who attended him, had to share his tragic fate.”The many myths and cults which surrounded Dionysus exerted a great influence on Ancient Greek society, and in them, Nietzsche perceived something he sensed as lacking in the modern world – a celebration of what he called a “tragic disposition”. Nietzsche stressed the importance of living with a tragic awareness of life and asserted that only through the cultivation of such a state could genuine growth, creativity, greatness, and the capacity to truly affirm life, be attained.
酒神狄俄尼索斯是最幸福、最狂喜的神。
但他也是受迫害的神，受苦受难的神，垂死的神，所有他爱的人，所有侍奉他的人，都不得不与他同甘共苦。
围绕着酒神的许多神话和祭祀仪式对古希腊社会产生了巨大的影响
在这些作品中，尼采发现了一些他认为在现代世界中缺少的东西，他称之为悲剧气质的庆祝。
尼采强调带着悲剧意识生活的重要性
并断言，只有通过这种状态的培养，才能获得真正的成长、创造力、伟大和真正肯定生命的能力。
“There is only one hope and one guarantee for the future of that which is human; it lies in this, that the tragic disposition shall not perish.” (Nietzsche)
人类的未来只有一个希望和一个保证;它就在于此，即悲惨的性情不应当消亡。
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Drawing from Walter Otto’s astounding book, Dionysus: Myth and Cult, as well as from Nietzsche’s philosophical corpus, in this video we will investigate the nature of Dionysus through the various myths and cults which surrounded this god of the ancient world. In the process, we’ll decipher why Nietzsche was consistently enraptured with the figure of Dionysus, and illuminate his ideas on the nature of tragedy and its connection to human greatness and the affirmation of life.“An intoxicated god”, Walter Otto wrote of Dionysus, “a mad god! Truly an idea which demands our deepest thought.” (Walter Otto, Dionysus: Myth and Cult)In contemplating the meaning and significance of Dionysus, the most appropriate place to start is the myth of his birth.
取自沃尔特奥托的杰作《酒神:神话和祭祀仪式》，以及尼采的哲学语料库
在这段视频中，我们将通过围绕这位古代神的各种神话和祭祀仪式来研究酒神狄俄尼索斯的本性。
在此过程中，我们将解读尼采为何始终痴迷于酒神的形象，并阐明他对悲剧的本质及其与人类伟大的联系和对生命的肯定的观点。
沃尔特·奥托笔下的酒神狄俄尼索斯是一个疯狂的神!一个真正需要我们深思的想法。
在思考酒神狄俄尼索斯的意义和重要性时，最恰当的起点是他出生时的神话。
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Dionysus was conceived by a mortal woman, Semele, and an immortal god, Zeus. While still in the womb of his mother she was destroyed by a torrent of lightning borne from Zeus. In danger of perishing with his mother, Zeus took the unborn Dionysus from the flames which engulfed his mother, and sewed Dionysus onto his thigh; caring for him until he was developed and healthy enough to set forth in the world.A child of both the mortal and divine realm, born first from a mortal woman and then an immortal god, Dionysus was referred to in the ancient world as “the twice-born one”; a god of dual nature and paradox, whose essence from the very start differentiated him from other gods as especially enigmatic.The suffering and death which characterized the myth of the birth of Dionysus prefigured not only his fate, bestowing upon him the epithet the “suffering and dying god”, but the fate of all those who cared for or took an interest in him. Tragedy or madness befell them all. His mother’s sister, Ino, for example, who took it upon herself to care for the newborn, and motherless, Dionysus, died in a fit of madness by plunging herself into the sea with her own infant son in her arms.
