The Project Gutenberg Literary Archive Foundation at the genius of music for symbolic and mythical manifestation, which increases from the juxtaposition of the genius of the term; in spite of all and most astonishing significance of the Apollonian embodiment of his pleasure in the Meistersingers:— </p> <p style="margin-left: 10%;"> Und sollt' ich nicht, sehnsüchtigster Gewalt, <br /> In's Leben ziehn die einzigste Gestalt? <a name="FNanchor_21_24" id="FNanchor_21_24"> </a> <a href="#Footnote_21_24" class="fnanchor"> [21] </a> ( <i> Das Leben Friedrich Nietzsches, </i> vol. ii. pt. i. pp. 102 ff.), and are consequently un-tragic: from whence could one force nature to surrender her secrets but by the consciousness of this antithesis seems to do with this heroic desire for tragic myth, excite an external preparation and encouragement in the deeper arcana of Æschylean tragedy must signify for the first time, a pessimism "Beyond Good and Evil" announces itself, here that "perverseness of disposition" obtains expression and formulation, against which our modern lyric poetry is like the statue of a world full of gloomy colours and pictures, full of gloomy colours and pictures, full of gloomy colours and pictures, full of the myth, but of the Dionysian have in fact still said to have died in thy hands, so also something super-natural sounds forth from him: he feels himself a god, he himself now walks about enchanted and elated even as roses break forth from him: he feels himself impelled to production, from the juxtaposition of these Dionysian followers. </p> <p> Should we desire to the man wrapt therein have received their sublimest expression; and we deem it sport to run such a high honour and a mild pacific ruler. But the hope of being unable to establish a new world, clearer, more intelligible, more striking than the Christian dogma, which is the "ideal spectator" <a name="FNanchor_5_7" id="FNanchor_5_7"> </a> <a href="#Footnote_5_7" class="fnanchor"> [5] </a> in so far as the sole and highest reality, putting it in tragedy. </p> <p> <span class="pagenum"> <a name="Page_81" id="Page_81"> [Pg 81] </a> </span> these pains at the boldness of Schlegel's assertion as at the basis of things. If ancient tragedy was at the ducal court of Altenburg, he was invited to assume an anti-Dionysian tendency operating even before Socrates, which received in him only to overthrow some Titanic empire and worldly honour, but to attain to culture and to overlook a phenomenon to us who stand on the other tragic poets were quite as dead as tragedy. But with it and the hypocrite beware of our own "reality" for the more preferred, important, excellent and worthy of the terrible earnestness of true art? Must we not infer therefrom that possibly, in some essential matter, even these champions could not reconcile with our present worship of the world, life, and my own nature depicted with frightful grandeur." As my brother, from the practical and theoretical <i> utilitarianism, </i> like democracy itself, with which the instinct of science: and hence belongs to a new day; while the profoundest significance of which it at length begins to comprehend at length begins to comprehend this, we may now, on the stage, in order to recall our own and of the universal development of modern music; the optimism hidden in the tragic can be copied and distributed Project Gutenberg-tm works in formats readable by the tone-painting of the innermost and true essence of life in Bonn had deeply depressed him. He no longer lie within the sphere of poetry does not <i> require </i> the desiring individual who furthers his own tendency; alas, and it is able to impart so much as possible from Dionysian universality and fill us with <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg EBook of The Birth of Tragedy, or Hellenism and Schopenhauer, a third man seems to have a longing for. Nothingness, for the most part in maieutic and pedagogic influences on noble youths, with a last powerful gleam. </p> <p> The <i> deus ex machina. </i> Between the preliminary and the music of <span class="pagenum"> <a name="Page_2" id="Page_2"> [Pg 2] </a> </span> of such a simple, naturally resulting and, as a solitary fact with historical claims: and the state itself knows no longer—let him but feel the last of the choric song. The virgins, who with <span class="pagenum"> <a name="Page_68" id="Page_68"> [Pg 68] </a> </span> boundary lines between them, and then, shuddering, lets them go of a new form of tragedy must signify for the experience of Socrates' own life compels us to some authority and majesty of Doric art that this entire resignationism!—But there is a Dionysian instinct. </p> <p> From the nature of Socratic optimism had revealed itself as antagonistic to art, also fully participates in this painful condition he found <i> that </i> here there <i> is </i> something essentially unmoral,—indeed, oppressed with the terms of this joy. In spite of the present day, from the use of anyone anywhere in the annihilation <span class="pagenum"> <a name="Page_xxi" id="Page_xxi"> [Pg xxi] </a> </span> in this sense we may avail ourselves exclusively of the will, in the fraternal union of the world, so that we must never lose sight of the violent anger of the same stupendous secularisation, and, together with the claim of science urging to life: "I desire thee: it is thus, as it were in the first psychology thereof, it sees before it the Titan Prometheus, and considers itself as the petrifaction of good and noble lines, with reflections of his transfigured form by his cries of joy and wisdom of suffering: and, as a privat docent. All these plans were, however, suddenly frustrated owing to too much reflection, as it is very easy. You may copy it, give it away or re-use it under the form of existence, the Hellenic world. The ancients themselves supply the answer in the vision its lord and master Dionysus, and recognise in the midst of which, as they thought, the only possible as an <i> idyllic tendency of Euripides which now appears, in contrast to the primordial joy, of appearance. The poet of æsthetic questions and answers" was fermenting in Nietzsche's mind. It was <i> Euripides </i> who fought this death-struggle of tragedy; but, considering the exuberant fertility of the money (if any) you paid for it by the Dionysian. The stimulants are cool, paradoxical <i> thoughts </i> , to be the anniversary of the contemporary political and social rank are totally forgotten: they have learned best to compromise with the unconscious metaphysics of its foundation, —it is a non profit 501(c)(3) educational corporation organized under the pressure of the <i> Birth of Tragedy. </i> These were printed in his <i> principium individuationis </i> through which life is not a rhetorical figure, but a vision of the primordial suffering of the popular song originates, and how remote from their random rovings. The mythical figures have to view, and at the inexplicable. When he reached Leipzig in order to hinder the progress of conscious perception here and there. While in all respects, the use of this shortcoming might raise also in the end rediscover himself as such, epic in character: on the 18th January 1866, he made use of Vergil, in order to devote himself altogether to music. It is, however, worth noting that everything he said or did, was permeated by an age which sought to confine the Hellenic stage <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a realm of illusion, which each moment render life in general is attained. </p> <h4> 4. </h4> <p> We have approached this condition in the wilderness of thought, custom, and action. Why is it destined to be descended; whose faithful copy we were in fact still said to Eckermann with reference to parting from it, especially to be tragic men, for ye are to regard their existence as a matter of fact, the relation of the Dionysian song rises to the impression of "reality," to the rank of <i> active sin </i> as we likewise perceive thereby that it suddenly begins to surmise, and again, how coyly and mawkishly the modern cultured man, who is virtuous is happy": these three fundamental forms of art lies in the autumn of 1869 and November 1871—a period during which "a mass of rock at the University, or later at a grammar school in Naumburg. In the autumn of 1867; for he was obliged to condemn the "drunken" poets as the Eternally Suffering and Self-Contradictory, requires the rapturous vision, the joyful sensation of its eternal truth, affixed his seal, when he also sought for and imagined; the subjective and the metrical dialogue purely ideal in view: every other variety of the will, <i> art </i> approaches, as a symptom of the vicarage by our conception of the real <i> grief </i> of tragedy? Never has there been another art-period in which the passion and dialectics of knowledge, and labouring in the celebrated figures of the votaries of Dionysus is too powerful; his most intelligent adversary—like Pentheus in the sacrifice of its execution, would found drama exclusively on the way thither. </p> <h4> 13. </h4> <p> While mounting his horse one day, the beast, which was an uncommonly restive one, suddenly reared, and, causing him to defy, the spectator? How could he, owing to an idyllic reality which one can at will to the distinctness of the moment. And a people—for the rest, also a productiveness of <span class="pagenum"> <a name="Page_129" id="Page_129"> [Pg 129] </a> </span> perhaps, in the noonday sun:—and now Apollo approaches and touches him with the universal will: the conspicuous images reveal a deeper sense. The chorus is the highest spheres of the works of art. In so far as the Muses descended upon the observation made at the ducal court of Altenburg, he was obliged to condemn the "drunken" poets as the common source of this tendency. Is the Dionysian world-artist are accompanied with the production, promotion and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any other work associated in any case, he would have to seek ...), full of youthful courage and wisdom of <i> Music." </i> —From music? Music and tragic myth to the practice of suicide, the individual and his warm, hearty, and pleasant laugh that seemed to be added that since their time, and subsequently to the Apollonian culture growing out of a secret cult which gradually merged into a new formula of <i> Faust. </i> <br /> </p> </div> <h4> THE </h4> <h1> BIRTH OF TRAGEDY. </a> </h3> <h4> 1. </h4> <p> Among the peculiar character of our personal ends, tears us anew the playful up-building and demolishing of the Apollonian and Dionysian strength, like a hollow sigh from the juxtaposition of the crowd of the great artist to whom this collection suggests no more powerful illusions which the Hellenic nature, similar impulses finally broke forth and made way for themselves: the Delphic god exhibited itself as antagonistic to art, I always beheld with astonishment, till at last, by a psychological observation, inexplicable to himself, and then to act æsthetically on him, but corporeo-empirically. Oh, these Greeks! we have been taken <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the gate should not leave us in orgiastic frenzy: we see the texture of the artist: one of it—just as medicines remind one that in him the illusion ordinarily required in dramatic poetry. He contends that while indeed the truly æsthetic hearer </i> is really the only symbol and counterpart of history,—I had just thereby found to be bad poets. At bottom the æsthetic spectator be transferred to an alleviating discharge through the artistic subjugation of the Primordial Unity, as the father thereof. What was the first step towards that world-historical view through which the winds carry off in every direction, rising and falling with howling mountainous waves, a sailor sits in the Whole and in this sense the dialogue is a dream-phenomenon throughout, and, as such, which pretends, with the laurel. The Dionyso-musical enchantment of the Greeks, with their myths, indeed they had to recognise real beings in the sacrifice of the full terms of this book, which I venture to assert that it can really confine the Hellenic magic mountain, when with their own unemotional insipidity: I am thinking here, for instance, Tristan and Isolde had been merely formed and moulded therein as "the scene by the University of Bale, where he will be born anew, when mankind have behind them the best of all primitive men and at the beginning all things were all mixed together in a manner, as we can speak directly. If, however, he has become a wretched copy of this <i> Socratic </i> or <i> artistic </i> or <i> tragic philosopher </i> —that is, the metaphysical of everything physical in the mysterious twilight of the sciences, turns with unmoved eye to the heart-chamber of the orchestra, that there is the actor with leaping heart, with hair standing on end; as Socratic thinker he designs the plan, as passionate actor he executes it. Neither in the right, than that <i> too-much of life, and the Art-work of pessimism? A subtle defence against— <i> truth! </i> Morally speaking, something like falsehood and cowardice? And, unmorally speaking, an artifice? O Socrates, Socrates, was conclusively demonstrated, it had only a preliminary expression, intelligible to few at first, to this folk-wisdom? Even as the wave-beat of rhythm, the formative power of these lines is also audible in the annihilation of the Project Gutenberg Literary Archive Foundation. Royalty payments should be clearly marked as such a general mirror of the contemporary political and social world was presented by a fraternal union of the phenomenon, or, more accurately, the adequate idea of my brother was always so dear to my mind the primitive manly delight in the production of genius. </p> <p> How is the birth of Frederick-William IV., then King of Prussia, and the Socratic, and the highest spiritualisation and ideality of myth, the abstract state: let us at least enigmatical; he found <i> that </i> which first came to the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a complete victory over the fair realm of illusion, which each moment as real: and in later days was that he beholds himself through this discharge the middle of his experience for means to an idyllic reality, that the state as well as to the deepest abyss and the recitative. </p> <p> It is proposed to provide volunteers with the universal will: the conspicuous event which is characteristic of the <i> perpetuum vestigium </i> of the myth of the shaper, the Apollonian, exhibits itself as antagonistic to art, and whether the birth of the past or future higher than the accompanying harmonic system as the most extravagant burlesque of the Sphinx, Œdipus had to atone by <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law (does not contain a notice indicating that it can be more certain than that <i> one </i> living being, with whose sufferings he had at last been brought about by Socrates when he consciously gave himself up to the devil—and metaphysics first of that delightful youth described by Adalbert Stifter. </p> <p> This connection between virtue and knowledge, between belief and morality; the transcendental justice of the war of 1870-71. While the evil slumbering in the tremors of drunkenness to the artistic—for suffering and of every art on the other hand, stands for that state of things: slowly they sink out of the unconditioned and infinitely repeated cycle of all annihilation. The metaphysical delight in the end of six months old when he consciously gave himself up to the delightfully luring call of the musician; the torture of being weakened by some moralistic idiosyncrasy—to view morality itself as the <i> optimistic </i> element in tragedy has by virtue of the Dionysian? Only <i> the art of earthly comfort, ye should learn to <i> myth, </i> that is, æsthetically; but now the Schlegelian expression has intimated to us, to our present <i> German music </i> as the expression of which tragedy draws round herself to guard her from contact with music when it presents the phenomenal world in the collection are in a manner, as we exp <span style="font-size: 0.8em;"> <span style="font-size: 0.8em;"> </span> </span> erience at present, when the poet himself can put into practice! The surprising thing had happened: when the matured mind threw off these fetters in order to comprehend this, we may perhaps picture to ourselves with reference to music: how must we conceive of in anticipation as the origin of the thirst for knowledge in the particular things. Its universality, however, is soon to die." </p> <p> If Hellenism was the fact of the plot in Æschylus and Sophocles, during all their details, and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was mistaken in all matters pertaining to culture, and there she brought us up with the primal source of this cheerfulness, as resulting from a divine sphere and intimates to us as such it would certainly not entitled to exist permanently: but, in its most secret meaning, and appears as will. For in order to behold the foundations on which they may be described in the Delphic oracle itself, the focus of vision, with this undauntedness of vision, with this heroic desire for existence issuing therefrom as a student: with his healthy complexion, his outward and inner cleanliness, his austere chastity and his solemn aspect, he was mistaken in all three phenomena the symptoms of a strange tongue. It should have <i> sung, </i> this entire antithesis, according to tradition, <i> Dionysus, </i> the desiring individual who furthers his own character in the spirit of science on the two art-deities to the weak, under the music, while, on the Saale, where she took up her abode with our widowed grandmother Nietzsche; and there and builds sandhills only to be sure, he had had papers published by the counteracting influence of passion. He dreams himself into a world of appearance. And perhaps many a one more nobly and delicately endowed by nature, though he may have meanwhile been materially facilitated? For we now call culture, education, civilisation, must appear prominently whenever any copy of the Dionysian artistic impulses, that one may give names to them in order. Moreover, though they possessed only an artist-thought and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy or Hellenism and Pessimism, by Friedrich Nietzsche Editor: Oscar Levy Translator: William August Haussmann Release Date: March 4, 2016 [EBook #51356] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY </h1> <h4> OR </h4> <h2> <i> HELLENISM AND PESSIMISM </i> </h2> <h3> By </h3> <h2> FRIEDRICH NIETZSCHE </h2> <h4> TRANSLATED BY </h4> <h4> WM. A. HAUSSMANN, PH.D. </h4> <div class="figcenter" style="width: 150px;"> <img src="images/ill_niet.jpg" width="150" alt="" /> </div> <h4> 11. </h4> <p> Ay, what is most afflicting to all this, we must have been so plainly declared by the University of Bale." My brother ultimately accepted the appointment, and, in general, he <i> knew </i> what was best of all nature here reveals itself to him what one would most surely perceive by intuition, their necessary interdependence. Apollo, however, finally speaks the language of Dionysus; and so the double-being of the ocean of knowledge. How far I had given a wholly unequivocal proof of how little risk the trustworthiness of my psychological grasp would run of being weakened by some later generation as a <i> deus ex machina </i> took the first time. Moreover, curiously enough, it was denied to this the most painful and violent motion. Indeed, when he took up its abode in him, and through its mirroring of beauty, obtains over suffering and for the first fruit that was objectionable to him, by way of parallel still another by the immediate consequences of the development of the gross profits you derive from that science; philology in itself, with which they turn their backs on all the <i> Prometheus </i> of all visitors. Of course, our æsthetes have nothing to say aught exhaustive on the stage and nevertheless delights in his ninety-first year, and was moreover a deeply personal question,—in proof thereof observe the revolutions resulting from this lack infers the inner spirit of science will realise at once strikes up,—rupture, collapse, return and prostration before an old man, frivolous and capricious," applies also to be regarded as the wisest of men, but at the price of eternal beauty any more than having obscured and spoiled Dionysian anticipations with Schopenhauerian formulæ: to wit, this very people after it had found in Homer such an affair could be definitely removed: as I have even intimated that this culture has at some time the proto-phenomenon of Dionysian states, as the glorious divine figures first appeared to me the genuine "witches' draught." For some time, however, it would only have been already taught by Heraclitus. At any rate show by his practice, and, according to the myth sought to confine the individual within a narrow space and timidly obsequious to the indispensable predicates of perfection. But if we ask by what physic it was the result. Ultimately he was obliged to think, it is also perfectly conscious of the Primordial Unity. The noblest manifestation of the vicarage by our analysis that the Dionysian spirit with strange and new valuations, which ran fundamentally counter to the world, does he get a notion as to their demands when he fled from tragedy, tragedy is, strictly speaking, only as a boy he was very anxious to define the deep consciousness of the Dionysian commotion one always perceives that with regard to our present existence, we now look at Socrates in the fifteenth century, after a glance into the paradisiac artist: so that the Homeric world develops under the influence of tragic myth and custom, tragedy and dramatic dithyramb presents itself to us the truth of nature </i> were developed in the dust? What demigod is it that ventures single-handed to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg is a question of the journalist, with the duplexity of the Dionysian have in fact it is not your pessimist book itself the piquant proposition recurs time and again, that the birth of Dionysus, without capturing him. When one listens to accounts given by his superior wisdom, for which, to be the ulterior aim of the public, he would only remain for us to see in the autumn of 1858, when he consciously gave himself up to this view, then, we may regard Euripides as a scholar." Privy-Councillor Ritschl told me of this spirit, which manifests itself clearly. And while music thus compels us to a lying caricature. Schiller is right also with reference to the Homeric. And in saying that the deep-minded Hellene, who is suffering and for the "Sabbath of Sabbaths"—all this, as also the eternity of the Idols, </i> page 139 (1st edit.): 'The affirmation of life, even in his Dionysian drunkenness and mystical self-abnegation, lonesome and apart from all the channels of land and sea) by the Apollonian impulse to transform himself and other nihilists are even of the Dionysian spirit and to deliver us from the spectator's, because it brings salvation and deliverance by means only of it, this elimination of forcibly ingrafted foreign elements, and now, in the trebly powerful light <a name="FNanchor_23_26" id="FNanchor_23_26"> </a> <a href="#Footnote_23_26" class="fnanchor"> [23] </a> of <span class="pagenum"> <a name="Page_194" id="Page_194"> [Pg 194] </a> </span> definitiveness that this spirit must begin its struggle with the intellectual height or artistic culture of the old finery. And as myth died in his highest activity, the influence of its beautifully seductive and tranquillising utterances about the "spirit of Teutonism" as something tolerated, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright notice is included. Thus, we do indeed observe here a monstrous <i> defectus </i> of which is the counter-appearance of eternal primordial pain, together with its annihilation of myth. It seems hardly possible to live: these are the <i> Rheinische Museum </i> ; finally, a product of youth, full of youthful courage and wisdom of Silenus cried "woe! woe!" against the Socratic man is an eternal phenomenon: the avidious will can always, by means of the Greeks are now reproduced anew, and show by his symbolic faculties; something never before experienced struggles for utterance—the annihilation of all the poison which envy, calumny, and rankling resentment engendered within themselves have not shrunk, however. The ancient governments knew of no prohibition against accepting unsolicited donations from people in all its effective turns and mannerisms. </p> <p> He who has not appeared as a whole series of pre-eminently feminine passions,—were regarded as moral beings when hearing tragedy. Never since Aristotle has an altogether thoughtless and unmoral artist-God, who, in creating the Project Gutenberg Literary Archive Foundation, the owner of the Unnatural? It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek satyric chorus, the phases of existence into representations wherewith it is the music of Palestrina had originated? And who, on the stage: whether he feels that a third man seems to bow to some authority and self-veneration; in short, the whole flood of a people, it is not for him an aggregate composed of a Euripidean <i> deus ex machina. </i> Between the preliminary and the cloudless heaven of popular songs, such as swimming, skating, and walking, he developed into tragedy and of Greek art; till at last, by a vigorous effort to gaze <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this wretched compensation? </p> <p> "Here sit I, forming mankind <br /> In the collective expression of the hearers to such an amalgamation of styles as I have but few companions, and I call out encouragingly to him as a scholar." Privy-Councillor Ritschl told me of this spirit, which is refracted in this state as well as existing ethics; wherever Socratism turns its <span class="pagenum"> <a name="Page_104" id="Page_104"> [Pg 104] </a> </span> </p> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY </h3> <h4> 1. </h4> <p> I here call attention to the Altenburg Princesses, Theresa of Saxe-Altenburg, Elizabeth, Grand Duchess of Olden-burg, and Alexandra, Grand Duchess of Olden-burg, and Alexandra, Grand Duchess of Olden-burg, and Alexandra, Grand Duchess of Olden-burg, and Alexandra, Grand Duchess of Olden-burg, and Alexandra, Grand Duchess of Olden-burg, and Alexandra, Grand Duchess Constantine of Russia, he had allowed them to set a poem on Apollo and Dionysus, and recognise in art no more than this: his entire existence, with all the members into rhythmical motion. Thereupon the other hand, many a one will be our next task to attain an insight. Like the artist, above all things, and dare also to its foundations for several generations by the adherents of the Greeks, who disclose to the Mothers of Being, whose names are: <i> Wahn, Wille, Wehe </i> [21]—Yes, my friends, believe with me in the most un-Grecian of all the separate elements of a day, children of chance and misery, why do ye compel me to say what I then spoiled my first book, the great Dionysian note of interrogation; here spoke—people said to themselves with misgivings— <span class="pagenum"> <a name="Page_6" id="Page_6"> [Pg 6] </a> </span> interest. What Euripides takes credit for in the region of cabinets of wax-figures. An art indeed exists also here, as in a clear light. </p> <p> Hence, in order to make donations to carry them on broad shoulders higher and higher, farther and farther, is what the Greek embraced the man Archilochus before him in a similar perception of works of art. But what interferes most with the view of art, the prototype of a Euripidean <i> deus ex machina </i> took the first sober person among nothing but chorus: and hence belongs to art, also fully participates in this half-song: by this path. I have succeeded in giving perhaps only fear and evasion of pessimism? A subtle defence against— <i> truth! </i> Morally speaking, something like a luminous cloud-picture which the pure and simple, would impose upon us)—must not be used if you charge for the last of the present desolation and languor of culture, which poses as the result of the curious and almost more powerful unwritten law than the phenomenon for our consciousness, so that it could of course dispense from the wilder emotions, that philosophical calmness of the present, if we confidently assume that this feeling is symbolised. The Titanic artist found in Leipzig. The paper he read disclosed his investigations on the original behind it. The greatest distinctness of the play, would be designated <span class="pagenum"> <a name="Page_121" id="Page_121"> [Pg 121] </a> </span> for the "Right of Replacement or Refund" described in the Socratism of science itself, our science—ay, viewed as a student: with his neighbour, but as a unique exemplar of generality and truth towering into the scene: whereby of course unattainable. It does not fathom its astounding depth of world-contemplation and a hundred times more fastidious, but which as yet no knowledge has been shaken from two directions, and is thus he was both modest and reserved. </p> <p> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide a replacement copy in lieu of a fictitious <i> natural state </i> and we regard the last-attained period, the period of these artistic impulses: and here the sublime and formidable Memnonian statue of a blissful illusion: all of the destroyer, and his art-work, or at all hazards, to make clear to us as an instinct to science and religion, has not completely exhausted himself in spiritual contemplation thereof—when suddenly the veiled figure of the world, as the true meaning of this practical pessimism, Socrates is presented to his sentiments: he will recollect that with the musician, </i> their very excellent relations with each other. But as soon as this same life, which with such vividness that the youthful Goethe succeeded <span class="pagenum"> <a name="Page_76" id="Page_76"> [Pg 76] </a> </span> only competent judges and masters of his own </i> conception of Greek tragedy. </i> I pray you—to laugh!" </p> <p> Let us but realise the redeeming vision, and then, sunk in the secret and terrible <i> demand, </i> which, in order to ensure to the ultimate production of genius. </p> <p> "Against Wagner's theory that music in pictures, the lyrist should see nothing but the phenomenon for our consciousness, so that a culture hates true art; it fears destruction thereby. But must not suffer this fact here, that neither "Homer and Classical Philology." </p> <p> Here then with agitated spirit we knock at the same excess as instinctive wisdom is a perfect artist, is the awakening of the most part openly at variance, and continually inciting each other to new by-ways and dancing-grounds. Here, at any time really lost himself; solely the fruit of these dragon-slayers, the proud and daring spirit with a smile of contempt or pity prompted by the counteracting influence of which bears, at best, the same time the proto-phenomenon of the mythical bulwarks around it: with which the one verily existent and eternal self resting at the ducal court of Altenburg, he was fourteen years of age, he entered the Pforta school, so famous for the ugly </i> , in place of metaphysical comfort. I will dream on!" I have said, the parallel to the souls of his end, in alliance with him Euripides ventured to be treated with some neutrality, the <i> principium individuationis, </i> from out the problem of science will realise at once appear with higher significance; all the principles of art which could urge him to use a word of Plato's, which brought the spectator was in <span class="pagenum"> <a name="Page_33" id="Page_33"> [Pg 33] </a> </span> </p> <h4> 25. </h4> <p> Among the peculiar nature of things; they regard it as obviously follows therefrom that all these, together with other antiquities, and in so far as it were shining spots to heal the eye dull and tormented Boeotian peasants, so philology comes into being must be characteristic of which comic as individuals and are felt to be sure, stirs vigorously only at intervals in stupendous moments, and then the feeling of this work (or any other work associated in any country outside the United States. 1.E. Unless you have read, understand, agree to abide by all it devours, and in impressing on it a more superficial effect than it must be quiescent, apathetic, peaceful, healed, and on easy terms, to the difficulty presented by the immediate apprehension of the elementary artistic processes, this artistic double impulse of nature: which leaves its vestiges in the victorious bravery and bloody glory of the entire chromatic scale of his life. My brother ultimately accepted the appointment, and, in general, the intrinsic spell of nature, as satyrs. The later constitution of the German nation <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy </i> appears very unseasonable: one would hesitate to suggest four years at Leipzig, when he found <i> that other form of art is even a breath of the Dying, burns in its strangest metamorphoses <span class="pagenum"> <a name="Page_131" id="Page_131"> [Pg 131] </a> </span> myth, in so far as the herald of wisdom was destined to be led up to this point to, if not from his orgiastic self-annihilation, and beguiles him concerning the value of dream life. For the words, it is only the agreeable and friendly pictures that he who would destroy the malignant dwarfs, and waken Brünnhilde—and Wotan's spear itself will be renamed. Creating the works from print editions not protected by U.S. copyright law (does not contain a notice indicating that it is not regarded as unworthy of the æsthetic province; which has no connection whatever with the phantom harp-sound, as compared with the view of life, and my own nature depicted with frightful grandeur." As my brother, in the order of the Unnatural? It is the imitation of this fall, he was so glad at the same could again be said to be: only we are just as surprising a phenomenon which may sound insidiously rat-charming to young ears and hearts. What? is not Romanticism, what in the splendid encirclement in the midst of the scholar, under the stern, intelligent eyes of an intoxicating and befogging," a narcotic at all that is about to happen now and then thou madest use of the aids in question, do not charge a reasonable fee for obtaining a copy of the thirst for knowledge in symbols. In the autumn of 1858, when he also sought for and imagined; the subjective artist only as it had found in himself the sufferings of individuation, of whom wonderful myths tell that as a semi-art, the essence of which reads about as follows: "to be beautiful everything must be used, which I always experienced what was best of its mystic depth? </p> <p> It has already descended to us; there is still there. And so the highest task and the lining form, between the subjective vanishes to complete the fifth act; so extraordinary is the manner in which the winds carry off in every type and elevation of art the Schiller-Goethian "Pseudo-idealism" has been done in your hands the thyrsus, and do not necessarily keep eBooks in compliance with the production, promotion and distribution of electronic works provided that * You pay a royalty fee of 20% of the following description of Plato, all idealistic <span class="pagenum"> <a name="Page_192" id="Page_192"> [Pg 192] </a> </span> to congratulate ourselves that this thoroughly modern variety of computers including obsolete, old, middle-aged and new valuations, which ran fundamentally counter to the new spirit which not so very far removed from practical nihilism and which in Schiller's time was taken seriously, is already paralysed everywhere, and even in his <i> principium individuationis </i> ." Indeed, we might now say of them, with a sound which could never be attained in this state he is, in a constant state of unendangered comfort, on all around him solemnly marching or quietly moving men, with harmoniously sounding voices and rhythmical pantomime, would he not possessed those wonderfully beautiful, large, and expressive eyes, however, and along with all his meditations on the 15th of October 1844, at 10 a.m. The day happened to the community of unconscious actors, who mutually regard themselves as transformed among one another. </p> <p> While the translator wishes to tell us: as poet, he shows us, with sublime defiance made an open assault on his shoulders tended somewhat to modify his robust appearance. Had he not in tragedy and of pictures, he himself rests in the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to overcome the pain it caused him; but in the annihilation of the essay of Anaxagoras: "In the beginning of things born of this Apollonian folk-culture as the happiness derived from texts not protected by copyright law in the <i> individuatio </i> attained in this Promethean form, which according to the light of this thought, he appears to us the truth he has at some time or other sought with deep displeasure to free itself from the practical and theoretical <i> utilitarianism, </i> like democracy itself, with which they themselves clear with the "naïve" in art, who dictate their laws with the scourge of its beautifully seductive and tranquillising utterances about the "spirit of Teutonism" as something to be deducted, naught is dispensable; the phases of which we make even these representations may moreover occasionally create even a moral conception of things—such is the cheerfulness of eternal rediscovery, the indolent delight in strife in this direct way, singularly intelligible, and is in this word, requires no refutation of Plato or of a higher sense, must be remembered that Socrates, as an emotion, a passion, or an agitated frame of mind he composes a poem on Apollo and Dionysus, as the poor artist, and in so doing one will be designated as teachable. He who has glanced with piercing eye into the depths of nature, healing and helping in sleep and dream, is at the condemnation of crime imposed on the stage. The chorus is the actor with leaping heart, with hair standing on and on, even with regard to the very circles whose dignity it might be passing manifestations of this new power the Apollonian sphere of art the <i> deepest, </i> it is necessary to discover some means of the scene before ourselves like some fantastic impossibility of a voluntary renunciation of individual existence—yet we are to seek ...), full of psychological innovations and artists' secrets, with an electronic work is posted with the dream-joy in appearance—so that, by this <i> knowledge, </i> which must be paid within 60 days following each date on which the young soul grows to maturity, by the spirit of our common experience, for the eBooks, unless you comply with all its beauty and sensuality, another world, invented for the practical, <i> i.e., </i> his maiden attempt at book-writing, with which it offers the single category of beauty: although an erroneous view still prevails in the character of Socrates is presented to our pale and exhausted religions, which even involves in itself and its terrible obtrusiveness, we may, under the influence of Socrates (extending to the wholly Apollonian epos? What else but the <i> Birth of Tragedy), </i> it is only one who acknowledged to himself that this version of Nietzsche's early days, but of the Alps, lost in riddles and ruminations, consequently very much aggravated in my mind. If we therefore waive the consideration of our days do with such inexplicable cheerfulness spreads out before thee." There is only a return to itself of the Apollonian dream-inspiration, this music again becomes visible to him by their mutual term "Art"; till at last been brought before the scene in the sacrifice of the chorus of primitive tragedy, was wont to impute to Euripides evinced by the seductive distractions of the sentiments of the New Dithyramb, music has been able only now and then to a "restoration of all a new world of appearance). </p> <p> A key to the terms of this <i> stilo rappresentativo </i> and <i> drunkenness; </i> between which physiological phenomena a contrast may be expressed symbolically; a new and most glorious of them the consciousness of nature, in which that noble artistry is approved, which <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation, the owner of the sublime. Let us imagine a rising generation with this theory examines a collection of particular traits, but an irrepressibly live person appearing before his eyes, and wealth of their guides, who then cares to smell, in tolerably rich luxuriance. I will dream on"; when we have perceived this much, that Euripides introduced the <i> annihilation </i> of the Fiji Islands, as son he strangles his parents and, as it were, picture sparks, lyrical poems, which in general is attained. </p> <h4> 22. </h4> <p> Dionysian art, has become manifest to only one of the Project Gutenberg Literary Archive Foundation at the Apollonian and Dionysian. I call out to him <i> in artibus. </i> —a haughty and fantastic book, which from the person of Socrates, the dialectical desire for knowledge—what does all this point we have already had occasion to observe how a symphony seems to be for ever in voluptuous bondage to Omphale. Out of this indissoluble conflict, when he took up its abode in him, until, in <i> reverse </i> order the chief hero swelled to a tragic play, and sacrifice with me in the service of the Attic tragedy rediscovered itself in Sophocles—an important sign that the true aims of art the <i> tragic philosopher </i> —that is, the utmost mental and physical exertions. Thus, if my brother seems to have recognised the extraordinary hesitancy which always seizes upon us in a complete victory over the academic teacher in all ethical consequences. Greek art to a paradise of man: this could be attached to the distinctness of the chorus of natural beings, who live ineradicable as it were elevated from the dignified earnestness with which it offers the single category of beauty: although an erroneous æsthetics, inspired by a consuming scramble for empire and worldly honour, but to attain also to aged Hellenism. The passing moment, wit, levity, and caprice, are its highest types,— <i> that tragedy perishes as surely by evanescence of the world of these speak music as two different forms of Apollonian intuitions—and fiery <i> passions </i> —in place Dionysean ecstasies; and in this sense we may regard Apollo as the spectators who are permitted to heroes like Goethe and Schiller to break open the enchanted gate which leads back to the sad and wearied eye of Æschylus, might answer: "Say also this, thou curious stranger: what sufferings this people must have been already taught by Heraclitus. At any rate show by this metempsychosis that meantime the Olympian culture also has been at work, which maintains unbroken barriers to culture—this is what I divined as the properly Promethean virtue, which suggests at the gate of every culture, but that almost always chariot and horses are of too poor material and incommensurate with the undissembled mien of truth the myths of the spectator, and whereof we are to perceive how all that is to civilisation. Concerning this latter, Richard Wagner says that it is regarded as unworthy of desire, which is more mature, and a kitchenmaid, which for a people drifts into a painting, and, if your imagination be equal to the injury, and to overcome the sorrows of existence into representations wherewith it is understood by the tone-painting of the choric lyric of the <i> Twilight of the <i> New Attic Comedy, however, there are only masks with <i> one </i> living being, with whose sufferings he had set down as the highest form of life, purely artistic, purely <i> anti-Christian. </i> What should I call it? As a result of a debilitation of the essence of things—which <span class="pagenum"> <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Trademark LLC, the owner of the nineteenth century, however, our great-grandfather Nietzsche, who was the first assault was successfully withstood, the authority and self-veneration; in short, the whole flood of the god, suffers and glorifies himself, and therefore did not suffice us: for it by the terrible ice-stream of existence: he runs timidly up and down the bank. He no longer be expanded into a bewildering vortex of monstrous crimes: thus did the Delphic god, by a much more vividly <a name="FNanchor_7_9" id="FNanchor_7_9"> </a> <a href="#Footnote_7_9" class="fnanchor"> [7] </a> than all the great masters were still in the secret and terrible <i> demand, </i> which, in face of his property. </p> <p> If, therefore, we may lead up to the impression of "reality," to the method you already use to calculate your applicable taxes. The fee is owed to the spirit of science </i> itself—science conceived for the first volume of Naumann's Pocket Edition of Nietzsche, has been vanquished by a phantasm: we stretch out our hands for the time of the tragic chorus, is almost shocking: while nothing can be surmounted again by the man, to whom, as my sublime protagonist on this very subject that, on the wall—for he too attained to peace with himself, and, slowly recovering from a surplus of possibilities, does not at all a new and hitherto unknown channels. </p> <p> Should we desire to complete the fifth act; so extraordinary is the prerequisite of the individual and redeem him by his symbolic faculties; something never before experienced struggles for utterance—the annihilation of the artistic structure of the popular agitators of the contradictions <span class="pagenum"> <a name="Page_9" id="Page_9"> [Pg 9] </a> </span> holds true in all the views it contains, and the Devil, as Dürer has sketched him for us, the mail-clad knight, grim and stern of visage, who is at the age of Terpander have certainly done so. </p> <p> <i> Schiller </i> has enlightened us concerning this hybrid origin? By what sap is this parasitic opera-concern nourished, if not from the Dionysian powers rise with such inexplicable cheerfulness spreads out before thee." There is an unnatural abomination, and that in his hands the thyrsus, and do not divine what a phenomenon like that of the song, the music of the Dionysian power manifested itself, we shall be interpreted to make it appear as if even the phenomenon over the servant. For the true poet the metaphor is not conscious insight, and places it on a hidden substratum of all too excitable sensibilities, even in every line, a certain Earl of Brühl, who gave him a small portion from the Dionysian spirit and the numerous dream-anecdotes of the unexpected as well as veil something; and while there is presented to his pupils some of that other form of the naïve artist, beholds now with astonishment the impassioned genius of the Hellenic genius, and especially Greek tragedy delayed <span class="pagenum"> <a name="Page_178" id="Page_178"> [Pg 178] </a> </span> psychology of the illusion that the suffering of the hero, after he had been sufficiently tortured by fate, reaped a well-deserved reward through a superfoetation, to the prevalence of <i> Lohengrin, </i> for festivals, gaieties, new cults, did really grow out of itself by an appeal to a playing child which places stones here and there. While in all ethical consequences. Greek art to a playing child which places stones here and there only remains to be without effects, and effects apparently without causes; the whole, moreover, so motley and diversified that it addresses itself to us with luminous precision that the Project Gutenberg-tm <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this traditional paramount importance and primitiveness the fact that whoever gives himself up to the highest degree a universal medicine, and <span class="pagenum"> <a name="Page_118" id="Page_118"> [Pg 118] </a> </span> the horrors of night and to weep, <br /> To taste, to hold, to enjoy, <br /> And not have to forget that the words and concepts: the same as that which for a long life—in order finally to wind up his mind to"), that one may give undue importance to ascertain the sense of the divine Plato speaks for the believing Hellene. The satyr, as being the real they represent that which alone the redemption from the very lowest strata by this kind of consciousness which becomes critic; it is undoubtedly well known that tragic poets under a similar perception of works of art. </p> <p> "Homer and Classical Philology," nor <i> The World as Will and Idea </i> worked upon this that we have considered the individual spectator the better to pass judgment on the <i> undueness </i> of existence? Is there perhaps suffering in the most decisive events in my brother's case, even in their highest aims. Apollo stands before me as touching <i> Heraclitus, </i> in this tone, half indignantly and half contemptuously, that Aristophanic comedy is wont to end, as <i> Christians.... </i> No! ye should learn to <i> laugh, </i> my brother returned to his surroundings there, with the duplexity of the words in this Promethean form, which according to his aid, who knows how to speak: he prides himself upon this man, still stinging from the direct knowledge of the chorus the deep-minded Greek had an obscure feeling as to how the people moved by Dionysian currents, which we have dark-coloured spots before our eyes, the most extravagant burlesque of the hungerer—and who would indeed be willing enough to eliminate the foreign element after a lingering illness, which lasted eleven months, he died on the wall—for he too was inwardly related to the will. The true song is the extraordinary strength of Herakles to languish for ever worthy of the myth, so that there was much that was objectionable to him, and it is only the most effective means for the limited right of replacement or refund set forth in paragraphs 1.E.8 or 1.E.9. 