Schiller and Play

The famous line from Friedrich Schiller on play: “…man only plays when in the full meaning of the word he is a man, and he is only completely a man when he plays..” This statement comes from the fifteenth letter of “On the Aesthetic Education of Man.” Play is the principal expression of the human spirit. It reconciles the divisions which civilization has carved into the mind. Schiller divides the creative impulse into three sense drives: desire for sense, desire for form and desire for play. He names play (Spieltrieb) the salvation of the other two. It unites reason and sensation and synthesizes from their correspondence absolute essence and spirit:

“The sense-drive demands that there shall be change and that time shall have a content; the form-drive demands that time shall be annulled and that there shall be no change. That drive, therefore, in which both the others work in concert (permit me for the time being, until I have justified the term, to call it the play-drive), the play-drive, therefore, would be directed towards annulling time within time, reconciling becoming with absolute being and change with identity.” (On the Aesthetic Education of Man, Letter 14)

Running up against a partner’s pubic bone viagra no prescription or snapping the erectile tissue during a particularly aggressive maneuver can trigger the development of scar tissue that characterizes Peyronie’s disease. We are pointing out that symptoms can occur after a gallbladder cheapest cialis soft removal surgery, a big number of people suffer from this common sexual problem. viagra without prescription canada How to boost erection size and erection quality naturally to enjoy intimate moments with her is through massaging the male organ using ayurvedic sexual pleasure oil – Saffron M Power oil Its key ingredients are Kesar, Long, Swarna Patra, Salabmisri, Jaiphal, Sarpgandha, Dalchini, Khakhastil and Jaypatri. All men experience difficulty in maintaining an erection sometimes, but if its cialis active a regular phenomenon then one ought to seek out help. Schiller’s description of the creative impulse corroborates a previous post I have written on the matter. I divide creativity by intellect, sensation and spontaneity, and cite the classical totems for these faculties: the laurel branch, the myrtle bough and the ivy vine. For Schiller, the creative subject thinks, feels and plays. The typical and arduous labor of the mind in workaday life and stolid social interactions activate only one of these faculties at a time. We seek freedom from dreary obligation in play. Play reconstitutes our potential and human strengths into the vigorous gesture, the triumphal transgression.

I’ve considered these qualities that Schiller describes myself at great length, before having ever encountered these ideas in “On the Aesthetic Education of Man,” and I’ve viewed the situation differently, perhaps it is no more or less correct. I find all of the impulses to be equally at odds with each other and that each one is just as capable as the others at wedding them together into creative synthesis. Play is wild and heedless whereas sensuality is tender and quite. The intellect in its strength can tame play and encourage sensuality to assert itself more externally. Thought and play have a competitive relationship: one can work or one can play. Sensitivity assuages the antipathy that exists between the two. It makes each aware of its own fallibility.

Would that all it took to produce great artists is a penchant for play. The different formulae of interaction between the three great muses are endlessly vacillating and complex.

The Three Muses

Once of the last vestiges of Goddess worship in Greece was the Boeotians’ reverence to the Triple Muse, which Robert Graves identified as a conceptualization of the White Goddess in poetic incantation. Later, as the Attic pantheon grew to prominence and became canonized throughout all the Greek-speaking nations, the Muses would be relegated to the status of demigods. They were taken from Mount Helicon where they were worshipped as supreme by the Boeotians and brought to Delphi to be subordinates of Apollo. They grew from three to nine so that each might govern her own specific artistic discipline rather than being representative of all creative force generally. The meaning of the Three Muses and their spiritual power would be divided among Olympian gods like plunder. The office of poetic inspiration would be extended to Apollo. The power of wild spontaneity vested in Dionysus, who himself was probably a prehistoric godhead renewed by the Greeks and made relevant to the Classical Age.

Originally, the three Muses stood for many things. They constituted a tri-polar arrangement of several different classes of ideas, all of which relating to creative inception and growth. Robert Graves names them Meditation, Memory and Song (The White Goddess, 386), the fundamental components artistic inspiration. Meditation is the spring by which new vision is brought into being and nourished. Memory is the means by which it is fostered and refined. Song is its expression.

You should avoid taking them if you really need to boost your sexual appalachianmagazine.com cialis no prescription performance. The erection is not as rigid or hard as a natural erection; drugs or injections, when they work, may be preferable. canadian viagra online It will surprise you to discover the strength you cultivate within as you hold cialis online best appalachianmagazine.com to being true to yourself. Alcohol: Alcohol consumption can be a problem in case you sildenafil tabs are exceeding the speed limit which has to be brought with fluid. On Mount Helicon, the Muses were worshipped with delirious incantation, mixture and ingestion of medicinal herbs and erotic fertility dances. My belief is that each of these rites was probably dedicated to or possibly inspired by a certain one of the Muses: incantation was performed as a benediction to the dark and chthonic Muse of Meditation; the brewing of medicines and restoratives strengthened the lucid mind and put one in communion with the Muse of Memory; and the fertility dances were perhaps aided by the beautiful and arresting Muse of Song. Graves offers an additional anecdote about the practice of Muse worship performed at Helicon:

“The Muse priestesses of Helicon presumably used two products of the horse to stimulate their ecstasies: the slimy vaginal issue of a mare in heat and the black membrane, or hippomanes, cut from the forehead of a new born colt, which the mare (according to Aristotle) normally eats as a means of increasing her mother-love.” (The White Goddess, 386)