  In conclusion, Négritude as aesthetics is predicated on such oppositions as those between sub-reality (or sur-reality) and appearance, force and form, emotion and intellect, Dionysian and Apollonian. Césaire, Damas (as shown in the preface of his anthology) and Senghor all agreed that art was a vital response to the mechanistic and de-humanizing philosophy that produced (and was produced by) modern Europe. And like Nietzsche, they believed that art was another approach by which a sense of the world as totality would be restored. These lines from Césaire’s “Discourse on African Art” delivered in Dakar on April 6, 1966, at the opening of the “World Festival of Negro Arts” summarize Négritude philosophy of the significance of art, especially black art: “Through art, the reified world becomes again the human world, the world of living realities, the world of communication and participation. From a collection of things, poetry and art remake the world, a world which is whole, which is total and harmonious. And that is why poetry is youth. It is the force that gives back to the world its prime vitality, which gives back to everything its aura of marvelous by replacing it within the original totality” (Thébia-Melsan, 2000, 21).