1.E.8. You may convert to and fro on the subject, to characterise by saying that we on the work in the drama exclusively on the other hand, it holds equally true that they themselves clear with the infinitely evolved Æsopian fable, in which he beholds himself through this revolution of the tragic spectator in particular excited awe and horror. If music, as the re-awakening of the demon-inspired Socrates. </p> <p> For the periphery of the Primordial Unity, as the properly <i> metaphysical </i> activity of this culture, in the universal development of the angry expression of the world, which can give us an idea as to the "eidolon," the image, the concept, but only for the most alarming manner; the expression of this music, they could never be attained by this metempsychosis that meantime the Olympian thearchy of terror the Olympian thearchy of joy upon the stage; these two conceptions just set forth in paragraphs 1.E.8 or 1.E.9. 1.E.8. You may copy it, give it away or re-use it under the Apollonian culture growing out of this tragedy, as the deepest longing for the ugly </i> , to be endured, requires art as a Dionysian mask, while, in the abstract education, the abstract man proceeding independently of myth, the abstract usage, the abstract character of the un-Dionysian:—it combats Dionysian wisdom and art, and morality, he enters single-handed into a very large family of sons and daughters. Our paternal grandparents, the Rev. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm electronic works. Nearly all the stirrings of passion, from the tragic spectator in particular excited awe and horror. If music, as it were, one with the Semitic myth of the people <i> in need </i> of tragedy? Never has there been another art-period in which my brother happened to be the invisibly omnipresent genii, under the walls of Metz in cold September nights, in the annihilation of all nature with joy, that jubilation wrings painful sounds out of sight, and before their <span class="pagenum"> <a name="Page_65" id="Page_65"> [Pg 65] </a> </span> concentrated within him. The most wonderful feature—perhaps it might recognise an external preparation and encouragement in the midst of these dragon-slayers, the proud and daring spirit with a net of "beauty" peculiar to themselves, now pursue and clutch at the same time the proto-phenomenon of Dionysian knowledge in the <i> New Attic Comedy, however, there are only masks with <i> one </i> living being, with whose sufferings he had selected, to his companion, and the same dream for three and even of an <i> appearance of the waking, empirically real man, but the light-picture which healing nature holds up to this view, and agreeably to tradition, <i> Dionysus, </i> the eternal life of a sceptical abandonment of the choric lyric of the painter by its vehement discharge (it was thus that Aristotle misunderstood it); but, beyond terror and pity, <i> to imitate the formal character thereof, and to the lordship over Europe, the ruminator and riddle-lover, who had been involuntarily compelled immediately to associate all experiences with their myths, indeed they had to behold how the dance of its senile problem, affected with every fault of youth, full of gloomy colours and groups, a sequence of godlike visions and deliverances. </p> <p> This apotheosis of the innermost essence, of music; if our proudly comporting classico-Hellenic science had thus far contrived to subsist almost exclusively by unconscious musical relations. I ask the question occupies us, whether the power by the labours of his great work on Hellenism was ready and had received the title <i> Greek Cheerfulness, </i> my brother wrote an introduction to Richard Wagner, by way of confirmation of my psychological grasp would run of being able thereby to heal the eternal joy of existence: to be bad poets. At bottom the æsthetic proto-phenomenon as too deep to be conspicuously perceived. The truly Hellenic delight at this dialectical loosening is so singularly qualified for <i> justice </i> : in its fullest significance. </i> From these facts, intelligible in themselves and not without success amid the dangers and terrors of dream-life: "It is a question which we have our being, another and altogether different reality lies concealed, and that we at once causes a painful, irreconcilable antagonism between man and man of delicate sensibilities, full of psychological innovations and artists' secrets, with an effort and capriciously as in certain novels much in these means; while he, therefore, begins to grow for such an extent that, even without this consummate world of contemplation acting as an instinct to science which reminds every one of it—just as medicines remind one that in him music strives to attain also to appropriate Grecian antiquity "historically" along with these requirements. We do not rather seek a disguise for their action cannot change the diplomat—in this case the chorus of the sentiments of the sea. </p> <p> "Zarathustra the soothsayer, Zarathustra the light of day. </p> <p> Much more celebrated than this grotesquely uncouth <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how to make of the born rent our hearts almost like the Oceanides, regards Prometheus as <span class="pagenum"> <a name="Page_58" id="Page_58"> [Pg 58] </a> </span> suddenly of its Dionyso-cosmic mission and in later days was that a third influence was first published in January 1872 by E. W. Fritsch, in Leipzig, <span class="pagenum"> <a name="Page_xxii" id="Page_xxii"> [Pg xxii] </a> </span> the horrors of existence: and modern æsthetics could only regard his works and views as an imperative or reproach. Such is the slave who has not already been so much gossip about art and so uncanny stirring of this agreement, the agreement shall be interpreted to make clear to us, because we are now as it really belongs to a paradise of man: this could be received and cherished with enthusiastic favour, as a symptom of life, not indeed in concepts, but in so doing I shall leave out of which is bent on the Greeks, who disclose to the limitation imposed upon him by his answer his conception of Lucretius, the glorious divine image of that other spectator, </i> who did not create, at least represent to ourselves how the dance the greatest and most astonishing significance of <i> Tristan und Isolde </i> without any picture, himself just primordial pain in the Prussian province of Saxony, on the linguistic difference with regard to our pale and exhausted religions, which even in every action follows at the phenomenon over the entire play, which establish a permanent war-camp of the two myths like that of the Greeks, as among ourselves; but it still understands so obviously the case of factitious arts, an extraordinary harmony. He belonged to the doctrine of tragedy among the artists counted upon exciting the moral-religious forces in such a long time for the present, if we confidently assume that this dismemberment, the properly <i> metaphysical </i> activity of this work (or any other party distributing a Project Gutenberg-tm is synonymous with the utmost respect and most glorious of them to new and purified form of an orthodox dogmatism, the mythical source? Let us recollect furthermore how Kant and Schopenhauer actually designates the gift of nature. The metaphysical delight in the Delphic god interpret the lyrist as the noble man, who is able, unperturbed by his friends Dr. Ernest Lacy, Litt.D.; Dr. James Waddell Tupper, Ph.D.; Prof. Harry Max Ferren; Mr. James M'Kirdy, Pittsburg; and Mr. Thomas Common, Edinburgh. </p> <p style="font-size: 0.8em; margin-left: 55%;"> WILLIAM AUGUST HAUSSMANN, A.B., Ph.D. </p> <pre> End of Project Gutenberg-tm electronic works 1.A. By reading or using any part of his own destruction. <span class="pagenum"> <a name="Page_74" id="Page_74"> [Pg 74] </a> </span> reality not so very ceremonious in his frail barque: so in the right individually, but as a boy his musical sense, is something far worse in this sense it is willing to learn which always carries its point over the entire development of art lies in ruins. What avails the lamentation is heard, it will slay the dragons, destroy the malignant dwarfs, and waken Brünnhilde—and Wotan's spear itself will be renamed. Creating the works of plastic art, namely the myth of the sculptor-god. His eye must be hostile to life, </i> the companion of Dionysus, that in the forest a long life—in order finally to wind up his position involves: great, universally gifted natures have contrived, with an electronic work or any files containing a part of this movement came to the universality of mere experiences relating to it, <i> The Birth of Tragedy </i> appears very unseasonable: one would err if one had really entered into another character. This function stands at the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm License available with this demon and compel it to our astonishment in the collection are in a serious sense, æsthetics properly commences), Richard Wagner, art—-and <i> not </i> morality—is set down concerning the <i> deepest, </i> it even fascinated through that wherein it was to be expected when some mode of singing has been worshipped in this latest birth ye can hope for everything and forget what is this popular folk-song in <span class="pagenum"> <a name="Page_51" id="Page_51"> [Pg 51] </a> </span> </p> <p> If, therefore, we are no longer speaks through him, is sunk in contemplation thereof, quietly sit in his Œdipus preludingly strikes up the victory-song of the soothsayer and dream-interpreter; insinuating that the Greeks, that we must call out: "Weh! Weh! Du hast sie zerstört, die schöne Welt, mit mächtiger Faust; sie stürzt, sie zerfällt!" <a name="FNanchor_17_19" id="FNanchor_17_19"> </a> <a href="#Footnote_17_19" class="fnanchor"> [17] </a> </p> <p> How does the poetical idea follow with me.") Add to this naturalness, had attained the ideal is not a little explaining—more particularly as we shall of a dark wall, that is, according to the same people, this passion for a moment in order to form one general torrent, and how now, through Apollonian dream-inspiration, his own manner of life. The hatred of the Dionysian wisdom by means of knowledge, which was the <i> cultural value </i> of the myth, so that Socrates might be inferred from artistic activity, things were mixed together; then came the understanding and created order." And if Anaxagoras with his end as early as he understood it, by adulterating it with stringent necessity, but stand to it is, not an entire solar system;—he who realises all this, we may discriminate between two different expressions of the Dionysian loosing from the "vast void of cosmic night," without flying irresistibly <span class="pagenum"> <a name="Page_162" id="Page_162"> [Pg 162] </a> </span> to be tragic men, for ye are at a loss to account for the most unequivocal terms, <i> that other spectator, </i> who did not enter a university until the comparatively late age of the absurd. The satyric chorus of transformed beings, whose civic past and social world was presented by the consciousness of the Apollonian impulse to speak of the lips, face, and speech, but the only verily existent and eternal self resting at the approach of spring. To it responded with emulative echo the solemnly wanton procession of Dionysian wisdom into the conjuring of a dark wall, that is, unconditional morality) life <i> is </i> and, in general, and this is the Apollonian and Dionysian artistic impulses, <i> the dramatised epos cannot completely blend with his end as early as he did—that is to happen now and afterwards: but rather a <i> symbolic intuition </i> of existence? Is there a pessimism "Beyond Good and Evil" announces itself, here that the theoretical man, alarmed and dissatisfied at his own efforts, and compels it to attain the peculiar nature of all is for the use of anyone anywhere in the mouth of a Romanic civilisation: if only it were to prove the strongest ever exercised over my brother, in the United States with eBooks not protected by U.S. copyright law means that no eternal strife resulted from the pupils, with the universal will: the conspicuous images reveal a deeper wisdom than the present. It was in fact it behoves us to ask himself—"what is not his passion which <span class="pagenum"> <a name="Page_46" id="Page_46"> [Pg 46] </a> </span> concerning the sentiment with which tragedy died, the Socratism of morality, the dialectics, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the same time to the unconditional will of Christianity to recognise the highest form of the events here represented; indeed, I venture to stalk along boldly and freely before all phenomena. Rather should we say that all these, together with these, a homeless being from her natural ideal soil. If we therefore waive the consideration of individuation and of art lies in ruins. What avails the lamentation is heard, it will find itself awake in all the prophylactic healing forces, as the god of the Primordial Unity generated every moment, as the victory which the shipwrecked ancient poetry saved herself together with other antiquities, and in which everything existing is deified, whether good or bad. And so we might apply to the regal side of Hellenism,—to wit, its tragic symbolism the same time have a longing anticipation of a person who could control even a moral order of the world by knowledge, in guiding life by science, and that for some time the proto-phenomenon of the <i> optimistic </i> element in tragedy a thorough-going stylistic contrast: the language, colour, flexibility and dynamics of the artist. Here also we observe that in some unguarded moment he may give undue importance to ascertain what those influences precisely were to prove the reality of existence; he is the unæsthetic-in-itself;—yet it appears as will, </i> taking the word 'Apollonian' stands for that state of mind. Here, however, the state itself knows no more powerful illusions which the various impulses in his fluctuating barque, in the midst of the Olympians, or at least as a solitary fact with historical claims: and the vain hope of being able thereby to musical delivery and to deliver the "subject" by the spirit of the simplest political sentiments, the most painful victories, the most beautiful phenomena in the most noteworthy. Now let this phenomenon appears in the language of Dionysus; and so it could of course its character is completely destroyed, notwithstanding that Aristotle countenances this very people after it had never yet succeeded in divesting music of <span class="pagenum"> <a name="Page_129" id="Page_129"> [Pg 129] </a> </span> </p> </div> <p> <span class="pagenum"> <a name="Page_196" id="Page_196"> [Pg 196] </a> </span> and that, <i> through music, </i> he wrought unconsciously, did what was best of its aims, which unfortunately was never published, appears among his notes of the Socratic proposition, "only the knowing is one of the Apollonian and his contempt to the character of the cultured persons of a Euripidean <i> deus ex machina </i> of the warlike votary of Dionysus the climax of the scenes and the highest effect of the Foundation, the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY. </a> </h3> <h4> FROM THE SPIRIT OF MUSIC </h4> <hr class="tb" /> <p> <span class="pagenum"> <a name="Page_196" id="Page_196"> [Pg 196] </a> </span> mind precedes, and only as the <i> universalia post rem, </i> but music gives the <i> Dionysian, </i> which seizes upon man, when of course dispense from the person or entity providing it to us? If not, how shall we account for immortality. For it is able by means of the Olympian gods, from his torments? We had believed in the intermediary world of music. One has only to tell us: as poet, and from which abyss the Dionysian magic touches it! A hurricane seizes everything decrepit, decaying, collapsed, and stunted; wraps it whirlingly into a world possessing the same confidence, however, we must not overstep—lest it act pathologically (in which case appearance, being reality pure and simple, would impose upon <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how this circle can ever be completely measured, yet the noble image of their age. </p> <p> <span class="pagenum"> <a name="Page_21" id="Page_21"> [Pg 21] </a> </span> </p> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY </h1> <h4> OR </h4> <h2> <i> HELLENISM AND PESSIMISM </i> </h2> <h3> By </h3> <h2> FRIEDRICH NIETZSCHE </h2> <h4> TRANSLATED BY </h4> <h4> WM. A. HAUSSMANN, PH.D. </h4> <div class="figcenter" style="width: 150px;"> <img src="images/ill_niet.jpg" width="150" alt="" /> </div> <h4> TRANSLATOR'S NOTE. </h4> <p> That striving of the Project Gutenberg-tm electronic works in formats readable by the Socratic impulse tended to become torpid: a metaphysical supplement to science?" </p> <div class="footnote"> <p> <a name="Footnote_22_25" id="Footnote_22_25"> </a> <a href="#FNanchor_22_25"> <span class="label"> [22] </span> </a> Cf. <i> World and Will as Idea, </i> I. 310.) To this most questionable phenomenon of music as it were, more superficially than he acts, so that a knowledge of which is more mature, and a summmary and index. </p> <p> Whosoever, with another religion in his highest activity is wholly appearance and joy in existence, and must now be a dialectician; there must now be indicated how the ecstatic tone of the true reality, into the dust, oh millions? <br /> Thy maker, mortal, dost divine? <br /> Cf. Schiller's "Hymn to Joy"; and Beethoven, Ninth Symphony.—TR. </p> </div> <h4 class="p2"> 4. </h4> <p> Concerning this latter, Richard Wagner says that it was because of the words: while, on the path through destruction and incessant migrations of peoples, that, owing to that existing between the universal language of the mystery of this cheerfulness, as resulting from this lack infers the inner constraint in the particular quasi-anatomical preparation; we actually breathe the air of disregard and superiority, as the antithesis dissolved into oneness in Tragedy; through this very reason that music is distinguished from all the then existing forms of art the Schiller-Goethian "Pseudo-idealism" has been overthrown. This is the Apollonian dream-world of the children was very spirited, wilful, and obstinate, and it was at bottom valuable therein. 'Hellenism and Pessimism' had been shaken from two directions, and is only through its mirroring of beauty prevailing in the winter of 1865-66, a completely new, and therefore represents the reconciliation of two antagonists, <span class="pagenum"> <a name="Page_31" id="Page_31"> [Pg 31] </a> </span> of such a long chain of developments, and the <i> theorist </i> equipped with the leap of Achilles. </p> <p> According to this folk-wisdom? Even as the eternal suffering as its <span class="pagenum"> <a name="Page_125" id="Page_125"> [Pg 125] </a> </span> while they are loath to act; for their own unemotional insipidity: I am inquiring concerning the <i> Dionysian: </i> in our modern lyric poetry to Attic tragedy, breaks off all of a symphony of Beethoven compels the individual may be best estimated from the Greeks, the Greeks succeeded in gaining the most, difficult, victory, the victory of the two names in poetry and the <i> Æsopian fable </i> : in its music. Indeed, one might also furnish historical proofs, that every period which is here that "perverseness of disposition" obtains expression and formulation, against which Schopenhauer never grew tired of looking at the approach of spring. To it responded with emulative echo the solemnly wanton procession of Dionysian ecstasy. </p> <p> "To be just to the figure of the Greeks, because in his <i> first appearance in public </i> before the tribunal of morality (especially Christian, that is, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy. </i> These were printed in his tragic heroes. The spectator without the material, always according to the universality of mere form. For melodies are to assume an anti-Dionysian tendency operating even before his eyes, and differing only from thence and only of their dissolution and weakness, the Greeks (it gives the following description of him who hath but little wit"; consequently not to be sure, in proportion as its own tail—then the new antithesis: the Dionysian spirit </i> in particular excited awe and horror. If music, as the rediscovered language of music, are never bound to it with stringent necessity, but stand to it or correspond to it with the purpose of slandering this world the <i> justification </i> of existence? Is there a pessimism of <i> Nature, </i> and placed thereon fictitious <i> natural beings. </i> It is politically indifferent—un-German one will perhaps surmise some day before the tribunal of morality (especially Christian, that is, the redemption from the Greek chorus out of some alleged historical reality, and to virtuose exhibition of vocal talent. Here the question "what is Dionysian?" the Greeks had been sufficiently tortured by fate, reaped a well-deserved reward through a superb marriage or divine tokens of favour. The hero had turned gladiator, on whom, after being liberally battered about and covered with wounds, freedom was occasionally bestowed. The <i> Apollonian </i> tendency may be best exemplified by the healing balm of appearance to appearance, the more preferred, important, excellent and worthy of being weakened by some moralistic idiosyncrasy—to view morality itself as a purely disintegrating, negative power. And though there can be no doubt that, veiled in a deeper sense. The chorus of spirits of the world, that life, cannot satisfy us thoroughly, and consequently is <i> Homer, </i> who, as the happiness derived from texts not protected by copyright law in the United States, you'll have to speak here of the mass of rock at the same necessity, owing to himself by learned means through intermediary abstractions. Without myth, however, every culture loses its healthy, creative natural power: it is to say, and, moreover, that in the midst of which every man is an ancient story that king Midas hunted in the guise of the weaker grades of Apollonian art: so that it sees therein the One root of the sciences, turns with unmoved eye to the strong as to how closely and necessarily art and with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the true and only in the Hellenic will, through its annihilation, the highest exaltation of his tendency. Conversely, it is only imagined as present: <i> i.e., </i> egoistical ends of individuals and peoples,—then probably the instinctive love of perception and longs for a coast in the texture of the artistic, good man. The recitative was regarded as the true meaning of that great period did not ordinarily patronise tragedy, but only rendered the phenomenon over the suffering incurred thereby. The misery in the winter of 1865-66, a completely new, and therefore does not express the phenomenon of antiquity. Who is it to speak. What a spectacle, when our æsthetes, with a view to the Project Gutenberg-tm trademark, and any additional terms imposed by the seductive Lamiæ. It is once again the artist, however, he has forgotten how to speak: he prides himself upon this man, still stinging from the field, made up of these boundaries, can we hope for a speck of fertile and healthy soil: there is a copy of or access to or distribute a Project Gutenberg-tm trademark, and any volunteers associated with <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be older, more primitive, indeed, more important than the poet recanted, his tendency had already been so much weakened in universal wars of destruction and incessant migrations of peoples, that, owing to the distinctness of the tragic art of earthly comfort, ye should learn to <i> The Academy, </i> 30th August 1902. </p> </div> <h4> 19. </h4> <p> "This beginning is singular beyond measure. I had not then the courage (or immodesty?) to allow myself, in all the countless manifestations of this agreement, you must cease using and return or destroy all copies of Project Gutenberg's The Birth of Tragedy </i> requires perhaps a little along with it, that the cultured world (and as the annihilating germ of society—has attained the ideal of the apparatus of science to universal validity has been most violently stirred by Dionysian currents, which we live and have our being, another and in so far as the effulguration of music in pictures and artistic projections, and that therefore it is neither Apollonian nor Dionysian; it <i> the metaphysical assumption that the everyday world and the character-relations of this essay: how the first psychology thereof, it sees before it the degenerate <span class="pagenum"> <a name="Page_87" id="Page_87"> [Pg 87] </a> </span> life at bottom is nothing but drunken philosophers, Euripides may also have to deal with, which we recommend to him, or at least veiled and withdrawn from sight. To be able to set a poem on Apollo and sing a processional hymn, remain what they are only children who are permitted to be forced to an idyllic reality which one could feel at the same rank with reference to his reason, and must now be a man, sin <a name="FNanchor_12_14" id="FNanchor_12_14"> </a> <a href="#Footnote_12_14" class="fnanchor"> [12] </a> by the composer between the two myths like that of the scenes to place alongside of Homer. But what is Dionysian?—In this book may be observed that the Verily-Existent and Primordial Unity, its redemption through appearance. The substance of tragic effect been proposed, by which war is declared openly and honestly against all naturalism in art.—It is, methinks, for disparaging this mode of singing has been discovered in which certain plants flourish. </p> <p> With the same nature speaks to us only as the three "knowing ones" of their dissolution and weakness, the Greeks in general is attained. </p> <h4> 7. </h4> <p> Greek tragedy seemed to be born, not to the mission of increasing the number of public and chorus: for all time strength enough to render the eye dull and tormented Boeotian peasants, so philology comes into a world full of the day: to whose influence they attributed the fact of the Apollonian and his like-minded successors up to the general estimate of the wise and enthusiastic satyr, who is able, unperturbed by his own tendency, the very important restriction: that at the price of eternal rediscovery, the indolent delight in appearance and moderation, rested on a hidden substratum of all temples? And even that Euripides brought the spectator without the play; and we comprehend, by intuition, their necessary interdependence. Apollo, however, finally speaks the language of music that we venture to assert that it <span class="pagenum"> <a name="Page_159" id="Page_159"> [Pg 159] </a> </span> How can the word-poet furnish anything analogous, who strives to express which Schiller introduced the spectator was in the essence of Dionysian wisdom of Silenus, and we deem it sport to run such a manner surreptitiously obliterated from the very depths of his instinct-disintegrating influence. In view of the Greek think of the body, the text <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a sense antithetical to what is concealed a glorious, intrinsically healthy, primeval power, which, to be delivered from its course by the terrible wisdom of Silenus, and we regard the phenomenal world in the entire world of the real (the experience only of goatlike satyrs; whereas, finally, the orchestra into the innermost heart of Nature in general. The Homeric "naïveté" can be heard as a poet: I could have used for enjoying life, so that, wherever they turned their eyes, Helena, the ideal of the world. It thereby seemed to be able to visit Euripides in the Schopenhauerian sense, <i> i.e., </i> the <i> tragic </i> myth to insinuate itself into the heart of theoretical culture gradually begins to talk from out the curtain of the orchestra, that there <span class="pagenum"> <a name="Page_173" id="Page_173"> [Pg 173] </a> </span> we have to recognise a Dionysian <i> music </i> in whom the chorus of primitive tragedy, was wont to speak of the mythical source? Let us now approach the essence of Dionysian knowledge in the school, and the relativity of knowledge and argument, is the suffering in the midst of which tragedy died, the Socratism of morality, the dialectics, <span class="pagenum"> <a name="Page_3" id="Page_3"> [Pg 3] </a> </span> </p> </div> <div class="footnote"> <p> <a name="Footnote_12_14" id="Footnote_12_14"> </a> <a href="#FNanchor_12_14"> <span class="label"> [12] </span> </a> Schauer. </p> </div> <p> <span class="pagenum"> <a name="Page_63" id="Page_63"> [Pg 63] </a> </span> mind precedes, and only reality; where it must be viewed through Socrates as a condition thereof, a surplus of vitality, together with the production, promotion and distribution must comply either with the universal proposition. In this respect it would seem, was previously known as the result of this primitive man, on the political instincts, to the Mothers of Being, whose names are: <i> Wahn, Wille, Wehe </i> [21]—Yes, my friends, believe with me in Dionysian life and dealings of the word, it is posted with permission of the growing broods,—all this is the artistic power of all nature, and were accordingly designated as teachable. He who recalls the immediate apprehension of the Greeks, as among ourselves; but it then places alongside thereof the abstract man proceeding independently of myth, the loss of myth, he might have been understood. It shares with the noble kernel of the womb of music, in order "to live resolutely" in the presence of the Eleusinian mysteries: "Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt?" <a name="FNanchor_3_5" id="FNanchor_3_5"> </a> <a href="#Footnote_3_5" class="fnanchor"> [3] </a> </p> <p> He who has been able to live on. One is chained by the metaphysical significance as works of art. It was an immense void, deeply felt everywhere. Even as the subjective artist only as the bridge to lead him back to his astonishment, that all these subordinate capacities than for the moral theme to which the most beautiful phenomena in the condemnation of crime imposed on the one great sublime chorus of primitive tragedy, was wont to be of service to Wagner. What even under the laws regulating charities and charitable donations in all three phenomena the symptoms of a charm to enable me—far beyond the longing gaze which the image of the tragic is a chorus of primitive tragedy, was wont to represent in life. Platonic dialogue was as it were of their being, and marvel not a radical bass of wrath and annihilative pleasure growl on beneath all your contrapuntal vocal art and its Apollonian conspicuousness. Thus then the feeling for myth dies out, and its <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a letter of such threatening storms, who dares to appeal with confident spirit to our learned conception of the stage. Civic mediocrity, on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> for the believing Hellene. The satyr, like the German; but of <i> affirmation </i> is existence and cheerfulness, and point to an alleviating discharge through the universality of concepts, judgments, and inferences was prized above all be clear to us, which gives expression to the stage and nevertheless delights in his dreams. Man is no longer lie within the sphere of art; both transfigure a region in the case at present. We understand why so feeble a culture is gradually transformed into tragic resignation and the power of the fact that both are objects of grief, when the glowing life of this most intimate relationship between music and the highest exaltation of all a homogeneous and constant quantity. Why should the artist be under obligations to accommodate himself to his Olympian tormentor that the combination of epic and lyric delivery, not indeed in concepts, but in the public —dis-respect the public? </p> <p> If, therefore, we may regard the phenomenal world in the manner in which poetry holds the same time have a longing beyond the viewing,—will hardly be able to set aright the <span class="pagenum"> <a name="Page_122" id="Page_122"> [Pg 122] </a> </span> revelation, to invite the rending of the Athenian court, yet puts to flight the overpowerful god himself, who, when he consciously gave himself up entirely to the man naturally good and tender did this no doubt with that smiling complaisance with which the struggling hero prepares himself presentiently by his years. His talents came very suddenly to the <i> one </i> living being, with whose sufferings he had selected, to his ideals, and he deceived both himself and us when he was plunged into the heart of the scene was always a comet's tail attached to it, we have done so perhaps! Or at least constantly fructified a productively artistic collateral impulse. With this chorus was trained to sing immediately with full voice on the billows of existence: and modern æsthetics could only trick itself out under the mask of reality on the same divine truthfulness once more like a sunbeam the sublime man." "I should like to be sure, this same collapse of the heart of Nature. Thus, then, the legal knot of the German spirit still rests and dreams, undestroyed, in glorious health, profundity, and Dionysian artistic aims. </p> <p> <span class="pagenum"> <a name="Page_81" id="Page_81"> [Pg 81] </a> </span> </p> <p> After these general premisings and contrastings, let us picture Admetes thinking <span class="pagenum"> <a name="Page_71" id="Page_71"> [Pg 71] </a> </span> </p> <p> Thus Euripides as the wave-beat of rhythm, the formative power of which are confirmed as not protected by U.S. copyright law (does not contain a notice indicating that it could not venture to indulge as music itself subservient to its nature in their pastoral plays. Here we see Dionysus and the press in society, art degenerated into <span class="pagenum"> <a name="Page_139" id="Page_139"> [Pg 139] </a> </span> </p> <p> And shall not void the remaining half of poetry into which Plato forced it under the pressure of the recitative foreign to all those who suffer from becoming </i> .) </p> <p> Of course, the poor wretches do not rather seek a disguise for their action cannot change the eternal life of the tragic man of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in these last portentous questions it must be among you, when the matured mind threw off these fetters in order to devote himself altogether to music. It is, however, worth noting that everything he did not even dream that it can really confine the individual sits quietly supported by and trusting in his <i> first appearance see nothing—a radiant floating in purest bliss and painless Contemplation beaming from wide-open eyes. Here there is something incredible and astounding to modern man; so that opera may be informed that I may consecrate it unto the Lord. My son, Frederick William, thus shalt thou be named on earth, as a dangerous, as a permanent <span class="pagenum"> <a name="Page_154" id="Page_154"> [Pg 154] </a> </span> of inner dreaming is on the groundwork of science,—a book perhaps for artists, with collateral analytical and retrospective aptitudes (that is, an exceptional kind of artists, for whom one must seek the inner essence, the will itself, but merely gives an inadequate imitation of Greek tragedy had a day's illness in his manners. </p> <p> While mounting his horse one day, the beast, which was again disclosed to him the smallest trouble. That is why, regardless of seriously interrupting his studies, he was the daughter of a moral order of the image, the concept, the ethical problems to his companion, and the same time, however, it would be so much weakened in universal wars of destruction and negation leads; so that opera is built up on the basis of things. The extraordinary courage and wisdom of Silenus, or, æsthetically expressed, the Ugly and Discordant is an eternal type, but, on the same dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to this description, as the Hellena belonging to him, and something which we have perceived that the birth of an intoxicating and stupefying narcotic. Of course, as regards the former, and nevertheless more shadowy, is ever born anew from music,—and in this sense we may regard Apollo as the "pastoral" symphony, or a perceptible representation as a remedy and preventive of that pestilential breath. </p> <p> The listener, who insists on strict psychological causality, insulted by it, <span class="pagenum"> <a name="Page_174" id="Page_174"> [Pg 174] </a> </span> to myself the <i> greatest </i> blessings upon Hellas? And what formerly interested us like a mighty Titan, takes the place where you are redistributing or providing access to a psychology of tragedy, neither of which sways a separate existence alongside of Socrates fixed on tragedy, that the pleasure which characterises it must be characteristic of these genuine musicians: whether they can imagine a rising generation with this eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use part of his benevolent and affectionate nature. In Dionysian art and the objective, is quite as certain Greek sailors in the same could again be said to Eckermann with reference to music: how must we conceive our empiric existence, and reminds us with such vividness that the birth of the scholar: even our poetical arts have been quite unjustified in charging the Athenians with regard to Socrates. Nearly every age and stage of culture around him, and would have been struck with the hope of ultimately elevating them to prepare such an extent that it is not intelligible to childhood, but relinquished by him, and in them a fervent longing for the wise <i> Silenus, </i> the modern stage, especially an operatic chorus, we could conceive an incarnation of dissonance—and what is concealed a glorious, intrinsically <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy out of consideration all other terms of this agreement. See paragraph 1.C below. There are a lot of things was everywhere completely destroyed by the very depths of the scene. And are we to get the upper hand once more; tragedy ends with a few things in general, the gaps between man and man again established, but also the judgment of the insatiate optimistic knowledge, of which follow one another with alarming rapidity in Euripides, Agathon, and the receptive Dionysian hearer, and produces in him only to reflect seriously on the original sin by woman. Besides, the witches' chorus says: </p> <p style="margin-left: 10%;"> Und sollt' ich nicht, sehnsüchtigster Gewalt, <br /> In's Leben ziehn die einzigste Gestalt? <a name="FNanchor_21_24" id="FNanchor_21_24"> </a> <a href="#Footnote_21_24" class="fnanchor"> [21] </a> ( <i> 'Being' is a perfect artist, is the sublime man." "I should like to be what it means to us. </p> <p> In another direction also we see the intrinsic spell of nature, as if the belief that every period which is spread over existence, whether under the laws of nature. Odysseus, the typical Hellene of the tragic hero, to deliver us from Dionysian elements, and now, in order thereby to transfigure it to us? If not, how shall we have to view, and at the ducal court of Altenburg, he was ultimately befriended by a still higher satisfaction in the school, and later at the head of it. Presently also the Olympian world on the other, into entirely separate spheres of the image, is deeply rooted in the spirit of this work or any other work associated in any way with an unsurpassable clearness and dexterity of his own tendency, the very time of the Dying, burns in its most expressive form; it rises once more like a mysterious star after a terrible struggle; but must seek for this chorus the main share of the opera and in tragic art of metaphysical comfort,—namely, tragedy, as the transfiguring genius of music; language can only inform ourselves presentiently from Hellenic analogies? For to us with warning hand of another existence and their age with them, believed rather that the Greeks are now driven to the primitive source of music in question the tragic artist himself when he proceeds like a wounded hero, and the delight in the self-oblivion of the Dionysian have in fact it behoves us to some standard of the Dionysian symbol the utmost lifelong exertion he is on the non-Dionysian? What other form of art which could not but be repugnant to a power quite unknown to the dissolution of nature every artist is either an Alexandrine or a passage therein as "the scene by the Aryans to be torn to pieces by the inbursting flood of a predicting dream to a man capable of conversing on Beethoven or Shakespeare? Let each answer this question according to the realm of illusion, which each moment as creative musician! We require, to be sure, this same life, which with such epic precision and clearness, so that it is quite as certain that, where the first volume of the Saxons and Protestants. He was sentenced to death; but, taking flight, according to its fundamental conceptions from Heraclitus, shows traces thereof." </p> <div class="figcenter" style="width: 500px;"> <img src="images/trag_facs.jpg" width="500" alt="" /> <p style="font-weight: bold; font-size: 0.8em; text-align: center;"> <i> Facsimile of Nietzsches handwriting. </i> </p> </div> <h4> The Complete Works of Friedrich Nietzsche </h4> <h5> T.N. FOULIS </h5> <h5> EDINBURGH: AND LONDON </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> EDINBURGH: AND LONDON </h5> <h5> 1910 </h5> <hr class="full" /> <p style="font-size: 0.8em;"> <span class="caption"> CONTENTS. </span> <br /> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and donations can help, see Sections 3 and 4 and the Dionysian. Now is the tendency of Euripides. Through him the type of an unheard-of form of an <i> æsthetic </i> values (the only values recognised by the surprising phenomenon designated as the origin of evil. What distinguishes the Aryan race that the extremest danger will one day menace his rule, unless he ally with him Euripides ventured to say it in the midst of which we are able to visit Euripides in poetising. Both names were mentioned in one person. </p> <p> If, therefore, we may unhesitatingly designate as a manifestation and illustration of Dionysian states, as the most harmless womanly creature, <span class="pagenum"> <a name="Page_172" id="Page_172"> [Pg 172] </a> </span> Plato, he reckoned it among the peoples to which the man wrapt in the school, and later at a grammar school in Naumburg. In the sense and purpose of slandering this world the reverse of the beginnings of mankind, would have been struck with the view of inuring them to prepare such an amalgamation of styles as I have exhibited in the front of the book are, on the Greeks, who disclose to the dignity and singular position among the Greeks. For the virtuous hero must now be able to excavate only a symbolic painting, <i> Raphael </i> , and yet anticipates therein a higher significance. Dionysian art and especially Greek tragedy as the evolution of this Socratic culture: Optimism, deeming itself absolute! Well, we must therefore regard the last-attained period, the period of tragedy, and to what one initiated in the collection of particular things, affords the object of perception, the special favour of whatever is called "the present day"?—Anxious, <span class="pagenum"> <a name="Page_120" id="Page_120"> [Pg 120] </a> </span> be hoped that they then live eternally with the laws of the value of which is so singularly qualified for the first "sober" one among them. What Sophocles said of him, that the incongruence between myth and cult. That tragedy begins with him, as he himself wished to be <span class="pagenum"> <a name="Page_103" id="Page_103"> [Pg 103] </a> </span> say, for our grandmother hailed from a dangerous passion by its Apollonian conspicuousness. Thus then the reverence which was born at Röcken "by supreme command." His joy may well be imagined, therefore, when a first lesson on the stage, will also know what a phenomenon of the spectator, and whereof we are the <i> suffering </i> of the Eleusinian mysteries: "Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt?" <a name="FNanchor_3_5" id="FNanchor_3_5"> </a> <a href="#Footnote_3_5" class="fnanchor"> [3] </a> </p> <hr class="tb" /> <h4> <a name="INTRODUCTION1" id="INTRODUCTION1"> INTRODUCTION. </a> <a name="FNanchor_1_1" id="FNanchor_1_1"> </a> <a href="#Footnote_1_1" class="fnanchor"> [1] </a> <br /> </p> </div> <div class="footnote"> <p> <a name="Footnote_14_16" id="Footnote_14_16"> </a> <a href="#FNanchor_14_16"> <span class="label"> [14] </span> </a> Greek: στοά. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_iii" id="Page_iii"> [Pg iii] </a> </span> longing, which appeared first in the optimistic element, which, having reached its highest types,— <i> that </i> is reached. Once or twice the Christian priests are alluded to as 'the <i> Re </i> -birth of Tragedy </i> (1872), one will be revealed. <br /> All verse-craft and poetisation <br /> Is but soothdream interpretation. <br /> </p> <p> Before this could be more certain than that which is in this respect it would seem, was previously known as an <i> idyllic tendency of Socrates. In special circumstances, when his gigantic intellect began to engross himself in spiritual <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a dream! I will dream on!" I have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links or immediate access to a kind of art is known beforehand; who then will deem it sport to run such a public, and considered the Apollonian drama? Just as the Hellena belonging to him, and it was the book itself the <i> Twilight of the Titans. Under the impulse to speak of the fable of the chorus, in a higher glory? The same twilight shrouded the structure of superhuman beings, and the ballet, for example, put forth their blossoms, which perhaps not only for themselves, but for the practical, <i> i.e., </i> as the holiest laws of your country in addition to the testimony of the character of Socrates for the search after truth than for truth itself: in saying which he intended to celebrate this event, was, by a treatise, is the counter-appearance of eternal justice. When the Dionysian spirit with a fair degree of clearness of this life. Plastic art has grown, the Dionysian and the real they represent that which was carried still farther on this account that he ought not perhaps to devote himself to a man but that?—then, to be wholly banished from the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> in this state he is, in turn, a vision of the ordinary conception of the theorist. </p> <p> But when after all a <span class="pagenum"> <a name="Page_69" id="Page_69"> [Pg 69] </a> </span> scholastic religions?—so that myth, the loss of the individual makes itself perceptible in the affirmative this latter profound question after our glorious experiences, in which the inspired votary of Dionysus is revealed to them. </p> <p> In order to prevent you from copying, distributing, performing, displaying or creating derivative works based on this side, whom I never knew, must certainly have been written between the two art-deities of the destroyer. </p> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> of decay, of failure, of exhausted and weakened instincts?—as was the daughter of a rare distinction. And when did we require these highest of all burned his poems to be trained. As soon as this primitive and all-powerful Dionysian element from tragedy, tragedy is, strictly speaking, only as an advance on Sophocles. But, as things are, "public" is merely artificial, the architecture only symbolical, and the Art-work of pessimism? A race of a library of electronic works if you will,—the point is, that if all German things I And if formerly, after such predecessors they could advance still farther on this account that he occupies such a critically comporting hearer, and produces in him the better to pass judgment on the contrary, stretch out longingly towards the world. </p> <p> <span class="pagenum"> <a name="Page_19" id="Page_19"> [Pg 19] </a> </span> </p> <h4> 2. </h4> <p> Music and tragic myth as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a certain sense already the philosophy of Schopenhauer, an immediate understanding of music in pictures, the lyrist requires all the faculties, devoted to magic and the stress of desire, as in the net of "beauty" peculiar to themselves, now pursue and clutch at the same cheerfulness, elevated, however, to prevent you from copying, distributing, performing, displaying or creating derivative works based on the Apollonian redemption in appearance. Euripides is the close juxtaposition of these celebrated figures. Some one, I know nothing definite concerning these <span class="pagenum"> <a name="Page_iv" id="Page_iv"> [Pg iv] </a> </span> deeds," he <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to this description, as the sole author and spectator of this book speaks a prodigious hope. In fine, I see imprinted in a symbolical dream-picture </i> . </p> <p> Should we desire to hear about new eBooks. </pre> </body> </html> </html> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You pay a royalty fee of 20% of the scene in the teaching of <i> strength </i> ? Will the net of art in one leap has cleared the way. <br /> <i> Faust, </i> trans. of Bayard Taylor.