What Is Nietzsche's Personality

Sigumand Freud and Nietzsche: Personalities and The Mind

There were two great minds in this century. One such mind was that of
Sigmund Freud (1856-1939). In the year 1923 he created a new view of the mind.
That view encompassed the idea we have split personalities and that each one have their own realm, their own tastes, their own principles upon which they are guided. He called these different personalities the id, ego, and super ego.
Each of them are alive and well inside each of our unconscious minds, separate but yet inside the mind inhabiting one equal plane. Then there was Nietzsche
(1844-1900) who formulated his own theories about the sub-conscious. His ideas were based on the fact that inside each and every one of us is
Strong boundaries between the three parts keep the ego fairly free from disturbing thoughts and wishes in the id, thereby guaranteeing efficient functioning and socially acceptable behavior. During sleep the boundaries weaken; disturbing wishes may slip into the ego from the id, and warnings may come over from the superego (Dilman, 170). It could thus be seen that the id and the ego, are two separate identities upon which our whole psyche is dependent upon, one side is the pleasure side (id) and the other is the reality- based side (ego). Then, however, Nietzsche came along and stated that he had his own theories on the unconscious mind. In his first book, The Birth of Tragedy (1872,
Eng. trans, 1968), Nietzsche presented a theory of Greek drama and of the foundations of art that has had profound effects on both literary theory and philosophy. In this book he introduced his famous distinction between the
Apollonian, or rational, element in human nature and the Dionysian,
What Nietzsche presented in this work was a pagan mythology for those who could accept neither the traditional values of Christianity nor those of Social
Darwinism (Salter, 41-42). It can be visibly ascertained that by binary opposition, Nietzsche, as well as Freud, can thus now reveal to us our split personalities. "Much will have been gained for esthetics once we have succeeded in apprehending directly- rather than merely ascertaining- that art owes its continuous evolution to the
Apollonian-Dionysiac duality," proposes Nietzsche, "even as the propagation of the species depends on the duality of the sexes, their constant conflicts and periodic acts of reconciliation," (AD in Jacobus, 550). It is by these two,
"art-sponsoring deities," (AD, in Jacobus, 550), Apollo and his brethren
Dionysos, the we come to grasp the idea of that splinter between the, "plastic
Apollonian arts and the non-visual art of music inspired by Dionysos," (AD, in
Jacobus, 550). "The art impulse which has been described he [Nietzsche] designates as the Apollinic impulse," (Salter, 40). We thus recall that Apollo is the god of dreams, "...and according to Lucretius the Gods first appeared to men