Rigid beauty is dynamic and flexible beauty is static. Moving is like drunkenness, and quietness is like a dream. Nietzsche said in The Origin of Tragedy that there are two kinds of art, one is the product of drunkenness, and music and dance are the most obvious examples; One is the product of dreams, and all plastic arts, such as poetry and sculpture, belong to this category. He regarded god of light Apollo and Dionysus Dionysus as the symbols of these two arts. Do you think the glory of Apollo is so warm? In fact, his face is quieter than that of a sleepy person. All the colors in the world are revealed by his light, so she dreams there. Poets and sculptors have the same task as Apollo. They are all creating hue, in other words, they are all dreaming. Dionysus is just the opposite. He wants to be as happy as possible in an instant. Watching butterflies flying and bees buzzing among the lush grapes, he involuntarily plunged into the tide of life, singing wildly and dancing on tiptoe. Although he didn't create the quiet and beautiful dreams and strange colors created by Apollo, his singing is in harmony with the vitality between heaven and earth, and his dance is ups and downs with nature, which is also a kind of venting and a kind of performance. In short, it is also an indispensable art in life. In Nietzsche's view, only by combining these two opposing beauties in one furnace can a Greek tragedy be produced.
Nietzsche said that Dionysus's art was rigid, while Apollo's art was flexible. In fact, the same art also has the difference between hardness and softness. For example, in music, Beethoven's third ensemble and enthusiasm are of course as tragic as a storm, while moonlight and the sixth ensemble are gentle and euphemistic, and they are more "dreams" than "drunkenness".
Zhu Guangqian's Beauty of Stiffness and Flexibility