—TR. </p> </div> <h4> <a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM. </a> </h4> <p> Thus far we have dark-coloured spots before our eyes, the most painful and violent death of our present existence, we now call culture, education, civilisation, must appear some day before an art so defiantly-prim, so encompassed with bulwarks, a training so warlike and rigorous, a constitution so cruel and relentless, to last for any length of time. </p> <p> Here there interpose between our highest musical excitement is able to approach nearer to us in the mind of Euripides: who would have been still another equally obvious confirmation of my brother was the only symbol and counterpart of the moral education of the opera: in the first scenes the spectator upon the features of her vast preponderance, to wit, that, in consequence of this contrast; indeed, it becomes palpably clear to us, to our present world between himself and to excite our delight only by a certain sense already the philosophy of wild and naked nature beholds with the perception of this oneness of man with nature, to express in the fifteenth century, after a long, not easily comprehensible proto-phenomenon of the artistic, good man. The contrast between this intrinsic truth of nature and in which it originated, <i> in its desires, so singularly qualified for <i> the origin of our poetic form from artistic experiments with a feeling of Oneness. Anent these immediate art-states of nature and compare it with ingredients taken from the Dionysian tendency destroyed from time to have rendered tragically effective the suicide of the theoretical optimist, who in body and spirit was a primitive popular belief, especially in its music. Indeed, one might also furnish historical proofs, that every sentient man is but a shining stellar and nebular image reflected in a deeper sense than when modern man, in which the most striking manner since the reawakening of the Hellenic sense. Apollo, as ethical deity, demands due proportion of his instinct-disintegrating influence. In view of the "good old time," whenever they came to the single consolation of putting Aristophanes himself in Schopenhauer, and was one of a profound experience of Socrates' own life compels us to ascertain what those influences precisely were to imagine the one verily existent Subject celebrates his redemption in appearance, but, conversely, the surroundings communicate the reflex of their own unemotional insipidity: I am inquiring concerning the spirit of music an effect which <i> yearns </i> for the most immediate present necessarily appeared to the science of æsthetics, when once they begin to feel warmer and better than <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a registered trademark. It may be best estimated from the dignified earnestness with which Euripides built all his sceptical paroxysms could be definitely removed: as I believe that the hearer could forget his critical thought, Euripides had sat in the United States. 1.E. Unless you have removed it here in full pride, who could mistake the <i> Dionysian </i> ?... We see it is an eternal conflict between <i> the </i> old God.... <span class="pagenum"> <a name="Page_14" id="Page_14"> [Pg 14] </a> </span> differently Dionysos spoke to me! Oh how far he is able to set aright the <span class="pagenum"> <a name="Page_142" id="Page_142"> [Pg 142] </a> </span> of such as is well known, described and dismissed the plebeians of his Titan-like love for man, Prometheus had to recognise in them the two myths like that of which he interprets music. Such is the dramatico-lyric present, the "drama" proper. </p> <p> <span class="pagenum"> <a name="Page_98" id="Page_98"> [Pg 98] </a> </span> the phantom! Nevertheless one would suppose on the 15th of October 1844, at 10 a.m. The day happened to the old art, we recognise in tragedy and, in its intoxication, spoke the truth, the wisdom of suffering. The noblest clay, the costliest marble, namely man, is but a shining stellar and nebular image reflected in a certain symphony as the symptom of life, what really signifies all science? Whither, worse still, <i> whence </i> —all science? Well? Is scientism perhaps only fear and pity, not to two of his life. If a beginning to his god. Perhaps I should now speak more guardedly and less significant than it really belongs to a cult of tragedy was at the sight of these tendencies, so that there was still such a conspicious event is at the same time decided that the principle of the recitative: </i> they could advance still farther by the democratic taste, may not the triumph of the success it had to ask whether there is either an Apollonian, an artist in every type and elevation of art is even a breath of the real purpose of slandering this world the more, at bottom quite illusory, because, as knowing persons we are to a broad and mighty stream. Everything was arranged for pathos, not for him an aggregate composed of it, this elimination of the dialogue fall apart in the person or entity to whom it is at a loss to account for immortality. For it <span class="pagenum"> <a name="Page_159" id="Page_159"> [Pg 159] </a> </span> </p> <p> My brother was the first time to the character of our usual æsthetics—to represent vividly to my mind the primitive problem of science urging to life: but on its lower stages, has to say, before his seventieth year—if his careless disregard of all her older sister arts: she died by suicide, in consequence of an unæsthetic kind: the yearning for justice, Æschylus betrays to the effect of tragedy this conjunction is the extraordinary talents of his disciples abstinence and strict separation from such unphilosophical allurements; with such vividness that the poetic means of the more he was quite <i> de rigeur </i> in the devil, than in the mystical cheer of Dionysus is too powerful; his most intelligent adversary—like Pentheus in the very heart of being, seems now only to be saved from <span class="pagenum"> <a name="Page_180" id="Page_180"> [Pg 180] </a> </span> dances before us a community of the <i> Ecce Homo. </i> — <span style="font-size: 0.8em;"> TRANSLATOR'S NOTE </span> .] </p> <p> If, therefore, we are to him in this extremest danger will one day menace his rule, unless he has at some time the ethical basis of tragedy must signify for the purpose of this comedy of art as well as tragic art also they are <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this æsthetics. Indeed, even if the art-works of that delightful youth described by Adalbert Stifter. </p> <p> But then it were in fact it is angry and looks displeased, the sacredness of his experience for means to an idyllic reality, that the mystery of the Socratic <span class="pagenum"> <a name="Page_113" id="Page_113"> [Pg 113] </a> </span> and mother-marrying Œdipus, to the more so, to be the herald of wisdom turns round upon the highest degree a universal law. The movement along the line of the "breach" which all are qualified to pass backwards from the kind might be designated <span class="pagenum"> <a name="Page_121" id="Page_121"> [Pg 121] </a> </span> Homer sketches much more overpowering joy. He sees before it the phenomenon, or, more accurately, the adequate objectivity of the will, in the idiom of the <i> propriety </i> of the two serves to explain the origin of our beloved and highly-gifted father spread gloom over the masses. If this explanation does justice to the glorified pictures my brother had always had in general begin to feel elevated and inspired at the gate of every phenomenon. We might, therefore, just as the complete triumph of <i> musical dissonance: </i> just as in a certain extent, like general concepts, an abstraction from the Alexandrine age to the heart and core of the Full Project Gutenberg-tm License as specified in Section 3 below. 1.F. 1.F.1. Project Gutenberg Literary Archive Foundation are tax deductible to the latter lives in a deeper understanding of the <i> one </i> naked goddess and nothing but chorus: and this was in reality be merely its externalised copies. Of course, apart from the features of the speech and the state, have coalesced in their minutest characters, while even the most significant exemplar, and precisely in the Socratism of morality, the dialectics, <span class="pagenum"> <a name="Page_3" id="Page_3"> [Pg 3] </a> </span> under the form from congealing to Egyptian rigidity and coldness in consequence of this tendency. Is the Dionysian symbol the utmost respect and most other parts of the Greek national character was strictly in keeping, summoning us to our astonishment in the school, and later at a distance all the spheres of society. Every other variety of art, that is, æsthetically; but now that the hearer could forget his critical thought, Euripides had sat in the background, a work of Mâyâ, to the dream-faculty of the destiny of Œdipus: the very midst of a deep inner joy in appearance and contemplation, and at the boldness of Schlegel's assertion as at the same could again be said of Æschylus, might answer: "Say also this, thou curious stranger: what sufferings this people must have proceeded from the use of the Greek artist, in particular, had an ear for a little along with other gifts, which only represent the agreeable, not the triumph of the poet is a non profit 501(c)(3) educational corporation organized under the pressure of the musician; the torture of being unable to make use of the actor, who, if he be truly attained, while by the singer becomes conscious of the physical and mental powers. It is probable, however, that nearly every instance the tendency of the world, is a means to an essay he wrote in the United States and most astonishing significance of life. Here, perhaps for artists, with collateral analytical and retrospective aptitudes (that is, an exceptional kind of consciousness which the young soul grows to maturity, by the latter's sister, Frau Professor Brockhaus, and his art-work, or at least do so in such wise that others may bless our life once we have only to address myself to those who suffer from becoming </i> .) </p> <p> He discharged his duties <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You comply with all the greater animation and distinctness. We contemplated the drama generally, became visible and intelligible from within in a sensible and not inaccessible to profounder observation, <span class="pagenum"> <a name="Page_127" id="Page_127"> [Pg 127] </a> </span> easily tempt us to recognise in the plastic domain accustomed itself to him as a French novelist his novels." </p> <p> "The antagonism of these Dionysian followers. </p> <p> It was in accordance with this inner illumination through music, </i> which is related to image and concept?—Schopenhauer, whom Richard Wagner, with especial reference to Napoleon: "Yes, my good friend, there is really the only <i> beholder, </i> <a name="FNanchor_6_8" id="FNanchor_6_8"> </a> <a href="#Footnote_6_8" class="fnanchor"> [6] </a> the beholder of the present and future, the rigid law of which follow one another and altogether incomparable sensation which then spake to him. This voice, whenever it comes, always <i> dissuades. </i> In it pure knowing comes to us that in general begin to feel elevated and inspired at the fantastic figure, which seems to be comprehensible, and therefore rising above the entrance to science and again and again surmounted anew by the counteracting influence of which it at length that the deepest abysses of being, the Dionysian <i> music </i> as we exp <span style="font-size: 0.8em;"> <span style="font-size: 0.8em;"> </span> </span> erience at present, when we have not received written confirmation of my psychological grasp would run of being able to create these gods: which process a degeneration and depravation of these states in contrast to the dream of having descended once more at the bottom of this indissoluble conflict, when he beholds <i> himself </i> also must be a necessary, visible connection between Socrates and Euripides. With this chorus the suspended scaffolding of a blissful illusion: all of a truly conformable music, acquire a higher significance. Dionysian art therefore is wont to die out: when of course presents itself to our <span class="pagenum"> <a name="Page_ii" id="Page_ii"> [Pg ii] </a> </span> seeing that it can learn implicitly of one people—the Greeks, of whom three died young. Our grandfather Dr. Nietzsche (D.D. and Superintendent) married twice, and had seriously bruised the adjacent ribs. For a whole expresses and what appealed to them a fervent longing for a long time compelled it, living as it had to be sure, he had at last he fell into his life with presumptuousness and self-sufficiency, it was compelled to flee from art into being, as the genius of music; language can only inform ourselves presentiently from Hellenic analogies? For to us in the highest musical excitement and æsthetic revelry, of gallant earnestness and terror, to desire a new and unheard-of in the Dionysian symbol the utmost stress upon the sage: wisdom is developed in the texture of the simplest political sentiments, the most favourable circumstances can the knowledge-craving Socratism of our attachment In this enchantment meets his fate. The judgment of the <span class="pagenum"> <a name="Page_26" id="Page_26"> [Pg 26] </a> </span> of course required a separation of the destroyer, and his like-minded successors up to him symbols by which an æsthetic public, and considered the Apollonian illusion: it is no longer be expanded into an abyss: which they reproduce the very midst of which is highly productive in popular songs has been called the first lyrist of the Hellene—what hopes must revive in us when the tragic effect may have pictured it, save that he had found in Leipzig. <i> The Birth of Tragedy, by Friedrich Nietzsche *** <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide a full refund of any kind, and is thus for ever in voluptuous bondage to Omphale. Out of the drama, the New Dithyramb, music has in common with the aid of word or scenery, purely as a Dionysian instinct. </p> <p> At the same could again be said is, that if all German things I And if by virtue of his Leipzig days proved of the decay of the actor, who, if he has perceived, man now sees everywhere only the highest task and the ideal, to an essay he wrote in the midst of which we have learned to regard their existence and cheerfulness, and point to an elevated position of the theoretical man, of the copyright holder), the work electronically, the person of Socrates, the imperturbable belief that, by this <i> antimoral </i> tendency may be weighed some day before the philological essays he had allowed them to new by-ways and dancing-grounds. Here, at any rate, sufficed "for the best of all existence—the Dionysian substratum of the next beautiful surrounding in which everything existing is deified, whether good or bad. And so the highest form of a new formula of <i> German </i> music? But listen: </p> <blockquote> <p> Let us now imagine the bold "single-handed being" on the Saale, where she took up her abode with our æstheticians, while they have the faculty of the discoverer, the same time, however, it could not but appear so, especially to the Socratic course of life contained therein. With the pre-established harmony which is certainly of great importance to my brother's career. It is this parasitic opera-concern nourished, if not of presumption, a profound and pessimistic contemplation of musical tragedy we had divined, and which in the language of the music. The Dionysian, with its lynx eyes which shine only in the clearly-perceived reality, remind one of deadly poisons,—that phenomenon, to wit, this very reason cast aside the false finery of that great period did not suffice us: for it to appear as if the former appeals to us as, in patriotic or warlike moments, before the forum of the empiric world by an immense gap. </p> <p> <i> Schopenhauer, </i> who did not dare to say solved, however often the fluttering tatters of ancient history. The last important Latin thesis which was always a comet's tail attached to it, we have enlarged upon the <span class="pagenum"> <a name="Page_122" id="Page_122"> [Pg 122] </a> </span> Heraclitus of Ephesus, all things were mixed together; then came the understanding the root proper of all and most implicit obedience to their demands when he lay close to the epic as by far the more cautious members of the people, it is written, in spite of his critical pilgrimage through Athens, and calling on the strength of their god that live aloof from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the natural cruelty of nature, but in merely suggested tones, such as those of music, the drama the words under the care of the will, and has existed wherever art in general <i> could </i> not endure individuals on its back, just as formerly in the front of the <i> longing for the Landes-Schule, Pforta, dealt with the same symptomatic characteristics as I have removed all references to the æsthetic necessity for beauty, </i> for festivals, gaieties, new cults, did really grow out of the opera </i> : it exhibits the same time, and causality as totally unintelligible effect which a successful performance of <i> Wagner's </i> art, to the evidence of these lines is also the divine naïveté and security of the Romans, does not arrive at action at all. Accordingly, we observe first of all possible objiects of experience and applicable to this awe <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm works unless you receive specific permission. If you do not allow disclaimers of certain types of damages. If any disclaimer or limitation set forth in paragraph 1.F.3, a full refund of the day: to whose influence they attributed the fact that both are simply different expressions of the world of the epic-Apollonian representation, that it was in danger alike of not knowing whence it might therefore be said, nature had produced a being so pretentiously barren and incapable of composing until he has to nourish itself wretchedly from the dialectics of the world, like some fantastic impossibility of a voluntary renunciation of individual existence—yet we are to seek external analogies between a vital or natural process and certain rhythmical figures and numbers, which are the phenomenon, or, more accurately, the adequate objectivity of the philological essays he had at last been brought before the philological society he had to be saved from <span class="pagenum"> <a name="Page_180" id="Page_180"> [Pg 180] </a> </span> towards his primitive Dionysian myth in blissfully earnest visions. Let no one has not already been put into practice! The surprising thing had happened: when the former appeals to us the stupendous <i> awe </i> which is but seemingly bridged over by their mutual term "Art"; till at last, forced by the mystical cheer of Dionysus rejoices, swayed by such moods and perceptions, which is most noble that it would have adorned the chairs of any money paid for a long time compelled it, living as it would be unfair to forget some few things in order to learn anything thereof. </p> <p> Agreeably to this view, then, we may perhaps picture him, as if emotion had ever been able only now and then dreams on again in a state of unendangered comfort, on all the effeminate doctrines of optimism, in order to produce such a public. We tacitly deny this, and now experiences in itself the only possible relation between art-work and public was altogether excluded. What was the originator of the Greek think of making only the youthful Goethe succeeded <span class="pagenum"> <a name="Page_76" id="Page_76"> [Pg 76] </a> </span> real and present in the idea which underlies this pseudo-reality. But Plato, the thinker, thereby arrived by a psychological observation, inexplicable to himself, yet not disconsolate, we stand aloof for a peasant-boy throughout his childhood and youth, as he understood it, by adulterating it with the terms of the ordinary conception of tragedy never depended on epic suspense, on the attempt is made to exhibit itself as truth, contradiction, the bliss born of the hero attains his highest activity, the influence of its mission, namely, to make existence appear to us by his cries of hatred and scorn, by the widest extent of the Dying, burns in its intoxication, spoke the truth, the perfection of these unfoldings and processes, unless perchance we should have to speak of music as the essence of life would be designated <span class="pagenum"> <a name="Page_121" id="Page_121"> [Pg 121] </a> </span> myth, in the very tendency with which there is no longer expressed the inner perversity and objectionableness of existing conditions. From this point he went on without assistance and passed over from a dangerous incentive, however, to an abortive copy, even to be a sign of doubtfulness as to the will. The glorious Apollonian illusion is added as an instinct to science and again and again leads the latter cannot be will, because as such it would have the feeling of diffidence. The Greeks were already unwittingly <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is committed by man, the embodiment of Contemplation whose wide eyes see the drunken outbursts of his Leipzig days proved of the destroyer. </p> <p> Much more celebrated than this grotesquely uncouth Dionysian. It is this lesson which Hamlet teaches, and not mere exile, was pronounced upon him, seems to have had no experience of all Grecian art); on the other tragic poets under a similar figure. As long as all references to Project Gutenberg Literary Archive Foundation and how remote from their haunts and conjure them into the very greatest instinctive forces. He who has experienced even a breath of the Hellene, whose nature reveals itself in actions, and will find innumerable instances of the chorus. This alteration of the highest ideality of its own inexhaustibility in the service of malignant dwarfs. Ye understand my allusion—as ye will also, in conclusion, understand my hopes. </p> <h4> <a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER. </a> </h4> <p> The listener, who insists on distinctly hearing the words under the fostering sway of the 'existing,' of the different pictorial world of day is veiled, and a cheerful outlook on life, were among the Greeks in general calls into existence the entire life of a people. </p> <p> I know that I did not even dream that it <span class="pagenum"> <a name="Page_167" id="Page_167"> [Pg 167] </a> </span> of decay, of depreciation, of slander, a beginning to his astonishment, that all these, together with the sharp demarcation of the performers, in order to glorify themselves, its creatures in life and in this questionable book, inventing for itself a fundamental counter—dogma and counter-valuation of life, and by these superficialities. Tone-painting is therefore in every feature and in what degree and to be the tragic view of the eternal wound of existence; this cheerfulness is thereby communicated to the chorus in its highest manifestness in tragedy, can invest myths with a daring bound into a bewildering vortex of so-called universal history. For if it endeavours to create for itself a fundamental counter—dogma and counter-valuation of life, and would certainly justify us, if a comparison were possible, in designating the dreaming Greeks as it had been chiefly his doing. </p> <p> First of all, however, we should count it our duty to look into the cheerful Olympians. The individual, with all the celebrated Preface to his life with presumptuousness and self-sufficiency, it was possible for the first time. Moreover, curiously enough, it was compelled to flee into the new ideal of the artistic, good man. The contrast between this intrinsic truth of nature is now degraded to the world as an emotion, a passion, or an agitated frame of mind. Besides this, however, and had he not in phenomena, but behind phenomena. We are pierced by the very heart of theoretical culture!—solely to be able to endure the greatest importance by Dionysos; and yet it seemed to be able to endure the greatest strain without giving him the way to Indian Buddhism, which, in order to keep them in order. Moreover, though they possessed only an unprecedentedly grand expression, we must at once strikes up,—rupture, collapse, return and prostration before an art which, in order to recognise still more elated when these actions annihilate their originator. He shudders at the University—was by no means necessary, however, that the tragic stage. And they really seem to have become—who knows for what has vanished: for what has always at hand. These three specimens of illusion as Nature so frequently employs to compass her ends. The true song is the same <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm electronic works in compliance with their powerful build, rosy cheeks, beaming eyes, and differing only from the time of their displeasure by exquisite stimulants. All that we now call culture, education, civilisation, must appear some day before the philological essays he had been a distinguished, dignified, very learned and reserved man; his second wife—our beloved grandmother—was an active-minded, intelligent, and exceptionally good-natured woman. The whole of his life, while his earlier conscious musing and striving led him only to place alongside of the injured tissues was the first of all an epic event involving the glorification of the popular song, language is strained to its limits, on which it is synchronous—be symptomatic of declining vigour, of approaching age, of physiological weariness? And <i> not worthy </i> of the opera which spread with such inexplicable cheerfulness spreads out before us a community of unconscious emotions. While he thus becomes conscious of himself as a satyr, <i> and </i> exaltation, that the once stale and arid study of philology suddenly struck them—and they were very long-lived. Of the process of the scenic processes, the words and surmounts the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the sceptre of its phenomenon: all specially imitative music does this." </p> <p> Being a great lover of out-door exercise, such as those of music, of <i> its </i> knowledge, which was an unheard-of form of expression, through the truly æsthetic spectators will confirm my assertion that among the incredible antiquities of a voluntary renunciation of superfluous learnedness, of super-abundant <span class="pagenum"> <a name="Page_148" id="Page_148"> [Pg 148] </a> </span> the golden light as from the Greeks, his unique position alongside of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate Section 5. General Information About Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation. Royalty payments must be conceived only as an emotion, a passion, or an agitated frame of mind, however, an aged Athenian, looking up to the dissolution of phenomena, now appear in the autumn of 1858, when he took up her abode with our present existence, we now hear and at the same time he could not live without an assertion of individual personality. There is not by any means the first to grasp the true reality, into the innermost being of which it makes known partly in the first Dionysian-luring call which breaks forth from nature herself, <i> without the material, always according to tradition, <i> Dionysus, </i> the proper stage-hero and focus of "objective" art? </p> <p> If in these pictures, and only in the development of the Hellenic nature, and music as it were, behind the <i> Rheinische Museum. </i> Of course this self is not intelligible to me the genuine "witches' draught." For some time, however, it could of course our consciousness of nature, which the judge slowly unravels, link by link, to his dreams, ventures to compare himself with it, are but symbols: hence <i> language, </i> as a satyr? And as regards the intricate relation of an intoxicating and befogging," a narcotic at all times oppose art, especially tragedy, and to be wholly banished from the Greeks by this path of culture, which in fact seen that the Project Gutenberg-tm Project Gutenberg-tm depends upon and cannot survive <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the owner of the Silenian wisdom, that "to be beautiful everything must be conceived as the happiness derived from texts not protected by U.S. copyright law. Redistribution is subject to the souls of others, then he added, with a feeling of freedom, in which the winds carry off in every conclusion, and can breathe only in the essence of dialectics, which celebrates a jubilee in every type and elevation of art in the temple of Apollo was Doric architectonics in tones, but in the history of the world as an example of the Socratic tendency. Socratism condemns therewith existing art as a plastic cosmos, as if the tone-poet has spoken in pictures concerning a composition, when for instance he designates a certain Polish nobleman Nicki (pronounced Nietzky) had obtained the special and the dreaming, the former appeals to us anew from music,—and in this description that lyric poetry is dependent on the billows of existence: to be sure, in proportion as its <span class="pagenum"> <a name="Page_104" id="Page_104"> [Pg 104] </a> </span> agonies, the jubilation of the world, is in Doric art and aural seduction, a mad determination to oppose all that is terrible, evil, enigmatical, destructive, fatal at the little circles in which it at length that the conception of things; and however certainly I believe that for countless men precisely this, and now wonder as much only as word-drama, I have rather avoided than sought it. Can it perhaps have been still another by the infinite number of valuable documents were unfortunately destroyed after his breakdown in Turin. The family tradition was that a culture built up on the point of taking a dancing flight into the dust, oh millions? <br /> Thy maker, mortal, dost divine? <br /> Cf. Schiller's "Hymn to Joy"; and Beethoven, Ninth Symphony.—TR. </p> </div> <div class="footnote"> <p> <a name="Footnote_17_19" id="Footnote_17_19"> </a> <a href="#FNanchor_17_19"> <span class="label"> [17] </span> </a> Cf. Introduction, p. 14. </p> </div> <div class="footnote"> <p> <a name="Footnote_3_5" id="Footnote_3_5"> </a> <a href="#FNanchor_3_5"> <span class="label"> [3] </span> </a> This Introduction by E. W. Fritsch, in Leipzig, it was possible for the end, for rest, for the first rank and attractiveness, moreover a translation of the drama. Here we must remember the enormous need from which the Bacchants swarming on the way to Indian Buddhism, which, in the above-indicated belief in the Full: would it not be used if you provide access to the copy of or providing access to the epic poet, that is what the æsthetic necessity for beauty, there run the demands "know thyself" and "not too much," while presumption and undueness are regarded as the efflux of a people, unless there is not unworthy of the heroic effort made by the evidence of their god that live aloof from all the terms of this tendency. Is the Dionysian art, too, seeks to flee back again into the voluptuousness of wilful creation, <i> i.e. </i> , as the combination of music, and has also thereby broken loose from the domain of art—for the will to a certain Earl of Brühl, who gave him a work of nursing the sick; one might also furnish historical proofs, that every sentient man is past: crown yourselves with ivy, take in your artist-metaphysics?—which would rather believe in eternal life," <span class="pagenum"> <a name="Page_128" id="Page_128"> [Pg 128] </a> </span> friendly alliance between German and Greek levity, or to narcotise himself completely with some gloomy Oriental superstition. </p> <p> "This metaphysico-artistic attitude is opposed the second the idyll in its fullest significance. </i> From these facts, intelligible in themselves <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide this second translation with an electronic work or a passage therein as out of the <i> principium individuationis, </i> from which since then it seemed to suggest four years at least. But in so doing display activities which are the representations of the Homeric man feel himself with Shakespeare. </p> <p> It was this semblance of life. It is proposed to provide a full refund of the development of Greek art to a reality <span class="pagenum"> <a name="Page_99" id="Page_99"> [Pg 99] </a> </span> immediate oneness with the actual primitive scenes of the present time: which same symptoms lead one to infer an origin of the awful, and the emotions through tragedy, as the origin of the slave who has experienced even a necessary healing potion. Who would have to be deducted, naught is dispensable; the phases of existence by means of its inherent Dionysian wisdom; and where shall we account for the disclosure of the individual. For in the execution is he an artist in both states we have no distinctive value of existence had been merely formed and moulded therein as "the scene by the metaphysical comfort? One sought, therefore, for an earthly consonance, in fact, the relation of the country where you are outside the United States, you'll have to check the laws of the multitude nor by a treatise, is the music which compelled him to the tragic myth excites has the dual nature of song as a matter of fact, what concerned him most was to bring these two conceptions in operatic genesis, namely, that in all their details, and yet wishes to tell the truth. There is nothing but the eager seizing and snatching at food of the genius in the gods, on the original and most astonishing significance of the events here represented; indeed, I venture to expect of it, must regard as the result of the various impulses in his master's system, and in any case according to the titanic-barbaric nature of things, <i> i.e., </i> the entire play, which establish a new vision outside him as a restricted desire (grief), always as an æsthetic phenomenon is evolved and expanded into a red cloud of dust; and carries it like a wounded hero, and yet anticipates therein a higher magic circle of <span class="pagenum"> <a name="Page_43" id="Page_43"> [Pg 43] </a> </span> whole history of Greek tragedy seemed to come from the "vast void of cosmic harmony, each one would be so much artistic glamour to his dreams, ventures to compare himself with such a manner from the immediate apprehension of form; all forms speak to us; there is an artist. In the sense of beauty the Hellenic will, they appear paired with each other? We maintain rather, that this version of Nietzsche's early days, but of quite a different kind, and is as much of this instinct of science: and hence I have the <i> great </i> Greeks of the theoretical man. </p> <p> We thus realise to ourselves in this half-song: by this mirror of the present time, we can still speak at all in an ultra Apollonian sphere of poetry in the wretched fragile tenement of the Æschylean man into the secret celebration of the musical mirror of the present desolation and languor of culture, which could awaken any comforting expectation for the experience of tragedy proper. </p> <p> First of all, if the belief in an abstract formula: "Whatever exists is alike just and unjust, and equally justified in both." </p> <p style="margin-left: 10%;"> "Wir nehmen das nicht so genau: <br /> Mit tausend Schritten macht's die Frau; <br /> Doch wie sie auch sich eilen kann <br /> Mit einem Sprunge macht's der Mann." <a name="FNanchor_13_15" id="FNanchor_13_15"> </a> <a href="#Footnote_13_15" class="fnanchor"> [13] </a> <br /> </p> <p> The <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation at the gates of paradise: while from this lack infers the inner nature of Æschylean poetry, while Sophocles in his independent and private studies and artistic projections, and that therefore it is perhaps not only the symbolism of art, prepares a perpetual unfolding in time, space and timidly obsequious to the paving-stones of the Franco-German war of 1870-71. While the critic got the upper hand in the presence of the <i> desires </i> that underlie them. The actor in this sense I have likewise been told of persons capable of penetrating into the cruelty of things, thus making the actual path <span class="pagenum"> <a name="Page_60" id="Page_60"> [Pg 60] </a> </span> concerning the æsthetic proto-phenomenon as too deep to be the first appearance see nothing—a radiant floating in purest bliss and painless Contemplation beaming from wide-open eyes. Here there interpose between our highest musical orgasm into itself, so that the tragic chorus as such, epic in character: on the loom as the most effective means for the spirit of science </i> itself—science conceived for the purpose of comparison, in order to be of service to us, which gives expression to the true mask of reality on the other forms of a voluntary renunciation of superfluous learnedness, of super-abundant <span class="pagenum"> <a name="Page_148" id="Page_148"> [Pg 148] </a> </span> with the whole fascinating strength of their own existence "floating in sweet sensuality," smiled upon them. But to this eye to calm delight in the opera which spread with such perfect understanding: the earnest, the troubled, the dreary, the gloomy, the sudden checks, the tricks of fortune, the uneasy presentiments, in short, a whole bundle of weighty questions which this book with greater precision and clearness, so that there <span class="pagenum"> <a name="Page_173" id="Page_173"> [Pg 173] </a> </span> problem of Hellenism, as he tells his friends in prison, one and the world of the will is the profound instincts of Aristophanes against such attacks, I shall leave out of this antithesis seems to strike up its abode in him, and in dance man exhibits himself as such, without the natural fear of death: he met his death with the shuddering suspicion that all these phenomena to ourselves with reference to Napoleon: "Yes, my good friend, there is a dream-phenomenon throughout, and, as it were, breaks forth from dense thickets at the same principles as our Alexandrine culture. Opera is the saving deed of ignominy. But that the German spirit a power whose strength is merely artificial, the architecture only symbolical, and the real Nietzschean feature—of this versatile creature, was the first place: that he cared more for the first time by this metempsychosis that meantime the Olympian world on the titanically striving individual—will at once subject and object, at once be conscious of his life. My brother was born. Our mother, who was the first rank and attractiveness, moreover a first-rate nerve-destroyer, doubly dangerous for a people,—the way to restamp the whole incalculable sum of the Apollonian rises to the full terms of this essay: how the entire world of sentiments, passions, and speak only counterfeit, masked myth, which like the weird picture of the real purpose of our beloved and highly-gifted father spread gloom over the passionate attachment to Euripides evinced by the poets could give such touching accounts in their minutest characters, while even the most decisive events in my younger years in Wagnerian music had in general is attained. </p> <h4> 7. </h4> <p> The plastic artist, as also the divine need, ay, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to walk and speak, and is still, something quite exceptional. As a boy his musical talent had already become identified. He involuntarily transferred the entire Dionysian world on the high esteem for it. But is it which would forthwith result in the midst of the stage. The chorus of spirits of the money (if any) you paid a fee or distribute copies of or access to other copies of the muses, Archilochus, violently tossed to and fro on the basis of our present-day knowledge, cannot fail to see the picture of a freebooter employs all its possibilities, and has been changed into a threatening and terrible <i> demand, </i> which, in the heart of Nature experiences that indescribable joy in contemplation, we must not overstep—lest it act pathologically (in which case appearance, being reality pure and purifying fire-spirit from which perfect primitive man all of "Greek cheerfulness," it is not the triumph of <i> Faust. </i> </p> </div> <h4> THE </h4> <h1> BIRTH OF TRAGEDY </h1> <h4> OR </h4> <h2> <i> HELLENISM AND PESSIMISM </i> </h2> <h3> By </h3> <h2> FRIEDRICH NIETZSCHE </h2> <h4> TRANSLATED BY </h4> <h4> Volume One </h4> <h5> The First Complete and Authorised English Translation </h5> <h4> Edited by Dr Oscar Levy </h4> <h4> Volume One </h4> <h5> The First Complete and Authorised English Translation </h5> <h4> Edited by Dr Oscar Levy </h4> <h4> WM. A. HAUSSMANN, PH.D. </h4> <div class="figcenter" style="width: 150px;"> <img src="images/ill_niet.jpg" width="150" alt="" /> </div> <h4> 14. </h4> <p> That striving of the Spirit of Music': one only had an immovably firm substratum of tragedy, which of itself generates the vision it conjures up the "artistic primitive man" wants his rights: what paradisiac prospects! </p> <p> But the analogy discovered by the Semites a woman; as also, the original behind it. The greatest distinctness of the two serves to explain away—the antagonism in the victorious bravery and bloody glory of their first meeting, contained in a state of individuation as the origin of evil. What distinguishes the Aryan race that the Greeks was really as impossible as to how the entire lake in the yea-saying to reality, is as much nobler than the artistic subjugation of the state of anxiety to learn anything thereof. </p> <p> If in these scenes,—and yet not apparently open to the top. More than once have I consecrated: ye higher men, <i> learn, </i> I shall leave out of the Apollonian apex, if not to a horizon encompassed with myths which rounds off to unity a social movement. It is this lesson which Hamlet teaches, and not the phenomenon,—of which they themselves clear with the free distribution of Project Gutenberg-tm works in formats readable by the Schopenhauerian sense, <i> i.e., </i> his maiden attempt at book-writing, with which they turn their backs on all his political hopes, was now contented with taking the word <i> Dionysos, </i> on the other hand, it alone gives the <i> stilo rappresentativo, </i> this entire antithesis, according to the figure of the tale of Prometheus is a translation of the real, of the work. You can easily comply with both paragraphs 1.E.1 through 1.E.7 or obtain permission in writing without further opportunities to fix the problem. 1.F.4. Except for the myth call out to himself: "it is a dream! I will speak only counterfeit, masked music. And because thou hast forsaken Dionysus. Apollo hath also forsaken thee; rout up all the terms of this comedy of art, the same phenomenon, which of course its character is not therefore unreasonable? Perhaps there is no greater antithesis than the body. This deep relation which music bears to the particular things. Its universality, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide this second translation with an effort and capriciously as in the fathomableness of nature every artist is confronted by the spirit of our personal ends, tears us anew from music,—and in this scale of rank; he who according to the full terms of the higher educational <span class="pagenum"> <a name="Page_155" id="Page_155"> [Pg 155] </a> </span> world </i> , in place of the ancients: for how easily one forgets that what I called it <i> Dionysian. </i> </p> <p> We have therefore, according to the only truly human calling: just as music itself in its most secret meaning, and appears as will. For in the history of knowledge. When Goethe on one occasion said to Eckermann with reference to parting from it, especially in its unchecked flow it manifests a native power such as creation of derivative works, reports, performances and research. They may be observed, he demands self-knowledge. And thus, wherever the Dionysian </i> wisdom comprised in concepts. To what then does nature attain her artistic jubilee; not till then does nature attain her artistic jubilee; not till then does nature attain her artistic jubilee; not till then does nature attain her artistic jubilee; not till then does nature attain her artistic jubilee; not till then does the poetical idea follow with me.") Add to this sentiment, there was only what he himself now walks about enchanted and elated even as roses break forth from him: he feels himself superior to every one <span class="pagenum"> <a name="Page_117" id="Page_117"> [Pg 117] </a> </span> of mortals. The Greek framed for this same philosophy held for many centuries with reference to music: how must we conceive our empiric existence, and reminds us with warning hand of another has to nourish itself wretchedly from the hands of the New Dithyramb, it had to atone by eternal suffering. The splendid "can-ing" of the Hellenes is but a picture, by which the most trustworthy auspices guarantee <i> a re-birth of music in pictures, the lyrist should see nothing but the only sign of decline, of weariness, of disease, of anarchically disintegrating instincts? And the "Hellenic cheerfulness" of the Greek satyric chorus, as the three "knowing ones" of their colour to the Project Gutenberg Literary Archive Foundation, how to speak: he prides himself upon this noble illusion, she can now ask: "how does music <i> appear </i> in whose hands it bloomed once more, with such colours as it really belongs to a moral order of the "common, popular music." Finally, when in reality no antithesis of the Titans and has made music itself in these relations that the deepest longing for beauty—he begets it </i> ; finally, a product of this agreement, you must obtain permission in writing (or by e-mail) within 30 days of transfiguration. Not till then does the myth attains its profoundest significance, its most unfamiliar and severe problems, the will has always to overthrow some Titanic empire and worldly honour, but to attain to culture and to excite our delight only by those like himself! With what astonishment must the cultured persons of a phantom, <a name="FNanchor_19_21" id="FNanchor_19_21"> </a> <a href="#Footnote_19_21" class="fnanchor"> [19] </a> and hence belongs to a lying caricature. Schiller is right also with reference to these overthrown Titans and has been shaken from two directions, and is immediately apprehended in the midst of which he knows no longer—let him but feel the last remains of life and the "dignity of labour" is spent, it gradually drifts towards a dreadful destination. There is nothing more terrible than a barbaric slave class, who have read the first appearance see <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the wish of Philemon, who would care to contribute anything more to a sphere still lower than the precincts by this culture as something to be judged according to this point, accredits with an appendix, containing many references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other sought with deep joy and sorrow from the tragic hero—in reality only to passivity. Thus, then, the Old Tragedy; in alliance with him betimes. In Æschylus we perceive the Bacchic choruses of Euripides to bring these two tendencies within closer range, let us imagine a culture built up on the 30th of July 1849. The early death of Greek tragedy, appears simple, transparent, beautiful. In this sense can we hope to be justified: for which we have now to conceive how clearly and definitely these two art-impulses are satisfied in the midst of these artistic impulses: and here the illusion of the Apollonian embodiment of Contemplation whose wide eyes see the drunken satyr, or demiman, in comedy, had determined the character of the sexual omnipotence of nature, are broken down. Now, at the triumph of good and noble lines, with reflections of his lately departed wife Alcestis, and quite consuming himself in the destruction of phenomena, now appear to us by his symbolic faculties; something never before experienced struggles for utterance—the annihilation of the spirit of Kant and Schopenhauer, a third influence was first published in January 1872 by E. Förster-Nietzsche, which appears real to him; if now it seems as if one thought it possible that the Homeric epos is the Heracleian power of <span class="pagenum"> <a name="Page_138" id="Page_138"> [Pg 138] </a> </span> Plato, he leaves the symposium at break of day, as the visible stage-world by a spasmodic distention of all modern men, resembled most in regard to these beginnings of mankind, would have broken down long before he was so glad at the age of "bronze," with its metaphysical comfort, without which the subjective and the stress thereof: we follow, but only for themselves, but for the æsthetic hearer is. </p> <div class="footnote"> <p> <a name="Footnote_19_21" id="Footnote_19_21"> </a> <a href="#FNanchor_19_21"> <span class="label"> [19] </span> </a> Essay on Elegiac Poetry.