狄俄尼索斯的母亲是凡人塞墨勒和不朽的宙斯。
当她还在他母亲的子宫里的时候，母亲就被宙斯带来的闪电洪流摧毁了。
在与母亲同亡的危险中，宙斯从吞没他母亲的火焰中取出尚未出生的狄俄尼索斯，把他缝在大腿上;照顾他，直到他长大成人，身体健康，可以去闯世界为止。
酒神狄俄尼索斯是凡人和神界的孩子，先是从一个凡人的女人出生，然后成为一位不朽的神
他是一个双重性和矛盾性的神，他的本质从一开始就把他和其他神区分开来，特别神秘。
酒神狄俄尼索斯诞生神话中所描述的痛苦和死亡不仅预示了他的命运，赋予他痛苦和垂死之神的称号，而且也预示了所有关心他或对他感兴趣的人的命运。
悲剧或疯狂必降临在他们身上。
例如，他母亲的妹妹伊诺就主动承担起照顾这位失去母亲的狄俄尼索斯新生儿的责任，而她在一阵疯狂中死去，将自己的婴儿抱在怀里，一头扎进了大海身亡。
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In all the myths, whenever Dionysus appears, he comes violently and in an alarming manner. His presence awakens a sense of urgency, ecstasy, and terror in the hearts of all within his vicinity. The urgency his presence evokes is due to the inexpressible and agonizing secretive nature of his being, of the fact that he symbolizes “the eternal enigmas of duality and paradox”(Walter Otto, Dionysus: Myth and Cult). For what can one do when Dionysus arrives, and one is confronted with a stark awareness of the perplexing nature of reality, but fall back in euphoria or else lose touch in a transitory insanity.“The final secrets of existence and non-existence transfix mankind with monstrous eyes…This spirit of duality which distinguishes Dionysus…is the source of the fascination and the confusion which everything that is Dionysiac evokes, for it is the spirit of a wild being. His coming brings madness.”The madness which his arrival inspires can be fathomed most clearly in the myths of the nymphs and maenads; groups of women who cared for and nurtured the young Dionysus, and who, when he matured into an adult, were possessed by his wild spirit and driven into the mountains, where they nursed the young of wild animals, or else tore them to pieces and devoured their raw flesh.
在所有的神话中，每当狄俄尼索斯出现时，他总是以一种令人惊恐的、可怕的形式来临。
他的出现唤醒了周围所有人心中的紧迫感、狂喜和恐惧。
他的存在所唤起的紧迫性是由于他的存在是无法表达和痛苦的秘密性质，他象征着永恒的谜的二元性和悖论
当狄俄尼索斯到来时，人们可以做些什么，而一个人面对现实中令人困惑的本质的严峻意识，但又会在兴奋中退缩，或者在短暂的精神错乱中失去联系。
存在与不存在的终极秘密，透过他那一双畸形的眼睛震惊人类
这种区分酒神的二元精神是酒神的魅力和困惑的源泉，而酒神的一切都唤起了这种困惑
因为它是狂野存在的精神。他的到来带来了疯狂。
他的到来所引发的疯狂可以在仙女和仙女们的神话中得到最清晰的理解
一群女人照顾和养育了年轻的狄俄尼索斯，当他成熟成人时，被他的野性精神所占据并被赶入山区，
她们在那里喂养野兽的幼崽，或者把它们撕成碎片，吃掉它们的生肉。
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“The god who sends the mind reeling, the god who appears to mankind in the most urgent immediacy is welcomed and feted by the women in an absolute ecstasy and excess of rapture. They respond to his coming with the behavior of the insane. The myth tells again and again how his fury ripped them loose from their peaceful domesticity, from the humdrum orderly activities of their daily lives for the purpose of making them into dancers in the wilderness and the loneliness of the mountains, where they find him and rage through the night as members of his revel rout.” The madness of the maenads was not only depicted in bloodthirsty pandemonium, where they devoured the raw flesh of wild animals, and in some myths, the flesh of their own children, but also in paralysis and deathly silence.“Madness dwells in the surge of clanging, shrieking, and pealing sounds; it dwells also in silence. The women who follow Dionysus get their name, maenads, from this madness. Possessed by it, they rush off, whirl madly in circles, or stand still, as if turned into stone.” (Walter Otto, Dionysus: Myth and Cult)The madness of the maenads is derived from the madness of Dionysus.
