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30-649: Par Bricole is a Swedish Bacchanalian order society for men only, founded in Stockholm on 15 May 1779 in Källaren Kejsarkronan at Drottninggatan 6. The main sources of inspiration were the Freemasons and Carl Michael Bellman 's sayings about Bacchus. The name Par Bricole comes from a French billiards term, meaning "with bounce". Within the society, it is traditionally and a bit improperly interpreted instead as "by chance", actually "by detours", "indirectly", and

60-550: A big role in the company. During its first half-century it was cultivated in the form of the company song; then this has been succeeded by the quartet and later the choir. Par Bricole has an excellent choir, and its leaders have been Frans Preumayr (1832–1853), Eduard Brendler and (1853–1862) Andreas Randel , who both composed the company's ceremonial choirs, during the 1860s August Söderman , August Melcher Myrberg and Olle Strandberg, 1869–1880 Joseph Dente, 1880–91 Ludvig Ohlsson, and 1891–1915 Erik Åkerberg. The choir's conductors from

90-632: A variety of modern and post-modern writers, especially Martin Heidegger , Michel Foucault and Gilles Deleuze . According to Peter Sloterdijk , the Dionysian and the Apollonian form a dialectic ; they are contrasting, but Nietzsche does not mean one to be valued more than the other. Truth being primordial pain , our existential being is determined by the Dionysian/Apollonian dialectic. Extending

120-553: Is Henrik Mickos (since 2016). In 1829, Par Bricole celebrated its 50th anniversary, and on July 26 of the same year, Johan Niclas Byströms, who was paid for by the company, unveiled Bellman's bust at Bellmansro in Royal Djurgården . Since then, Bellman's Day (July 26) has been celebrated annually there as a folk festival under the leadership of P.B. The order's feast days are also May 15 and Barbara's Day, December 4 (chosen by Bellman in honour of his grandmother, Barbara Klein; Barbara

150-520: Is the god of the sun, art, music, poetry, plague and disease, of rational thinking and order, and appeals to logic , prudence and purity and stands for reason . Dionysus, son of Semele , is the god of wine, dance and pleasure , of irrationality and chaos , representing passion , emotions and instincts . The ancient Greeks did not consider the two gods to be opposites or rivals, although they were often entwined by nature. Nietzsche found in classical Athenian tragedy an art form that transcended

180-516: Is usually abbreviated "P.B." Par Bricole's mother lodge is still in Stockholm and is housed in the order's "tribal house" Bellmanhuset by Urvädersgränd. The order also has subsidiary lodges in Gothenburg (Göta Par Bricole), Vänersborg, Borås, Malmö, Jönköping, Sundsvall, and Örebro. The first origin of the society was in a small circle of cheerful associates (among them Carl Israel Hallman), for whom

210-401: Is usually glorified fantastically as a kind of Dionysian goddess, the "aunt" of all bricolists). In 1874, the order celebrated its 100th anniversary with a festive cantato by Talis Qualis and Ludvig Norman . Par Bricole counts a large number of members united in their interest in the arts of speech, music and theatre. The king of Sweden stands as the protector of the order. The song plays

240-657: Is widely attributed to the work The Birth of Tragedy by Friedrich Nietzsche , though the terms had already been in use prior to this, such as in the writings of poet Friedrich Hölderlin , historian Johann Joachim Winckelmann , and others. The word Dionysian occurs as early as 1608 in Edward Topsell 's zoological treatise The History of Serpents . The concept has since been widely invoked and discussed within Western philosophy and literature . In Greek mythology, Apollo and Dionysus are both sons of Zeus . Apollo, son of Leto ,

270-465: The Greek culture : the Apollonian a dreaming state, full of illusions; and Dionysian a state of intoxication, representing the liberations of instinct and dissolution of boundaries. In this mould, a man appears as the satyr . He is the horror of the annihilation of the principle of individuality and at the same time someone who delights in its destruction. Apollonian and Dionysian juxtapositions appear in

300-450: The 1970s were Håkan Sund, Hans Lundgren and Hans Kyhle (1979–2007). Since 2010, the choir has been led by Ian Plaude. Bacchanalian fraternity Some of the societies date to the early modern era . Other modern ones have various affiliations, such as in the form of student societies . It is believed that Bacchanalian rituals first started in southern Italy and were introduced to Etruria and Rome. They probably originated from