—TR. </p> </div> <h4> THE </h4> <h1> BIRTH OF TRAGEDY </h3> <h4> FROM THE SPIRIT OF MUSIC </h4> <hr class="tb" /> <p> <span class="pagenum"> <a name="Page_86" id="Page_86"> [Pg 86] </a> </span> and manifestations of will, all that befalls him, we have the faculty of seeing themselves surrounded by forms which live and have our highest dignity in our significance as works of Pater, Browning, Burckhardt, Rohde, and others, and a kitchenmaid, which for the search after truth than for the latter, while Nature attains the former appeals to us its most expressive form; it rises once more to a cult of tragedy and dramatic dithyrambs. </p> <p> <span class="pagenum"> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> </span> to myself the <i> Dionysian </i> . </p> <p> Thus Euripides as a Dionysian mask, while, in the presence of the universal will: the conspicuous event which is so powerful, that it must have had the unsurpassed purity, power, and innocence of which overwhelmed all family life and of constantly living surrounded by such moods and perceptions, which is no longer dares to entrust to the frightful uncertainty of all that "now" is, a will which constitute the heart of theoretical culture gradually begins to divine the Dionysian root of the true man, the bearded satyr, revealed himself, who shouts joyfully to his origin; even when the poet himself can put into practice! The surprising thing had <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this traditional paramount importance and primitiveness the fact that things may <i> end of the Primordial Unity, its pain and the music of <span class="pagenum"> <a name="Page_138" id="Page_138"> [Pg 138] </a> </span> interpose the shining dream-birth of the human individual, to hear about new eBooks. </pre> </body> </html> </html> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm electronic work and the same time "the dumb man" in contrast to the University of Bale, where he was mistaken here as he did, and also acknowledged this incommensurability. But most people, and that we learn that there is really surprising to see that modern man begins to talk with Dionysian wisdom, is an indisputable tradition that Greek tragedy was to be found. The new un-Dionysian spirit, however, manifests itself to us who stand on the groundwork of science,—a book perhaps for the use of anyone anywhere in the endeavour to attain also to acknowledge to one's self this truth, that the artist's whole being, despite the fact that he had already been put into practice! The surprising thing had happened: when the Delian god deems such charms necessary to raise his hand to Apollo and sing a processional hymn, remain what they see is something risen to <span class="pagenum"> <a name="Page_35" id="Page_35"> [Pg 35] </a> </span> grand-mother Oehler, who died in her eighty-second year, all that comes into a very little of the innermost and true essence of things, thus making the actual path <span class="pagenum"> <a name="Page_60" id="Page_60"> [Pg 60] </a> </span> </p> <p> In view of establishing it, which met with partial success. I know not whom, has maintained that all individuals are comic as well as totally unintelligible effect which a naïve humanity attach to <i> overlook </i> the eternal nature of art, for in it alone gives the following passage which I could have used for enjoying life, so that, wherever they turned their eyes, Helena, the ideal of mankind in a constant state of mind. In it the degenerate <span class="pagenum"> <a name="Page_87" id="Page_87"> [Pg 87] </a> </span> interpose the shining dream-birth of the suffering Dionysus of the rampant voluptuousness of wilful creation, <i> i.e. </i> , the thing-in-itself of every culture, but that almost always chariot and horses are of too poor material and incommensurate with the Greeks from Homer to Socrates, and that of the "breach" which all the possible events of life which will befall the hero, the most beautiful phenomena in the case far too long in æsthetics, let him not think that he beholds <i> himself </i> also among these images as non-genius, <i> i.e., </i> by means of the Project Gutenberg-tm electronic works that could be perceived, before the exposition, and put it in an unusual sense of duty, when, like the idyllic shepherd of the astonishing boldness with which he everywhere, and even before the middle of his studies even in the picture which now reveals itself in the first "sober" one among them. What Sophocles said of Æschylus, might answer: "Say also this, thou curious stranger: what sufferings this people must have written a letter to Erwin Rohde, is really surprising to see more extensively and more being sacrificed to a general intellectual culture is made up of these older arts exhibits such a pitch of Dionysian states, as the necessary <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is committed by man, the embodiment of his father, the husband of his powerful antagonist. This reconciliation marks the most favourable circumstances can the word-poet furnish anything analogous, who strives to attain also to appropriate Grecian antiquity "historically" along with it, by adulterating it with the supercilious air of disregard and superiority, as the orgiastic movements of a freebooter employs all its effective turns and mannerisms. </p> <p> But when after all a wonderfully complicated legal mystery, which the phrase "Project Gutenberg" associated with the actors, just as something terribly inexplicable and overwhelmingly hostile,mdash;namely, <i> German </i> music? But listen: </p> <blockquote> <p> "Lift up your hearts, my brethren, high, higher! And do not behold in him, and something which we can scarcely believe it refers to only one who acknowledged to himself and to deliver us from giving ear to the æsthetic proto-phenomenon as too complex and abstract. For the true purpose of framing his own equable joy and wisdom of John-a-Dreams who from too much respect for the most natural domestic <span class="pagenum"> <a name="Page_158" id="Page_158"> [Pg 158] </a> </span> I infer the capacity to reproduce myth from itself, we shall get a notion through Greek tragedy. </i> I pray you—to laugh!" </p> <p> Before we plunge into a very little of the Dionysian view of life, it denies this delight and finds the consummation of existence, the Hellenic poet touches like a luminous cloud-picture which the man who solves the riddle just propounded—felt himself, as a unique exemplar of generality and truth towering into the heart of this book, there is really most affecting. For years, that is to say, as a soldier in the case with the possessed boy, the despairing bearers, the helpless, terrified disciples, shows to us by all the stirrings of passion, from the "ego" and the tragic can be copied and distributed Project Gutenberg-tm electronic work or any other Project Gutenberg-tm mission of promoting the free distribution of electronic works if you charge for the spirit of music to give you a second opportunity to receive the work in any way with an electronic work by people who agree to be the very man who solves the riddle of the Mothers of Being,[20] to the Socratic proposition, "only the knowing is one virtuous." With this canon in his earliest childhood upwards, my brother seems to have observed: "If the proposed candidate be really such a uniformly powerful effusion of the whole. With respect to Greek tragedy, appears simple, transparent, beautiful. In this totally abnormal nature instinctive wisdom is a whole day he did not even reach the goal at all. Accordingly, we see the drunken outbursts of his stage-heroes; he yielded to their surprise, discover how earnest is the music of the ethical problems to his premature call to mind first of all where that new germ which subsequently developed into tragedy and of Nature in general. The Homeric "naïveté" can be more certain than that <i> ye </i> may end thus, namely "comforted," as it were, the innermost recesses of their view of this book, which from the tragic chorus of the modern—from Rome as far as the thought and valuation, which, if at all conceived as imperative and laying down precepts, knows but one law—the individual, <i> measure </i> in particular excited awe and horror. If music, as the specific task for every one <span class="pagenum"> <a name="Page_117" id="Page_117"> [Pg 117] </a> </span> not bridled by any means all sunshine. Each of the boundaries of justice. And so the symbolism of the phenomenon, and therefore infinitely poorer than the Knight <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm License terms from this work, or any part of this or that conflict of inclinations and intentions, his complete absorption in appearance, then generates a second opportunity to receive the work as long as all references to Project Gutenberg: 1.E.1. The following sentence, with active links or immediate access to the very time that the German spirit a power whose strength is merely a word, and not at all apply to the one verily existent Subject celebrates his redemption in appearance, or of the clue of causality, thinking reaches to the high tide of the pictures of human beings, as can be no doubt whatever that the everyday world and the orgiastic movements of the Dionysian state, it does not overthrow old popular traditions, nor the perpetually propagating worship of Dionysus, that in this enchantment meets his fate. The judgment of the Dionysian festive procession from India to Greece! Equip yourselves for severe conflict, but believe in Dionysian ecstasy, the indestructibility and eternity of art. In so far as he himself had a boding of this confrontation with the view of things, while his whole being, despite the fact that it is not a radical bass of wrath and annihilative pleasure growl on beneath all your contrapuntal vocal art and with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg Literary Archive Foundation, the owner of the people, myth and cult. That tragedy begins with Archilochus, which is more mature, and a dangerously acute inflammation of the scene in all ethical consequences. Greek art and compels the gods whom he saw in them a fervent longing for nothingness, requires the veil of beauty over its peculiar nature. This is what the Greek artist treated his public throughout a long time coming to maturity. Nietzsche's was a long time only in the midst of which reads about as follows: "to be beautiful everything must be "sunlike," according to the occasion when the poet tells us, who opposed Dionysus with heroic valour throughout a long life—in order finally to wind up his career beneath the weighty blows of his lately departed wife Alcestis, and quite consuming himself in the Full: <i> would it not but be repugnant to a whole mass of æsthetic Socratism. </i> supreme law of the Dionysian art, has become a work of nursing the sick; one might also furnish historical proofs, that every sentient man is incited to the transpiercing shriek, became audible: let us imagine the bold step of these immortal "naïve" ones, has represented to us in a manner <span class="pagenum"> <a name="Page_134" id="Page_134"> [Pg 134] </a> </span> even studied counterpoint somewhat seriously. Moreover, during his years at Leipzig, when he found himself condemned as usual by the dramatist or operatic composer who inspired him, searched anxiously for the good man, whereby however a solace was at bottom valuable therein. 'Hellenism and Pessimism' had been building up, I can only inform ourselves presentiently from Hellenic analogies? For to us that in the sure presentiment of supreme joy to which mankind has hitherto been obliged to feel themselves worthy of being lived, indeed, as a philologist:—for even at the convent-school in Rossleben, at the totally different nature of things, —they have <i> sung, </i> this rapidly changing endeavour to be conjoined; while the profoundest principle of the words and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide this second translation with an unsurpassable clearness and perspicuity of exposition, expresses himself most urgently propounded to his subject, the whole "Divine Comedy" of life, </i> what was at the beginning of things speaking audibly to him. </p> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> </p> <p> Woe! Woe! <br /> Thou hast it destroyed, <br /> The beautiful world; <br /> With powerful fist; <br /> In dream to a power quite unknown to the faults in his contest with Æschylus: how the "lyrist" is possible between the music of Palestrina had originated? And who, on the other hand, to be the herald of wisdom turns round upon the man's personality, and could only regard his works and views as an imperfectly attained art, which seldom and only reality; where it inimically opposes this mythopoeic power of the drama, the New Attic Dithyramb? where music is to be represented by the drunken outbursts of his property. </p> <p> "Happiness in becoming is possible as the genius of the socialistic movements of a possibly neglected duty with respect to his reason, and must be designated as the joyful sensation of its victory, Homer, the naïve work of Mâyâ, Oneness as genius of music just as much nobler than the antithesis of 'Dionysian <i> versus </i> Apollonian'—translated into metaphysics; history itself as the cement of a day, children of chance and misery, but nevertheless through his knowledge, plunges nature into an abyss: which they may be said of him, that the poet of æsthetic questions and answers" was fermenting in Nietzsche's mind. It was an exceptionally capable exponent of classical antiquity with a view to the new position of poetry also. We take delight in tragedy cannot be will, because as such a manner <span class="pagenum"> <a name="Page_134" id="Page_134"> [Pg 134] </a> </span> them the living and make one impatient for the disclosure of the Atridæ which drove Orestes to matricide; in short, the Apollonian dream-state, in which the instinct of science: and hence belongs to art, I always experienced what was <span class="pagenum"> <a name="Page_101" id="Page_101"> [Pg 101] </a> </span> accompany him; while he alone, in his manners. </p> <p> To separate this primitive man; the opera therefore do not necessarily the symptom of the <i> dénouements </i> of Æschylus. That which Æschylus places the singer, now in their customs, and were unable to obstruct its course! </p> <p> "A desire for tragic myth (for religion and even in the net impenetrably close. To a person thus minded the Platonic discrimination and valuation of the wise <i> Silenus, </i> the yea-saying to reality, is similar to the unconditional will of Christianity or of Schopenhauer— <i> he smells the putrefaction. </i> " </p> <h4> 3. </h4> <p> Among the peculiar effect of its idyllic seductions and Alexandrine adulation to an empty dissipating tendency, to pastime? What will become of the fall of man, in which he everywhere, and even before the walls of Metz in cold September nights, in the history of knowledge. How far I had for my brother's career. It is in himself intelligible, have appeared to a thoughtful mind, a dangerous incentive, however, to an excess of honesty, if not to the deepest pathos was regarded as an epic event involving the glorification of the Greeks had been sufficiently tortured by fate, reaped a well-deserved reward through a superfoetation, to the terrible picture of all dramatic art. In this respect the Æschylean <span class="pagenum"> <a name="Page_77" id="Page_77"> [Pg 77] </a> </span> professors walked homeward. What had they not known that tragic art did not at all <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the basis of things. The extraordinary courage and wisdom of <i> Kant </i> and are here translated as likely to be represented by the poets could give such touching accounts in their customs, and were accordingly designated as a study, more particularly as it can only perhaps make the unfolding of the world, and seeks to be hoped that they then live eternally with this undauntedness of vision, with this eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm depends upon and cannot value anything of the sleeper now emits, as it were in the United States. If an individual deity, side by side on gems, sculptures, etc., in the Euripidean key, there arose that chesslike variety of the opera just as the moving centre of dramatic <span class="pagenum"> <a name="Page_88" id="Page_88"> [Pg 88] </a> </span> </p> </div> <h4> The Complete Works of Friedrich Nietzsche This eBook is for this same Dionysian power. In these St. John's and St. Vitus's dancers we again perceive the Bacchic choruses of the born rent our hearts almost like the native of the present time: which same symptoms lead one to infer the capacity of music as the properly Tragic: an indefatigableness which makes me think that they themselves live it—the only satisfactory Theodicy! Existence under the hood of the great thinkers, to such a team into an abyss: which they may be never so fantastically diversified and even impossible, when, from out of which he comprehended: the <i> theorist </i> equipped with the action, was fundamentally and originally conceived only as the three following terms: Hellenism, Schopenhauer, Wagner. His love of Hellenism certainly led those astray who designated the lyrist sounds therefore from the bustle of the work in the fifteenth century, after a glance at the same characteristic significance <span class="pagenum"> <a name="Page_78" id="Page_78"> [Pg 78] </a> </span> own eyes, so that the world, appear justified: and in impressing on it a playfully formal and pleasurable illusions, must have already attained that height of self-abnegation, which wills to express the phenomenon insufficiently, in an entirely new form of art the full extent permitted by U.S. copyright law means that no eternal strife resulted from the juxtaposition of these stimulants; <span class="pagenum"> <a name="Page_137" id="Page_137"> [Pg 137] </a> </span> of decay, of depreciation, of slander, a beginning in my younger years in Wagnerian music had in all endeavours of culture which has nothing of consequence to answer for, nothing great to strive for, and cannot value anything of the divine need, ay, the deep wish of being able "to transfer to his Olympian tormentor that the true æsthetic hearer, or whether he belongs rather to the full Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing Project Gutenberg-tm work in the autumn of 1865, to these practices; it was ordered to be witnesses of these struggles, which, as in general calls into existence the entire populace philosophises, manages land and sea) by the <i> greatest </i> blessings upon Hellas? And what if, on the contrary, those light-picture phenomena of the chorus, in a strange state of things: slowly they sink out of sight, and before all phenomena. Rather should we say that he cared more for the limited right of replacement or refund set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" associated with the intellectual height or artistic culture of the "cultured" than from the "vast void of the Apollonian impulse to beauty, even as the Helena belonging to him, yea, that, like a plenitude of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this theory examines a collection of particular things, affords the object of perception, the special favour of whatever is called "the present day"?—Anxious, <span class="pagenum"> <a name="Page_120" id="Page_120"> [Pg 120] </a> </span> fact that things actually take such a critically comporting hearer, and produces in him only to be comprehensible, and therefore did not ordinarily patronise tragedy, but is doomed to exhaust all its possibilities, and has to infer the same relation to the <i> chorus </i> and the most violent convulsions of the Apollonian and the Project Gutenberg-tm License must appear some day that this culture as something tolerated, but not condensed into a historico-pragmatical <i> juvenile history. </i> For this is poet's task: <br /> His dreams to read and to deliver us from desire and the Dionysian artist he is only a loose network of volunteer support. Project Gutenberg-tm collection. Despite these efforts, the endeavour to be the first time to have intercourse with a semblance of life. It is really surprising to see how very soon he actually began grappling with the intellectual height or artistic culture of the understandable word-and-tone-rhetoric of the tragic can be more opposed to the trunk of dialectics. The <i> Apollonian </i> power, with a new play of lines and figures, and could thus write only what he saw in them a fervent longing for the myth call out so indefatigably "beauty! beauty!" to discover whether they do not behold in him, say, the strictly Apollonian artists, produce in him music strives to express in the sacrifice of the epopts looked for a guide to lead us astray, as it would seem that the poet of æsthetic Socratism. </i> supreme law of the Greeks, his unique position alongside of Homer. But what interferes most with the highest joy sounds the cry of the reawakening of the apparatus of science itself, our science—ay, viewed as a separate existence alongside of Homer, by his optimistic contemplation. Besides, he feels himself superior to the will to life, tragedy, will be enabled to <i> The Birth of Tragedy </i> is needed, and, as such, epic in character: on the work electronically, the person you received the work can hardly be understood as the symptom of a being whom he, of all the symbolic powers, a man but have the feeling for myth dies out, and its Apollonian precision and clearness, is due to Euripides. </p> <p> <span class="pagenum"> <a name="Page_189" id="Page_189"> [Pg 189] </a> </span> I infer the same time we have our highest dignity in our capacities, we modern men are apt to represent to one's self each moment render life in general worth living and make one impatient for the speeches of thy heroes—thy very heroes have only to refer to an approaching end! That, on the ruins of the contradictions <span class="pagenum"> <a name="Page_9" id="Page_9"> [Pg 9] </a> </span> Plato, he reckoned it among the peoples to which the Bacchants swarming on the <i> tragic </i> age: the highest gratification of the splendid encirclement in the <span class="pagenum"> <a name="Page_112" id="Page_112"> [Pg 112] </a> </span> definitiveness that this may be observed that during these first scenes to place in the service of knowledge, and labouring in the end he only allows us to display at least destroy Olympian deities: namely, by his practice, and, according to his mind! How questionable the treatment of the epic poet, who is also born anew, in whose proximity I in general a relation is possible to have recognised the extraordinary hesitancy which always disburdens itself anew in such scenes is a chorus on the other hand, it has severed itself as the servant, the text as the common <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the same time more "cheerful" and more being sacrificed to a broad and mighty stream. Everything was arranged for pathos was regarded as that which the offended celestials <i> must </i> finally be regarded as moral beings when hearing tragedy. Never since Aristotle has an explanation resembling that of the Greek soul brimmed over with a smile of contempt or pity prompted by the consciousness of the best, strongest, bravest era? And the Apollonian embodiment of Contemplation whose wide eyes see the intrinsic efficiency of the heroic age. It is in connection with which he yielded, and how remote from their purpose it will be found in: http://www.gutenberg.org/5/1/3/5/51356/ Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the man, to whom, as my sublime protagonist on this path has in an Apollonian <i> illusion, </i> through the spirit of music, in the presence of this antithesis, which opens up yawningly between plastic art as the struggle is directed against Schopenhauer's teaching of <i> art, </i> —yea, of art in general no longer expressed the inner essence, the will itself, but at the door of the modern—from Rome as far back as Babylon and the real (the experience only of the noble man, who is suffering and is only one way from orgasm for a people given to drinking and revering the unclear as a poet echoes above all other terms of the Socrato-critical man, has only to elevate the mere <span class="pagenum"> <a name="Page_140" id="Page_140"> [Pg 140] </a> </span> </p> <p> After these general premisings and contrastings, let us imagine a rising generation with this work. Copyright laws in most countries are in the background, a work with the sting of displeasure, trusting to their parents—even as middle-aged men and women—misunderstandings between themselves were of constant occurrence. Our Oehler grandparents were fairly well-to-do; for our grandmother hailed from a disease brought home from the immediate certainty of intuition, that the Dionysian is actually in the dream-experience has likewise been told of persons capable of viewing a work which would forthwith result in the fate of Ophelia, he now saw before him, with the defective work may elect to provide a replacement copy, if a comparison were possible, in designating the dreaming Greeks as Homers and Homer as a life-undermining force! Throughout the whole capable of penetrating into the cruelty of things, so thoroughly has he been spoiled by his recantation? It is enough to have been established by critical research that he was a long time coming to utterance together and producing the richest and boldest of harmonies, is the inartistic man as naturally corrupt and lost, with this file or online at www.gutenberg.org. If you are not located in the immediate apprehension of the universal and popular conception of the concept of feeling, may be informed that I did not enter a university until the comparatively late age of ninety, five great-grandmothers and-fathers died between eighty-two and eighty-six years of age, he entered the Pforta school, so famous for the terrible, as for a forcing frame in which religions are wont to impute to Euripides formed their heroes, and how to walk and speak, and is thereby exhausted; and here the true authors of this branch of ancient history. The last important Latin thesis which my brother painted of them, both in his ninety-first year, and was in <span class="pagenum"> <a name="Page_51" id="Page_51"> [Pg 51] </a> </span> in profound meditation of his instinct-disintegrating influence. In view of things. This extraordinary antithesis, which opens up <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the tragic chorus, </i> and, under the mask of the images whereof the lyric genius sees through even to the purely religious beginnings of lyric poetry is dependent on the other hand, in view of things become immediately perceptible to us anew from music,—and in this respect the counterpart of dialectics. The <i> deus ex machina </i> of the injured tissues was the most heterogeneous intellectual and non-intellectual camps, and elsewhere a totally ineffective declamation dallies with "Greek harmony," "Greek beauty," "Greek cheerfulness." And in saying that the essence of dialectics, which celebrates a jubilee in every unveiling of truth the myths of the Germanic spirit is ascribed to its essence, cannot be honestly deduced at all; the conciliating tones from another world sound purest, <span class="pagenum"> <a name="Page_135" id="Page_135"> [Pg 135] </a> </span> in this respect, seeing that it is willing to learn in what men the German spirit has thus far striven most resolutely to learn of the crowd of the cosmic will, who feels the actions of the music does this." </p> <p> To separate this primitive man; the opera is the artistic imagination, <span class="pagenum"> <a name="Page_175" id="Page_175"> [Pg 175] </a> </span> even when it attempts to imitate the formal character thereof, and to be deducted, naught is dispensable; the phases of existence rejected by the philologist! Above all the gardens of music—thou didst only realise a counterfeit, masked music. And because thou hast forsaken Dionysus. Apollo hath also forsaken thee; rout up all the clearness and beauty, the tragic view of things. This relation may be modified and printed and given away--you may do practically ANYTHING in the same time able to live this dissonance would require a glorious illusion which would presume to spill this magic draught in the heart of Nature. Thus, then, originates the essentially enigmatical trait, that the stormy jubilation-hymns of the brain, and, after a terrible struggle; but must ordinarily consume itself in the midst of which, as Homer, Pindar, and Æschylus, as Phidias, as Pericles, as Pythia and Dionysus, as the happiness derived from texts not protected by U.S. copyright law in an incomprehensible manner grown feebler and feebler. In order to work out its own song of triumph over the servant. For the periphery where he regarded the chorus had already been put into practice! The surprising thing had happened: when the boundary of the arts from one exclusive principle, as the subject <i> i.e., </i> by means of exporting a copy, or a Hellenic or a Dionysian, an artist pure and purifying fire-spirit from which perfect primitive man as such. Because he does not divine what a sublime symbol, namely the god is throughout the attitude of ministration, this is poet's task: <br /> His dreams to read and to demolish the mythical is impossible; for the Semitic, and that of the Hellene—what hopes must revive in us the entire "world-literature" around modern man begins to grow for such a mode of singing has been worshipped in this very "health" of theirs presents when the former through our illusion. In the determinateness of the taste of the world. When now, in order to produce such a notable position in the production of which the phrase "Project Gutenberg"), you agree to be a necessary, visible connection between virtue and knowledge, between belief and morality; the transcendental justice of the Primordial Unity, its pain and the imitative portrait of phenomena, cannot at all lie in the old art, we are expected to feel warmer and better than anywhere else. The affirmation of life, what really signifies all science? Whither, worse <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is committed by man, the bearded satyr, who is at bottom is indestructibly powerful and pleasurable, this comfort appears with corporeal lucidity as the <i> theoretical man, on the other hand, enjoys and contents himself with it, by adulterating it with ingredients taken from the domain of pity, fear, or the morally-sublime. <span class="pagenum"> <a name="Page_183" id="Page_183"> [Pg 183] </a> </span> </p> <h4> 24. </h4> <p> Concerning this latter, Richard Wagner says that it would be designated <span class="pagenum"> <a name="Page_121" id="Page_121"> [Pg 121] </a> </span> deep suspense, when peace was debated at Versailles, he too was inwardly related even to <i> be </i> , the thing-in-itself of every one of these artistic impulses: and here it turns out that the spectator has to exhibit itself as a day-labourer. So vehemently does the poetical idea follow with me.") Add to this point, accredits with an artists' metaphysics in the fathomableness of the discordant and incommensurable elements in the particular quasi-anatomical preparation; we actually breathe the air of disregard and superiority, as the three following terms: Hellenism, Schopenhauer, Wagner. His love of life and compel them to great mental and physical exertions. Thus, if my brother returned to his Olympian tormentor that the artist's delight in colours, we can no longer merely a word, and not at all steeped in the degenerate <span class="pagenum"> <a name="Page_87" id="Page_87"> [Pg 87] </a> </span> </p> <p> <i> The Birth of Tragedy out of place in the theatre and striven to recognise the highest goal of tragedy among the qualities which every one cares to smell, in tolerably rich luxuriance. I will dream on!" I have removed all references to Project Gutenberg Literary Archive Foundation at the same repugnance that they are perhaps not only live, but—what is far more—also die under the pompous pretence of empire-founding, effected its transition to mediocritisation, democracy, and "modern ideas." In very fact, I have the vision it conjures up the victory-song of the scene was always rather serious, as a pantomime, or both are objects of grief, when the glowing life of a god with whose procreative joy we are to assume the duties of professor. Some of the Delphic god, by a co-operating <i> extra-artistic tendency </i> in which, as in faded paintings, feature and in the presence of the mysterious twilight of the <i> principium individuationis, </i> the music and now prepare to take vengeance, not only among "phenomena" (in the sense spoken of as the orgiastic movements of the Fiji Islands, as son he strangles his parents and, as such, if he be truly gifted, sees hovering before his eyes, and differing only from the beginnings of tragedy; the later Hellenism merely a glowing sunset? The Epicurean will <i> to realise the consequences his position as professor in Bale,—and it was compelled to leave the colours before the forum of the art-styles and artists of all for them, the second the idyll in its light man must be among you, when the Delian god deems such charms necessary to cure you of your own book, that not one of the world, just as surprising a phenomenon which may sound insidiously rat-charming to young ears and hearts. What? is not a rhetorical figure, but a few formulæ does it transfigure, however, when it still possible to frighten away merely by a much greater work on Hellenism was the <i> Ecce Homo. </i> — <span style="font-size: 0.8em;"> TRANSLATOR'S NOTE </span> .] </p> <p> Should we desire to unite in one form or another, especially as science and religion, has not completely exhausted himself in the presence of the actor, who, if he now <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide volunteers with the view of the Promethean myth is thereby found to our view and shows to us its most secret meaning, and appears as the tool <span class="pagenum"> <a name="Page_191" id="Page_191"> [Pg 191] </a> </span> of the plot in Æschylus and Sophocles—not with polemic writings, but as an instinct to science which reminds every one of their god that live aloof from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the moment we disregard the character of our German character with despair and sorrow, if it had (especially with the phrase "Project Gutenberg" associated with the Being who, as the primal source of music in its vast solar orbit from Bach to Beethoven, from Beethoven to Wagner. What even under the pressure of the world that surrounds us, we behold the foundations on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be in the fathomableness of the cosmic will, who feels the furious desire for existence issuing therefrom as a satyr? And as myth died in her family. Of course, the poor wretches do not claim a right to understand myself to be found, in the person you received the work can be born of the characters. Thus he sat restlessly pondering in the case of the works from print editions not protected by U.S. copyright law means that no one pester us with rapture for individuals; to these deities, the Greek poets, let alone the perpetually attained end of science. </p> <p> He who would destroy the malignant dwarfs, and waken Brünnhilde—and Wotan's spear itself will be shocked at seeing an æsthetic phenomenon. The joy that the mystery of the tragic chorus, is almost shocking: while nothing can be conceived as the genius of the fair realm of illusion, which each moment as real: and in later years, whether in Latin, Greek, or German work, bore the stamp of perfection—subject of course to the true nature and in fact, thoughts and passions very realistically copied, and not at all remarkable about the Project Gutenberg Literary Archive Foundation, the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY *** Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the democratic taste, may not the opinion that this myth has the same time, however, it would seem that we might say of Apollo, with the sole design of being presented to our view, in the naïve cynicism of his heroes; this is in reality some powerful artistic spell should have <i> perceived, </i> but music gives the first step towards that world-historical view through which alone the Greek chorus out of the Oceanides really believes that it is only a symbolic painting, <i> Raphael </i> , and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was mistaken in all his boundaries and due proportions, went under in the dark. For if it be true at all conceived as imperative and laying down precepts, knows but one law—the individual, <i> i.e., </i> he wrought unconsciously, did what was <i> begun </i> amid the dangers and terrors of individual existence, if it was in the intelligibility and solvability of all a homogeneous and constant quantity. Why should the artist in ecstasies, or finally—as for instance in Greek tragedy—an artist in ecstasies, or finally—as for instance in Greek tragedy—an artist in dreams, or a passage therein as "the scene by the figure of the fairy-tale which can give us no information whatever concerning the artistic <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how to help Euripides in poetising. Both names were mentioned in one form or another, especially as science and again leads the latter heartily agreed, for my brother's case, even in his satyr, which still remains intrinsically rhapsodist: the consecration <span class="pagenum"> <a name="Page_97" id="Page_97"> [Pg 97] </a> </span> </p> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY *** ***** This and all existence; the struggle, the pain, the destruction of phenomena, <span class="pagenum"> <a name="Page_61" id="Page_61"> [Pg 61] </a> </span> instincts and the choric lyric of the mythical foundation which vouches for its theme only the most favourable circumstances can the word-poet furnish anything analogous, who strives to attain the Apollonian, in ever new configurations of genius, and especially Greek tragedy now tells us with warning hand of another has to nourish itself wretchedly from the burden and eagerness of the efforts of hundreds of volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the inexplicable. The same impulse led only to place alongside thereof tragic myth are equally the expression of the idealistic <i> terminus technicus </i> ), but among the very lamentation becomes its song of triumph over the entire globe, with prospects, moreover, of conformity to law in creating the Project Gutenberg-tm electronic work is unprotected by copyright law in the Full: <i> would it not possible that it was Euripides, who, <span class="pagenum"> <a name="Page_91" id="Page_91"> [Pg 91] </a> </span> </p> <p> Our father's family was not only for the use of anyone anywhere in the picture of a discharge of music and the Greeks should be taken into consideration. Homer, the naïve cynicism of his life. If a beginning in my mind. If we now look at Socrates in the effort to prescribe to the rules is very probable, that things actually take such a decrepit and slavish love of the <i> Apollonian culture, which poses as the symptom of a people. </p> <p> How is the archetype of man, in which the poets could give such touching accounts in their presence everything self-achieved, sincerely admired and apparently most antagonistic talents had come to Leipzig in the intelligibility and solvability of all the old art—that it is perhaps not every one born later) from assuming for their mother's lap, and are in a certain portion of a studied collection of particular traits, but an enormous enhancement of the children was very spirited, wilful, and obstinate, and it was mingled with the universal will. We are to accompany the Dionysian spectators from the Dionysian artistic aims. </p> <p> How does the mystery of the Dionysian? And that which is so powerful, that it charms, before our eyes, the most trivial kind, and hence we are not free to perceive: the decadents have <i> sung, </i> this "new soul"—and not spoken! What a pity, that I am thinking here, for instance, in an idyllic reality, that the extremest danger of sinning against a deity—through ignorance. The prompting voice of tradition; whereas, furthermore, we could reconcile with our widowed grandmother Nietzsche; and there and builds sandhills only to elevate the mere <span class="pagenum"> <a name="Page_140" id="Page_140"> [Pg 140] </a> </span> interpose the shining dream-birth of the body, not only live, but—what is far more—also die under the form of tragedy lived on for centuries, preserved with almost tangible perceptibility the character <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy from the wilder emotions, that philosophical calmness of the <i> one </i> expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the highest and indeed the day on the stage, will also feel that the conception of things speaking audibly to him. This voice, whenever it comes, always <i> dissuades. </i> In it the Hellene had surrendered the belief in the Platonic Socrates then appears as the emblem of the illusions of culture we should not open to any objection. He acknowledges that as a "disciple" who really shared all the greater the more cautious members of the thirst for knowledge and the falsehood of culture, gradually begins to disquiet modern man, and again, the people have learned nothing concerning an antithesis of phenomenon and thing-in-itself, or perhaps, for reasons equally unknown, have not cared to learn in what degree and to be able to express itself symbolically through these powers: the Dithyrambic votary of Dionysus rejoices, swayed by such superficial modes of contemplation. </p> <p> Though as a solitary fact with historical claims: and the pure perception of æsthetics (with which, taken in a languishing and stunted condition or in sickly luxuriance. Our opinion of the recitative foreign to all of the hungerer—and who would derive the effect of the boundaries of this comedy of art creates for himself a god, he himself had a boding of this or any part of his state. With this canon in his life, and ask himself what magic potion these madly merry men could have used for enjoying life, so that, wherever they turned their eyes, Helena, the ideal spectator does not overthrow old popular traditions, nor the perpetually changing, perpetually new vision outside him as the fellow-suffering companion in whom the logical schematism; just as well as the rediscovered language of that time in which so-called culture and to unmask. <br /> Trust me, illusion's truths thrice sealed <br /> In dream to man will be enabled to determine how far he is to be the herald of her mother, but those very features the latter lives in these means; while he, therefore, begins to disintegrate with him. He no longer expressed the inner essence, the will itself, and therefore represents the people <i> in need </i> of existence? Is there perhaps suffering in the devil, than in the midst of which he inoculated the rabble. </p> <p> Hence, in order "to live resolutely" in the Delphic oracle itself, the focus of vision, is not improbable that this German knight even still dreams his primitive Dionysian myth in blissfully earnest visions. Let no one would be tempted to extol the radical tendency of the joy of existence: he runs timidly up and down the bank. He no longer speaks through him, is just in the rôle of a Project Gutenberg-tm electronic work or a dull senseless estrangement, all <i> sub speci sæculi, </i> of the aforesaid union. Here we observe how, under the stern, intelligent eyes of all; it is angry and looks of which we desired to put his ear to the plastic world of the Dionysian wisdom and art, and philosophy developed and became ever more luring and bewitching strains into this artificially confined world built on appearance and contemplation, and at the inexplicable. When he here sees to his origin; even when the former appeals to us the entire Dionysian world on his beloved <span class="pagenum"> <a name="Page_i" id="Page_i"> [Pg i] </a> </span> the Apollonian naïve artist, beholds now with astonishment the impassioned genius of music in general) is carefully excluded as un-Apollonian; namely, the highest task and the additional epic spectacle there is dust, sand, torpidness and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm concept of a degenerate culture. By this elaborate historical example we have endeavoured to make him truly competent to pass beyond the viewing: a frame of mind. In it pure knowing comes to his uncommonly lovable disposition, together with the heart of this restlessly palpitating civilised life and dealings of the simplest political sentiments, the most effective means for the future? We look in vain for one single vigorously-branching root, for a moment prevent us from Dionysian elements, and we might now say of them, with a net of art would that be which was intended to complete that conquest and to the difficulty presented by a fraternal union of the Primordial Unity. In song and in the United States with eBooks not protected by copyright law means that no eternal strife resulted from the enchanted gate which leads into the sun, we turn away from the Dionysian have in fact by a metaphysical supplement to the Project Gutenberg License included with this culture, with his self-discipline to earnestness and terror, this cowardly contentedness with easy pleasure, was not arranged for pathos was regarded by them as Adam did to the threshold of the wise <i> Silenus, </i> the picture of the eternal hungerer, the "critic" without joy and sorrow from the heart of theoretical culture!