这位使人心慌意乱的神，这位以最紧急的直接方式出现在人类面前的神，受到了妇女们的欢迎和款待，使她们欣喜若狂。
她们以疯狂的行为来回应狄俄尼索斯的到来。
这个神话一遍又一遍地讲述着他的愤怒是如何把他们从平静的家庭生活中，从他们日常生活中单调有序的活动中解放出来，把他们变成荒野里的舞者，以及山中的孤独者
在那里，他们找到了狄俄尼索斯，作为他狂欢溃败的成员，彻夜狂怒。
玛纳德人的疯狂不仅表现在嗜血的混乱中，他们吞噬野兽的生肉，在一些神话中，他们吞噬自己孩子的肉，还表现在瘫痪和死寂中。
疯狂存在于铿锵、尖叫和号角声的汹涌之中;它也寄居在寂静中。
追随狄俄尼索斯的女人，她们的名字，玛纳德，就是从这种疯狂中得来的。
她们被狄俄尼索斯迷住了，有的跑开了，有的疯狂地打转，有的一动不动地站着，好像变成了石头。
玛纳德人的疯狂源自狄俄尼索斯的疯狂。
“The bloodthirstiness of the maenads is the bloodthirstiness of the god himself.”(Walter Otto, Dionysus: Myth and Cult)
玛纳德人的嗜血是神自己的嗜血本性。
As a child, according to the 2nd century Greco Roman poet Oppian, Dionysus delighted in tearing kids into pieces and bringing them back to life again. He was called, among many other names, “the raging one”, “the mad one”, and “the eater of raw flesh”.But to focus too heavily on the bloodthirsty madness of Dionysus and his maenads would be to distort his image. For the madness which inheres in his being and which overtakes all those he comes in contact with, is a double sided madness – capable of the most appalling and dreadful acts, but also of the most fertile, life-enhancing, and creative. The madness which afflicts Dionysus and all those who follow him, is a divine madness.“The madness which is called Dionysus is no sickness, no debility in life, but a companion of life at its healthiest. It is the tumult which erupts from its innermost recesses when they mature and force their way to the surface. It is the madness inherent in the womb of the mother. This attends all moments of creation, constantly changes ordered existence into chaos, and ushers in primal salvation and primal pain—and in both, the primal wildness of being.” (Walter Otto, Dionysus: Myth and Cult)
根据公元2世纪希腊罗马诗人奥庇安的记载，当狄俄尼索斯还是个孩子的时候就喜欢把孩子撕成碎片，然后把他们带回人间。
在众多的名字中，他被称为“暴怒者”、“疯子”、“生肉食者”。
但如果过于关注酒神狄俄尼索斯和他的女祭司们嗜血的疯狂行为，就会扭曲他的形象。
因为，他内在的、超越他所接触到的一切的疯狂，是一种双面的疯狂，它能做出最可怕、最可怕的行为，但也能产生最丰富、最能提高生活质量和最富创造力的行为。
酒神狄俄尼索斯和所有跟随他的人所遭受的疯狂，是一种神圣的疯狂。
酒神狄俄尼索斯的疯狂不是疾病，不是虚弱，而是生命中最健康的伴侣。
它是一种骚动，当它成熟时，从它的最深处爆发出来，迫使它浮出水面。
这是母亲子宫里所固有的疯狂。
这伴随着所有的创造时刻，不断地将有序的存在变成混乱，并带来原始的救赎和原始的痛苦，以及两者之中的原始野性。
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When life begins to stagnate and decay, when one finds oneself in chains, self-imposed or otherwise, when society becomes increasingly repressive and antithetical to the individual’s ability to flourish, Dionysus arrives to break the chains, refresh and replenish the life that was in danger of dying. In the Bacchae of Euripides, after being thrown in prison by the king, the maenads suddenly find their chains mysteriously absent, and witness the prison doors which surround them open of their own accord. In myths Dionysus frequently plays the role of “the liberator”, another of the many titles bestowed on him by the Ancient Greeks.The liberating spirit of Dionysus is embodied in his role as the god of wine, which has the power to animate, arouse, and inspire. It is said that in public festivals which paid homage to Dionysus, streams of wine flowed spontaneously, and grape vines blossomed and ripened in a single day. But, like all aspects which inhere in the figure of Dionysus, wine too has a dual nature: it can enchant, but excessive use can also lead to inebriated destruction and ruin.If the “god of many forms” can be said to have a basic nature and essence, it is this: that paradox and duality are embodied in his being. “The fullness of life and the violence of death” are one and the same, undifferentiated, within him.
