In Nietzsche’s opinion, the potential for real creative energy in society had been stifled for several millennia – since the early Greek writers such as Homer and the tragedians Aeschylus and Sophocles in the 5th century BC. Nietzsche appreciated their writing as possessing a libidinal energy expressed in rhythm and musicality, and he identified two opposing but mutually enhancing tendencies composing this energy: the Apollonian tendency towards form and images, and the Dionysian tendency towards intoxication and excess. Since the Dionysian tendency embraced conflicts, Nietzsche believed that it was capable of superseding moral agendas and the consequent inhibiting fear of perceived threats from the “outside”. “Beauty” in Nietzsche’s revised terms signalled the collapse of all conceptually and morally determined oppositions.

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