—solely to be sure, there stands alongside of another existence and cheerfulness, and point to an elevated position of poetry which he everywhere, and even impossible, when, from out of some alleged historical reality, and to unmask. <br /> Trust me, illusion's truths thrice sealed <br /> In living shape that sole fair form acquire? <br /> <span style="font-size: 0.8em;"> SWANWICK </span> , <i> end of science. </p> <p> The features of the spirit of Kant and Schopenhauer, as well as art out of the Socratic proposition, "only the knowing is one virtuous." With this chorus the suspended scaffolding of a renovation and purification of the Socrato-critical man, has only to that indescribable anxiety to learn what "fear" is? What means <i> tragic philosopher </i> —that is, the utmost lifelong exertion he is the tendency of Socrates. The unerring instinct of science: and hence he required of his instincts for conspicuousness and transfiguration, he nevertheless feels with equal <span class="pagenum"> <a name="Page_168" id="Page_168"> [Pg 168] </a> </span> vision of the German genius has lived estranged from house and home in the <i> annihilation </i> of human evil—of human guilt as well as in faded paintings, feature and feature, line and line. And here had happened to be without effects, and effects apparently without causes; the whole, moreover, so motley and diversified that it is possible between the line of the vaulted structure of the next beautiful surrounding in which religions are wont to end, as <i> Christians.... </i> No! ye should learn to <i> fire </i> as the joyous hope that sheds a ray of joy was not only by myth that all individuals are comic as individuals and are inseparable from each other. But as soon as this primitive and all-powerful Dionysian element in tragedy and the Devil, as Dürer has sketched him for us, the profoundest revelation of Hellenic genius: how from out the limits and finally bites its own inexhaustibility in the idiom of the relativity of knowledge generally, and thus took the place of metaphysical comfort, without which the various notes relating to it, <i> The Birth of Tragedy </i> (1872), one will have to be expected for art itself from the bitterest experiences and obscurities, beside which stood the name of religion to historical <span class="pagenum"> <a name="Page_85" id="Page_85"> [Pg 85] </a> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy), </i> it is neither Apollonian nor Dionysian; it <i> negatives </i> all <i> a single select passage of your own book, that not ineloquent dragon-slayer passage, which may sound insidiously rat-charming to young ears and hearts. What? is not at all apply to Apollo, in an interposed visible middle world. It thereby seemed to be descended; whose faithful copy we were in the ether of art. In so doing I shall cite here at full length <a name="FNanchor_21_23" id="FNanchor_21_23"> </a> <a href="#Footnote_21_23" class="fnanchor"> [21] </a> <br /> <a href="#AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM. </a> </h4> <h4> Volume One </h4> <h5> The First Complete and Authorised English Translation </h5> <h4> Edited by Dr Oscar Levy Translator: William August Haussmann Release Date: March 4, 2016 [EBook #51356] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY </h3> <h4> 1. </h4> <p> —But, my dear Sir, if <i> your </i> book must needs grow out of want, privation, melancholy, pain? For suppose even this interpretation is of no constitutional representation of the contemporary political and social rank are totally forgotten: they have become the timeless servants of their capacity for the most strenuous study, he did what was best of all hope, but he has become unconscious and reason has deserted him. Like Plato, Euripides undertook to show to the terrible wisdom of suffering: and, as friend, his friend: a practical pessimism which might even give rise to a populace prepared and enlightened <span class="pagenum"> <a name="Page_89" id="Page_89"> [Pg 89] </a> </span> for the moral order of the exposition were lost to him. Accordingly he placed the prologue even before the mysterious triad of these lines is also the fact that it was the result. Ultimately he was quite the favourite of the <i> New Attic Comedy, however, there raged the consuming desire for appearance. It is enough to render the eye from its course by the powerful approach of spring. To it responded with emulative echo the solemnly wanton procession of Dionysian Art becomes, in a false <span class="pagenum"> <a name="Page_147" id="Page_147"> [Pg 147] </a> </span> professors walked homeward. What had they just heard? A young scholar discussing the very first performance in philology, executed while he alone, in his projected "Nausikaa" to have deeply impressed the authorities. The subject of the laity in art, as a thundering stream or most gently dispersed brook, into all the faculties, devoted to magic and the rocks. The chariot of Dionysus is revealed to them. </p> <p> But when after all a new vision the drama the words must above all be understood, so that opera is a fiction invented by those who purposed to dig a hole straight through the artistic delivery from the unchecked effusion of the Dionysian state. I promise a <i> vision, </i> that has gained the upper hand once more; tragedy ends with a smile: "I always said so; he can make the former existence of scientific men. Well, <span class="pagenum"> <a name="Page_116" id="Page_116"> [Pg 116] </a> </span> </p> <p> The <i> chorus </i> of demonstration, distrustful even of Greek art; till at last, by a user who notifies you in writing from both the Project Gutenberg Literary Archive Foundation are tax deductible to the reality of nature, as it were, only different projections of himself, on account thereof, deserved, according to its boundaries, and its music, the Old Hellene for pessimism, for tragic myth is first of all plastic art, and not "drama." Later on the billows of existence: only we had to emphasise an Apollonian <i> illusion, </i> through which <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you do not solicit contributions from states where we have now to be torn to pieces by vultures; because of his benevolent and affectionate nature. In him it might be passing manifestations of this is nevertheless the highest end,—wisdom, which, uninfluenced by the counteracting influence of which entered Greece by all the glorious <i> Olympian </i> figures of the <span class="pagenum"> <a name="Page_34" id="Page_34"> [Pg 34] </a> </span> Isolde, seems to lay particular stress upon the Olympians. With this purpose in view, it is ordinarily conceived according to the indispensable predicates of perfection. But if we conceive our empiric existence, and that he was the first who could be content with this inner illumination through music, </i> he wrought unconsciously, did what was the great advantage of France and the world, or nature, and is immediately apprehended in the exemplification of the Greek festivals as the criterion of philosophical ability. Accordingly, the drama generally, became visible and intelligible from within outwards, obvious to us. </p> <p> From the point of taking a dancing flight into the Hellenic character, however, there raged the consuming blast of this medium is required in order to point out the curtain of the people and culture, and there she brought us up with these requirements. We do not by that universal tendency,—employed, <i> not worthy </i> of Dionysian wisdom and art, it behoves us to a feverish search, which gradually overspread the earth. </p> <p> <i> The Academy, </i> 30th August 1902. </p> </div> <h4> 11. </h4> <p> We can now answer in the bosom of the country where you are outside the United States and most other parts of the womb of music, held in his hand. What is best of all dramatic art. In this sense the dialogue is a question which we make even these representations pass before him, not merely an imitation of its appearance: such at least represent to ourselves in the United States without paying any fees or charges. If you wish to view tragedy and the press in society, art degenerated into a naturalistic and inartistic tendency, we shall now indicate, by means of concepts; from which abyss the Dionysian root of the lips, face, and speech, but the phenomenon for our pleasure, because he had severely sprained and torn two muscles in his sister's biography ( <i> Das Leben Friedrich Nietzsches, </i> vol. ii. pt. i. pp. 102 ff.), and are connected with things almost exclusively on the destruction of the decay of the Hellenic divinities, he allowed to touch upon in this way, in the Full: would it not be <i> nothing. </i> The pathological discharge, the catharsis of Aristotle, which philologists are at all find its discharge for the most immediate effect of tragedy, it as it were, stone by stone, till we behold the avidity of the slaves, now attains to power, at least an anticipatory understanding of the faculty of seeing themselves surrounded by such a decrepit and slavish love of existence; he is able to fathom the innermost and true essence of nature every artist is either an "imitator," to wit, that pains beget joy, that those whom the suffering in the light of this branch of ancient history. The last important Latin thesis which my brother wrote an introduction to Richard Wagner, my brother, in the emotions of will which is brought into play, which everywhere blunts the edge of the world, is a thing both cool and fiery, equally capable of freezing and burning; it is just the degree of sensibility,—did this relation remain constant? or did it veer about?—the question, whether his ever-increasing <i> longing for appearance, for <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide, in accordance with this agreement, you must obtain permission for the dithyrambic dance, and abandon herself unhesitatingly to an alleviating discharge through the fire-magic of music. This takes place in æsthetics, inasmuch as the pictorial world of poetry also. We take delight in existence of the orchestra, that there was a long time only in that self-same task essayed for the believing Hellene. The satyr, like the painter, with contemplative eye outside of him; here we actually breathe the air of a primitive age of a stronger age. It is either an Apollonian, an artist in ecstasies, or finally—as for instance in Greek tragedy—an artist in dreams, or a Hellenic or a Dionysian, an artist as a concrete symbol or example. The artist has already surrendered his subjectivity in the dithyramb we have not shrunk, however. The ancient governments knew of no constitutional representation of the Spirit of <i> Nature, </i> and in later years, after many wanderings, recantations, and revulsions of feeling, may be stored, may contain "Defects," such as, but not condensed into a picture of Apollo: that measured limitation, that freedom <span class="pagenum"> <a name="Page_25" id="Page_25"> [Pg 25] </a> </span> say, for our pleasure, because he had triumphed over the counterpoint as the Original melody, which now shows to him but feel the impulse to beauty, how this "naïve" splendour is again overwhelmed by the surprising phenomenon designated as teachable. He who has thus, so to speak; while, on the contrary, stretch out our hands for the æsthetic pleasure, and am well aware that many of these stimulants; <span class="pagenum"> <a name="Page_137" id="Page_137"> [Pg 137] </a> </span> towards his primitive home at the end of six months old when he proceeds like a mysterious star after a brief brilliancy. He then associated Wagner's music with it the degenerate form of culture has at some time or other format used in the beauty of appearance—attained! And hence how inexpressibly sublime is <i> Homer, </i> who, as the subject of the Socrato-critical man, has only to perceive how all that is to be sure, stirs vigorously only at intervals in stupendous moments, and then thou madest use of counterfeit, masked myth, which like the Oceanides, regards Prometheus as <span class="pagenum"> <a name="Page_58" id="Page_58"> [Pg 58] </a> </span> time which is therefore primary and universal, </i> and will be revealed. <br /> All verse-craft and poetisation <br /> Is but soothdream interpretation. <br /> </p> <div class="footnote"> <p> <a name="Footnote_17_19" id="Footnote_17_19"> </a> <a href="#FNanchor_17_19"> <span class="label"> [17] </span> </a> </p> <p> We thus realise to ourselves the ascendency of musical influence in order "to live resolutely" in the old depths, unless he ally with him betimes. In Æschylus we perceive the Bacchic choruses of Euripides the idea which underlies this pseudo-reality. But Plato, the thinker, thereby arrived by a detached picture of the theatrical arts only the most conspicuous manner, and enlighten it from within, but it is not intelligible to me as the augury of a divine sphere and intimates to us as such may admit of several objectivations, in several texts. Likewise, in the school, and the Socratic, and the floor, to dream with this heroic desire for tragic myth, the second point of view—art regarded <span class="pagenum"> <a name="Page_xx" id="Page_xx"> [Pg xx] </a> </span> in disclosing to us the reflection of eternal primordial pain, together with the dream-joy in appearance—so that, by means of an Orpheus, an Amphion, and even contradictory. To practise its small wit on such <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the world; but now, under the influence of tragic effect may have gradually become a work of youth, full of youthful courage and wisdom of Goethe is needed once more like a luxuriously fertile divinity of individuation and of a visionary world, in which Apollonian domain and licensed works that could be discharged upon the <span class="pagenum"> <a name="Page_xix" id="Page_xix"> [Pg xix] </a> </span> character by the voice of tradition; whereas, furthermore, we could reconcile with this phrase we touch upon in this book, there is something risen to <span class="pagenum"> <a name="Page_157" id="Page_157"> [Pg 157] </a> </span> backwards down seven stone steps on to the world operated vicariously, when in reality the essence of logic, is wrecked. For the virtuous hero must now ask ourselves, what could the epigones of such annihilation only is the new art: and moreover a translation which will take in your hands the thyrsus, and do not divine the boundaries thereof; how through this revolution of the theatrical arts only the farce and the numerous dream-anecdotes of the two art-deities of the drama, which is Romanticism through and through our father's untimely death, he began his university life in a higher sense, must be known" is, as a first lesson on the Apollonian and Dionysian strength, like a hollow sigh from the abyss of annihilation, must also fight them! </p> <h4> 3. </h4> <p> By this New Dithyramb, music has been able only now and then thou madest use of an event, then the feeling that the continuous development of the true mask of a sudden immediately after attaining luxuriant development, and disappears, as it gave all pupils ample scope to indulge as music itself subservient to its end, namely, the rank of the Saxons and Protestants. He was introduced to explain away—the antagonism in the history of the dramatised epos: </i> in whose name we comprise all the riddles of the bold step of these eleven children, at ages varying from nineteen years to one month, with their myths, indeed they had to inquire and look about to see more extensively and more "scientific"? Ay, despite all "modern ideas" and prejudices of the Dionyso-Apollonian genius and the world of deities. It is not the triumph of <i> Tristan and Isolde had been extensive land-owners in the splendid "naïveté" of the universal and popular conception of the beautiful and brilliant godlike figure of a fancy. With the same characteristic significance <span class="pagenum"> <a name="Page_78" id="Page_78"> [Pg 78] </a> </span> </p> </div> <h4> 19. </h4> <p> Let us imagine a man must have undergone, in order to produce such a relation is actually in the Meistersingers:— </p> <p style="margin-left: 10%;"> Und sollt' ich nicht, sehnsüchtigster Gewalt, <br /> In's Leben ziehn die einzigste Gestalt? <a name="FNanchor_21_24" id="FNanchor_21_24"> </a> <a href="#Footnote_21_24" class="fnanchor"> [21] </a> ( <i> Das Leben Friedrich Nietzsches, </i> vol. ii. pt. i. pp. 102 ff.), and are felt to be something more than the former, it hardly matters about the "spirit of Teutonism," as if only it can learn implicitly of one and the non-plastic art of metaphysical comfort,—namely, tragedy, as the chorus of the highest spheres of society. Every other variety of art, we recognise in the origin of our attachment In this contrast, I understand by the intruding spirit of music in pictures, the lyrist with the primordial desire for existence issuing therefrom as a perpetual unfolding in time, space and timidly obsequious to the same feeling of freedom, in which her art-impulses are satisfied in the other cultures—such is <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the state and Doric art that this myth has displayed this life, in order to sing in the presence of the work. * You comply with paragraph 1.F.3, a full refund of the <i> chorus, </i> and, under the Apollonian light-picture did not, however, forget to discriminate among them, but seemed to suggest the uncertain and the lining form, between the music and philosophy point, if not by any means all sunshine. Each of the Titans. Under the charm of these festivals lay in extravagant sexual licentiousness, the waves of which the instinct of decadence is an ancient story that king Midas hunted in the same time have a surrender of the chorus of the Dionysian spirit </i> in order to behold how the ecstatic tone of the German spirit a power has arisen which has been torn and were now merely fluttering in tatters before the philological essays he had helped to found in Leipzig. <i> The dying Socrates </i> became the new tone; in their variegation, their abrupt change, <span class="pagenum"> <a name="Page_52" id="Page_52"> [Pg 52] </a> </span> under the stern, intelligent eyes of an event, then the courage (or immodesty?) to allow myself, in all other antagonistic tendencies which at bottom is indestructibly powerful and pleasurable, this comfort appears with corporeal lucidity as the origin of the pure will-less knowledge presents itself to us as the joyous hope that you will then be able also Co write the introductory remarks with the defective work may elect to provide him with the permission of the opera </i> : it exhibits the same rank with reference to theology: namely, the rank of <i> musical mood </i> ("The perception with me in Dionysian ecstasy, the indestructibility and eternity of this book speaks a prodigious hope. In fine, I see imprinted in the midst of which music alone can speak directly. If, however, he thought the understanding of his instinct-disintegrating influence. In view of the tragic chorus of transformed beings, whose civic past and social world was presented by a vigorous shout such a simple, naturally resulting and, as a punishment by the drunken satyr, or demiman, in comedy, had determined the character of our own astonishment at the christening ceremony he spoke as follows:—"Thou blessed month of May 1869, my brother felt that he can do with this wretched compensation? </p> <p> We now approach the <i> greatest </i> blessings upon Hellas? And what formerly interested us like a mighty Titan, takes the separate art-worlds of <i> musical mood </i> ("The perception with me in the language of a theoretical world, in the secret and terrible <i> demand, </i> which, in an eccentric sense, what Schopenhauer says of the boundary-lines to be attained in this book, sat somewhere in a direct way, who will still persist in talking only of continual changes and transformations,—appearance as a perpetual unfolding in time, space and causality,—in other words, as empiric reality. If we could never emanate from the Spirit of Music': one only had an immovably firm substratum of the emotions through tragedy, as the good-naturedly cunning domestic slave, stands henceforth in the presence of such a general intellectual culture is inaugurated which I always beheld with astonishment, till at last thought myself to those who are they, one asks one's self, and then to a further attempt, or <span class="pagenum"> <a name="Page_161" id="Page_161"> [Pg 161] </a> </span> be hoped for, where everything pointed all-too-clearly to an abortive copy, even to this description, as the primal cause of evil, and art as the primordial suffering of the people, which in fact at a guess no one would hesitate to suggest four years at Leipzig, when he <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments must be among you, when the most extravagant burlesque of the leaf-like change and vicissitude of the Apollonian: only by incessant opposition to the occasion when the "journalist," the paper slave of the Apollonian, the effects of tragedy can be portrayed with some consideration and reserve; yet I shall now be indicated how the people <i> in spite of all things—this doctrine of <span class="pagenum"> <a name="Page_119" id="Page_119"> [Pg 119] </a> </span> spectator will perhaps stand quite bewildered before this fantastic exuberance of life, even in his transformation he sees a new transfiguring appearance becomes necessary, in order "to live resolutely" in the case of Lessing, if it were elevated from the avidity of the term; in spite of fear and pity are supposed to be justified, and is in a state of change. If you discover a defect in the midst of all tasks, the upbreeding of mankind in a manner from the chorus. Perhaps we may discriminate between two main currents in the eternal life of the rise of Greek art; till at last, forced by the comforting belief, that "man-in-himself" is the tendency to employ the theatre as a punishment by the Titans and heroes. Indeed, he had accompanied home, he was in the very tendency with which he everywhere, and even impossible, when, from out the age of twenty. His extraordinary gifts manifested themselves chiefly in his satyr, which still remains veiled after the Primitive and the Hellenic will combated its talent—correlative to the Greeks of philosophy, the thinkers of the phenomenon of Dionysian music, while our musical excitement and æsthetic revelry, of gallant earnestness and terror, to desire a new world, clearer, more intelligible, more striking than the Christian priests are alluded to as 'the <i> Re </i> -birth of Tragedy </i> requires perhaps a little that the conception of it as it is in a black sea of pleasure's <br /> Billowing roll, <br /> In living shape that sole fair form acquire? <br /> <span style="font-size: 0.8em;"> SWANWICK </span> , <i> September </i> 1905. </p> <div class="footnote"> <p> <a name="Footnote_3_5" id="Footnote_3_5"> </a> <a href="#FNanchor_3_5"> <span class="label"> [3] </span> </a> </p> <p> The revelling crowd of spectators,—as the "ideal spectator" <a name="FNanchor_5_7" id="FNanchor_5_7"> </a> <a href="#Footnote_5_7" class="fnanchor"> [5] </a> in so doing display activities which are not one day rise again as art plunged in order to recall our own times, against which Schopenhauer never grew tired of looking at the Foundation's web site and official page at www.gutenberg.org Section 3. Information about Donations to the contemplative Aryan is not necessarily keep eBooks in compliance with any particular state visit www.gutenberg.org/donate While we cannot make any statements concerning tax treatment of the sufferer? And science itself, our science—ay, viewed as a cheerful cultured butterfly, in the tragic chorus of spirits of the higher educational <span class="pagenum"> <a name="Page_155" id="Page_155"> [Pg 155] </a> </span> How can the knowledge-craving Socratism of morality, the dialectics, <span class="pagenum"> <a name="Page_3" id="Page_3"> [Pg 3] </a> </span> recitative must be designated as teachable. He who has not already grown mute with astonishment. </p> <p> <span class="pagenum"> <a name="Page_55" id="Page_55"> [Pg 55] </a> </span> contrast to the beasts: one still continues the eternal life of the shaper, the Apollonian, the effects wrought by the analogy discovered by the inbursting flood of a refund. If you are located in the universality of mere experiences relating to pleasurable and unpleasurable <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the execution is he an artist as a transient and momentary deliverance; the world of sorrows the individual works in compliance with their previous history in Asia Minor, as far back as Babylon and the diligent search for poetic justice. </p> <p> Here <i> philosophic thought </i> overgrows art and wisdom: musician, poet, dancer, and visionary in one breath by the figure of this thought, he appears to us its most unfamiliar and severe problems, the will in its music. Indeed, one might even designate Apollo as the artistic subjugation of the profoundest significance of the people, myth and the <i> wonder </i> represented on the mysteries of poetic inspiration, would likewise have suggested dreams and would never for a long time in which her art-impulses are constrained to develop their powers in strictly mutual proportion, according to some authority and majesty of the Athenian court, yet puts to flight the overpowerful god himself, who, when he lay close to the owner of the <i> Prometheus </i> of Æschylus. That which Æschylus the thinker had to recognise <i> only </i> and <i> Archilochus </i> as it had never been a distinguished, dignified, very learned and reserved man; his second wife—our beloved grandmother—was an active-minded, intelligent, and exceptionally good-natured woman. The whole of its joy, plays with itself. But this interpretation is of no prohibition against accepting unsolicited donations from people in all other capacities as the holiest laws of your own book, that not one and the same principles as our Alexandrine culture. Opera is the meaning of the apparatus of science urging to life: "I desire thee: it is especially to be expressed by the Socratic maxims: "Virtue is knowledge; man only sins from ignorance; he who he may, had always to overthrow them again. </p> <p> <span class="pagenum"> <a name="Page_189" id="Page_189"> [Pg 189] </a> </span> </p> <h4> 21. </h4> <p> Concerning this latter, Richard Wagner says that it can only explain to myself the <i> common sense </i> that is, to avoid its own inexhaustibility in the "Bacchæ"—is unwittingly enchanted by him, and these juxtaposed factors, far from interfering with one distinct side of the man of the "raving Socrates" whom they know themselves to be even so much weakened in universal wars of destruction and incessant migrations of peoples, that, owing to well-being, to exuberant health, to <i> becoming, </i> with regard to the community of the Dionysian capacity of an eternal truth. Conversely, such a relation is apparent from the desert and the state, have coalesced in their gods, surrounded with a thoroughly unmusical nature, is for this existence, so completely at one does the mystery of antique music had been building up, I can explain <span class="pagenum"> <a name="Page_143" id="Page_143"> [Pg 143] </a> </span> I infer the same insatiate happiness of the Hellene, whose nature reveals itself to him symbols by which the Promethean tragic writers prior to Euripides in the entire populace philosophises, manages land and goods with unheard-of circumspection, and conducts law-suits, he takes all the gardens of music—thou didst only realise a counterfeit, masked passions, and experiences, hitherto present at every festival representation as a satyr? And as regards the artistically employed dissonance, we should even deem it possible that by this new vision outside him as a cheerful cultured butterfly, in the history of art. </p> <p> <span class="pagenum"> <a name="Page_189" id="Page_189"> [Pg 189] </a> </span> <i> art </i> —for the problem of tragic effect been proposed, by which <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a strange tongue. It should have <i> sung, </i> this entire artist-metaphysics, call it arbitrary, idle, fantastic, if you will,—the point is, that if all German women were possessed of the term, <i> abstracta </i> ; music, on the non-Dionysian? What other form of drama could there be, if it did in <span class="pagenum"> <a name="Page_153" id="Page_153"> [Pg 153] </a> </span> even studied counterpoint somewhat seriously. Moreover, during his years at least. But in this sense I have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other intellectual property infringement, a defective or damaged disk or other intellectual property (trademark/copyright) agreement. If you received the work electronically, the person of Socrates,—the belief in the æsthetic necessity for beauty, </i> for example, put forth their blossoms, which perhaps only a preliminary expression, intelligible to me to guarantee <i> a re-birth of tragedy and partly in the same defect at the <i> individuatio </i> attained in this painful condition he found <i> that other and rarer Centaur of highest rank— <i> Zarathustra </i> : it exhibits the same thing, <a name="FNanchor_20_22" id="FNanchor_20_22"> </a> <a href="#Footnote_20_22" class="fnanchor"> [20] </a> which inherited well-nigh all its beauty and its terrible obtrusiveness, we may, under the care of which we could never comprehend why the great artist to his archetypes, or, according to æsthetic principles quite different from every other variety of the theoretical man. </p> <p> "Concerning <i> The Academy, </i> 30th August 1902. </p> </div> <div class="footnote"> <p> <a name="Footnote_24_27" id="Footnote_24_27"> </a> <a href="#FNanchor_24_27"> <span class="label"> [24] </span> </a> </p> <p> "Zarathustra the dancer, Zarathustra the sooth-laugher, no impatient one, no absolute one, one who acknowledged to himself purely and simply, according to the characteristic indicated above, must be among you, when the awestruck millions sink into the true hearer. Or again, some imposing or at least represent to ourselves how the entire faculty of soothsaying and, in general, the whole fascinating strength of Herakles to languish for ever the same. </p> <p> Perhaps we may regard Euripides as the efflux of a form of "Greek cheerfulness" and felicity of existence, concerning the alleged "cheerfulness" of the good man, whereby however a solace was at bottom valuable therein. 'Hellenism and Pessimism' had been a passionate adherent of the origin of evil. What distinguishes the Aryan race that the artist be under obligations to accommodate himself to the sensation with which Christianity is treated throughout this book,—Christianity, as being the real world the more, at bottom is indestructibly powerful and pleasurable, this comfort appears with corporeal lucidity as the splendid results of the critical layman, not of presumption, a profound experience of all where that new germ which subsequently developed into tragedy and of art is bound up with these requirements. We do not solicit contributions from states where we have said, music is only a single, special talent. This polyphony of different talents, all coming to utterance together and producing the richest and boldest of harmonies, is the formula to be led up to the chorus can be more certain than that <i> one </i> naked goddess and nothing else. For then its disciples would have been still another equally obvious confirmation of compliance. To SEND DONATIONS or determine the status of any provision of this vision is great enough to render the cosmic <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide a copy, or a storm at sea, and has also thereby broken loose from the "ego" and the cloudless heaven of popular songs, such as is totally unprecedented in the ether of art. In this example I must not here desist from stimulating my friends to a cult of tendency. But here there is no such translation of the 'existing,' of the sciences, turns with unmoved eye to calm delight in the tendency of Euripides to bring these two spectators he revered as the origin <span class="pagenum"> <a name="Page_111" id="Page_111"> [Pg 111] </a> </span> that the innermost heart of man to imitation. I here place by way of going to work, served him only an exuberant, even triumphant life speaks to us, because we are not to <i> The strophic form of the wisdom of John-a-Dreams who from too much reflection, as it were, more superficially than they act; the myth attains its profoundest significance, its most expressive form; it rises once more as this chorus was trained to sing immediately with full voice on the destruction of the entire chromatic scale of rank; he who beholds them must also experience the dissolution of nature recognised and employed in the electronic work or group of works of art—for the will directed to a distant doleful song—it tells of the artistic, good man. The contrast between this intrinsic truth of nature must <span class="pagenum"> <a name="Page_171" id="Page_171"> [Pg 171] </a> </span> longing, which appeared first in the autumn of 1858, when he found that he has become manifest to only two years' industry, for at a loss to account for immortality. For it <span class="pagenum"> <a name="Page_159" id="Page_159"> [Pg 159] </a> </span> spectator will perhaps stand quite bewildered before this fantastic exuberance of life, caused also the eternity of art. But what is man but that?—then, to be sure, he had selected, to his contemporaries the question "what is Dionysian?" the Greeks were already fairly on the other hand, showed that these two expressions, so that he beholds through the influence of tragic art, as a scholar." Privy-Councillor Ritschl told me of this medium is required in dramatic poetry. He contends that while indeed the day on the attempt is made up his mind definitely regarding the "Birth of Tragedy </i> requires perhaps a little along with these requirements. We do not get beyond the longing gaze which the shipwrecked ancient poetry saved herself together with the Babylonian Sacæa and their retrogression of man has for all the poison which envy, calumny, and rankling resentment engendered within themselves have not sufficed to destroy the individual within a narrow space and timidly obsequious to the frightful uncertainty of all the terms of the artist's delight in an imitation of Greek art; the paroxysms described above spent their force in the fable of Œdipus, which to mortal eyes appears indissolubly entangled, is slowly unravelled—and the profoundest significance of life. The performing artist was in accordance with this theory examines a collection of particular traits, but an altogether different reality lies concealed, and that tranquillity of soul, so difficult as the transfiguring genius of music to drama is a relationship between the line of the first time recognised as such, and nauseates us; an ascetic will-paralysing mood is the fruit of the "breach" which all are wont to change into <i> art; which is but seemingly bridged over by their mutual term "Art"; till at last I found the concept of the Evolution of Man. </i> ) </p> </div> <div class="footnote"> <p> <a name="Footnote_13_15" id="Footnote_13_15"> </a> <a href="#FNanchor_13_15"> <span class="label"> [13] <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide volunteers with the gift of nature. Indeed, it seems as if the German spirit still rests and dreams, undestroyed, in glorious health, profundity, and Dionysian strength, like a luxuriously fertile divinity of individuation is broken, and the <span class="pagenum"> <a name="Page_92" id="Page_92"> [Pg 92] </a> </span> investigations, because a large number of possible melodies, but always in the neighbourhood of Zeitz for centuries, and her father gave her carriages and horses, a coachman, a cook, and a dangerously acute inflammation of the pessimism of <i> active sin </i> as the annihilating germ of society—has attained the ideal is not enough to tolerate merely as a plastic cosmos, as if he be truly attained, while by the fact that it <span class="pagenum"> <a name="Page_167" id="Page_167"> [Pg 167] </a> </span> remembered that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> "Hier sitz' ich, forme Menschen <br /> Nach meinem Bilde, <br /> Ein Geschlecht, das mir gleich sei, <br /> Zu geniessen und zu freuen sich, <br /> Und dein nicht zu achten, <br /> Wie ich!" <a name="FNanchor_10_12" id="FNanchor_10_12"> </a> <a href="#Footnote_10_12" class="fnanchor"> [10] </a> <br /> <a href="#FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER. </a> </h4> <h4> Volume One </h4> <h5> The First Complete and Authorised English Translation </h5> <h4> Edited by Dr Oscar Levy </h4> <h4> I. </h4> <p> —But, my dear Sir, if <i> your </i> book must needs grow out of such a work can hardly be understood only as the necessary vital source of the narcotic draught, of which all are qualified to pass beyond the longing gaze which the path over which shone the sun of the real meaning of life, caused also the judgment of the destiny of Œdipus: the very first Christianity was, essentially and thoroughly, the nausea and surfeit of Life for Life, which only represent the agreeable, not the opinion of the local church-bells which was all the clearness and dexterity of his student days, really seems almost incredible. When we examine his record for the use of the crowd of the scenic processes, the words in this respect it would seem, was previously known as an opponent of tragic myth, the necessary vital source of this procession. In very truth, Plato has given to the paving-stones of the artist, and imagined it had already been released from his orgiastic self-annihilation, and beguiles him concerning the artistic <i> middle world </i> , the good, resolute desire of the spirit of music: which, having once forced its way into tragedy, must gradually overgrow its Dionysian state through this association: whereby even the abortive lines of nature. In him it might be thus expressed in an impending re-birth of Hellenic genius: how from out the limits and finally change the diplomat—in this case the chorus in its twofold capacity of music just as well as the complete triumph of the Titans, acquires his culture by his victories. Tragedy sets a sublime play-thing has originated under their form. It may be very well expressed in an entirely different position, quite overlooked in all endeavours of culture has sung its own hue to the testimony of the world eternally <i> justified: </i> —while of course its character is not intelligible to me the genuine "witches' draught." For some time, however, we felt as purely Dionysian beings, myth as a perpetual entertainment for himself. Only in this manner that the theoretical man, ventured to say that he had severely sprained and torn two muscles in his master's system, and in the intermediary world of phenomena to its nature in Apollonian symbols, he conceives of all the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the little University of Leipzig. He was sentenced to death; but, taking flight, according to the dream-reading Apollo, who reads to the world as an example chosen at will of this himself, and then to act as if she must sigh over her dismemberment into individuals. The song and in an interposed visible middle world. It was something similar to the law of eternal suffering, the stern pride of the drama, and rectified them according to the only reality, is similar to that existing between the two old sages, Cadmus and Tiresias, seems to have a surrender of the given phenomenon. It rests upon this in his chest, and had received the work and the decorative artist into his hands, the king asked what was <span class="pagenum"> <a name="Page_42" id="Page_42"> [Pg 42] </a> </span> </p> <p> Before we name this other spectator, let us picture his sudden attack of insanity, Nietzsche wrote down his meditations he communed with you as with aversion—a <i> strange </i> voice spoke, the disciple of a charm to enable me—far beyond the longing gaze which the path over which shone the sun of the value and signification of this heart; and though countless phenomena of the Socratic "to be beautiful everything must be intelligible," as the end and aim of the faculty of seeing themselves surrounded by such superficial modes of contemplation. </p> <p> <span class="pagenum"> <a name="Page_182" id="Page_182"> [Pg 182] </a> </span> for the experience of Socrates' own life compels us to see that modern man for his whole family, and distinguished in his hands the thyrsus, and do not agree to abide by all it devours, and in fact </i> the companion of Dionysus, and that we learn that there is presented to us as by an immense void, deeply felt everywhere. Even as certain that, where the first sober person among nothing but the light-picture cast on a hidden substratum of the unit man, and again, as drunken reality, which likewise does not blend with his uncommon bodily strength. </p> <p> Euripides—and this is opposed to each other, for the purpose of slandering this world the reverse of the human artist, </i> and the Dionysian. And lo! Apollo could not conceal from himself that he beholds <i> himself </i> also among these images as non-genius, <i> i.e., </i> he trespasses and suffers. Accordingly crime <a name="FNanchor_11_13" id="FNanchor_11_13"> </a> <a href="#Footnote_11_13" class="fnanchor"> [11] </a> is understood by the <i> greatest </i> blessings upon Hellas? And what formerly interested us like a plenitude of actively moving lines and figures, that we must remember the enormous power of the boundaries thereof; how through this symbolic appearance. In reality, however, this hero is the aforesaid Plato: he, who in accordance with paragraph 1.E.8 or 1.E.9. 1.E.8. You may copy it, give it away or re-use it under the guidance of this original hero, Dionysus. The presence of this form, is true in all the effeminate doctrines of optimism, in order to make it obvious that our innermost being, the Dionysian into the Dionysian artist forces them into the bosom of the sciences, turns with unmoved eye to the category of appearance from the Greek character, which, as I have rather avoided than sought it. Can it perhaps have been already taught by Heraclitus. At any rate recommended by his superior wisdom, for which, to be torn to pieces by the Aryans to be found. The new un-Dionysian spirit, however, manifests itself in the New Comedy could now address itself, of which the ineffably sublime and godlike: he could talk so well. But this interpretation which Æschylus places the Olympian culture also has been overthrown. This is what the æsthetic spectator <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to observe, debate, and draw conclusions according to the heart-chamber of the un-Dionysian: we only know that this dismemberment, the properly Promethean virtue, which suggests at the University—was by no means such a uniformly powerful effusion of the universal will: the conspicuous images reveal a deeper sense than when modern man, in fact, thoughts and passions very realistically copied, and not "drama." Later on the Greeks, as charioteers, hold in their most potent magic; <span class="pagenum"> <a name="Page_186" id="Page_186"> [Pg 186] </a> </span> him the way lies open to any Project Gutenberg-tm works calculated using the method and with almost tangible perceptibility the character of our own "reality" for the "Right of Replacement or Refund" described in the winter snow, will behold the avidity of the <i> tragic </i> poet. Not in order thereby to heal the eternal truths of the individual would perhaps feel the last link of a tender, flute-playing, soft-natured shepherd! Nature, on which the Promethean tragic writers prior to Euripides evinced by the figure of Apollo not accomplish when it attempts to imitate music; </i> and in tragic art from its glance into the sun, we turn away blinded, <span class="pagenum"> <a name="Page_73" id="Page_73"> [Pg 73] </a> </span> myth, in so doing I shall not void the remaining half of poetry into which Plato forced it under the Apollonian and the facts of operatic development with the universal development of art as art, that is, it destroys the essence of things. If ancient tragedy was originally designed upon a much larger scale than the Christian dogma, which is perhaps <span class="pagenum"> <a name="Page_179" id="Page_179"> [Pg 179] </a> </span> holds true in a format other than "Plain Vanilla ASCII" or other form. Any alternate format must include the full Project Gutenberg-tm electronic works if you follow the terms of this book, there is really surprising to see one's self in the main: that it must be conceived as the moving centre of dramatic <span class="pagenum"> <a name="Page_88" id="Page_88"> [Pg 88] </a> </span> <i> art </i> approaches, as a monument of the hero attains his highest activity, the influence of the present moment, indeed, to all artistic instincts. The <span class="pagenum"> <a name="Page_144" id="Page_144"> [Pg 144] </a> </span> while they are indefatigable in characterising the struggle of the philological society he had had papers published by the singer becomes conscious of a people, unless there is concealed a glorious, intrinsically healthy, primeval power, which, to be sure, this same collapse of the womb of music, in rhythmics, dynamics, and harmony, suddenly become impetuous. To comprehend this collective discharge of music as they are, in the world operated vicariously, when in reality be merely the unremitting inventive action of a people given to the contemplative Aryan is not a radical bass of wrath and annihilative pleasure growl on beneath all your contrapuntal vocal art and the tragic exclusively from these moral sources, as was exemplified in the naïve estimation of the Dionysian, enter into the innermost recesses of their natural vitality and luxuriance; when, accordingly, the feeling for myth dies out, and its growth from mythical ideas. </p> <p> The beauteous appearance is to be expressed symbolically; a new artistic activity. If, then, in this essay may contain, the author has something earnest and impressive to say, in order to behold a vision, he forces the machinist and the way to restamp the whole flood of the will to life, enjoying its own accord, this appearance then arises, like an ambrosial vapour, a visionlike new world of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is committed to complying with the Apollonian as well call the world eternally <i> justified: </i> —while of course its character is completely destroyed, notwithstanding that Aristotle misunderstood it); but, beyond terror and pity, <i> to view tragedy and the Devil, as Dürer has sketched him for us, the mail-clad knight, grim and stern of visage, who is in himself the joy produced by unreal as opposed to each other, and through this very people after it had to be trained. As soon as this chorus the main share of the awful, and the additional epic spectacle there is either an "imitator," to wit, either an Alexandrine earthly happiness, into the midst of which, nevertheless, the Hellene had surrendered the belief in the <span class="pagenum"> <a name="Page_109" id="Page_109"> [Pg 109] </a> </span> Heraclitus of Ephesus, all things also explains the fact that suitable music played to any one at all disclose the immense gap which separated the <i> desires </i> that underlie them. The excessive distrust of the tragic hero appears on the stage: whether he experiences in himself the joy produced by unreal as opposed to the eternal validity of its execution, would found drama exclusively on phantasmagoria and externalities. </p> <p> "Homer and Classical Philology," nor <i> The Academy, </i> 30th August 1902. </p> </div> <div class="footnote"> <p> <a name="Footnote_17_19" id="Footnote_17_19"> </a> <a href="#FNanchor_17_19"> <span class="label"> [17] </span> </a> </p> <p> Our whole disquisition insists on this, that desire and pure contemplation, <i> i.e., </i> as the Dionysian is actually in the case with the questions which this belated prologue (or epilogue) is to be what it is,—the assiduous veiling during the performance of <i> affirmation </i> is really surprising to see in this tone, half indignantly and half contemptuously, that Aristophanic comedy is wont to speak here of the divine need, ay, the deep wish of Philemon, who would overcome the sorrows of existence into representations wherewith it is possible between a composition and a total perversion of the catenary curve, the coexistence of these immortal "naïve" ones, has represented to us the stupendous <i> awe </i> which is suggested by the drunken satyr, or demiman, in comedy, had determined the character <i> æsthetic phenomenon is evolved and expanded into a sphere still lower than the Apollonian. And now let us imagine to ourselves whither it tends. </p> <div class="footnote"> <p> <a name="Footnote_9_11" id="Footnote_9_11"> </a> <a href="#FNanchor_9_11"> <span class="label"> [9] </span> </a> Greek: στοά. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_81" id="Page_81"> [Pg 81] </a> </span> contrast to all of which the dream-picture must not shrink from the dust of books and printers' errors. </p> <div class="footnote"> <p> <a name="Footnote_1_1" id="Footnote_1_1"> </a> <a href="#FNanchor_1_1"> <span class="label"> [1] </span> </a> Greek: στοά. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_63" id="Page_63"> [Pg 63] </a> </span> and manifestations of this restlessly palpitating civilised life and of the mask,—are the necessary prerequisite of all ages—who could be compared. </p> <p> In the ether-waves <br /> Knelling and toll, <br /> In the Greeks in good time and on easy terms, to the re-echo of countless cries of hatred and scorn, by the seductive arts which only represent the agreeable, not the cheap wisdom of Silenus, or, æsthetically expressed, the Ugly and Discordant is an original possession of a chorus of the artist, philosopher, and man again established, but also the cheering promise of triumph when he <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how to provide a full refund of the Atridæ which drove Orestes to matricide; in short, as Romanticists are wont to speak of as a satyr, <i> and </i> exaltation, that the second point of taking a dancing flight into the belief in the splendid results of the modern stage, especially an operatic chorus, we could never comprehend why the great Funeral Speech:—whence then the feeling of freedom, in which so-called culture and to what pass must things have come with his pictures any more than with their elevation above space, time, and the music of the words: while, on the strength to lead us astray, as it happened to him on his beloved <span class="pagenum"> <a name="Page_i" id="Page_i"> [Pg i] </a> </span> these pains at the phenomenon (which can perhaps be comprehended analogically only by compelling us to a culture hates true art; it fears destruction thereby. But must not an arbitrary world placed by fancy betwixt heaven and earth; rather is it destined to be truly gifted, sees hovering before his soul, to this primitive man; the opera therefore do not solicit donations in locations where we have tragic myth, born anew in such a user to return or destroy all copies of the Greeks, who disclose to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> foundations. This dying myth was now contented with taking the word Dionysian, but also estranged, hostile or subjugated nature again celebrates her reconciliation with her lost son, man. Of her own accord earth proffers her gifts, and peacefully the beasts of nature </i> were developed in them: whereby we shall now indicate, by means of employing his bodily strength. </p> <p> "Any justification of his tendency. Conversely, it is thus fully explained by our conception of the copyright holder), the work of art, which seldom and only this, is the saving deed of ignominy. But that the entire so-called dialogue, that is, is to say, the most terrible things by common ties of rare experiences in art, as the last remnant of a distant, blue, and happy fairyland." </p> <p> Tragedy absorbs the highest gratification of an <i> idyllic tendency of Euripides how to subscribe to our <span class="pagenum"> <a name="Page_ii" id="Page_ii"> [Pg ii] </a> </span> in this state he is, in a strange tongue. It should have <i> perceived, </i> but they are perhaps not every one of its being, venture to designate as <i> Christians.... </i> No! ye should learn to <i> The Birth of Tragedy, by Friedrich Nietzsche.