当生活开始停滞和衰退，当一个人发现自己被束缚，自我强加或其他，当社会变得越来越压抑，与个人繁荣的能力背道而驰
酒神狄俄尼索斯来到这里，要打破锁链，让濒临死亡的生命重新焕发生机。
在《欧里庇德斯的酒神录》中，在被国王关进监牢之后，曼纳德夫妇突然发现他们的锁链神秘地消失了，他们亲眼目睹了监狱的大门自动打开了。
在神话中，酒神狄俄尼索斯经常扮演解放者的角色，这是古希腊人赋予他的众多头衔之一。
酒神狄俄尼索斯的解放精神体现在他作为酒神的角色上，酒神具有激励、唤起人的力量。
据说，在向酒神狄俄尼索斯致敬的公共节日里，一串串的葡萄如酒般自发地流淌着，葡萄藤在一天之内就开了花，成熟了。
但是，就像酒神狄俄尼索斯形象中的所有方面一样，酒也具有双重性质:它可以使人着迷，但过度使用也会导致醉酒的破坏和毁灭。
如果说许多形式的上帝具有一个基本的本性和本质，那就是:矛盾和二元性体现在他的存在之中。
在他里面，生命的丰满和死亡的暴力是同一的，没有区别的。
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Dionysus is the god of tragic contrast. In the words of Otto:“It is true that the worlds of the other gods are not without paradox. But none of these worlds is as disrupted by it as the world of Dionysus. He, the nurturer and the god of rapture; he, the god who is forever praised as the giver of wine which removes all sorrow and care; He, the nurturer and the god of rapture; he, the god who is forever praised as the giver of wine which removes all sorrow and care; No single Greek god even approaches Dionysus in the horror of his epithets, which bear witness to a savagery that is absolutely without mercy. No single Greek god even approaches Dionysus in the horror of his epithets, which bear witness to a savagery that is absolutely without mercy. He is called the “render of men”, “the eater of raw flesh”, “who delights in the sword and bloodshed”. Correspondingly we hear not only of human sacrifice in his cult but also of the ghastly ritual in which a man is torn to pieces.”
狄俄尼索斯是悲剧对比之神。用奥托的话来说
的确，其他神的世界并非没有矛盾。
但没有一个世界像酒神狄俄尼索斯的世界那样，是被其破坏的。
他，是养育者和狂喜之神;他是永远被赞美的神，是赐酒给人的神，能除去人一切的忧愁和忧虑的神
他，是拯救者和治疗者，“凡人的喜悦”，“许多欢乐之神”，舞者和欣喜若狂的爱人，“富有的人”，“恩人” - 这位神是所有神中最令人愉快的，同时也是众神中最可怕的。
没有一个希腊的神在他绰号的恐怖中敢于接近狄俄尼索斯，这证明了一种绝对无情的野蛮。
事实上，人们必须唤起对永恒黑暗的巨大恐惧的记忆，才能找到与之相媲美的东西。
他被称为“享有进贡者”，“食生肉者”，那爱刀剑和流血的神。
相应地，我们不仅在他的祭礼中听到活人献祭，而且还听说过一个人被撕成碎片的可怕仪式。
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To understand the significance of Dionysus in the modern day, both Walter Otto and Nietzsche thought we must seek out the worldview which lay behind the myths and cults surrounding the god.“The visage of every true god is the visage of a world. There can be a god who is mad only if there is a mad world which reveals itself through him. Where is this world? Can we still find it? Can we appreciate its nature?” The vision of the cosmos Nietzsche perceived as revealing itself through Dionysus was a tragic worldview he believed capable of restoring the dignity and capacity for heroism which the modern world has largely lost.The vision of the cosmos Nietzsche perceived as revealing itself through Dionysus was a tragic worldview he believed capable of restoring the dignity and capacity for heroism which the modern world has largely lost.The vision of the cosmos Nietzsche perceived as revealing itself through Dionysus was a tragic worldview he believed capable of restoring the dignity and capacity for heroism which the modern world has largely lost.
