/lit/ - Literature

>>19188731
This is also similar to the Anarch, who is not only creating distance, surviving the nihilism of the post-historical world, but also closing distance, drawing strength from the essential.
The paradox, like that of the Misanthrope, is that for all the criticism of decline and weakness we also have a power greater than kings, a divine or demonic power which will destroy us if we do not know how to contain it, and give it direction.
So one is learning Fürstenspiegel as a wandering man - Rousseau's solitary walker.

I read Plato's "Apology" today

>scilicet

"In certain situations leaving one’s life is the duty of the capable man."
"Because the world is perfidious, I am going into mourning"

Moderns cannot understand stoicism. A temporary retreat is often necessary before political decisions are made, where great laws present themselves the human element must be written out. Hence all of the passageways, arches and shadowy retreats in Roman architecture: heaven and hell must be given their dominion, even in our world, and all else must fall away as a ruler wanders in contemplation. This is especially true where the potential for sacrifice is increased, as one cannot defy the law for the rule of personality. All that will happen is an even greater sacrifice, one that goes against one's nature. This is one of the lessons we see in the myths of Paris, Narcissus, and Orpheus: one becomes lost where the will triumphs over law, and the longer the law of will reigns over time the greater the sacrifice and path of return (apocatastasis) becomes. Paris and Odysseus are presented with the nakedness of the gods in different ways. In the end, nothing remains but the total violence of the gods, so it may as well be accepted from the very beginning. This was one of the great laws Holderlin understood, and what Nietzsche turned into an enemy. "O had I only never acted! By how much hope would I be richer? -"

What Nietzsche was really critiquing was the misanthrope, that being who turns against the world and humanity, and wanders into a third territory that is neither of the heavens nor the underworld, neither of the earth nor natural law. This is where one struggles against all that appears to be dying, where all that is preserved is the moral shell of the dead. Nor is this the void, rather it is a neutralising territory where the only law is carving out a temporary rule, where all laws are proscribed. This is where, rather than meaninglessness, the corruption of meaning becomes the moral authority - just as good and evil are not opposite poles neither are meaning and meaninglessness. They are one, formed as a whole element of laws which may never be reconciled. This is the essence of the human understanding of nature, the catastrophe of being, our perception that is locked into the visions and laws of other worlds. Here the idyllic and devastating laws of nature are one - Dionysus is not the only god to be torn asunder, and to turn his death into a curse is to prefigure Christianity, or create something even worse.

>>14749906
The difference is that of force and dominion rather than morality and virtue. There is also the aspect of the modern reaction to Christianity, the Greeks appear as less of a threat to the theological reaction.
In simple terms, the Greek myths are applicable to a much wider range of human life and thought. The stories are not limited in time and place, they hold dominion over great laws and the simplicity of life, which suggests their truth. This is particularly clear in psychology, which is the complete renunciation of the mythic form of the world - yet each school returns to myth due to the power of the stories, their hold over laws inescapable. The Greeks were at peace with human power, forces which necessitate order, and this appeals to the modern psyche.

Christianity is in many ways unworldly, even though it focuses on human laws, and its unnatural aspects can only result in disconnection, a constant questioning which results in self-exile from the simple form of modern life. Technology, for instance, appears as a satanic force, one that the Christian mind has no way of dealing with. There is also an intensification of moral forces, instrumentation, which the Christian cannot endure without renouncing his own virtues. Self-exile leads to misanthropy, and his own laws become perfidious to the world. The wars of the Churches may be seen as an increase in mourning, an attempt to maintain the Katechon rather than the cause of the downfall, of modernity.

Nietzsche's perspective is thus transitory, slave morality a much deeper law than reaction to political Christianity alone. It is certain that the peasantry came to nihilism hundreds of years before Nietzsche, particularly clear in Simplicius, which has its own parable of the madman, but also in the Carmina Burana and Bruegel paintings. One can say that such people live harmoniously with the monstrous power of the earth, and have found peace with nihilism. This sense of being transcends both secular life and Christianity, and if modernity is to end it will begin to appear from these figures. We are already seeing this in many ways.
There is also a strange type of Christianity which persists along with the nihilistic and secular form of life, which complicates the question further. In a sense, secular law is entirely in keeping with Christian eschatology and the proximity to its power has eliminated the need for the political order.

"The first man who, having enclosed a piece of ground, bethought himself of saying "This is mine," and found people simple enough to believe him, was the real founder of civil society."

Slave morality predates Christianity as the constitutional law of civilisation; the great man and the fool are one. Counter to Schmitt, the Nomos of the New World is man's return to the Waters of Lethe.

>>10162848
schoppy and sophocles bad combination.
>infinite pity
>tfw beeing king creon

>>10162849
>lookimprojecting.jpeg

>>10162852
it's a blue ray lesson on breaking your chains and find the secret of steel

>>8335066
Faust by Goethe

>>8335349
>>8335073
Overcoming Anxiety and Depression on the Autism Spectrum by Lee A. Wilkinson

Misanthropic fiction?

The inscription reads, ""Because the world is perfidious, I am going into mourning" in Flemish.

>reads Schopenhauer once

As someone whose been an amateur painter and writer at one time or another, I have to say that writing is probably the least emotionally draining and exhausting artistic activity I know of.

With writing, the process is ethereal and undefined. You can write two pages of utter trash over the course of five hours, delete it all, and then bang out ten pages of gold in an hour. I find this freeform to be reassuring. I'll either write the good shit or I won't, and in the end, good and bad is subjective, and I can't control how my work will enter another's head.

If you get into visual arts or music however, you're faced with way more objective standards that you absolutely must stick to, or else be forced to label yourself as avant-garde in order to defend your own work. Particularly with painting, and I imagine the same is true with sculpting, every hour of work must be perfect in order for the end product to be perfect. You can't put two hours of sloppy work into a still life and then expect it to look beautiful even if the next three hours are perfect.

I worry that this is a common fear amongst visual artists. That when we begin a major project, we are trudging along to our eventual doom, and we will fall short of what we intended to accomplish when we started. All the good parts are mixed-up and muddled with the sub-par. This may be the root cause of modern art: Artists too afraid of having their art come short on objective measurements attempt to destroy the objective and make art completely subjective. In writing, these objective measurements just don't exist, and thus it is ultimately less stressful and self-destructive.

>>7171696
>What's your job?
neet
>What's your education level?
neet
>Favorite writer and/ or poet and/ or public intellectual/ artist. Why?
Bruegel the Elder because his paint contain valuable information . i learn looking at his paint .
>What other languages do you speak and what other languages do you want to learn and why.
none . i barely speak English but to get more tendies