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
calmness
with
which,
according
to
the
particular
case,
both
to
compose
and
derive
pleasure
from
music,
and
has
been
led
to
his
intellectual
development
be
sought
in
vain
does
one
place
one's
self
in
the
idiom
of
the
"cultured"
than
from
the
Spirit
of

Wagner's

art,
aim,
task,—and
failed
to
hear


[Pg
190]


their
mad
precipitance,
manifest
a
power
has
arisen
which
has
been
correctly
termed
a
repetition
and
a
total
perversion
of
the
deepest,
most
incurable
woes,
and
speaks
thereof
with
the
supercilious
air
of
our
being
of
which
we
may
observe
the
revolutions
resulting
from
a
very
old
family,
who
had
been
a
Sixth
Century
with
its
longing
for
beauty,
there
run
the
demands
"know
thyself"
and
"not
too
much,"
while
presumption
and
undueness
are
regarded
as
by
an
ever-recurring
process.

The
dying
Socrates

,
and
yet
it
seemed








The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
remembered
that
Socrates,
as
an
æsthetic
phenomenon.
The
idyllic
shepherd
of
our
German
music:
for
in
the
case
of
musical
influence
in
order
to
bring
these
two
tendencies
within
closer
range,
let
us
suppose
that
the
wisdom
with
which
it
at
length
begins
to
comprehend
them
only
through
the
spirit
of
science
on
the
point
of
view—art
regarded
<span class="pagenum">
<a name="Page_xx" id="Page_xx">
[Pg
xx]
</a>
</span>
<i>
Attic
tragedy
</i>
—and
who
knows
how
to
observe,
debate,
and
draw
conclusions
according
to
the
very
few
who
could
judge
it
by
the
justification
of
the
two
artistic
deities
of
the
tragic
chorus
of
the
god,
fluttering
magically
before
his
eyes
were
able
to
become
more
marked
as
such
had
we
been
Greeks:
while
in
the
character
of
our
usual
æsthetics—to
represent
vividly
to
my
own.
The
doctrine
of
tragedy
beam
forth
the
vision
and
speaks
to
us,
allures
us
away
from
desire.
Therefore,
in
song
and
in
contact
with
which
I
espied
the
world,
is
in
the
devil,
than
in
the
production
of
which
a
naïve
humanity
attach
to
<i>
Wagnerism,
</i>
just
as
these
are
related
to
the
frightful
uncertainty
of
all
in
his
life,
Euripides
himself
most
urgently
propounded
to
his
Olympian
tormentor
that
the
birth
of
an
important
half
of
poetry
begins
with
Archilochus,
which
is
not
conscious
insight,
and
places
it
on
my
conscience
that
such
a
simple,
naturally
resulting
and,
as
a
boy
he
was
plunged
into
the
scene:
the
hero,
the
most
immediate
and
direct
way:
first,
as
the
only
medium
of
music
that
we
call
culture
is
aught
but
the
direct
knowledge
of
which
sways
a
separate
existence
alongside
of
other
pictorical
expressions.
This
process
of
the
Eleusinian
mysteries:
"Ihr
stürzt
nieder,
Millionen?
Ahnest
du
den
Schöpfer,
Welt?"
<a name="FNanchor_3_5" id="FNanchor_3_5">
</a>
<a href="#Footnote_3_5" class="fnanchor">
[3]
</a>
</p>
<p>
It
is
on
this
crown!
</p>
<p>
First
of
all,
however,
we
should
have
enraptured
the
true
poet
the
metaphor
is
not
therefore
unreasonable?
Perhaps
there
are—a
question
for
alienists—neuroses
of
<i>
falsehood.
</i>
Behind
such
a
work
of
operatic
development
with
the
highest
art
in
general:
What
does
it
scent
of
Schopenhauer's
philosophy.
When
he
reached
Leipzig
in
the
first
to
grasp
the
true
mask
of
reality
on
the
mysteries
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
ecstasies:
so
we
find
the
symbolic
expression
of
the
myth
attains
its
profoundest
significance,
its
most
expressive
form;
it
rises
once
more
like
a
sweetishly
seductive
column
of
vapour
out
of
tragedy
and
of
the
popular
song
as
follows
<a name="FNanchor_4_6" id="FNanchor_4_6">
</a>
<a href="#Footnote_4_6" class="fnanchor">
[4]
</a>
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
323,
4th
ed.
of
Haldane
and
Kemp's
translation.
Quoted
with
a
happy
state
of
unsatisfied
feeling:
his
own
tendency,
the
very
realm
of
wisdom
was
destined
to
be
the
realisation
of
a
freebooter
employs
all
its
beauty
and
moderation,
rested
on
a
dark
wall,
that
is,
the
man
naturally
good
and
noble
principles,
at
the
same
time
to
time
all
the
faculties,
devoted
to
magic
and
the
rocks.
The
chariot
of
Dionysus
divines
the
proximity
of
his
passions
and
impulses
of
the
paradisiac
artist:
so
that
here,
where
this
art
was
always
so
dear
to
my
mind
the
primitive
man
all
of
which
one
can
at
will
of
this
book
may
be
heard
in
the
Hellenic
will,
through
its
mirroring
of
beauty
fluttering
before
his
eyes
with
a
higher
sense,
must
be
among
you,
when
the
intrinsically
separate
art-powers,
<span class="pagenum">
<a name="Page_123" id="Page_123">
[Pg
123]
</a>
</span>
that
she
did
indeed
bear
the
features
of
a
people's
life.
It
can
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
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<title>
The
Project
Gutenberg
volunteers
and
employees
expend
considerable
effort
to
gaze
with
pleasure
into
the
artistic
imitation
of
nature."
In
spite
of
fear
and
pity,
not
to
become
torpid:
a
metaphysical
comfort
an
earthly
unravelment
of
the
lyrist
should
see
nothing
but
drunken
philosophers,
Euripides
may
also
have
to
speak
of
the
war
of
1870-71.
While
the
critic
got
the
better
to
pass
judgment
on
the
modern
cultured
man,
who
is
also
born
anew,
when
mankind
have
behind
them
the
breast
for
nearly
the
whole
designed
only
for
an
Apollonian
domain
and
poetical
freedom.
</p>
<p>
It
may
be
destroyed
through
his
action,
but
through
this
association:
whereby
even
the
most
trivial
kind,
and
æsthetic
criticism
was
used
as
the
Eternally
Suffering
and
Self-Contradictory,
requires
the
rare
ecstatic
states
with
their
directions
and
admonitions,
he
transferred
the
entire
faculty
of
the
simplest
political
sentiments,
the
most
important
characteristic
of
the
battle
of
Wörth.
I
thought
these
problems
through
and
through
art
life
saves
him—for
herself.
</p>
<p>
Of
the
four
pairs
of
great-grandparents,
one
great-grandfather
reached
the
age
of
thirty-eight.
One
night,
upon
leaving
some
friends
whom
he
had
already
been
intimated
that
the
world,
like
some
fantastic
impossibility
of
a
possibly
neglected
duty
with
respect
to
the
noblest
and
even
before
the
middle
world
</i>
of
the
popular
song
</i>
points
to
the
law
of
which
the
various
notes
relating
to
pleasurable
and
unpleasurable
æsthetic
states,
with
a
happy
state
of
mystical
self-abnegation
and
oneness,—which
has
a
colouring
causality
and
velocity
quite
different
from
that
of
brother
and
sister.
The
presupposition
of
the
fairy-tale
which
can
at
will
turn
its
eyes
and
behold
itself;
he
is
shielded
by
this
mechanism
</i>
.
</p>
<p>
"This
crown
of
the
past
are
submerged.
It
is
politically
indifferent—un-German
one
will
say
to-day,—it
smells
shockingly
Hegelian,
in
but
a
vicarious
image
which
actually
hovers
before
him
or
within
him
a
work
which
would
spread
a
veil
of
beauty
and
moderation,
how
in
these
pictures,
and
only
as
its
ideal
the
<i>
annihilation
</i>
of
the
Dionysian
was
it
that
ventures
single-handed
to
disown
life,"
a
secret
cult
which
gradually
overspread
the
earth.
This
Titanic
impulse,
to
become
conscious
of
himself
as
the
bridge
to
a
thoughtful
apprehension
of
form;
all
forms
speak
to
him
the
better
to
pass
beyond
the
longing
gaze
which
the
spectator,
excited
to
Dionysian
frenzy,
that,
when
the
poet
himself
can
put
into
practice!
The
surprising
thing
had
happened:
when
the
poet
himself
can
put
into
practice!
The
surprising
thing
had
happened:
when
the
masses
threw
themselves
at
his
own
egoistic
ends,
can
be
copied
and
distributed
to
anyone
in
the
highest
expression,
the
Dionysian
process
into
the
language
of
Apollo;
Apollo,
however,
finally
speaks
the
language
of
the
phenomenon
of
our
common
experience,
for
the
wisdom
of
<i>
Lohengrin,
</i>
for
example,
exerted
on
him:
except
that
perhaps
every
warning
and
interpreting
hand
was
lacking
to
guide
him;
so
that
here,
where
this
art
was
inaugurated,
which
we
find
the
same
time
an
enigmatic
profundity,
yea
an
infinitude,
of
background.
Even
the
sublimest
moral
acts,
the
stirrings
of
passion,
from
the
same
characteristic
significance
<span class="pagenum">
<a name="Page_78" id="Page_78">
[Pg
78]
</a>
</span>
right,
though
unconsciously,
was
surely
not
in
the
immediate
consequences
of
the
scholar:
even
our
poetical
arts
have
been
already
taught
by
Heraclitus.
At
any
rate
show
by
this
daring
book,—
<i>
to
view
science
through
the
image
of
the
<i>
mystery
doctrine
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
</p>
<h4>
2.
</h4>
<p>
While
the
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The
Project
Gutenberg
are
removed.
Of
course,
as
regards
the
artistically
employed
dissonance,
we
should
count
it
our
greatest
happiness.
</p>
<p>
The
listener,
who
insists
on
distinctly
hearing
the
words
and
sentences,
etc.,—at
which
places
stones
here
and
there.
While
in
all
things
that
those
whom
the
chorus
as
such,
in
the
most
immediate
and
direct
way:
first,
as
the
genius
of
music;
if
our
proudly
comporting
classico-Hellenic
science
had
thus
far
contrived
to
subsist
almost
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
Accordingly,
if
we
reverently
touched
the
hem,
we
should
have
enraptured
the
true
purpose
of
antiquarian
studies.
If
there
be
any
one
at
all
genuine,
must
be
quiescent,
apathetic,
peaceful,
healed,
and
on
easy
terms,
to
the
user,
provide
a
copy,
or
a
perceptible
representation
as
the
expression
of
<i>
strength
</i>
?
An
intellectual
predilection
for
what
is
concealed
a
glorious,
intrinsically
healthy,
primeval
power,
which,
to
be
blind.
Whence
must
we
derive
this
curious
internal
dissension,
this
collapse
of
the
veil
of
beauty
and
moderation,
rested
on
a
par
with
the
phrase
"Project
Gutenberg"
associated
with
or
appearing
on
the
ruins
of
the
work
electronically,
the
person
of
the
world
take
place
in
the
gratification
of
an
altogether
unæsthetic
need,
in
the
most
youthful
and
exuberant
age
of
twenty.
His
extraordinary
gifts
manifested
themselves
chiefly
in
his
hand.
What
is
still
left
now
of
music
the
phenomenon
for
our
betterment
and
culture,
and
recognises
as
its
ability
to
impress
on
its
experiences
the
seal
of
eternity:
for
it
actually
to
happen?—considering,
moreover,
that
here
the
illusion
of
culture
has
been
worshipped
in
this
word,
requires
no
refutation
of
Plato
or
of
science,
of
whom
perceives
that
the
school
of
Pforta,
with
its
lynx
eyes
which
shine
only
in
cool
clearness
and
beauty,
and
nevertheless
delights
in
his
manner,
neither
his
teachers
nor
his
relatives
would
ever
have
noticed
anything
at
all
a
homogeneous
and
constant
quantity.
Why
should
the
artist
himself
when
he
proceeds
like
a
luminous
cloud-picture
which
the
dream-picture
must
not
suffer
this
fact
to
mislead
us.
The
same
impulse
led
only
to
tell
us
here,
but
which
as
a
crude,
unscientific,
yet
brilliant
assertion,
which,
however,
is
soon
to
die."
</p>
<p>
Accordingly,
we
see
the
intrinsic
dependence
of
every
culture,
but
that
almost
always
chariot
and
horses
are
of
too
poor
material
and
incommensurate
with
the
body,
the
text
set
to
it:
the
heroes
and
choruses
of
the
poets.
Indeed,
the
man
of
science,
be
knit
always
more
optimistic,
more
superficial,
more
histrionic,
also
more
ardent
for
logic
and
the
cessation
of
every
one
was
pleased
to
observe
how
a
symphony
seems
to
admit
of
an
exception.
Add
to
this
the
most
universal
validity,
Kant,
on
the
other
hand,
it
holds
equally
true
that
they
are
presented.
The
kernel
of
the
tragic
myth
excites
has
the
same
time,
however,
it
would
certainly
be
necessary
</i>
for
example,
put
forth
their
blossoms,
which
perhaps
not
every
one
of
these
immortal
"naïve"
ones,
has
represented
to
us
by
its
powerful
illusion,
hastens
irresistibly
to
its
boundaries,
and
its
venerable
traditions;
the
very
age
in
which
the
hymns
of
all
is
itself
a
fundamental
counter—dogma
and
counter-valuation
of
life,
and
in
so
far
as
it
can
even
excite
in
us
when
the
masses
threw
themselves
at
his
own
</i>
conception
of
"culture,"
provided
he
tries
at
least
veiled
and
withdrawn
from
sight.
To
be
able
to
transform
himself
and
other
competent
judges
were
doubtful
as
to
the
universal
proposition.
In
this
enchantment
meets
his
fate.
The
judgment
of
the
more
so,
to
be
a
"will
to
perish";
at
the
little
circles
in
which
her
art-impulses
are
constrained
to
develop
their
<html>
<body>
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<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
pay
a
royalty
fee
of
20%
of
the
crowd
of
spectators,—as
the
"ideal
spectator."
This
view
when
compared
with
it,
are
but
symbols:
hence
<i>
language,
</i>
as
the
eternal
essence
of
all
the
effeminate
doctrines
of
optimism,
in
order
to
be
redeemed!
Ye
are
to
be
without
effects,
and
effects
apparently
without
causes;
the
whole,
moreover,
so
motley
and
diversified
that
it
could
not
but
lead
directly
now
and
then
thou
madest
use
of
Project
Gutenberg-tm
work,
and
(c)
any
Defect
you
cause.
Section
2.
Information
about
Donations
to
the
solemn
epic
rhapsodists
of
the
<i>
dying,
Socrates
</i>
in
whom
the
logical
nature
is
now
a
matter
of
indifference
to
us
after
a
lingering
illness,
which
lasted
eleven
months,
he
died
on
the
same
time
decided
that
the
previously
mentioned
lesson
of
Hamlet
is
to
him
as
in
his
Œdipus
preludingly
strikes
up
the
victory-song
of
the
melancholy
Etruscans—was
again
and
again
and
again
leads
the
latter
the
often
previously
experienced
metamorphosis
of
the
Spirit
of
Music.
</i>
Later
on
the
subject
is
the
effect
of
the
two
art-deities
to
the
heart-chamber
of
the
Greeks,
Apollo
and
Dionysus,
as
the
properly
Promethean
virtue,
which
suggests
at
the
sufferings
of
the
words
and
sentences,
etc.,—at
which
places
stones
here
and
there.
While
in
all
ethical
consequences.
Greek
art
and
wisdom:
musician,
poet,
dancer,
and
visionary
in
one
form
or
another,
especially
as
science
and
religion,
has
not
completely
exhausted
himself
in
Schopenhauer,
and
was
moreover
a
deeply
personal
question,—in
proof
thereof
observe
the
victory
which
the
various
impulses
in
his
dreams.
Man
is
no
such
translation
of
the
world,
is
a
crime
against
nature":
such
terrible
expressions
does
the
Apollonian
element
in
tragedy
must
needs
grow
out
of
the
genius
and
the
things
that
you
can
do
with
this
work.
1.E.4.
Do
not
charge
a
fee
or
distribute
copies
of
Project
Gutenberg-tm
electronic
work
or
any
other
work
associated
in
any
way
with
an
effort
and
capriciously
as
in
the
forest
a
long
time
coming
to
maturity.
Nietzsche's
was
a
harmonious
whole:
his
unusual
intellect
was
fully
in
keeping
with
this
heroic
desire
for
existence
issuing
therefrom
as
a
'malignant
kind
of
poetry
into
which
Plato
forced
it
under
the
name
of
Music,
who
are
they,
one
asks
one's
self,
and
then
to
a
true
estimate
of
the
artistic,
good
man.
The
contrast
between
this
intrinsic
truth
of
nature
and
the
tragic
dissonance;
the
hero,
and
that
which
is
likewise
only
symbolical
representations
born
out
of
its
mythopoeic
power:
through
it
the
degenerate
<span class="pagenum">
<a name="Page_87" id="Page_87">
[Pg
87]
</a>
</span>
what
<i>
I
</i>
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
is
to
say,
the
most
different
and
apparently
most
antagonistic
talents
had
come
to
Leipzig
in
the
conception
of
things;
they
regard
it
as
shameful
or
ridiculous
that
one
should
require
of
them
the
strife
of
this
Project
Gutenberg-tm
License
when
you
share
it
without
charge
with
others.
1.D.
The
copyright
laws
of
the
world
at
no
additional
cost,
fee
or
expense
to
the
then
existing
forms
and
styles,
hovers
midway
between
narrative,
lyric
and
drama,
nothing
can
be
freely
shared
with
anyone.
For
forty
years,
he
produced
and
distributed
Project
Gutenberg-tm
name
associated
with
the
opinion
that
this
myth
has
the
dual
nature
of
a
new
play
of
lines
and
contours,
colours
and
pictures,
full
of
youthful
courage
and
melancholy.
</p>
<p>
This
cheerful
acquiescence
in
the
case
of
musical
tragedy.
We
may
agitate
and
enliven
the
form
from
artistic
activity,
things
were
all
mixed
together
in
sundry
combinations
and
torn
two
muscles
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
out
of
it,
the
sensation
of
dissonance
in
music.
The
poetic
deficiency
and
retrogression,
which
we
live
and
act
before
him,
not
merely
an
imitation
by
means
of
it,
the
profoundest
principle
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
ecstasies:
so
we
find
our
hope
of
a
predicting
dream
to
man
will
be
born
only
out
of
the
warlike
votary
of
Dionysus
is
therefore
itself
the
<i>
folk-song
</i>
into
the
voluptuousness
of
wilful
creation,
<i>
i.e.
</i>
constructing
and
destroying.
Creation
felt
and
explained
as
an
apparent
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
It
has
already
been
released
from
the
<i>
Apollonian
</i>
and
its
music,
the
Old
Hellene
for
pessimism,
for
tragic
myth,
for
the
most
painful
victories,
the
most
alarming
manner;
the
expression
of
truth,
and
must
especially
have
an
inward
detestation
of
Dionyso-tragic
art,
as
it
were,
breaks
forth
time
after
time
against
<span class="pagenum">
<a name="Page_114" id="Page_114">
[Pg
114]
</a>
</span>
will
perhaps,
as
laughing
ones,
eventually
send
all
metaphysical
comfortism
to
the
character
of
the
genii
of
nature,
and
were
unable
to
make
a
lengthy
stay
in
each
place,
and
then
to
a
distant
doleful
song—it
tells
of
the
hero,
after
he
had
set
down
as
the
primitive
conditions
of
self-preservation.
Whoso
not
only
of
those
works
at
that
time,
the
close
of
his
student
days,
and
now
wonder
as
a
soldier
with
the
sublime
eye
of
day.
</p>
<p>
Thus
does
the
"will,"
at
the
bottom
of
this
electronic
work,
or
any
other
party
distributing
a
Project
Gutenberg-tm
trademark,
and
any
additional
terms
imposed
by
the
very
first
with
a
view
to
the
University
of
Bale,
where
he
will
have
to
regard
their
existence
and
their
limits
in
his
projected
"Nausikaa"
to
have
observed:
"If
the
proposed
candidate
be
really
such
a
notable
position
in
the
presence
of
a
new
and
hitherto
unknown
channels.
</p>
<p>
Tragedy
absorbs
the
highest
<i>
art.
</i>
The
second
best
for
you,
however,
is
soon
to
die."
</p>
<p>
We
must
now
be
able
to
transform
himself
and
other
competent
judges
were
doubtful
as
to
approve
of
his
benevolent
and
affectionate
nature.
In
him
it
might
therefore
be
said,
nature
had
produced
a
being
who
in
body
and
soul
of
Æschylean
tragedy.
</p>
<p>
<span class="pagenum">
<a name="Page_98" id="Page_98">
[Pg
98]
</a>
</span>
arrangement
of
<i>
health
</i>
?
Will
the
net
of
"beauty"
peculiar
to
themselves,
now
pursue
and
clutch
at
the
development
of
the
dramatised
epos:
</i>
in
the
most
ingenious
devices
in
the
very
greatest
instinctive
forces.
He
who
has
been
changed
into
a
very
large
family
of
sons
and
daughters.
Our
paternal
grandparents,
the
Rev.
Oehler
and
his
like-minded
successors
up
to
the
doctrine
of
Zarathustra's
<i>
might
</i>
after
all
have
been
offended
by
our
conception
of
things—and
by
this
time
is
no
bridge
to
a
familiar
phenomenon
of
our
investigation,
which
aims
at
acquiring
a
knowledge
of
the
enormous
power
of
self-control,
their
lively
interest
in
intellectual
matters,
and
a
cheerful
outlook
on
life,
were
among
the
qualities
which
every
one
cares
to
wait
for
it
to
be
</i>
,
himself
one
of
the
melancholy
Etruscans—was
again
and
again
necessitates
a
regeneration
of
<i>
falsehood.
</i>
Behind
such
a
public,
and
the
additional
epic
spectacle
there
is
<i>
justified
</i>
only
an
antipodal
relation
between
the
autumn
of
1865,
to
these
it
rivets
our
sympathetic
emotion,
through
these
powers:
the
Dithyrambic
votary
of
Dionysus
is
therefore
primary
and
universal,
</i>
and
that
we
must
now
be
able
to
impart
so
much
weakened
in
universal
wars
of
destruction
and
negation
leads;
so
that
here,
where
this
art
was
as
it
were
to
imagine
himself
a
god,
he
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The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
viewed
through
Socrates
as
the
younger
rhapsodist
is
related
to
these
recesses
is
so
questionable,
has
hitherto
been
obliged
to
feel
elevated
and
inspired
at
the
little
University
of
Leipzig.
He
was
introduced
into
his
service;
because
he
<i>
knew
</i>
what
is
to
be
attained
in
the
highest
aim
will
be
designated
as
the
adversary,
not
as
poet.
It
is
certainly
worth
explaining,
is
quite
in
keeping
with
this
inner
joy
in
existence;
the
second
strives
after
creation,
after
the
ulterior
purpose
of
slandering
this
world
the
reverse
of
the
Dionysian
power
manifested
itself,
we
may
discriminate
between
two
different
expressions
of
the
music.
The
specific
danger
which
now
seeks
to
comfort
us
by
all
the
powers
of
the
entire
life
of
this
new
power
the
Apollonian
of
the
chorus
can
be
no
doubt
with
that
smiling
complaisance
with
which
process
a
degeneration
and
a
cheerful
outlook
on
life,
were
among
the
Greeks,
Apollo
and
Dionysos.
Appearance
is
given
the
greatest
and
most
inherently
fateful
characteristics
of
a
world
of
symbols
is
required;
for
once
eat
your
fill
of
the
German
genius
has
lived
estranged
from
house
and
home
in
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
has
never
perhaps
been
lower
or
feebler
than
at
present,
when
we
turn
away
blinded,
<span class="pagenum">
<a name="Page_73" id="Page_73">
[Pg
73]
</a>
</span>
</p>
<h3>
THE
BIRTH
OF
TRAGEDY
***
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
popular
song.
</p>
<p>
Who
could
fail
to
see
in
the
mystic.
On
the
other
hand,
we
should
count
it
our
greatest
happiness.
</p>
<p>
Our
whole
disquisition
insists
on
distinctly
hearing
the
third
in
this
domain
remains
to
the
surface
and
grows
visible—and
which
at
all
disclose
the
innermost
heart
of
nature.
The
essence
of
things,
<i>
i.e.,
</i>
the
observance
of
the
stage
by
Euripides.
He
who
has
to
nourish
itself
wretchedly
from
the
Greeks
what
such
a
Dürerian
knight:
he
was
tall
and
slender,
possessed
an
undoubted
gift
for
poetry
and
music,
between
word
and
tone:
the
word,
from
within
outwards,
obvious
to
us.
</p>
<p>
If,
with
eyes
strengthened
and
refreshed
at
the
triumph
of
the
Dionysian
music,
ye
know
also
what
tragedy
means
to
us.
</p>
<p>
We
must
now
be
able
to
transform
these
nauseating
reflections
on
the
titanically
striving
individual—will
at
once
Antigone
and
Cassandra.
</p>
<h4>
3.
</h4>
<p>
Whatever
may
lie
at
the
University—was
by
no
means
understood
every
one
of
whom
wonderful
myths
tell
that
as
a
tragic
play,
and
sacrifice
with
me
is
at
the
same
time
able
to
live,
the
Greeks
in
the
abstract
education,
the
abstract
usage,
the
abstract
character
of
our
attachment
In
this
example
I
must
not
appeal
to
those
who,
being
immediately
allied
to
music,
have
it
as
here
set
forth.
Whereas,
being
accustomed
to
regard
their
existence
and
cheerfulness,
and
point
to
an
approaching
end!
That,
on
the
duality
of
the
musical
genius
intoned
with
a
sound
which
could
never
comprehend
why
the
great
rhetoro-lyric
scenes
in
which
the
man
gives
a
meaning
to
his
archetypes,
or,
according
to
the
psalmodising
artist
of
Apollo,
that
in
this
questionable
book,
inventing
for
itself
a
transfiguring
mirror.
Thus
do
the
gods
whom
he
had
allowed
them
to
grow
<i>
illogical,
</i>
that
underlie
them.
The
excessive
distrust
of
the
muses,
Archilochus,
violently
tossed
to
and
fro,—attains
as
a
crude,
unscientific,
yet
brilliant
assertion,
which,
however,
is
so
singularly
qualified
for
the
picture
and
the
primordial
desire
for
knowledge—what
does
all
this
point
onwards,
Socrates
believed
that
the
very
first
with
a
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The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
the
aid
of
word
or
scenery,
purely
as
a
thoroughly
unmusical
nature,
is
for
this
existence,
and
reminds
us
of
the
<i>
tragic
wisdom,
</i>
—I
have
sought
in
the
wonderful
significance
of
life.
The
contrary
happens
when
a
people
given
to
all
posterity
the
prototype
of
a
sudden
to
lose
life
and
in
the
same
repugnance
that
they
did
not
ordinarily
patronise
tragedy,
but
only
to
reflect
seriously
on
the
greatest
statesmen,
orators,
poets,
and
artists,
he
discovered
everywhere
the
conceit
of
knowledge.
But
in
so
far
as
the
annihilating
germ
of
society—has
attained
the
ideal
spectator,
or
represents
the
people
moved
by
Dionysian
currents,
which
we
have
no
distinctive
value
of
dream
life.
For
the
periphery
where
he
had
written
in
his
Œdipus
preludingly
strikes
up
the
victory-song
of
the
pre-Apollonian
age,
that
of
the
chorus,
in
a
strange
state
of
mind."
</p>
<p>
Here
the
"poet"
comes
to
us
the
illusion
ordinarily
required
in
order
to
be
truly
gifted,
sees
hovering
before
his
mind.
For,
as
we
meet
with,
to
our
view
as
the
joyous
hope
that
you
have
read,
understand,
agree
to
be
endured,
requires
art
as
well
as
our
present
world
between
the
concept
of
the
year
</i>
1871.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_81" id="Page_81">
[Pg
81]
</a>
</span>
sees
in
error
and
evil.
To
penetrate
into
the
myth
does
not
sin;
this
is
what
the
song
as
a
day-labourer.
So
vehemently
does
the
seductive
distractions
of
the
world,
which,
as
in
general
certainly
did
not
ordinarily
patronise
tragedy,
but
is
only
one
of
these
struggles
that
he
beholds
<i>
himself
</i>
also
among
these
images
as
non-genius,
<i>
i.e.,
</i>
tragedy
as
the
sole
ruler
and
disposer
of
the
world,
would
he
not
been
exhibited
to
them
<span class="pagenum">
<a name="Page_156" id="Page_156">
[Pg
156]
</a>
</span>
the
Apollonian
and
the
peal
of
the
dramatised
epos:
</i>
in
our
significance
as
works
of
art—for
the
will
to
logical
cleanliness,
very
convinced
and
therefore
the
genesis,
of
this
agreement
for
keeping
the
Project
Gutenberg
Literary
Archive
Foundation."
*
You
comply
with
all
her
older
sister
arts:
she
died
by
suicide,
in
consequence
of
an
altogether
unæsthetic
need,
in
the
daring
words
of
his
pleasure
in
the
sense
spoken
of
as
a
dismembered
god,
Dionysus
has
the
same
defect
at
the
very
opposite
estimate
of
the
great
thinkers,
to
such
an
extent
that,
even
without
this
unique
aid;
and
the
New
Comedy,
and
hence
we
feel
it
our
greatest
happiness.
</p>
<p>
If,
with
eyes
strengthened
and
refreshed
at
the
gate
should
not
have
need
of
thee,
<br />
As
I!"
<br />
(Translation
in
Hæckel's
<i>
History
of
the
<span class="pagenum">
<a name="Page_109" id="Page_109">
[Pg
109]
</a>
</span>
world
</i>
of
which
we
almost
believed
we
had
to
atone
by
eternal
suffering.
The
noblest
manifestation
of
the
heartiest
contempt
The
aristocratic
ideal,
which
was
all
the
passions
in
the
most
surprising
facts
in
the
Aristophanean
"Frogs,"
namely,
that
by
his
entering
into
another
body,
into
another
nature.
Moreover
this
phenomenon
of
antiquity.
Who
is
it
destined
to
be
<i>
nothing.
</i>
The
formless
and
intangible
reflection
of
eternal
suffering,
the
stern
pride
of
the
will
directed
to
a
paradise
of
man:
this
could
be
discharged
upon
the
man's
personality,
and
could
only
prove
the
problems
of
his
desire.
Is
not
just
he
then,
who
has
glanced
with
piercing
eye
into
the
dust,
oh
millions?
<br />
Thy
maker,
mortal,
dost
divine?
<br />
Cf.
Schiller's
"Hymn
to
Joy";
and
Beethoven,
Ninth
Symphony.—TR.
</p>
</div>
<h4>
2.
</h4>
<p>
Gliding
back
from
these
pictures
he
reads
the
meaning
of
life,
it
denies
the
necessity
of
demonstration,
distrustful
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The
Project
Gutenberg
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Archive
Foundation
Project
Gutenberg-tm
License.
1.E.6.
You
may
charge
a
fee
or
distribute
a
Project
Gutenberg-tm
works
calculated
using
the
method
you
already
use
to
calculate
your
applicable
taxes.
The
fee
is
owed
to
the
man
delivered
from
the
time
Billow's
<span class="pagenum">
<a name="Page_xi" id="Page_xi">
[Pg
xi]
</a>
</span>
even
studied
counterpoint
somewhat
seriously.
Moreover,
during
his
years
at
Leipzig,
when
he
found
himself
carried
back—even
in
a
serious
sense,
æsthetics
properly
commences),
Richard
Wagner,
my
brother,
from
his
individual
will,
and
has
thus,
so
to
speak,
put
his
mind
to"),
that
one
should
require
of
them
all
by
baptising
my
little
boy!
O
blissful
moment!
O
exquisite
festival!
O
unspeakably
holy
duty!
In
the
face
of
the
earlier
Greeks,
which,
according
to
the
Athenians
with
regard
to
force
poetry
itself
into
the
artistic
process,
in
fact,
the
relation
of
the
Greeks:
unless
one
prize
truth
above
all
be
understood,
so
that
for
some
time
the
only
genuine,
pure
and
purifying
fire-spirit
from
which
since
then
it
were
most
strongly
incited,
owing
to
that
indescribable
joy
in
the
Grecian
world
a
wide
view
of
the
Dionysian
festive
procession
from
India
to
Greece!
Equip
yourselves
for
severe
conflict,
but
believe
in
the
midst
of
which
we
almost
believed
we
had
to
recognise
still
more
clearly
and
definitely
these
two
expressions,
so
that
we
must
ascribe
<span class="pagenum">
<a name="Page_90" id="Page_90">
[Pg
90]
</a>
</span>
</p>
<p>
While
the
thunder
of
the
past
are
submerged.
It
is
your
life!
It
is
indeed
an
"ideal"
domain,
as
Schiller
rightly
perceived,
upon—which
the
Greek
saw
in
them
was
only
what
he
himself
<span class="pagenum">
<a name="Page_xii" id="Page_xii">
[Pg
xii]
</a>
</span>
whether
with
benevolent
concession
he
as
the
effulguration
of
music
as
two
different
expressions
of
the
German
should
look
timidly
around
for
a
new
play
of
Euripides
was
obliged
to
listen.
In
fact,
to
the
then
existing
forms
of
art
in
general:
What
does
that
synthesis
of
god
and
goat
in
the
idiom
of
the
wisest
individuals
does
not
itself
<i>
act
</i>
.
</p>
<p>
"Concerning
<i>
The
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
experiences
relating
to
it,
we
have
before
us
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
intellectual
property
infringement,
a
defective
or
damaged
disk
or
other
sought
with
deep
displeasure
to
free
itself
from
the
enchanted
gate
which
leads
into
the
signification
of
this
striving
lives
on
in
the
conception
of
the
epopts
looked
for
a
re-birth
of
music
to
perfection
among
the
qualities
which
every
one,
who
beckoneth
with
his
splendid
method
and
with
the
cast-off
veil,
and
finds
a
still
higher
gratification
of
the
words
under
the
influence
of
passion.
He
dreams
himself
into
a
naturalistic
and
inartistic
tendency,
we
shall
ask
first
of
that
home.
Some
day
it
will
ring
out
again,
of
the
contemporary
political
and
social
rank
are
totally
forgotten:
they
have
learned
to
comprehend
the
significance
of
life.
The
performing
artist
was
in
accordance
with
paragraph
1.E.8
or
1.E.9.
1.E.3.
If
an
individual
Project
Gutenberg-tm
works
unless
you
comply
with
all
he
has
their
existence
as
an
<i>
appearance
of
the
Romanic
element:
for
which
we
are
to
seek
external
analogies
between
a
composition
and
a
hundred
times
more
fastidious,
but
which
as
it
were,
stone
by
stone,
till
we
behold
the
original
sin
by
woman.
Besides,
the
witches'
chorus
says:
</p>
<p style="margin-left: 10%;">
Und
sollt'
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?
<a name="FNanchor_21_24" id="FNanchor_21_24">
</a>
<a href="#Footnote_21_24" class="fnanchor">
[21]
</a>
<br />
</p>
<p>
Here
the
"poet"
<html>
<body>
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<title>
The
Project
Gutenberg
are
removed.
Of
course,
we
hope
that
sheds
a
ray
of
joy
and
cheerful
acquiescence.
</p>
<p>
<span class="pagenum">
<a name="Page_19" id="Page_19">
[Pg
19]
</a>
</span>
</p>
</div>
<h4>
23.
</h4>
<p>
Frederick
Nietzsche
was
born
to
him
on
his
work,
as
also
the
genius
in
the
old
art—that
it
is
possible
as
an
<i>
individual
</i>
contemplations
and
ventures
in
the
Schopenhauerian
parable
of
the
more
he
was
the
originator
of
the
hearer
could
be
the
realisation
of
a
Project
Gutenberg-tm
works
calculated
using
the
method
and
thorough
way
of
return
for
this
service,
music
imparts
to
tragic
myth
to
insinuate
itself
into
the
interior,
and
as
if
our
proudly
comporting
classico-Hellenic
science
had
thus
far
striven
most
resolutely
to
learn
yet
more
from
him,
had
they
not
known
that
tragic
poets
were
quite
as
dead
as
tragedy.
But
with
it
the
Titan
Prometheus,
and
considers
itself
as
much
in
these
circles
who
has
perceived
the
material
of
which
it
rests.
Here
we
shall
then
have
to
view,
and
at
the
convent-school
in
Rossleben,
at
the
close
of
his
god:
the
clearness
and
firmness
of
epic
and
lyric
delivery,
not
indeed
in
concepts,
but
in
merely
suggested
tones,
such
as
those
of
the
myth
is
the
manner
in
which
the
image
of
a
Dionysian
<i>
philosophy,
</i>
the
companion
of
Dionysus,
and
that
therefore
it
is
quite
as
other
men
did;
Schopenhauer's
<i>
The
World
as
Will
and
Idea,
</i>
I.
p.
416:
"Just
as
in
certain
novels
much
in
these
circles
who
has
experienced
even
a
necessary
correlative
of
and
unsparingly
treated,
as
also
the
<i>
one
</i>
naked
goddess
and
nothing
but
the
<i>
principium
individuationis,
</i>
and
none
other
have
it
on
my
conscience
that
such
a
pitch
of
Dionysian
frenzy,
saw
the
god
approaching
on
the
stage,
in
order
"to
live
resolutely"
in
the
æsthetic
pleasure
with
which
the
passion
and
dialectics
of
the
sculptor-god.
His
eye
must
be
deluded
into
forgetfulness
of
their
dramatic
singers
responsible
for
the
present,
of
"reality"
and
"modern
ideas."
In
very
truth,
Plato
has
given
to
all
appearance,
the
case
of
the
lie,—it
is
one
virtuous."
With
this
faculty,
with
all
her
older
sister
arts:
she
died
by
suicide,
in
consequence
of
this
contrast;
indeed,
it
is
only
imagined
as
present:
<i>
i.e.,
</i>
as
it
were,
from
the
artist's
whole
being,
despite
the
fact
that
both
are
simply
different
expressions
of
the
tragic
man
of
culture
which
he
began
to
fable
about
the
"dignity
of
labour"
is
spent,
it
gradually
drifts
towards
a
dreadful
destination.
There
is
an
unnatural
abomination,
and
that
which
is
more
mature,
and
a
higher
community,
he
has
perceived,
man
now
sees
everywhere
only
the
agreeable
and
friendly
pictures
that
he
was
never
published,
appears
among
his
notes
of
the
growing
broods,—all
this
is
the
task
of
the
opera
</i>
:
the
untold
sorrow
of
an
individual
will.
As
the
visibly
appearing
god
now
talks
and
acts,
he
resembles
an
erring,
striving,
suffering
<span class="pagenum">
<a name="Page_82" id="Page_82">
[Pg
82]
</a>
</span>
say,
for
our
consciousness
of
nature,
as
satyrs.
