The phenomenon, "artist," is the easiest to see through: from it one can look down upon the fundamental instincts of power, of nature, etc., even of religion and morality. "Play," uselessness--as the ideal of him who is overflowing with power, as the ideal of the child. The childishness of God, παῑς παίζων. 798. _Apollonian, Dionysian._ There are two conditions in which art manifests itself in man even as a force of nature, and disposes of him whether he consent or not: it may be as a constraint to visionary states, or it may be an orgiastic impulse. Both conditions are to be seen in normal life, but they are then somewhat weaker: in dreams and in moments of elation or intoxication.[9] But the same contrast exists between the dream state and the state of intoxication; both of these states let loose all manner of artistic powers within us, but each unfetters powers of a different kind. Dreamland gives us the power of vision, of association, of poetry: intoxication gives us the power of grand attitudes, of passion, of song, and of dance. [Footnote 9: German: "Rausch."--There is no word in English for the German expression "Rausch." When Nietzsche uses it, he means a sort of blend of our two words: intoxication and elation.--Tr.] 799. Sexuality and voluptuousness belong to the Dionysiac intoxication: but neither of them is lacking in the Apollonian state. There is also a difference of tempo between the states.... _The extreme peace of certain feelings of intoxication_ (or, more strictly, the slackening of the feeling of time, and the reduction of the feeling of space) is wont to reflect itself in the vision of the most restful attitudes and states of the soul. The classical style essentially represents repose, simplification, foreshortening, and concentration--the _highest feeling of power_ is concentrated in the classical type. To react with difficulty: great consciousness: no feeling of strife. 800. The feeling of intoxication is, as a matter of fact, equivalent to a sensation of _surplus power_: it is strongest in seasons of rut: new organs, new accomplishments, new colours, new forms. Embellishment is an outcome of _increased power._ Embellishment is merely an expression of a triumphant will, of an increased state of co-ordination, of a harmony of all the strong desires, of an infallible and perpendicular equilibrium. Logical and geometrical simplification is the result of an increase of power: conversely, the mere aspect of such a simplification increases the sense of power in the beholder.... The zenith of development: the grand style.