‘Friendship’ is something to which we all probably would nod and we would say that we fully understand what is meant by it, but do we? Who are these ‘friends’ we think are around us? What do they mean to us and do these ‘friends’ of today really differ from people we only ‘know better’ and or to whom we ‘talk more’ than with random people we daily meet? These might sound like silly questions to ask, really, however, when the phenomenon of Facebooks, Myspace etc. strikes daily the news and journalists often mention that people have tens or even hundreds ‘friends’ on their profiles, I believe it is never useless to stop and wonder for a moment.
Quite interestingly, I would like to point out to perhaps the most unexpected person who considered friendship in his work – to Friedrich Nietzsche. He, just as the voluntarist Schopenhauer before him, had almost no friends at all. Suffering from constant health problems – migraine headaches and vomiting, this brilliant intellectual had to resign from the post of professor at the University of Basle, which he received at unheard age of 24, and in 1879 started to travel around Europe, seeking seclusion and peace from his collapsing health near mountain lakes deep in the Alps.
In earlier days of his writing career, Nietzsche was a friend and admirer of the work of Richard Wagner. Nietzsche saw in Wagner’s opera Tristan und Isolde (1865) the possible resurrection of the antic tragedy. The Greek tragedy was for Nietzsche especially important because he regarded it as an ‘honest depiction of human life.’ That is, as a piece of art that depicts each person as born with certain qualities, but also possessing the ‘tragic flaw,’ which gives him a destiny that he cannot escape. Although in the Greek tragedy characters struggle with their predestined path, by each step they inadvertently proceed towards their certain end.
This is perhaps best depicted in Sophocles’ Oedipus Rex, where Oedipus is given a terrible predicament – he is to marry his mother and kill his father. The tragic flaw in case of Oedipus is hubris – and although that when he hears his terrible fate from the Delphic Oracle and tries to flee from the place where his (foster) parents live, escaping, he kills his father Laius – only because they argue who has the right-of-way.
Nevertheless, heroes of the antic tragedy – although endowed with the tragic fate – are not content with it, and they struggle till the very end. As Nietzsche mentions in The Birth of Tragedy this is a ‘honest’ image of what life is – tragic.
One is born into a condition one does not chooses. He is endowed with certain predispositions, born into a certain family, into a specific community, which make tremendous impact on one’s identity – on the fact ‘who one is.’ The ancient Greeks personified this human precondition as ‘given’ by three Moirae – the personifications of destiny. The ancient hero, however, is the one who, although endowed with both flaws and qualities, does not ‘give up’ and fights his destiny and although never wins (the human life can never be won, the human life is tragic, it always ends in death which can never be avoided) he understands that ‘there are moments and things worth living (and dying) for.’
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