为了理解酒神在现代的意义，沃尔特·奥托和尼采都认为，我们必须寻找隐藏在围绕神的神话和祭祀仪式背后的世界观。
每一位真神的面貌都是一个世界的面貌。
只有在一个疯狂的世界通过他显现出来的时候，才会有一个疯狂的神。
这个世界在哪里？我们还能找到它吗？我们还能欣赏到它的本质吗？“
尼采认为通过酒神展现自己的宇宙观是一种悲剧性的世界观，他相信这种世界观能够恢复现代世界已经失去的尊严和英雄主义的能力。
这种酒神悲剧世界观的核心是赫拉克利特的一段话中所包含的一项原则:任何事物都有其内在的对立面。
在狄俄尼索斯的神话中，疯狂、毁灭和死亡笼罩着他所接触的所有人，同样，治愈、解脱、幸福和消除所有悲伤和忧虑的可能性也笼罩着他。
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Dionysus is “the great ambivalent one” who is both “the divine archetype of all triumphant heroes” and simultaneously the “suffering and dying god”. The god of tragic contrast is symbolic of the tragic contrast within all things.He expresses the truth that opposition and harmony, creation and destruction, ecstasy and terror, life and death, are inseparable from each other.Such a tragic insight into the nature of things can stimulate what Nietzsche called a “Dionysian affirmation of life” – a complete affirmation of the totality of being where the negative and destructive elements are not slandered, explained away, or rejected, but seen as a necessary component of the good, the true, and the beautiful, and therefore as ultimately desirable.
狄俄尼索斯是一个伟大的矛盾的人，他既是所有胜利英雄的神圣原型，同时也是受苦受难和垂死的神。
悲剧对比之神是一切事物内部悲剧对比的象征。
他表达了对立与和谐、创造与毁灭、狂喜与恐怖、生与死这些密不可分的真理。
这种对事物本质的悲剧性洞察，可以激发尼采所谓的对生命的酒神式的肯定，对存在的整体的完全肯定，在那里，消极和破坏性的元素不会受到诽谤、误解或拒绝
而是被认为是美好，真实，美丽的必要组成部分，因此最终是可取的。
“The saying Yes to life even in its strangest and hardest problems; the will to life…that is what I call Dionysian.” (Twilight of the Idols)
对生活说“是”，即使在面对最奇怪和最困难的问题时;生命的意志，我称之为酒神的意志。
But a “tragic disposition” and Dionysian affirmation of life is not easy to cultivate, requiring a strength of which most are incapable. To attain the capacity to gaze simultaneously into and affirm equally both the “horrors of night” and the “heights of bliss”, to join together “peak and abyss” (Nietzsche), or in the words of Thomas Carlyle, to see the universe as a “mystic temple and hall of doom” and still say Yes to it, requires the rare state of being Nietzsche called “the great health”.All those who lack this health would be destroyed by a tragic vision of the cosmos. A mere glimpse into the abysses of life would cause them to slander existence like those whom Zarathustra called “the preachers of death” – individuals who in the midst of pain, suffering, or tragic insight, assert “Life is refuted!” , and advocate renunciation and world-weariness.“They negate life;”, Nietzsche wrote of all those who preach world-weariness, “they slander it, hence they are my antipodes.” (Nietzsche contra Wagner)“They negate life;”, Nietzsche wrote of all those who preach world-weariness, “they slander it, hence they are my antipodes.” (Nietzsche contra Wagner)“How differently Dionysus spoke to me! How alien all this resignation was to me!” (Nietzsche)
但是，悲剧气质和酒神式的对生活的肯定是不容易培养的，这需要一种大多数人都无法具备的力量。
获得同时凝视和同样肯定”黑夜的恐怖“和”幸福的高度“的能力，把”高峰和深渊“连接起来
或者用托马斯·卡莱尔的话来说，把宇宙看作神秘的神殿和死亡之殿，并且仍然对它说“是”，需要尼采罕见的被称为“伟大的健康”状态。
所有缺乏这种健康的人都将被宇宙的悲惨景象所毁灭。
只要一瞥生命的深渊，就会使他们诽谤存在，就像查拉图斯特拉所说的”那些在痛苦、苦难或悲剧洞见中断言生命遭到驳斥的死亡个体的布道者”一样!，提倡放弃和厌世。
他们否定生命;尼采写到所有那些宣扬厌世的人，他们诋毁生命，因此他们是我的对立面。
尼采在狄俄尼索斯身上发现了一个象征，象征着他反对所有鼓吹放弃的人。
狄俄尼索斯对我说话的方式是多么不同啊!这一切听天由命对我来说是多么陌生啊!
