Should a reasonable person not demand that philosophy should not be foolishly purveyed before people incompetent to see the point of it, as pearls before swine? For Nietzsche is utterly correct: philosophy is only for the healthy and whole-minded, the sick it has always only made even sicker. By means of philosophy they dig themselves even deeper into their pathetic delusions.

Most humans know their own "reason" only in the sense that Hume defined it, as "a slave to the passions"-and by "passions" he meant not moral passions or the passions of transcendent genius, but only low appetites or base desires, which society and economy ultimately shape and spur on in us.

(The terms douloi, banausoi and aristoi) are in a way more precise, but what is more vital and valuable, they are more comprehensive: they project a concept of psychic order that embraces entire fields that we have no other way of seeing all together as the working of a single principle. If we think of the human domain as the collaboration and the conflict of these three diverse character-types, we can understand the weave and the stress and polemics of their very different basal teleologies or ultimate governing purposes of life.

Between what human beings so naively and stupidly fear and what they most profoundly ought to fear-i.e. what they so pathogenically and addictively do to their own selves-there is a horrendous gulf and disparity.

Myth is the practical metabolism of our soulish life, the logic of our obsessions and oversights for which we have no language or code. Myth is the "morality" that the ineffable puts upon us, our unaccountable imperatives, our inexplicably selective clarity and obscurity, the mortal one-sidedness of our talents and wits, the passion and apathy that make such a transient passage through our hapless minds; that weave a pattern of fatality others will see before we do. Myth is distinctively human or sublime higher-order instinct, the "reason" in culture that reason knows not of.

Misfortune occurs or can occur to anyone, of any sort of character. The eudaimonic has more resources to avoid it (being in autonomous control of his appetites and assumptions) and more resources to deal with it if it occurs (being better able to put it in perspective and maintain his own evenness of self-mastery). Tragedy as a dramatic form is meant to foster the ethos of sophrosyne or moderation, "nothing to excess"; it nurtures a sense of distance from the dominant illusions and delusions that may infect even aristoi.

The problems of human subjectivity replicate themselves at many different scales, like the overtones and undertones in a stringed instrument striking ghost-intervals up and down into infinity. This is not Hegel's ingenuity, it is his responsiveness to the organic structure in us that echoes itself throughout the whole architecture.