Nietzsche argues that tragedy, a synthesis of the Apollonian and Dionysian artistic principles, uncovers the universal essence of human existence-suffering-offering metaphysical solace to its spectators that helps them bear this reality... more
Nietzsche argues that tragedy, a synthesis of the Apollonian and Dionysian artistic principles, uncovers the universal essence of human existence-suffering-offering metaphysical solace to its spectators that helps them bear this reality and affirm life amidst the "terrors and horrors of existence." Apollo and Dionysus represent individuality and universality in tragedy. The Apollonian aspects-plot, stage, and characters-highlight individual distinctions, whereas the Dionysian element, music-the chorus-embodies the universalised consciousness of human fragility. This Dionysian effect, infused through music, fosters a state of self-forgetfulness in the spectators, dissolving their individuality. Abhinavagupta believes that drama (nāṭya), which is the object of aesthetic experience, presents the generalised emotions through sādhāraṇīkaraṇa in which the empathetic spectator (sahṛdaya) identifies oneself with that of the character, and its situations. This transforms the aesthetic spectacle into a collective consciousness (ekaghanatā) in which all the spectators are de-contextualised from their spatiotemporal boundaries and experience the aesthetic taste, i.e., rasa. Abhinavagupta also argues that such aesthetic experience (rasāsvāda) is akin to spiritual experience (brahmāsvāda), aligning his aesthetic theory with the philosophy of Kashmir Śaivism. The paper aims to identify and analyse the universal elements inherent in the aesthetic experience of tragedy and nāṭya, aiming to extrapolate the concept of universalised consciousness through these art forms.
