The reality is not only assumed from the Aristotelian catharsis (through a painful recognition) but above all from the assumption of the enigma as enigma, as irresolvable metaphor. Decades earlier, a contemporary and friend of Novalis, Wilhelm Ritter, had tried to walk the path opposite to the one suggested by Nietzsche: Ritter, besides being the discoverer of ultraviolet rays and precursor of the battery electrolyte, predicted a science in which the hidden forces would end up being unveiled by elementary physical principles. The assertion that in future any natural force will come to be dominated by the human being is a constant implicit in the romantic imagination, a constant that will influence the creation of new myths such as the Frankenstein by Shelley and cause the possibility a paradox: are not dreams that subvert reality, which metaforizan it, but that is the reality from a scientific point of view that triggered the spread of intermediate worlds (beyond of what is human). To save us from the enormous appetite of modern culture, his Socratic ability to assassinate lo mitico in favour of absolute control by the rational, Nietzsche awakens to the myth of its historical past. For Nietzsche, the myth is compendiada image of the world p. 179. Through aesthetic contemplation, the myth save removal of your heart, of your maternal origin culture.
In terms of psychoanalysis we could draw a parallel between the myth and the subconscious of culture, so that the generation of new myths nothing would have that view fabulation them but with the uncontrollable force of the oneiric, largely developed by what later would be the surrealist movement. Nietzsche wondered: who overcomes the power of appearance, of the? do you depotencia, by reducing it to the symbol?. And he responds: music. p. 249. Preparatory writings. This emphatic response has not understood, however, in literal but evocative way.