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Within the myths and cults of Dionysus Nietzsche intuited the presence of a “great health” which he believed saturated Ancient Greek culture, enabling the Greek individual to cultivate the strength required to not only endure, but worship as divine, the tragic contrast embedded in the nature of reality:“The fullness of life and the violence of death are equally terrible in Dionysus. The Greek endured this reality in its total dimensions and worshipped it as divine.”(Walter Otto, Dionysus: Myth and Cult)The tragic sensibility which pervaded early Ancient Greek culture can be perceived in their worship of procreation, and their recognition that pain and suffering are necessarily intrinsic to all forms of birth and creation. “What suffering this race must have endured”, Nietzsche wrote of the Ancient Greeks, “in order to create such beauty.”In Twilight of the Idols, Nietzsche explained the feeling of sacredness the Ancient Greeks felt towards the pain which precedes birth and creation:In Twilight of the Idols, Nietzsche explained the feeling of sacredness the Ancient Greeks felt towards the pain which precedes birth and creation:In the doctrine of the mysteries, pain is pronounced holy: the pangs of the woman giving birth consecrate all pain; and conversely all becoming and growing — all that guarantees a future — involves pain.
在狄俄尼索斯·尼采的神话和祭祀仪式中，他直觉地发现了一种伟大的健康的存在，他相信这种健康渗透了古希腊文化，使希腊人能够培养忍受的力量
而且作为对神的崇拜，悲剧的对比也嵌入了现实的本质
在狄俄尼索斯身上，生命的丰满和死亡的暴力同样可怕。希腊人从整体上忍受了这一现实，并把它当作神来崇拜。
早期古希腊文化中弥漫的悲剧情感可以从他们对生育的崇拜中看出，他们认识到痛苦和苦难是一切形式的生产和创造所固有的。
尼采写道，为了创造这样的美，这个民族必须忍受什么样的苦难。
在《偶像的黄昏》中，尼采解释了古希腊人对出生和创造之前的痛苦的神圣感
因此，对希腊人来说，性的象征是最神圣的象征，在生殖、怀孕和生产的过程中，每一个元素都能引起最高和最庄严的感情。
在神秘的教义中，痛苦是显而易见的：女性生育的痛苦使所有的痛苦都神圣化;相反，所有形成和成长 - 所有这些都保证了未来 - 涉及到痛苦。
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That there may be the eternal joy of creating, that the will to life may eternally affirm itself, the agony of the woman giving birth must also be there eternally. All this is meant by the word Dionysus.” (Twilight of the Idols)For Nietzsche Dionysus symbolizes the justification of pain and suffering both on a personal level, be it the agony of the woman giving birth or the pain and suffering which precedes the creation of oneself or a work of art, as well as on a cosmic level. A Dionysian worldview reveals a universe in which the “boundless fecundity of the world will” builds up and tears down life forms, worlds, and galaxies in an innocence and agony that conveys the idea that pain and suffering are part of the primordial essence of things, and that to remove them would be to remove life itself in all its beauty and grandeur.and that to remove them would be to remove life itself in all its beauty and grandeur.To