 The original appearing to which art refers is the immanent self-appearing of life given through auto-affection or pathos. In a fundamental sense for Henry, such affective appearing is given in suffering and joy as basic tonalities. With regard to Hölderlin’s and Nietzsche’s reference to the Greek gods, this means that Dionysus has to be seen as the “first god”, since he is the god of desire, of life tied to itself in both suffering and joy (AP 287). Moreover, Dionysus “has no world” but suffers the burden of his own pathos from which he seeks to escape by generating Apollo, i.e., the god of light and, thus, the hope of distancing oneself from pathos. Here art becomes a source of light, a figure through which Dionysus strives to escape from suffering. This is not, however, Henry’s concept of art: it is through the influence of Kandinsky’s writings that he conceives of art as an “intensification of life” (AP 296), where life is understood as auto-affection and original appearing.