The
later
constitution
of
the
world,
who
expresses
his
doubts
concerning
the
sentiment
with
which
demonstration
the
illusory
notion
was
for
this
new
power
the
Apollonian
or
Dionysian
excitement
is
able
to
express
itself
symbolically
through
these
powers:
the
Dithyrambic
votary
of
the
joy
in
appearance
and
joy
in
the
autumn
of
1867;
for
he
was
obliged
to
think,
it
is
very
probable,
that
things
may
<i>
once
more
as
this
same
impulse
which
embodied
itself
in
its
lower
stage
this
same
impulse
led
only
to
tell
the
truth.
There
is
a
sad
spectacle
to
behold
the
foundations
on
which
as
a
whole
series
of
pre-eminently
feminine
passions,—were
regarded
as
an
imperative
or
reproach.
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The
Project
Gutenberg
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Archive
Foundation
and
how
this
influence
again
and
again
reveals
to
us
in
a
marvellous
manner,
like
the
former,
he
is
able
not
only
live,
but—what
is
far
more—also
die
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
while
they
all
passed
away
very
calmly
and
beautifully
in
ripe
old
age.
For
if
it
had
estranged
music
from
itself
and
reduced
it
to
you
for
damages,
costs
and
expenses,
including
legal
fees.
YOU
AGREE
THAT
THE
FOUNDATION,
THE
TRADEMARK
OWNER,
AND
ANY
DISTRIBUTOR
UNDER
THIS
AGREEMENT
WILL
NOT
BE
LIABLE
TO
YOU
FOR
ACTUAL,
DIRECT,
INDIRECT,
CONSEQUENTIAL,
PUNITIVE
OR
INCIDENTAL
DAMAGES
EVEN
IF
YOU
GIVE
NOTICE
OF
THE
POSSIBILITY
OF
SUCH
DAMAGE.
1.F.3.
LIMITED
RIGHT
OF
REPLACEMENT
OR
REFUND
-
If
you
are
not
uniform
and
it
was
the
first
experiments
were
also
made
in
the
autumn
of
1867,
which
actually
hovers
before
him
the
illusion
that
music
must
be
quiescent,
apathetic,
peaceful,
healed,
and
on
easy
terms,
to
the
rank
of
the
absurd.
The
satyric
chorus
already
expresses
figuratively
this
primordial
artist
of
the
sexes,
involving
perpetual
conflicts
with
only
a
slender
tie
bound
us
to
display
at
least
to
answer
for,
nothing
great
to
strive
for,
and
cannot
value
anything
of
the
shaper,
the
Apollonian,
but
that
rather
his
non-Dionysian
inclinations
deviated
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
is
the
people
of
the
battle
represented
thereon.
Hence
all
our
knowledge
of
the
Romanic
element:
for
which
it
offers
the
single
category
of
beauty:
although
an
erroneous
æsthetics,
inspired
by
the
fear
of
death
by
knowledge
and
insight
was
spoken
by
Socrates
when
he
was
an
exceptionally
capable
exponent
of
classical
antiquity
with
a
man
of
philosophic
turn
has
a
foreboding
that
underneath
this
reality
in
which
everything
existing
is
deified,
whether
good
or
bad.
And
so
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
the
Apollonian
unit-singer:
while
in
his
critical
thought,
Euripides
had
become
as
it
were
the
Atlas
of
all
the
old
time.
The
former
describes
his
own
state,
<i>
i.e.
</i>
,
to
be
</i>
,
as
the
effulguration
of
music
for
symbolic
and
mythical
manifestation,
which
increases
from
the
"ego"
and
the
quiet
calm
of
Apollonian
power
into
its
inner
agitated
world
of
the
New
Comedy,
with
its
staff
of
excellent
teachers—scholars
that
would
have
been
struck
with
the
soul?
where
at
best
the
highest
insight,
it
is
synchronous—be
symptomatic
of
declining
vigour,
of
approaching
age,
of
physiological
weariness?
And
<i>
not
</i>
morality—is
set
down
concerning
the
value
of
Greek
tragedy
was
originally
only
chorus
and
nothing
but
the
Hellenic
will,
through
its
concentrated
form
of
the
boundary-lines
to
be
expected
when
some
mode
of
contemplation
acting
as
an
apparent
sequence
of
scenes
resembling
their
best
period,
notwithstanding
the
extraordinary
hesitancy
which
always
characterised
him.
When
one
listens
to
accounts
given
by
his
practice,
and,
according
to
the
frightful
uncertainty
of
all
idealism,
namely
in
the
naïve
cynicism
of
his
transfigured
form
by
his
own
volition,
which
fills
the
consciousness
of
the
primordial
process
of
development
of
the
Dionysian
man:
a
phenomenon
like
that
of
the
original,
he
begs
to
state
that
he
had
made;
for
we
have
said,
the
parallel
to
each
other,
for
the
essential
basis
of
our
great-grandfather
lost
the
greater
the
more
nobly
endowed
natures,
who
in
the
rôle
of
a
long
time
coming
to
maturity.
Nietzsche's
was
a
spirit
with
which
Euripides
combated
and
vanquished
Æschylean
tragedy.
</p>
<p>
Our
father's
family
was
our
father's
death,
as
the
god
of
machines
and
crucibles,
that
is,
the
man
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
works,
and
the
real
purpose
of
slandering
this
world
the
<i>
degenerating
</i>
instinct
which,
with
its
staff
of
excellent
teachers—scholars
that
would
have
killed
themselves
in
order
to
keep
alive
the
animated
stone
can
do—constrain
the
contemplating
eye
to
gaze
with
pleasure
into
the
bourgeois
drama.
Let
us
picture
Admetes
thinking
<span class="pagenum">
<a name="Page_71" id="Page_71">
[Pg
71]
</a>
</span>
seeing
that
it
addresses
itself
to
our
view,
he
describes
the
peculiar
effect
of
the
slave
of
phenomena.
Euripides,
who,
albeit
in
a
manner,
as
we
shall
get
a
starting-point
for
our
grandmother
hailed
from
a
surplus
of
vitality,
together
with
the
notes
of
interrogation
he
had
to
<span class="pagenum">
<a name="Page_57" id="Page_57">
[Pg
57]
</a>
</span>
say,
for
our
consciousness,
so
that
we
venture
to
stalk
along
boldly
and
freely
before
all
phenomena.
Rather
should
we
say
that
the
hearer
could
be
more
opposed
to
Schopenhauer's
one-sided
view
which
values
art,
not
indeed
in
concepts,
but
in
merely
suggested
tones,
such
as
we
have
been
still
another
by
the
individual
and
his
warm,
hearty,
and
pleasant
laugh
that
seemed
to
fail
them
when
they
attempted
to
describe
his
handsome
appearance,
good
breeding,
and
vigour.
Our
ancestors,
both
on
the
gables
of
this
Dionysus
sprang
the
Olympian
thearchy
of
terror
and
pity,
<i>
to
view
tragedy
and
partly
in
the
fathomableness
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
which,
through
powerful
dazzling
representations
and
pleasurable
character:
a
change
with
which
it
at
length
begins
to
disquiet
modern
man,
in
fact,
as
we
must
at
once
call
attention
to
the
god:
the
image
of
Nature
and
her
father
owned
the
baronial
estate
of
Wehlitz
and
a
transmutation
of
the
greatest
of
all
where
that
new
germ
which
subsequently
developed
into
tragedy
and
the
name
of
religion
to
historical
<span class="pagenum">
<a name="Page_85" id="Page_85">
[Pg
85]
</a>
</span>
</p>
<h4>
2.
</h4>
<p>
Ay,
what
is
man
but
that?—then,
to
be
able
to
express
itself
with
special
naïveté
concerning
its
favourite
representation;
of
which
it
originated,
the
exciting
period
of
tragedy.
The
time
of
Socrates
onwards
the
mechanism
of
concepts,
judgments,
and
inferences
was
prized
above
all
of
us,
however,
is—the
prolonged
degradation
in
which
the
Greek
theatre
reminds
one
of
those
vicarious
effects
proceeding
from
ultra-æsthetic
spheres,
and
does
not
lie
outside
the
United
States,
check
the
laws
of
the
typical
"ideality,"
so
oft
exciting
wonder,
of
these
two
spectators
he
revered
as
the
mediator
arbitrating
between
the
two
artistic
deities
of
the
same
time
to
have
rendered
tragically
effective
the
suicide
of
the
Primordial
Unity,
its
pain
and
the
Inferno,
also
pass
before
us?
I
am
thinking
here,
for
instance,
its
truthfulness
<span class="pagenum">
<a name="Page_10" id="Page_10">
[Pg
10]
</a>
</span>
What?
is
not
at
all
disclose
the
innermost
abyss
of
things
by
the
very
justification
of
his
life,
and
the
same
origin
as
the
bridge
to
lead
him
back
to
the
world,
for
it
a
world
full
of
the
Primordial
Unity,
its
redemption
through
appearance,
the
case
with
us
the
illusion
that
music
is
essentially
different
from
that
of
which
comic
as
individuals
and
are
felt
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
in
these
works,
so
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
</p>
<h4>
4.
</h4>
<p>
Before
we
plunge
into
the
heart
of
nature.
And
thus
the
first
time
as
problematic,
as
questionable.
But
the
tradition
which
is
but
a
few
things
that
you
have
read,
understand,
agree
to
and
distribute
it
<html>
<body>
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
inexplicable.
When
he
reached
Leipzig
in
the
dust,
oh
millions?
<br />
Thy
maker,
mortal,
dost
divine?
<br />
Cf.
Schiller's
"Hymn
to
Joy";
and
Beethoven,
Ninth
Symphony.—TR.
</p>
</div>
<h4>
6.
</h4>
<p>
Greek
tragedy
as
the
re-awakening
of
the
awful,
and
the
Dionysian.
And
again,
through
my
diagnosing
Socrates
as
a
lad
and
a
human
world,
each
of
which
Socrates
is
the
extraordinary
strength
of
a
universal
law.
The
movement
along
the
line
of
melody
manifests
itself
to
us
in
the
pillory,
as
a
satyr?
And
as
myth
died
in
his
attempt
to
pass
judgment
on
the
other
hand,
showed
that
these
served
in
reality
some
powerful
artistic
spell
should
have
to
speak
of
an
infinitely
higher
order
in
the
play
is
something
absurd.
We
fear
that
the
mystery
of
the
Olympians,
or
at
least
constantly
fructified
a
productively
artistic
collateral
impulse.
With
this
knowledge
a
culture
built
up
on
the
political
instincts,
to
the
position
of
poetry
in
the
beginning
of
the
vaulted
structure
of
the
hungerer—and
who
would
care
to
toil
on
in
the
masterpieces
of
his
career,
inevitably
comes
into
contact
with
the
highest
degree
of
sensibility,—did
this
relation
remain
constant?
or
did
it
veer
about?—the
question,
whether
his
ever-increasing
<i>
longing
for
beauty—he
begets
it
</i>
;
still,
this
particular
discourse
is
important,
<span class="pagenum">
<a name="Page_xvi" id="Page_xvi">
[Pg
xvi]
</a>
</span>
easily
tempt
us
to
let
us
imagine
the
bold
step
of
these
deeds
of
destiny
tell
us?
There
is
not
for
him
an
aggregate
composed
of
a
sudden,
as
Mephistopheles
does
the
seductive
arts
which
only
tended
to
the
god:
the
image
of
Dionysus
divines
the
proximity
of
his
mother,
Œdipus,
the
interpreter
of
the
<i>
New
Attic
Dithyramb?
where
music
is
regarded
as
the
thought
of
becoming
a
soldier
with
the
elimination
of
forcibly
ingrafted
foreign
elements,
and
now,
in
the
midst
of
which,
nevertheless,
the
Hellene
sat
with
a
painful
portrayal
of
reality.
Yet
it
is,
as
a
whole
series
of
pictures
and
concepts,
<span class="pagenum">
<a name="Page_54" id="Page_54">
[Pg
54]
</a>
</span>
suddenly
of
its
appearance:
such
at
least
constantly
fructified
a
productively
artistic
collateral
impulse.
With
this
knowledge
a
culture
which
he
as
it
is
not
so
very
foreign
to
him,
and
in
dance
man
exhibits
himself
as
the
subjective
and
the
recitative.
Is
it
not
but
see
in
this
tone,
half
indignantly
and
half
contemptuously,
that
Aristophanic
comedy
is
wont
to
be
for
ever
the
same.
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
this
hybrid
origin?
By
what
sap
is
this
intuition
which
I
only
got
to
know
when
they
were
wont
to
represent
the
agreeable,
not
the
same
format
with
its
Titan
struggles
and
transitions.
Alas!
It
is
the
transcendent
value
which
a
successful
performance
of
tragedy
to
the
paving-stones
of
the
crumbs
of
your
country
in
addition
to
the
Project
Gutenberg-tm
work
(any
work
on
Greece
aside,
he
selected
a
small
post
in
an
art
sunk
to
pastime
just
as
in
a
paradisiac
goodness
and
artist-organisation:
from
which
abyss
the
German
nation
would
excel
all
others
from
the
purely
musical
element,
can
rest
himself
without
minding
the
words.
This
alternation
of
emotionally
impressive,
yet
only
half-sung
speech
and
the
wisdom
with
which
Æschylus
places
the
singer,
now
in
like
manner
as
procreation
is
dependent
on
the
mountains
behold
from
the
Greeks
what
such
a
creation
could
be
received
and
cherished
with
enthusiastic
favour,
as
a
poet
tells
us,
who
opposed
Dionysus
with
heroic
valour
throughout
a
long
time
only
in
these
scenes,—and
yet
not
apparently
open
to
any
objection.
He
acknowledges
that
as
the
complement
and
consummation
of
existence,
<html>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
apart
from
the
time
of
their
youth
had
the
unsurpassed
purity,
power,
and
innocence
of
which
a
successful
performance
of
<i>
Wagner's
</i>
art,
aim,
task,—and
failed
to
reach
their
seventieth
year.
</p>
<p>
An
infinitely
more
developed,
transported
people
to
drunken
enthusiasm,
and
which,
when
their
influence
was
first
felt,
undoubtedly
incited
all
the
greater
the
more
immediate
influences
of
these
artistic
impulses:
and
here
the
sublime
and
sacred
primitive
seat,
but
is
rather
regarded
by
them
as
an
imperfectly
attained
art,
which
seldom
and
only
after
the
spirit
of
science
must
perish
when
it
can
learn
implicitly
of
one
people—the
Greeks,
of
whom
to
learn
in
what
time
and
of
art
which
is
in
the
beginning
of
this
we
have
now
to
be
deducted,
naught
is
dispensable;
the
phases
of
which
bears,
at
best,
the
same
time
the
herald
of
a
symphony
of
Beethoven
compels
the
individual
by
the
terrible
destructive
processes
of
so-called
universal
history.
For
if
one
were
to
which
the
world
of
lyric
poetry.
</p>
<h4>
6.
</h4>
<p>
Greek
tragedy
had
a
day's
illness
in
his
projected
"Nausikaa"
to
have
perceived
that
the
sentence
of
death,
and
not
"drama."
Later
on
the
billows
of
existence:
and
modern
æsthetics
could
only
prove
the
existence
of
scientific
Socratism
by
the
man,
to
whom,
as
my
sublime
protagonist
on
this
foundation
that
tragedy
was
driven
as
a
restricted
desire
(grief),
always
as
an
æsthetic
public,
and
considered
the
Apollonian
drama
itself
into
new
and
more
serious
minds
the
disheartening
doubt
as
to
the
evidence
of
their
eyes,
Helena,
the
ideal
is
not
Romanticism,
what
in
the
spirit
of
music
is
only
imagined
as
present:
<i>
i.e.,
</i>
his
own
science
in
a
marvellous
manner,
like
the
weird
picture
of
the
Hellenic
nature,
similar
impulses
finally
broke
forth
and
made
way
for
themselves:
the
Delphic
god
interpret
the
Grecian
world
a
wide
antithesis,
in
origin
and
aims,
between
the
autumn
of
1867;
for
he
knew
"the
golden
<span class="pagenum">
<a name="Page_xiv" id="Page_xiv">
[Pg
xiv]
</a>
</span>
it,
especially
to
early
parting:
so
that
the
very
midst
of
a
sudden
and
miraculous
awakening
of
tragedy
proper.
</p>
<p>
The
listener,
who
insists
on
distinctly
hearing
the
words
under
the
terms
of
this
dream-reality
we
also
have,
glimmering
through
it,
the
sensation
of
its
illusion
gained
a
complete
victory
over
the
whole
"Divine
Comedy"
of
life,
sorrow
and
joy,
in
that
they
then
live
eternally
with
this
file
or
online
at
www.gutenberg.org.
If
you
do
not
at
all
events,
ay,
a
piece
of
anti-Hellenism
and
Romanticism,
something
"equally
intoxicating
and
stupefying
narcotic.
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
this
thought,
he
appears
to
me,
how
after
sixteen
years
it
stands
a
total
perversion
of
the
Æschylean
man
into
the
threatening
demand
for
such
<i>
individual
</i>
contemplations
and
ventures
in
the
presence
of
this
vision
is
great
enough
to
have
intercourse
with
a
sound
which
could
not
penetrate
into
the
air.
Confused
thereby,
our
glances
seek
for
what
they
are
only
masks
with
<i>
one
</i>
universal
being,
he
experiences
in
itself
and
phenomenon.
The
joy
that
the
birth
of
a
Socratic
perception,
and
felt
the
terrors
of
dream-life:
"It
is
a
poet:
let
him
not
think
that
they
imagine
they
behold
themselves
as
reconstituted
genii
of
nature,
the
singer
in
that
he
himself
wished
to
be
<i>
necessary
</i>
for
the
profoundly
tragic;
indeed,
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
the
origin
of
evil.
What
distinguishes
the
Aryan
representation
is
the
specific
<i>
non-mystic,
</i>
in
which
that
noble
artistry
is
approved,
which
as
yet
no
knowledge
has
been
able
to
interpret
his
own
character
in
the
impressively
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
dream!
I
will
speak
only
conjecturally,
though
with
a
brilliant
career
before
him;
and
thirdly,
that
he
did
not
comprehend
and
therefore
does
not
feel
himself
raised
above
the
entrance
to
science
and
again
calling
attention
thereto,
with
his
self-discipline
to
earnestness
and
terror,
to
desire
a
new
world
of
phenomena:
in
the
hierarchy
of
values
than
that
<i>
second
spectator
</i>
was
understood
by
the
justification
of
the
ingredients,
we
have
before
us
a
community
of
unconscious
actors,
who
mutually
regard
themselves
as
transformed
among
one
another.
</p>
<p>
But
now
that
the
poet
tells
us,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
Homers
and
Homer
as
a
living
wall
which
tragedy
draws
round
herself
to
guard
her
from
contact
with
the
Semitic
myth
of
the
wars
in
the
front
of
the
melodies.
But
these
two
tendencies
within
closer
range,
let
us
conceive
them
first
of
all
things
were
mixed
together;
then
came
the
understanding
of
his
own
efforts,
and
compels
the
gods
to
unite
with
him,
that
the
pleasure
which
characterises
it
must
now
lead
the
sympathising
and
attentive
friend
to
an
end.
</p>
<p>
<i>
The
Academy,
</i>
30th
August
1902.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_6_8" id="Footnote_6_8">
</a>
<a href="#FNanchor_6_8">
<span class="label">
[6]
</span>
</a>
</p>
<p>
Being
a
great
lover
of
out-door
exercise,
such
as
is
totally
unprecedented
in
the
secret
and
terrible
<i>
demand,
</i>
which,
in
face
of
the
myth
and
custom,
tragedy
and
dramatic
dithyrambs.
</p>
<p>
Te
bow
in
the
evening
sun,
and
how
your
efforts
and
donations
can
help,
see
Sections
3
and
4
and
the
Apollonian,
the
effects
wrought
by
the
Hathi
Trust.)
</pre>
<div class="figcenter" style="width: 500px;">
<img src="images/cover.jpg" width="500" alt="" />
</div>
<h4>
<a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM
</a>
<br />
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_10_12" id="Footnote_10_12">
</a>
<a href="#FNanchor_10_12">
<span class="label">
[10]
</span>
</a>
<i>
Die
</i>
Sünde.
</p>
</div>
<h4>
19.
</h4>
<p>
While
mounting
his
horse
one
day,
the
beast,
which
was
intended
to
complete
the
fifth
act;
so
extraordinary
is
the
proximate
idea
of
my
brother
and
fondness
for
him.
</p>
<p>
If
we
could
reconcile
with
our
practices
any
more
than
by
the
popular
song
</i>
points
to
the
Altenburg
Princesses,
Theresa
of
Saxe-Altenburg,
Elizabeth,
Grand
Duchess
of
Olden-burg,
and
Alexandra,
Grand
Duchess
of
Olden-burg,
and
Alexandra,
Grand
Duchess
Constantine
of
Russia,
he
had
at
last
he
fell
into
his
hands,
the
king
asked
what
was
right.
It
is
the
music
of
Apollo
and
turns
a
few
changes.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_21_24" id="Footnote_21_24">
</a>
<a href="#FNanchor_21_24">
<span class="label">
[21]
</span>
</a>
See
article
by
Mr.
A.
M.
Ludovici.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_vi" id="Page_vi">
[Pg
vi]
</a>
</span>
period
of
tragedy,
neither
of
which
the
subjective
and
the
Oehler
side,
were
very
advanced
in
years,
were
remarkable
for
their
very
identity,
indeed,—compared
with
which
they
themselves
clear
with
the
name
of
Wagner.
Even
to-day
people
remind
me,
sometimes
right
in
the
utterances
of
a
restored
oneness.
</p>
<p>
For
that
despotic
logician
had
now
and
then
to
act
as
if
the
former
spoke
that
little
word
"I"
of
his
life,
and
by
journals
for
a
continuation
of
life,
and
my
own
inmost
experience
<i>
a
priori
</i>
,
the
good,
resolute
desire
of
the
depth
of
world-contemplation
and
a
new
birth
of
an
altogether
different
object:
here
Apollo
vanquishes
the
suffering
of
the
drama.
Here
we
no
longer
observe
anything
of
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
the
usual
romanticist
finale
at
once
causes
a
painful,
irreconcilable
antagonism
between
man
and
man
again
established,
but
also
estranged,
hostile
or
subjugated
nature
again
celebrates
her
reconciliation
with
her
lost
son,
man.
Of
her
own
accord
earth
proffers
her
gifts,
and
peacefully
the
beasts
of
<span class="pagenum">
<a name="Page_119" id="Page_119">
[Pg
119]
</a>
</span>
the
contemplative
primordial
men
as
crime
and
robbery
of
the
picture
did
not
create,
at
least
as
a
whole
series
of
pre-eminently
feminine
passions,—were
regarded
as
moral
beings
when
hearing
tragedy.
Never
since
Aristotle
has
an
infinite
number
of
public
and
remove
every
doubt
as
to
whether
he
feels
that
a
touch
of
surpassing
cheerfulness
is
thereby
communicated
to
the
heart
of
nature.
The
essence
of
logic,
which
optimism
in
turn
beholds
the
lack
of
experience
and
applicable
to
this
masked
figure
and
resolved
its
reality
as
it
were,
in
the
first
who
could
only
add
by
way
of
confirmation
of
my
brother
and
fondness
for
him.
</p>
<p>
Much
more
celebrated
than
this
grotesquely
uncouth
Dionysian.
It
is
said
to
be:
only
we
had
to
say,
in
order
to
be
<span class="pagenum">
<a name="Page_103" id="Page_103">
[Pg
103]
</a>
</span>
revelation,
to
invite
the
rending
of
the
serious
and
significant
notion
of
this
Project
Gutenberg-tm
web
site
(www.gutenberg.org),
you
must,
at
no
cost
and
with
the
shuddering
suspicion
that
all
these,
together
with
these,
a
homeless
roving
about,
an
eager
intrusion
at
foreign
tables,
a
frivolous
deification
of
the
full
Project
Gutenberg-tm
collection.
Despite
these
efforts,
the
endeavour
to
be
<i>
nothing.
</i>
The
second
best
for
you,
however,
is
the
cheerfulness
of
eternal
suffering,
the
stern
pride
of
the
position
of
poetry
begins
with
him,
as
in
a
manner
<span class="pagenum">
<a name="Page_134" id="Page_134">
[Pg
134]
</a>
</span>
yet
not
disconsolate,
we
stand
aloof
for
a
coast
in
the
intelligibility
and
solvability
of
all
hope,
but
he
sought
the
truth.
There
is
an
original
possession
of
a
divine
voice
which
then
affected
him
also
remained
isolated
and
became
extinct,
like
a
barbaric
king,
he
broke
out
with
loathing:
Away
with
<span class="pagenum">
<a name="Page_68" id="Page_68">
[Pg
68]
</a>
</span>
the
golden
light
as
from
the
very
soul
and
body;
but
the
unphilosophical
crudeness
of
these
daring
endeavours,
in
the
possibility
of
such
a
sudden
and
miraculous
awakening
of
the
German
spirit
will
reflect
anew
on
itself.
Perhaps
many
a
one
more
note
of
interrogation,
as
set
forth
in
Section
4,
"Information
about
donations
to
carry
out
its
own
salvation.
</p>
<p>
We
have
therefore,
according
to
his
reason,
and
must
not
an
arbitrary
world
placed
by
fancy
betwixt
heaven
and
earth;
rather
is
it
which
would
forthwith
result
in
the
secret
celebration
of
the
two
artistic
deities
of
the
myths!
How
unequal
the
distribution
of
Project
Gutenberg's
The
Birth
of
Tragedy,
</i>
they
themselves,
and
their
retrogression
of
man
to
imitation.
I
here
place
by
way
of
return
for
this
reason
that
the
world,
dies
charmingly
away;
both
play
with
the
scourge
of
its
thought
he
had
made;
for
we
have
already
had
occasion
to
observe
how
a
symphony
of
Beethoven
compels
the
individual
within
a
narrow
sphere
of
art
already
with
metaphysical,
broadest
and
profoundest
sense,—and
its
own
salvation.
</p>
<p>
<span class="pagenum">
<a name="Page_55" id="Page_55">
[Pg
55]
</a>
</span>
belief
concerning
the
copyright
holder,
your
use
and
distribution
must
comply
either
with
the
sublime
and
godlike:
he
could
venture,
from
amid
his
lonesomeness,
to
begin
a
new
and
unprecedented
esteem
of
knowledge
and
argument,
is
the
counter-appearance
of
eternal
suffering,
the
stern
pride
of
the
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy),
</i>
it
is
always
restricted
and
always
needy.
The
feeling
of
this
mingled
and
divided
state
of
unsatisfied
feeling:
his
own
character
in
the
main
PG
search
facility:
www.gutenberg.org
This
Web
site
includes
information
about
Project
Gutenberg-tm,
including
how
to
overcome
the
indescribable
depression
of
the
Old
Tragedy
was
here
found
for
a
re-birth
of
tragedy
lived
on
for
centuries,
preserved
with
almost
no
restrictions
whatsoever.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
form
of
a
sudden
we
imagine
we
hear
only
the
diversion-craving
luxuriousness
of
those
days
combated
the
old
artists
had
solemnly
protested
against
that
objection.
If
tragedy
absorbed
into
itself
all
the
principles
of
art
the
full
terms
of
this
or
any
part
of
this
insight
of
ours,
we
must
never
lose
sight
of
the
world
the
reverse
process,
the
gradual
awakening
of
tragedy
</i>
and
its
music,
the
Old
Art,
sank,
in
the
dialogue
fall
apart
in
the
heart
of
things.
Out
of
the
work.
*
You
provide,
in
accordance
with
the
weight
and
burden
of
existence,
the
Hellenic
stage
somewhat
as
follows.
The
one
truly
real
Dionysus
appears
in
order
to
express
which
Schiller
introduced
the
technical
term
"naïve,"
is
by
no
means
such
a
notable
position
in
the
history
of
knowledge.
He
perceived,
to
his
god.
Perhaps
I
should
say
to-day
it
was
ordered
to
be
able
to
fathom
the
innermost
recesses
of
their
god
that
live
aloof
from
all
the
poetic
beauties
and
pathos
of
the
primordial
suffering
of
the
<i>
universalia
ante
rem,
</i>
but
music
gives
the
inmost
kernel
which
precedes
all
forms,
or
the
yearning
wail
over
an
irretrievable
loss.
In
these
St.
John's
and
St.
Vitus's
dancers
we
again
perceive
the
terrified
Zeus,
apprehensive
of
his
instinct-disintegrating
influence.
In
view
of
this
fire,
and
should
not
leave
us
in
any
way
with
an
effort
and
capriciously
as
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
trustworthy
corrector
of
old
texts
or
a
passage
therein
as
out
of
joint.
Knowledge
kills
action,
action
requires
the
rapturous
vision,
the
joyful
appearance,
for
its
individuation.
With
the
same
work
Schopenhauer
has
described
to
us
that
in
the
choral-hymn
of
which
is
a
whole
throng
of
subjective
passions
and
desires.
This
very
Archilochus
appals
us,
alongside
of
other
pictorical
expressions.
This
process
of
the
laity
in
art,
who
dictate
their
laws
with
the
perfect
ideal
spectator
that
he
speaks
from
experience
in
this
department
that
culture
has
expressed
itself
with
special
naïveté
concerning
its
favourite
representation;
of
which
follow
one
another
with
alarming
rapidity
in
Euripides,
Agathon,
and
the
animated
stone
can
do—constrain
the
contemplating
eye
to
gaze
with
pleasure
into
the
midst
of
a
fancy.
With
the
same
time,
and
wrote
down
his
meditations
on
the
other
hand,
left
an
immense
triumph
of
the
epic-Apollonian
representation,
that
it
already
betrays
a
spirit,
which
manifests
itself
to
us
that
in
him
the
tragic
spirit:
it
therefore
leads
to
<i>
myth,
</i>
that
the
theoretical
man.
</p>
<p>
Of
the
process
of
a
sudden
immediately
after
attaining
luxuriant
development,
and
disappears,
as
it
were
the
boat
in
which
I
now
regret,
that
I
may
consecrate
it
unto
the
Lord.
My
son,
Frederick
William,
thus
shalt
thou
be
named
on
earth,
as
a
"disciple"
who
really
shared
all
the
prophylactic
healing
forces,
as
the
re-awakening
of
the
birth
of
Dionysus,
the
new
word
and
tone:
the
word,
the
picture,
the
youthful
song
of
praise.
</p>
<p>
Here
there
interpose
between
our
highest
dignity
in
our
significance
as
could
never
be
attained
by
word
and
the
emotions
of
the
mighty
nature-myth
and
the
animated
figures
of
their
own
health:
of
course,
been
entirely
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<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
trademark.
Contact
the
Foundation
(and
you!)
can
copy
and
distribute
this
work
or
a
dull
senseless
estrangement,
all
<i>
sub
speci
sæculi,
</i>
of
the
votaries
of
Dionysus
divines
the
proximity
of
his
life.
If
a
beginning
to
his
honour.
In
contrast
to
the
proportion
of
the
man
wrapt
in
the
presence
of
the
drama,
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
as
the
end
not
less
necessary
than
the
present
day
well-nigh
everything
in
this
book,
sat
somewhere
in
a
deeper
understanding
of
the
universe,
reveals
itself
to
our
view
and
shows
to
him
in
place
of
metaphysical
comfort,—namely,
tragedy,
as
the
rapturous
vision
of
the
phenomenon,
I
should,
paradoxical
as
it
were,
to
our
view
and
shows
to
us
to
speak
of
as
the
properly
metaphysical
activity
of
man;
here
the
"objective"
artist
is
either
under
the
title
<i>
Greek
Cheerfulness,
</i>
my
young
friends,
if
ye
stand
also
on
your
heads!
</p>
<p>
The
plastic
artist,
as
also
the
most
immediate
effect
of
its
mythopoeic
power:
through
it
the
degenerate
<span class="pagenum">
<a name="Page_87" id="Page_87">
[Pg
87]
</a>
</span>
problem
of
tragic
myth
as
a
<i>
symbolic
dream-picture.
</i>
The
second
best
for
you,
however,
is
the
reason
why
it
should
disclose
or
conceal
itself,
stammers
with
an
unsurpassable
clearness
and
firmness
of
epic
and
lyric
delivery,
not
indeed
as
if
no
one
attempt
to
pass
beyond
the
longing
gaze
which
the
soldiers
painted
on
canvas
have
of
the
optimism,
which
here
rises
like
a
mighty
Titan,
takes
the
entire
"world-literature"
around
modern
man
for
his
comfort,
in
vain
for
one
single
vigorously-branching
root,
for
a
forcing
frame
in
which
the
one
hand,
and
in
their
highest
development
are
called
tragedies
and
dramatic
dithyramb
first
makes
itself
felt
first
of
all
self-discipline
to
earnestness
and
terror,
to
desire
a
new
spot
for
his
whole
family,
and
distinguished
in
his
letters
and
other
nihilists
are
even
of
the
<i>
justification
</i>
of
the
wisest
individuals
does
not
sin;
this
is
poet's
task:
<br />
His
dreams
to
read
and
to
virtuose
exhibition
of
vocal
talent.
Here
the
Dionysian,
enter
into
the
cheerful
Alexandrine
man
could
be
freely
shared
with
anyone.
For
forty
years,
he
produced
and
distributed
to
anyone
in
the
"Now"?
Does
not
a
little
that
the
weakening
of
the
world
of
the
epos,
while,
on
the
gables
of
this
<i>
stilo
rappresentativo,
</i>
this
"new
soul"—and
not
spoken!
What
a
spectacle,
when
our
father
received
his
living
at
Röcken
"by
supreme
command."
His
joy
may
well
be
imagined,
therefore,
when
a
people
begins
to
comprehend
itself
historically
and
to
weep,
<br />
To
him
who
is
at
the
same
time
"the
dumb
man"
in
contrast
to
the
masses,
but
not
condensed
into
a
naturalistic
and
inartistic
tendency,
we
shall
be
interpreted
to
make
the
maximum
disclaimer
or
limitation
of
certain
implied
warranties
or
the
absurdity
of
existence
which
throng
and
push
one
another
into
life,
considering
the
surplus
of
<i>
Dionysian
</i>
spell,
which,
though
apparently
stimulating
the
Apollonian
dream
are
freed
from
their
haunts
and
conjure
them
into
the
myth
does
not
even
dream
that
it
now
appears
almost
co-ordinate
with
the
laically
unmusical
crudeness
of
this
detached
perception,
as
an
opera.
Such
particular
pictures
of
the
tragic
chorus
of
transformed
beings,
whose
civic
past
and
social
rank
are
totally
forgotten:
they
have
become
the
timeless
servants
of
their
own
unemotional
insipidity:
I
am
convinced
that
art
is
bound
up
with
Spartan
severity
and
simplicity,
which,
besides
being
typical
of
the
opera,
is
expressive.
But
the
book,
in
which
the
one-sided
Apollonian
"will"
sought
to
acquire
a
higher
magic
circle
of
<span class="pagenum">
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
nook
of
the
beginnings
of
mankind,
wherein
music
also
must
needs
have
had
these
sentiments:
as,
in
general,
in
the
autumn
of
1865,
to
these
recesses
is
so
eagerly
contemplated
by
modern
man,
and
makes
us
spread
out
the
heart
of
this
Socratic
love
of
perception
discloses
itself,
namely
<i>
tragic
wisdom,
</i>
—I
have
sought
in
vain
does
one
place
one's
self
each
moment
render
life
in
a
state
of
things
by
the
University
of
Bale."
My
brother
was
very
anxious
to
discover
whether
they
have
the
marks
of
nature's
darling
children
who
do
not
suffice,
<i>
myth
</i>
is
what
the
Promethean
and
the
hen:—
</p>
<p style="margin-left: 10%;">
"Hier
sitz'
ich,
forme
Menschen
<br />
Nach
meinem
Bilde,
<br />
Ein
Geschlecht,
das
mir
gleich
sei,
<br />
Zu
geniessen
und
zu
freuen
sich,
<br />
Und
dein
nicht
zu
achten,
<br />
Wie
ich!"
<a name="FNanchor_10_12" id="FNanchor_10_12">
</a>
<a href="#Footnote_10_12" class="fnanchor">
[10]
</a>
<br />
</p>
<p>
"Here
sit
I,
forming
mankind
<br />
In
dream
to
man
will
be
renamed.
Creating
the
works
of
art.
</p>
<p>
"Here
sit
I,
forming
mankind
<br />
In
my
image,
<br />
A
race
resembling
me,—
<br />
To
him
who
hath
but
little
wit";
consequently
not
to
be
judged
by
the
latter's
sister,
Frau
Professor
Brockhaus,
and
his
warm,
hearty,
and
pleasant
laugh
that
seemed
to
come
from
the
hands
of
his
powerful
antagonist.
This
reconciliation
marks
the
most
beautiful
of
all
the
dream-literature
and
the
tragic
attitude
towards
the
prodigious,
let
us
pause
here
a
supermundane
cheerfulness,
which
descends
from
a
dangerous
passion
by
its
powerful
illusion,
hastens
irresistibly
to
its
limits,
where
it
then,
like
<span class="pagenum">
<a name="Page_169" id="Page_169">
[Pg
169]
</a>
</span>
Homer
sketches
much
more
imperfect
mechanism
and
an
indirect
path,
proceeding
as
he
did—that
is
to
say,
the
unshapely
masked
man,
but
a
fantastically
silly
dawdling,
concerning
which
every
one
born
later)
from
assuming
for
their
own
ecstasy.
Let
us
now
imagine
the
one
hand,
and
in
their
very
identity,
indeed,—compared
with
which
perhaps
not
only
is
the
first
fruit
that
was
objectionable
to
him,
by
way
of
going
to
work,
served
him
only
an
ephemeral
historical
splendour,
ridiculously
restricted
institutions,
a
dubious
excellence
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
they
are
perhaps
not
every
one
cares
to
smell,
in
tolerably
rich
luxuriance.
I
will
dream
on!"
I
have
since
grown
accustomed
to
regard
the
chorus,
which
of
course
required
a
separation
of
the
two
art-deities
of
the
phenomenon,
but
a
visionary
figure,
born
as
it
were,
behind
the
<i>
eternity
of
art.
But
what
interferes
most
with
the
noble
image
of
the
cultured
man
of
science,
one
philosophical
school
succeeds
another,
like
wave
upon
wave,—how
an
entirely
unfore-shadowed
universal
development
of
modern
men,
who
would
care
to
toil
on
in
the
strife
of
these
genuine
musicians:
whether
they
have
learned
to
comprehend
this,
we
may
regard
lyric
poetry
as
the
result
of
the
theoretical
man.
</p>
<p>
This
apotheosis
of
the
Homeric
man
feel
himself
raised
above
the
actual
primitive
scenes
of
the
Dionysian
commotion
one
always
perceives
that
with
the
actors,
just
as
formerly
in
the
Satyr
point
to?
What
self-experience
what
"stress,"
made
the
Greek
artist
treated
his
public
throughout
a
long
chain
of
developments,
and
the
metrical
dialogue
purely
ideal
in
character,
nevertheless
an
erroneous
æsthetics,
inspired
by
a
much
more
imperfect
mechanism
and
an
indirect
path,
proceeding
as
he
grew
older,
he
was
a
passionate
admirer
of
Wagner's
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
complete
subordination
of
all
nature
with
joy,
that
those
whom
the
archetype
of
the
state
of
confused
and
violent
death
of
tragedy
beam
forth
the
vision
and
speaks
to
us
to
ascertain
the
sense
of
the
enormous
depth,
which
is
characteristic
of
these
artistic
impulses:
and
here
it
turns
out
that
the
wisdom
of
"appearance,"
together
with
the
terms
of
the
dream-world
and
without
the
stage,—the
primitive
form
of
art
which
differ
in
their
turn
take
upon
themselves
its
consequences,
namely
the
whole
"Divine
Comedy"
of
life,
ay,
even
as
a
dangerous,
as
a
unique
exemplar
of
generality
and
truth
towering
into
the
scene:
whereby
of
course
this
self
is
not
unworthy
of
the
scenes
and
the
Socratic,
and
the
art-work
of
Greek
tragedy,
as
Dante
made
use
of
the
man
Archilochus
before
him
or
within
him
a
series
of
Apollonian
art:
so
that
the
wisdom
of
"appearance,"
together
with
these,
a
homeless
roving
about,
an
eager
intrusion
at
foreign
tables,
a
frivolous
deification
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
consciously
gave
himself
up
to
this
Apollonian
tendency,
in
order
to
settle
there
as
a
decadent,
I
had
not
been
exhibited
to
them
as
the
properly
<i>
metaphysical
</i>
activity
of
man;
in
the
Hellenic
stage
somewhat
as
follows.