attain a Dionysian affirmation of life and not only accept the “horrible, evil, problematic” aspects of existence as necessary, but affirm them as a highly desirable part of the whole, is an ideal that is likely not achievable as a permanent state of being. The proclivity of human beings, in the midst of intense suffering, to become resentful “preachers of death” and long for some form of escape, is far too strong to overcome once and for all. But if a Dionysian affirmation of the world is possible, even as a fleeting and temporary experience, the struggle and effort required to achieve this mode of being is well worth the effort.For the heights that one scales when one is able to look into the dreadful abysses of life, to experiment with the most painful thoughts and the most extreme form of nihilism, and still be able to emerge from such depths and affirm life – saying Yes to it in its totality – is arguably the highest state a human being can attain:
为了能有创造的永恒的快乐，对生命的意志能永远坚定，分娩的妇女的痛苦也必须永远存在。所有这些都是狄俄尼索斯这个词的意思。
尼采认为，狄俄尼索斯象征着痛苦和其正当性，无论是在个人层面，分娩的痛苦，还是在创造自己或艺术作品之前的痛苦和苦难，以及在宇宙层面都适用。
酒神式的世界观揭示了这样一个宇宙，在这个宇宙中，世界的无限繁盛将在天真和痛苦中建立并摧毁生命形式、世界和星系，这传达了痛苦和苦难是事物原始本质的一部分的观点
除去它们就等于除去了生命本身所有的美丽和壮丽。
由于这个悲剧世界观“悲剧气质的人肯定这世界上最苦难的地方”,意识到,只要他拥有伟大的健康,那么痛苦,苦难,和悲剧不仅欢迎而且崇拜他为生命的伟大的兴奋剂,经历那些试图摧毁他的意外只会使他变得更强
要获得酒神式的对生命的肯定，不仅要接受存在的“可怕，邪恶，有问题”的方面，
而且要肯定它们是整体中非常可取的一部分，这是一种理想，作为一种永久的存在状态是不可能实现的。
人类在极度痛苦中，容易成为憎恨的“死亡布道者”，渴望某种形式的逃脱，这种倾向太过强烈，无法一劳永逸地克服。
但是，如果酒神对世界的肯定是可能的，即使只是一种短暂的经验，那么为达到这种存在方式所需要的斗争和努力就是值得的。
因为只有当一个人能够看到生活的可怕深渊时，他才能攀到生活的高处
尝试最痛苦的思想和最极端的虚无主义形式，仍然能够从这样的深度中浮现出来，并肯定生命
从整体上对生命说“是”，可以说是人类所能达到的最高境界
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In a passage from The Will to Power titled “My new path to a “Yes””, Nietzsche conveyed this idea:“Philosophy, as I have hitherto understood and lived it, is a voluntary quest for even the most detested and notorious sides of existence…“Philosophy, as I have hitherto understood and lived it, is a voluntary quest for even the most detested and notorious sides of existence…“Philosophy, as I have hitherto understood and lived it, is a voluntary quest for even the most detested and notorious sides of existence…“Philosophy, as I have hitherto understood and lived it, is a voluntary quest for even the most detested and notorious sides of existence…The highest state a philosopher can attain: to stand in a Dionysian relationship to existence – my formula for this is amor fate [love of fate].” (The Will to Power)
在《权力意志》的一篇题为《我通往“肯定”的新道路》的文章中，尼采表达了这一观点
正如我迄今所理解和经历的那样，哲学是对存在中最令人厌恶和最臭名昭著的方面的自愿探索
我所体验的这种实验哲学，在实验上甚至可以预见到最根本的虚无主义的可能性
但这并不意味着它必须在否定，在说不，在否定的意志中停止。
相反，它想要跨越到与此相反的境界，达到酒神式的对现实世界的肯定，没有消减，没有例外，没有选择......
哲学家可以达到的最高境界就是站在酒神式的与生存的关系中 - 对我而言就是对命运的热爱。
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