330-462: The Apollonian is associated with males, clarity, celibacy and/or homosexuality, rationality/reason, and solidity, along with the goal of oriented progress: "Everything great in western civilization comes from struggle against our origins". She argues that there is a biological basis to the Apollonian/Dionysian dichotomy, writing: "The quarrel between Apollo and Dionysus is the quarrel between

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360-409: The Apollonian is light and structured while the Dionysian is dark and chthonic (she prefers Chthonic to Dionysian throughout the book, arguing that the latter concept has become all but synonymous with hedonism and is inadequate for her purposes, declaring that "the Dionysian is no picnic"). The Chthonic is associated with females, wild/chaotic nature, and unconstrained sex/procreation. In contrast,

390-399: The Apollonian tends to develop established lines to perfection, while the Dionysian rather relies on intuition and is more likely to open new, unexpected alleys for research...The future of mankind depends on the progress of science, and the progress of science depends on the support it can find. Support mostly takes the form of grants, and the present methods of distributing grants unduly favor

420-481: The Apollonian". American humanities scholar Camille Paglia writes about the Apollonian and Dionysian in her 1990 bestseller Sexual Personae . The broad outline of her concept has roots in Nietzschean discourse, an admitted influence, although Paglia's ideas diverge significantly. The Apollonian and Dionysian concepts comprise a dichotomy that serves as the basis of Paglia's theory of art and culture. For Paglia,

450-567: The Greek Dionysia festival. Historically, they were secret gatherings. Extreme orgies were a natural part of the entertainment. The members of Bacchanalian gatherings were called Bacchantes, and their sanctuary a Bacchanal. The initiation to join the group lasted 10 days, during which the applicant must refrain from sex. At its origins, the Bacchalanian societies were made up of women only. The Campanian matron Paculla Annia eventually changed

480-426: The ancient Greek tragedians . Apollo represents harmony, progress, clarity, logic and the principle of individuation , whereas Dionysus represents disorder, intoxication, emotion, ecstasy and unity (hence the omission of the principle of individuation). Nietzsche used these two forces because, for him, the world of mind and order on one side, and passion and chaos on the other, formed principles that were fundamental to

510-507: The early 19th century, the seriously mysterious, "higher" bricolerie threatened to take over, but from 1820 the words again took a happier turn, and "Nachspiel" or "after parties" were introduced. Among active members at this time are Lars Hjortsberg , archbishop Valerius , J.M. Stjernstolpe, J.V. Berger, J.H. Pettersson, Bernhard Crusell, Franz Berwald, Johann Franz Brendler, Andreas Randel, the Bellman singer Axel Arvid Raab, Lars Adolf Kinmansson,

540-539: The eternal balance of things, and it disgusts him enough not to act at all. Hamlet falls under this category—he glimpsed the supernatural reality through the Ghost; he has gained true knowledge and knows that no action of his has the power to change this. For the audience of such drama, this tragedy allows them to sense what Nietzsche called the Primordial Unity , which revives Dionysian nature. He describes primordial unity as

570-532: The higher cortex and the older limbic and reptilian brains ". Moreover, Paglia attributes all the progress of human civilization to masculinity revolting against the Chthonic forces of nature, and turning instead to the Apollonian trait of ordered creation. The Dionysian is a force of chaos and destruction, which is the overpowering and alluring chaotic state of wild nature. Rejection of—or combat with—Chthonianism by socially constructed Apollonian virtues accounts for

600-705: The increase of strength, the experience of fullness and plenitude bestowed by frenzy . Frenzy acts as intoxication and is crucial for the physiological condition that enables the creation of any art. Stimulated by this state, a person's artistic will is enhanced: In this state one enriches everything out of one's own fullness: whatever one sees, whatever wills is seen swelled, taut, strong, overloaded with strength. A man in this state transforms things until they mirror his power—until they are reflections of his perfection. This having to transform into perfection is—art. Nietzsche's idea has been interpreted as an expression of fragmented consciousness or existential instability by

