The tragic implies more than a discontent, it is a gross romantic disillusionment.
Nietzche’s sense of tragedy is really not within it, but
the disappearance of it. The representation of the sense of the tragically romantic, looses value, in essence this can as well be found in Hemmingway,
and the story of the Old Man and the Sea, is a literal metaphor of this loss. With Camus, the boulder repeatedly can be recovered in it’s recurrent plunging
back, bit this hope in Hemmingway is missing.
It is the latency of tragedy, which H is covering, the confusion arising between the romantic idiom and the
reductively, but falsely reduced nominal interpretation. Upon the shoulders of pessimism,
does N try to recover the heroic and the tragic.
Latency as literary idiom transcends it’s self, even while engaging it. This, for Nietzche
is a form of deliverance, somewhat line with Marcus Aurelius’ stoic dictum of the disingenuity and artificiality of untried wisdom, however he disagrees with it , in principle.
In this sense, latency gains a tour de force by bring beck the tragic form of it, and overcoming its
figurative implications, in the present sense, devoid of representation as the understanding, qua the will.
It creates the formal, and plastic Appollonian
aesthetic of mere sculpture. It gains in empathy and
understanding.
It is in this scene that a
critical examination may proceed.
It is in this sene that Dali extends the formalism into the surrealism of Metamorphosis of Narcissus.
A blanket category of narcissism is exactly, not within
this hidden subtlety, and the dreams within the
surreal is, what is hidden away. The implications being vastly different.
Jacob, this struggle posed beneath the veneer of formalistic argument, may have forced an aphoristic approach. Other than that, it is hardly credible. That
I may have been, why, ‘Why I Write Such Good Books’, met with such harshly worded attacks by classicists’.