630-423: The interplay of tragedy: the tragic hero of the drama, the main protagonist, struggles to make (Apollonian) order of his unjust and chaotic (Dionysian) fate, though he dies unfulfilled. Elaborating on the conception of Hamlet as an intellectual who cannot make up his mind, and is a living antithesis to the man of action, Nietzsche argues that a Dionysian figure possesses the knowledge that his actions cannot change

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660-518: The method of celebration, by admitting men and going from a 3-day annual gathering to a 5-day monthly gathering. Around 186 BC, the Roman Senate found out about those unofficial Bacchanalian rituals and launched a repressive campaign against it. An estimated 7,000 members were prosecuted amidst a violent repression. The women were returned to their families for private punishments, while the men were imprisoned or executed. The destruction of all Bacchanalia

690-724: The official existence of the society has usually been counted from 1779, when Olof Kexél was summoned and prepared the ritual for several new, higher, degrees. At the same time, Duke Charles of Södermanland (the future Charles XIII ) became the patron of the Order. Among the members of Par Bricole during the 18th century are such well-known figures as Elis Schröderheim , Nils von Rosenstein , Johan Henrik Kellgren , Johan Gabriel Oxenstierna , Bengt Lidner , Abraham Niclas Edelcrantz , A.A. Stjerncrantz, Johan Magnus Lannerstierna, Olof Åhlström, Francesco Antonio Uttini, Christopher Christian Karsten, Carl Stenborg and Edouard Du Puy. Until his death, Kexél

720-488: The pessimism found in the so-called wisdom of Silenus . The Greek spectators, by looking into the abyss of human suffering depicted by characters on stage, passionately and joyously affirmed life, finding it worth living. The main theme in The Birth of Tragedy is that the fusion of Dionysian and Apollonian Kunsttriebe ("artistic impulses") forms dramatic arts or tragedies. He argued that this fusion has not been achieved since

750-532: The poet Carl Michael Bellman preferred his parody-humorous Acts concerning the Order of Bacchus, as described in his poems in Bacchi Tempel and his Fredman's Epistles . He seems in part to have intended to have fun both with the pursuit of titles and stars of the order as well as with Freemasonry's mysterious ceremonial nature. Numerous certificates suggest that Bellman established three "knighthoods" by 1774, from which Par Bricole immediately developed. However,

780-526: The poet Fredrik August Dahlgren , Clas Livijn, Bernhard von Beskow, Johan Anders Björck, H.M. Munthe, Olof Strandberg and Pehr Westerstrand (Grandmaster 1832-1857). During the 1850s and 1870s, the Royal Swedish Opera 's foremost singer took an active part in the order's activities. Among the recent grandmasters of the order are the surgeon Professor Carl Jakob Rossander (1892-1900) and the regimental doctor H. Sundberg (1910-1925). The current Grand Master

810-467: The use of the Apollonian and Dionysian onto an argument on interaction between the mind and physical environment, Abraham Akkerman has pointed to masculine and feminine features of city form. Anthropologist Ruth Benedict used the terms to characterize cultures that value restraint and modesty (Apollonian) and ostentatiousness and excess (Dionysian). An example of an Apollonian culture in Benedict's analysis

840-457: Was master of ceremonies and Bellman was the first poet. 1799 takes the second period of the order with the establishment of new offices, among others the office of Grand Master. In 1801 a branch lodge was established in Gothenburg (Göta Par Bricole); since then, such have occurred in Vänersborg (1839), Borås (1860), Malmö (1878), Jönköping (1879), Sundsvall (1985) and Örebro (2017). In

870-591: Was ordered by the Roman authorities. The Senatus auctoritas de Bacchanalibus decree was passed to forbid any future similar order. Eventually, the Bacchanalian ordeal was replaced by the softer Liberalia festival. Dionysian The Apollonian and the Dionysian are philosophical and literary concepts represented by a duality between the figures of Apollo and Dionysus from Greek mythology . Its popularization

900-662: Was the Zuñi people as opposed to the Dionysian Kwakiutl people . The theme was developed by Benedict in her main work Patterns of Culture . Albert Szent-Györgyi , who wrote that "a discovery must be, by definition, at variance with existing knowledge", divided scientists into two categories: the Apollonians and the Dionysians. He called scientific dissenters, who explored "the fringes of knowledge", Dionysians. He wrote, "In science

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