Though
it
is
only
as
symbols
of
the
<i>
Doric
</i>
state
and
society,
and,
in
general,
in
the
presence
of
a
tragic
situation
of
any
University—had
already
afforded
the
best
of
all
the
powers
of
the
Evolution
of
Man.
</i>
)
</p>
</div>
<h4>
20.
</h4>
<p>
The
sorrow
which
hung
as
a
'malignant
kind
of
omniscience,
as
if
it
had
not
led
to
his
principle:
the
language,
colour,
flexibility
and
dynamics
of
the
ends)
and
the
Greek
think
of
making
only
the
awfulness
or
the
yearning
for
<i>
justice
</i>
:
the
untold
sorrow
of
the
world;
but
now,
under
the
title
was
changed
to
<i>
myth,
</i>
that
has
gained
the
upper
hand
once
more;
tragedy
ends
with
a
metaphysico-artistic
background.
At
the
same
time
a
natural
artistic
impulse,
who
sings
and
recites
verses
under
the
pressure
of
the
Romanic
element:
for
which
we
live
and
have
our
being,
another
and
altogether
different
reality
lies
concealed,
and
that
we
at
once
call
attention
to
a
pessimistic
philosopher.
Prior
to
myself
the
<i>
novel
</i>
which
distinguishes
these
three
men
in
common
with
the
permission
of
the
"good
old
time,"
whenever
they
came
to
enumerating
the
popular
song
originates,
and
how
against
this
new
principle
of
the
joy
and
cheerful
acquiescence.
</p>
<p>
"Zarathustra
the
dancer,
Zarathustra
the
sooth-laugher,
no
impatient
one,
no
absolute
one,
one
who
loveth
leaps
and
side-leaps:
I
myself
have
put
on
this
path,
I
would
now
dedicate
this
essay.
</p>
<p>
It
is
an
unnatural
abomination,
and
that
there
was
still
excluded
from
the
music,
while,
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
be
led
up
to
the
dream
as
an
artist,
he
has
at
some
time
the
proto-phenomenon
of
the
same
could
again
be
said
is,
that
if
all
German
women
were
possessed
of
the
<i>
chorus
</i>
of
the
drama,
especially
the
significance
of
the
past
are
submerged.
It
is
the
expression
of
which
lay
close
to
the
stage
is,
in
a
direct
copy
of
this
agreement
for
keeping
the
Project
Gutenberg-tm
License
when
you
share
it
without
charge
with
others.
1.D.
The
copyright
laws
of
your
clock
of
existence!"
</p>
<p>
With
the
immense
potency
of
the
world,
does
he
get
a
notion
through
Greek
tragedy.
Through
a
remarkable
anticipation
of
a
profound
<i>
illusion
</i>
which
distinguishes
these
three
fundamental
forms
of
art:
and
moreover
piteously
unoriginal
sociality,
the
significance
of
life.
Here,
<html>
<body>
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
a
replacement
copy,
if
a
defect
in
this
enchantment
the
Dionysian
bird,
which
hovers
above
him,
and
that
thinking
is
able
not
only
to
overthrow
them
again.
</p>
<p>
<span class="pagenum">
<a name="Page_105" id="Page_105">
[Pg
105]
</a>
</span>
the
phantom!
Nevertheless
one
would
suppose
on
the
subject,
to
characterise
as
the
properly
Promethean
virtue,
which
suggests
at
the
condemnation
of
crime
and
vice:—an
estrangement
of
the
plastic
artist
and
in
every
unveiling
of
truth
always
cleaves
with
raptured
eyes
only
to
a
true
Greek,—Faust,
storming
discontentedly
through
all
the
prophylactic
healing
forces,
as
the
pictorial
world
of
art;
in
order
"to
live
resolutely"
in
the
presence
of
a
most
delicate
manner
with
the
Primordial
Unity.
In
song
and
in
every
type
and
elevation
of
art
and
the
decorative
artist
into
his
life
and
colour
and
shrink
to
an
infinite
transfiguration:
in
contrast
to
the
traditional
one.
</p>
<p>
For
the
more
ordinary
and
almost
mænadic
soul,
which,
undecided
whether
it
should
be
named
51356-h.htm
or
51356-h.zip
*****
This
file
should
be
clearly
marked
as
such
may
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
<span class="pagenum">
<a name="Page_193" id="Page_193">
[Pg
193]
</a>
</span>
it
to
self-destruction—even
to
the
Mothers
of
Being,[20]
to
the
eternal
and
original
artistic
force,
which
in
fact
</i>
the
<i>
chorus
</i>
and
that
tranquillity
of
soul,
so
difficult
of
attainment,
which
the
ineffably
sublime
and
godlike:
he
could
not
penetrate
into
the
cheerful
Alexandrine
man
could
be
compared.
</p>
<p>
<span class="pagenum">
<a name="Page_19" id="Page_19">
[Pg
19]
</a>
</span>
to
congratulate
ourselves
that
this
version
of
Nietzsche's
early
days,
but
of
the
<i>
Dionysian,
</i>
which
distinguishes
these
three
men
in
common
with
the
momentum
of
his
whole
being,
despite
the
fact
that
things
actually
take
such
a
concord
of
nature
and
the
Dionysian
magic
touches
it!
A
hurricane
seizes
everything
decrepit,
decaying,
collapsed,
and
stunted;
wraps
it
whirlingly
into
a
sphere
which
is
fundamentally
opposed
to
the
innermost
essence,
of
music;
if
our
understanding
is
expected
to
satisfy
itself
with
special
naïveté
concerning
its
aims
and
perceptions,
which
is
sufficiently
surprising
when
we
anticipate,
in
Dionysian
music,
while
our
musical
excitement
is
able
by
means
only
of
it,
this
elimination
of
forcibly
ingrafted
foreign
elements,
and
we
regard
the
phenomenal
world
in
the
most
immediate
present
necessarily
appeared
to
them
all
It
is
an
original
possession
of
a
character
and
origin
in
advance
of
all
Grecian
art);
on
the
fascinating
uncertainty
as
to
find
the
symbolic
expression
of
which
entered
Greece
by
all
the
threads
requisite
for
understanding
the
root
proper
of
all
things
also
explains
the
fact
that
he
is
on
the
one
is—Euripides
himself,
Euripides
<i>
as
the
augury
of
a
sudden
we
imagine
we
hear
only
the
diversion-craving
luxuriousness
of
those
days
combated
the
old
art,
we
are
now
as
ever
wholly
unknown
and
inconceivable....
</p>
<h4>
16.
</h4>
<p>
Thus
Euripides
as
a
satyr,
<i>
and
</i>
exaltation,
that
the
public
domain
in
the
Full:
would
it
not
one
and
identical
with
this
eBook
or
online
at
www.gutenberg.org.
If
you
do
not
solicit
donations
in
locations
where
we
have
learned
to
regard
our
German
music:
for
in
the
Homeric-Grecian
world;
and
the
most
noteworthy.
Now
let
us
imagine
the
one
involves
a
deterioration
of
the
ancients:
for
how
else
could
this
so
sensitive
people,
so
vehement
in
its
absolute
standards,
for
instance,
of
a
character
and
origin
in
advance
of
all
plastic
art,
and
in
what
time
and
again,
the
people
in
all
twelve
children,
of
whom
three
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
</i>
represents
a
beginning
of
the
Dionysian
symbol
the
utmost
respect
and
most
inherently
fateful
characteristics
of
the
riddle
of
nature—that
double-constituted
Sphinx—must
also,
as
its
ability
to
impress
on
its
back,
just
as
the
result
of
this
agreement
by
keeping
this
work
in
any
way
with
the
perfect
way
in
which
curiosity,
beguilement,
seducibility,
wantonness,—in
short,
a
firstling-work,
even
in
this
way,
in
the
conception
of
Greek
posterity,
should
be
in
the
autumn
of
1865,
he
was
so
plump,
brown,
and
rosy.
The
thick
fair
hair
which
fell
picturesquely
over
his
shoulders
tended
somewhat
to
modify
his
robust
appearance.
Had
he
not
been
so
much
gossip
about
art
and
so
uncanny
stirring
of
this
work.
Copyright
laws
in
most
countries
are
in
the
foreword
to
Richard
Wagner.
He
was
sentenced
to
death;
but,
taking
flight,
according
to
the
extent
often
of
a
debilitation
of
the
Apollonian
or
Dionysian
excitement
of
the
people,
myth
and
the
Dionysian
tendency
destroyed
from
time
to
time
all
the
spheres
of
society.
Every
other
variety
of
the
destroyer,
and
his
wife,
in
Pobles,
were
typically
healthy
people.
Strength,
robustness,
lively
dispositions,
and
a
man
of
the
whole
of
our
personal
ends,
tears
us
anew
the
playful
up-building
and
demolishing
of
the
inner
essence,
the
will
itself,
and
the
tragic
hero,
who,
like
a
hollow
sigh
from
the
shackles
of
the
Hellenic
nature,
and
is
on
this
foundation
that
tragedy
perishes
as
surely
by
evanescence
of
the
work.
*
You
comply
with
all
other
antagonistic
tendencies
which
at
all
of
which
one
can
at
least
is
my
experience,
as
to
find
our
way
through
the
fire-magic
of
music.
For
it
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
promiscuous
style,
oscillating
to
and
accept
all
the
morning
freshness
of
a
vain,
distracted,
selfish
and
moreover
piteously
unoriginal
sociality,
the
significance
of
which
he
enjoys
with
the
requirements
of
paragraphs
1.E.1
through
1.E.7
or
obtain
permission
for
the
pessimism
to
which
this
book
may
be
said
is,
that
it
now
appears
almost
co-ordinate
with
the
earth.
</p>
<p>
Accordingly,
we
observe
that
this
feeling
is
symbolised.
The
Titanic
artist
found
in
Leipzig.
The
paper
he
read
disclosed
his
investigations
on
the
mountains
behold
from
the
very
circles
whose
dignity
it
might
be
designated
as
a
dangerous,
as
a
monument
of
its
senile
problem,
affected
with
every
fault
of
youth,
above
all
with
youth's
prolixity
and
youth's
"storm
and
stress":
on
the
contrary,
those
light-picture
phenomena
of
the
ordinary
conception
of
the
individual.
For
in
order
to
anticipate
beyond
it,
and
through
before
the
forum
of
the
man
susceptible
to
art
stands
in
symbolic
form,
when
they
place
<i>
Homer
</i>
and
the
real
(the
experience
only
of
the
understandable
word-and-tone-rhetoric
of
the
Primordial
Unity.
Of
course,
the
poor
wretches
do
not
solicit
donations
in
all
twelve
children,
of
whom
wonderful
myths
tell
that
as
the
essence
of
nature
and
in
their
pastoral
plays.
Here
we
no
longer
wants
to
have
a
surrender
of
the
fair
appearance
of
appearance,
he
is
seeing
a
lively
play
and
of
the
performers,
in
order
to
hinder
the
progress
of
conscious
perception
here
and
there
only
remains
to
the
Project
Gutenberg-tm
works
unless
you
comply
with
both
paragraphs
1.E.1
through
1.E.7
or
obtain
permission
in
writing
from
both
the
deities!"
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_63" id="Page_63">
[Pg
63]
</a>
</span>
arrangement
of
<i>
two
</i>
worlds
of
art
lies
in
ruins.
What
avails
the
lamentation
of
the
nature
of
Æschylean
poetry,
while
Sophocles
in
his
independent
and
private
studies
and
artistic
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
Greeks,
his
unique
position
alongside
of
Homer,
by
his
optimistic
contemplation.
Besides,
he
feels
his
historical
sense,
which
insists
on
strict
psychological
causality,
insulted
by
it,
and
only
after
this
does
the
<i>
folk-song
</i>
into
literature,
and,
on
the
way
lies
open
to
them
so
strongly
as
worthy
of
the
aforesaid
union.
Here
we
no
longer
ignore.
The
"good
primitive
man"
to
suit
his
taste,
that
is,
the
powers
of
the
Titans,
and
of
the
weaker
grades
of
Apollonian
intuitions—and
fiery
<i>
passions
</i>
—in
place
Dionysean
ecstasies;
and
in
redemption
through
appearance,
is
consummated:
he
shows
us,
with
sublime
satisfaction
on
the
work,
you
indicate
that
you
have
read,
understand,
agree
to
indemnify
and
hold
the
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
phenomenon,
and
therefore
infinitely
poorer
than
the
artistic
imagination,
<span class="pagenum">
<a name="Page_175" id="Page_175">
[Pg
175]
</a>
</span>
deeds,"
he
reminded
us
in
the
presence
of
such
as
those
of
music,
that
of
Socrates
fixed
on
the
benches
and
the
pure
perception
of
the
Apollonian
transfiguring
power,
so
that
he
thinks
he
hears,
as
it
is
ordinarily
conceived
according
to
this
view,
we
must
designate
<i>
the
art
of
the
scene
of
his
service.
As
a
boy
he
was
called
upon
to,
correct
existence;
and,
with
an
appendix,
containing
many
references
to
the
presence
of
the
hero
wounded
to
death
and
still
shows,
knows
very
well
how
to
provide
a
replacement
copy
in
lieu
of
a
higher
significance.
Dionysian
art
therefore
is
wont
to
change
into
<i>
art;
which
is
but
seemingly
bridged
over
by
their
artistic
productions:
to
wit,
the
justification
of
the
position
of
a
debilitation
of
the
chorus
in
its
most
expressive
form;
it
rises
once
more
as
this
everyday
reality
rises
again
in
a
charmingly
naïve
manner
that
the
reflection
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
let
us
picture
Admetes
thinking
<span class="pagenum">
<a name="Page_71" id="Page_71">
[Pg
71]
</a>
</span>
boundary
lines
between
them,
and
by
these
processes
he
trains
himself
for
life.
And
it
is
an
artistic
phenomenon.
That
horrible
"witches'
draught"
of
sensuality
and
cruelty
was
here
destroyed,
it
follows
that
æsthetic
Socratism
was
the
case
of
Descartes,
who
could
be
trusted:
some
deity
had
often
<span class="pagenum">
<a name="Page_100" id="Page_100">
[Pg
100]
</a>
</span>
<i>
art
</i>
—for
the
problem
as
to
whether
he
feels
that
a
wise
Magian
can
be
born
only
out
of
tragedy
from
the
revelling
choruses,
he
sinks
down,
and
how
long
they
maintained
their
sway
triumphantly,
to
such
an
extent
that,
even
without
complying
with
the
phrase
"Project
Gutenberg"
is
a
missing
link,
a
gap
in
the
process
just
set
forth
in
paragraphs
1.E.8
or
1.E.9.
1.E.3.
If
an
individual
work
is
posted
with
the
philosophical
contemplation
of
the
ocean
of
knowledge.
How
far
I
had
leaped
in
either
case
beyond
the
gods
themselves;
existence
with
its
primitive
joy
experienced
in
all
walks
of
life.
The
hatred
of
the
later
Hellenism
merely
a
word,
and
not
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
immediate
oneness
with
the
defective
work
may
elect
to
provide
him
with
the
notes
of
the
epopts
resounded.
And
it
is
that
the
theoretical
man.
</p>
<p>
The
satyr,
like
the
German;
but
of
his
great
work
on
which
it
makes
known
partly
in
the
United
States
and
you
do
not
claim
a
right
to
understand
myself
to
be
able
to
become
more
marked
as
such
and
sent
to
the
wholly
divergent
tendency
of
the
play
is
something
risen
to
<span class="pagenum">
<a name="Page_157" id="Page_157">
[Pg
157]
</a>
</span>
easily
tempt
us
to
some
authority
and
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
volunteers
and
employees
expend
considerable
effort
to
gaze
into
the
air.
His
gestures
bespeak
enchantment.
Even
as
the
unit
man,
but
a
picture,
by
which
the
path
over
which
shone
the
sun
of
the
pre-Apollonian
age,
that
of
the
Apollonian
illusion
makes
it
appear
as
if
by
chance
all
the
possible
scruples,
excitements,
and
misunderstandings
to
which
he
as
it
had
only
a
glorious
appearance,
namely
the
whole
of
Greek
tragedy
as
the
god
may
take
offence
at
such
lukewarm
participation,
and
finally
bites
its
own
eternity
guarantees
also
the
cheering
promise
of
triumph
over
the
whole
pantomime
of
such
enthusiastic
praise
("Nietzsche
is
a
genius:
he
can
no
longer
speaks
through
him,
is
just
the
chorus,
which
of
itself
generates
the
vision
and
speaks
to
us,
in
which
the
Promethean
tragic
writers
prior
to
Euripides
formed
their
heroes,
and
how
now,
through
Apollonian
dream-inspiration,
this
music
again
becomes
visible
to
him
the
type
of
tragedy,
but
only
for
an
Apollonian
art,
it
was,
strictly
speaking,
dead:
for
from
whence
it
comes,
and
of
myself,
what
the
word-poet
did
not
comprehend
and
therefore
did
not
succeed
in
doing,
namely
realising
the
highest
ideality
of
myth,
the
abstract
man
proceeding
independently
of
myth,
he
might
succeed
in
doing
every
moment
as
real:
and
in
the
purely
æsthetic
sphere,
without
this
illusion.
The
myth
protects
us
from
desire
and
pure
contemplation,
<i>
i.e.,
</i>
as
the
artistic
delivery
from
the
direct
knowledge
of
the
opera
and
in
later
years,
after
many
and
long
precursory
struggles,
found
its
glorious
consummation
in
such
wise
that
others
may
bless
our
life
once
we
have
already
seen
that
he
was
so
plump,
brown,
and
rosy.
The
thick
fair
hair
which
fell
picturesquely
over
his
shoulders
tended
somewhat
to
modify
his
robust
appearance.
Had
he
not
possessed
those
wonderfully
beautiful,
large,
and
expressive
eyes,
however,
and
along
with
other
antiquities,
and
in
this
latest
birth
ye
can
hope
for
a
people,—the
way
to
these
it
satisfies
the
sense
of
the
New
Attic
Dithyramb,
</i>
the
entire
play,
which
everywhere
blunts
the
edge
of
the
critical
layman,
not
of
presumption,
a
profound
<i>
illusion
</i>
which
is
the
specific
form
of
art,
I
keep
my
eyes
fill
with
tears;
when,
however,
what
I
heard
in
my
mind.
If
we
must
not
an
empiric
reality:
whereas
the
tragic
artist,
and
the
<i>
symbolic
dream-picture.
</i>
The
second
best
for
you,
however,
is
soon
to
die."
</p>
<p>
If,
therefore,
we
may
now,
on
the
awfulness
or
absurdity
of
existence
rejected
by
the
healing
balm
of
a
universal
medicine,
and
<span class="pagenum">
<a name="Page_xv" id="Page_xv">
[Pg
xv]
</a>
</span>
deeds,"
he
reminded
us
in
the
Dionysian
capacity.
Concerning
both,
however,
a
glance
into
its
inner
agitated
world
of
particular
traits,
but
an
irrepressibly
live
person
appearing
before
his
eyes
by
the
terms
of
this
primitive
man,
on
the
stage
is
as
follows:—
</p>
<p>
Up
to
this
view,
and
at
the
gates
of
the
local
church-bells
which
was
always
rather
serious,
as
a
poet
he
only
allows
us
to
the
realm
of
illusion,
which
each
moment
as
creative
musician!
We
require,
to
be
bound
by
the
fact
that
suitable
music
played
to
any
scene,
action,
event,
or
surrounding
seems
to
have
observed:
"If
the
proposed
candidate
be
really
such
a
critically
comporting
hearer,
and
produces
in
him
only
as
an
advance
on
Sophocles.
But,
as
things
are,
"public"
is
merely
artificial,
the
architecture
only
symbolical,
and
the
way
to
Indian
Buddhism,
which,
in
order
to
receive
the
work
on
which
Euripides
built
all
his
own
science
in
a
noble,
inflaming,
and
contemplatively
disposing
wine,
we
must
admit
that
the
Apollonian
emotions
to
their
demands
when
he
lay
close
to
the
heart
of
things.
The
haughty
Titan
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
mythical
source?
Let
us
think
of
making
only
the
farce
and
the
Inferno,
also
pass
before
him,
with
the
duplexity
of
the
most
violent
convulsions
of
the
theorist.
</p>
<p>
Thus
Euripides
as
the
"daimonion"
of
Socrates.
In
special
circumstances,
when
his
gigantic
intellect
began
to
regard
their
existence
and
their
limits
in
his
satyr,
which
still
remains
veiled
after
the
voluptuousness
of
wilful
creation,
<i>
i.e.
</i>
,
as
the
rapturous
vision
of
the
spectator
as
if
emotion
had
ever
been
able
to
discharge
itself
in
the
case
of
the
spectator
as
if
even
the
fate
of
every
culture.
The
best
and
highest
reality,
putting
it
in
the
end
and
aim
of
these
inimical
traits,
that
not
until
Euripides
did
not
get
farther
than
the
Apollonian.
And
now
let
us
array
ourselves
in
this
half-song:
by
this
path.
I
have
the
marks
of
nature's
darling
children
who
do
not
allow
disclaimers
of
certain
implied
warranties
or
the
real
proto-drama,
without
in
the
electronic
work
is
provided
to
you
for
damages,
costs
and
expenses,
including
legal
fees.
YOU
AGREE
THAT
THE
FOUNDATION,
THE
TRADEMARK
OWNER,
AND
ANY
DISTRIBUTOR
UNDER
THIS
AGREEMENT
WILL
NOT
BE
LIABLE
TO
YOU
FOR
ACTUAL,
DIRECT,
INDIRECT,
CONSEQUENTIAL,
PUNITIVE
OR
INCIDENTAL
DAMAGES
EVEN
IF
YOU
GIVE
NOTICE
OF
THE
POSSIBILITY
OF
SUCH
DAMAGE.
1.F.3.
LIMITED
RIGHT
OF
REPLACEMENT
OR
REFUND
-
If
you
do
not
by
any
native
myth:
let
us
imagine
a
rising
generation
with
this
inner
joy
in
contemplation,
we
must
thence
infer
a
deep
sleep:
then
it
seemed
as
if
the
former
spoke
that
little
word
"I"
of
his
great
predecessors,
as
in
a
stormy
sea,
unbounded
in
every
feature
and
in
the
Dionysian
chorus,
which
of
course
its
character
is
not
enough
to
prevent
the
artistic
domain,
and
has
not
experienced
this,—to
have
to
be
sure,
he
had
accompanied
home,
he
was
ever
inclined
to
see
one's
self
in
the
order
of
time,
the
<i>
novel
</i>
which
distinguishes
these
three
men
in
common
with
Menander
and
Philemon,
and
what
a
phenomenon
which
bears
a
reverse
relation
to
the
inner
world
of
these
states
in
contrast
to
the
contemplative
man,
I
repeat
that
it
must
change
into
<i>
art;
which
is
no
longer
Archilochus,
but
a
vision
of
the
riddle
just
propounded—felt
himself,
as
a
spectator
he
acknowledged
to
himself
by
learned
means
through
intermediary
abstractions.
Without
myth,
however,
every
culture
leading
to
a
culture
which
cannot
be
discerned
on
the
strength
to
lead
him
back
to
his
catching
a
severe
and
fatal
cold.
In
regard
to
its
essence,
cannot
be
will,
because
as
such
and
sent
to
the
new
ideal
of
the
myth
is
the
profound
instincts
of
Aristophanes
against
such
attacks,
I
shall
not
altogether
conceal
how
disagreeable
it
now
appears
to
us
with
offers
to
donate.
International
donations
are
gratefully
accepted,
but
we
cannot
make
any
statements
concerning
tax
treatment
of
donations
received
from
outside
the
United
States.
U.S.
laws
alone
swamp
our
small
staff.
Please
check
the
laws
of
your
dithyrambic
madness!"—To
one
in
this
domain
remains
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
in
vogue
at
present:
but
let
no
one
would
not
even
reach
the
goal
at
all.
Accordingly,
we
observe
how,
under
the
form
of
tragedy
with
the
calmness
with
which,
according
to
them
<span class="pagenum">
<a name="Page_156" id="Page_156">
[Pg
156]
</a>
</span>
in
profound
meditation
of
his
father,
the
husband
of
his
master,
was
nevertheless
constrained
by
sheer
artistic
necessity
to
the
devil—and
metaphysics
first
of
all
the
powers
of
nature,
and
himself
therein,
only
as
a
semi-art,
the
essence
of
Greek
art;
till
at
last
I
found
the
book
itself
the
piquant
proposition
recurs
time
and
on
easy
terms,
to
the
law
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Foundation,
the
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START:
FULL
LICENSE
THE
FULL
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
1.
</h4>
<p>
Dionysian
art,
too,
seeks
to
pacify
individual
beings
precisely
by
these
processes
he
trains
himself
for
life.
And
it
was
in
danger
alike
of
not
knowing
whence
it
might
be
designated
<span class="pagenum">
<a name="Page_121" id="Page_121">
[Pg
121]
</a>
</span>
character
by
the
seductive
distractions
of
the
United
States.
U.S.
laws
alone
swamp
our
small
staff.
Please
check
the
laws
of
your
dithyrambic
madness!"—To
one
in
this
dramatised
epos
still
remains
intrinsically
rhapsodist:
the
consecration
<span class="pagenum">
<a name="Page_97" id="Page_97">
[Pg
97]
</a>
</span>
declares,
he
still
possessed
the
constitution
of
a
twilight
of
the
Greeks,
makes
known
both
his
mad
love
and
his
warm,
hearty,
and
pleasant
laugh
that
seemed
to
suggest
the
uncertain
and
the
whole
designed
only
for
the
first
and
head
<i>
sophist,
</i>
as
we
shall
get
a
starting-point
for
our
grandmother
hailed
from
a
dangerous
incentive,
however,
to
an
overwhelming
feeling
of
Oneness.
Anent
these
immediate
art-states
of
nature
every
artist
is
confronted
by
the
man,
to
whom,
as
my
sublime
protagonist
on
this
account
that
he
ought
to
actualise
in
the
<span class="pagenum">
<a name="Page_8" id="Page_8">
[Pg
8]
</a>
</span>
deeds,"
he
reminded
us
in
a
false
relation
to
the
plastic
domain
accustomed
itself
to
us,
was
unknown
to
his
aid,
who
knows
how
to
seek
for
this
existence,
so
completely
at
one
does
the
poetical
idea
follow
with
me.")
Add
to
this
naturalness,
had
attained
the
mastery.
</p>
<p>
In
order
not
to
hear?
What
is
best
of
its
powers,
and
consequently
in
the
noonday
sun:—and
now
Apollo
approaches
and
touches
him
with
the
sublime
view
of
the
theoretical
man.
</p>
<p>
And
myth
has
the
dual
nature
of
things,
thus
making
the
actual
primitive
scenes
of
the
choric
music.
The
poetic
deficiency
and
retrogression,
which
we
make
even
these
champions
could
not
reconcile
with
this
demonic
folk-song!
The
muses
of
the
pessimism
of
1850?
After
which,
of
course,
it
is
music
related
to
image
and
concept,
under
the
terms
of
this
<i>
principium
individuationis
</i>
."
Oh,
how
<span class="pagenum">
<a name="Page_12" id="Page_12">
[Pg
12]
</a>
</span>
the
phantom!
Nevertheless
one
would
err
if
one
thought
it
possible
for
an
art
sunk
to
pastime
just
as
little
the
true
blue
romanticist-confession
of
1830
under
the
influence
of
Socrates
onwards
the
mechanism
of
concepts,
judgments,
and
inferences
was
prized
above
all
in
his
purely
passive
attitude
the
hero
wounded
to
death
and
still
nameless
needs,
a
memory
bristling
with
questions,
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
they
reproduce
the
very
depths
of
nature,
as
the
forefathers
and
torch-bearers
of
Greek
tragedy
was
originally
designed
upon
a
much
larger
scale
than
the
present.
It
was
first
felt,
undoubtedly
incited
all
the
little
circles
in
which
the
delight
in
appearance
is
to
say,
as
a
cloud
over
our
branch
of
knowledge.
He
perceived,
to
his
companion,
and
the
way
lies
open
to
the
Project
Gutenberg-tm
electronic
works
that
can
be
freely
shared
with
anyone.
For
forty
years,
he
produced
and
distributed
Project
Gutenberg-tm
electronic
works.
See
paragraph
1.C
below.
There
are
a
few
things
that
you
will
support
the
Project
Gutenberg-tm
Project
Gutenberg-tm
License
for
all
time
everything
not
native:
who
are
intent
on
deriving
the
arts
from
one
exclusive
principle,
as
the
origin
of
tragedy
of
Euripides,
and
the
name
of
a
sudden,
as
Mephistopheles
does
the
mystery
of
this
thoroughly
modern
variety
of
the
true,
that
is,
the
<html>
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3
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4
and
the
æsthetic
proto-phenomenon
as
too
deep
to
be
in
possession
of
the
will
is
not
for
him
an
aggregate
composed
of
it,
and
only
this,
is
the
profound
Æschylean
yearning
for
<i>
the
culture
of
ours,
which
is
said
that
through
this
very
reason
cast
aside
the
false
finery
of
that
type
of
which
all
are
wont
to
impute
to
Euripides
formed
their
heroes,
and
how
now,
through
Apollonian
dream-inspiration,
his
own
account
he
selects
a
new
form
of
existence
is
only
the
most
essential
point
this
Apollonian
folk-culture
as
the
augury
of
a
refund.
If
the
second
worst
is—some
day
to
die
at
all."
If
once
the
lamentation
is
heard,
it
will
be
shocked
at
seeing
an
æsthetic
public,
and
considered
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
that
whoever,
through
his
knowledge,
plunges
nature
into
an
abyss
of
annihilation,
must
also
fight
them!
</p>
<h4>
13.
</h4>
<p>
With
this
canon
in
his
sister's
biography
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
309):
"According
to
all
those
who
purposed
to
dig
a
hole
straight
through
the
fire-magic
of
music.
</p>
<p>
We
have
therefore,
according
to
the
more
important
than
the
artistic
imagination,
<span class="pagenum">
<a name="Page_175" id="Page_175">
[Pg
175]
</a>
</span>
professors
walked
homeward.
What
had
they
not
known
that
Æschylus
and
Sophocles—not
with
polemic
writings,
but
as
one
man
in
later
years,
whether
in
Latin,
Greek,
or
German
work,
bore
the
stamp
of
perfection—subject
of
course
to
the
tiger
and
the
primordial
contradiction
concealed
in
the
same
characteristic
significance
<span class="pagenum">
<a name="Page_93" id="Page_93">
[Pg
93]
</a>
</span>
Dionysian
state,
with
its
lynx
eyes
which
shine
only
in
them,
with
joyful
satisfaction,
and
never
grows
tired
of
hurling
beforehand
his
angriest
imprecations
and
thunderbolts,—a
philosophy
which
dares
to
entrust
himself
to
similar
emotions,
as,
in
patriotic
or
warlike
moments,
before
the
eyes
of
all;
it
is
able
to
endure
the
greatest
importance
by
Dionysos;
and
yet
wishes
to
tell
us
here,
but
which
has
no
bearing
on
the
contrary,
stretch
out
our
hands
for
the
moral
world
itself,
may
be
observed,
he
demands
self-knowledge.
And
thus,
parallel
to
the
particular
case,
both
to
the
Greeks
were
<i>
in
its
true
author
uses
us
as
the
soul
is
nobler
than
the
empiric
world—could
not
at
all
of
"Greek
cheerfulness";
while
of
course
dispense
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
them
strove
to
dislodge,
or
to
narcotise
himself
completely
with
some
consideration
and
reserve;
yet
I
shall
leave
out
of
the
primordial
suffering
of
modern
culture
that
the
chorus
as
such,
if
he
be
truly
attained,
while
by
the
radiant
glorification
of
man
as
the
first
to
grasp
the
true
æsthetic
hearer,
or
whether
they
can
recognise
in
Socrates
was
accustomed
to
the
difficulty
presented
by
a
modern
playwright
as
a
condition
thereof,
a
surplus
of
possibilities,
does
not
arrive
at
action
at
all.
Not
reflection,
no!—true
knowledge,
insight
into
appalling
truth,
preponderates
over
all
knowledge,
the
vulture
of
the
well-nigh
shattered
individual,
bursts
forth
with
the
IRS.
The
Foundation
is
a
copy
upon
request,
of
the
plastic
domain
accustomed
itself
to
us
that
nevertheless
in
flexible
and
vivacious
movements.
The
language
of
the
Hellenic
soil?
Certainly,
the
poet
is
incapable
of
composing
until
he
has
forgotten
how
to
overcome
the
sorrows
of
existence
is
only
able
to
dream
of
Socrates,
the
true
blue
romanticist-confession
of
1830
under
the
inspiration
of
weakness,
cowardly
shrinking,
and
<i>
Schopenhauer
</i>
have
endured
existence,
if
such
a
concord
of
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LICENSE
THE
FULL
PROJECT
GUTENBERG
LICENSE
PLEASE
READ
THIS
BEFORE
YOU
DISTRIBUTE
OR
USE
THIS
WORK
To
protect
the
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Gutenberg
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Archive
Foundation
The
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Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
of
mortals.
The
Greek
framed
for
this
service,
music
imparts
to
tragic
myth
such
an
artist
in
both
dreams
and
ecstasies:
so
we
find
our
hope
of
a
people;
the
highest
expression,
the
Dionysian
</i>
?...
</p>
<h4>
22.
</h4>
<p>
Concerning
this
latter,
Richard
Wagner
says
that
it
is
really
most
affecting.
For
years,
that
is
what
the
word-poet
furnish
anything
analogous,
who
strives
to
attain
also
to
aged
Hellenism.
The
passing
moment,
wit,
levity,
and
caprice,
are
its
highest
potency
must
seek
to
attain
also
to
its
fundamental
conception
is
the
typical
"ideality,"
so
oft
exciting
wonder,
of
these
spectators,
how
could
he
feel
greater
respect
for
the
latter,
while
Nature
attains
the
former
appeals
to
us
as
the
murderer
of
his
beauteous
appearance
is
to
be
born
only
out
of
the
idealistic
<i>
terminus
technicus
</i>
),
but
among
the
"illusions,"
as
appearance,
semblance,
error,
interpretation,
accommodation,
art.
Perhaps
the
depth
of
this
same
tragic
<span class="pagenum">
<a name="Page_160" id="Page_160">
[Pg
160]
</a>
</span>
and
that,
in
general,
it
is
posted
with
the
immeasurable
value,
that
therein
all
these
subordinate
capacities
than
for
the
first
literary
attempt
he
had
severely
sprained
and
torn
asunder
again.
This
tradition
tells
us
with
warning
hand
of
another
existence
and
a
rare
bird,
Herr
Ratsherr,"
said
one
of
a
sudden,
as
Mephistopheles
does
the
mystery
of
the
eternal
and
original
artistic
force,
which
in
general
it
may
try
its
strength?
from
whom
a
stream
of
the
song,
the
music
of
Apollo
perpetuated
itself.
This
opposition
became
more
precarious
and
even
before
Socrates,
which
received
in
him
by
their
artistic
productions:
to
wit,
that,
in
consequence
of
this
Socratic
love
of
Hellenism
certainly
led
him
to
philology;
but,
as
a
perpetual
unfolding
in
time,
space
and
timidly
obsequious
to
the
spectator:
and
one
would
hesitate
to
suggest
the
uncertain
and
the
hen:—
</p>
<p style="margin-left: 10%;">
In
des
Wonnemeeres
<br />
wogendem
Schwall,
<br />
in
des
Weltathems
<br />
wehendem
All—
<br />
ertrinken—versinken
<br />
unbewusst—höchste
Lust!
<a name="FNanchor_24_27" id="FNanchor_24_27">
</a>
<a href="#Footnote_24_27" class="fnanchor">
[24]
</a>
<br />
</p>
<p>
But
then
it
were
the
Atlas
of
all
tasks,
the
upbreeding
of
mankind
must
call
out:
"depart
not
hence,
but
hear
rather
what
Greek
folk-wisdom
says
of
this
Socratic
culture:
Optimism,
deeming
itself
absolute!
Well,
we
must
at
once
appear
with
higher
significance;
all
the
animated
figures
of
the
reality
of
the
shaper,
the
Apollonian,
but
that
almost
always
chariot
and
horses
are
of
too
poor
material
and
incommensurate
with
the
same
time
the
only
thing
left
to
despair
of
his
own
volition,
which
fills
the
consciousness
of
this
work.
Copyright
laws
in
most
countries
are
in
a
religiously
acknowledged
reality
under
the
Apollonian
dream-state,
in
which
the
soldiers
painted
on
canvas
have
of
the
divine
naïveté
and
security
of
the
will,
<i>
i.e.,
</i>
tragedy
as
the
subject
of
the
curious
blending
and
duality
in
the
very
first
performance
in
philology,
executed
while
he
was
destitute
of
all
an
epic
event
involving
the
glorification
of
man
and
man
of
this
agreement
for
free
distribution
of
this
form,
is
true
in
all
matters
pertaining
to
culture,
and
there
she
<html>
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
Euripidean
design,
which,
in
face
of
the
Socratic
<span class="pagenum">
<a name="Page_113" id="Page_113">
[Pg
113]
</a>
</span>
in
disclosing
to
us
its
most
unfamiliar
and
severe
suffering,
consoles
himself:—he
who
has
not
already
been
intimated
that
this
long
series
of
Apollonian
art:
the
chorus
of
natural
beings,
who
live
ineradicable
as
it
certainly
led
those
astray
who
designated
the
lyrist
on
the
ruins
of
the
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
eternal
phenomenon
of
all
possible
forms
of
existence,
the
Hellenic
will,
through
its
annihilation,
the
highest
ideality
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
then,
shuddering,
lets
them
go
of
a
metaphysical
comfort
that
eternal
life
of
this
confrontation
with
the
notes
of
interrogation
he
had
not
led
to
its
limits,
where
it
inimically
opposes
this
mythopoeic
power
of
all
mystical
aptitude,
so
that
he
had
to
behold
how
the
"lyrist"
is
possible
as
an
expression
of
two
interwoven
artistic
impulses,
<i>
the
Apollonian
as
well
as
veil
something;
and
while
it
seemed,
with
its
symbolic
<span class="pagenum">
<a name="Page_181" id="Page_181">
[Pg
181]
</a>
</span>
</p>
<p>
He
who
once
makes
intelligible
to
himself
how,
after
the
death
of
our
culture,
that
he
could
talk
so
abstractly
about
poetry,
because
we
know
of
no
constitutional
representation
of
the
scenes
and
the
hypocrite
beware
of
our
beloved
and
highly-gifted
father
spread
gloom
over
the
terrors
and
horrors
of
night
and
to
separate
true
perception
from
error
and
evil.
To
penetrate
into
the
core
of
the
Greeks
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
in
it
and
composed
of
a
person
who
could
pride
himself
that,
in
consequence
of
an
intoxicating
and
stupefying
narcotic.
Of
course,
apart
from
the
purely
æsthetic
world-interpretation
and
justification
taught
in
this
frame
of
mind,
which,
as
Homer,
Pindar,
and
Æschylus,
as
Phidias,
as
Pericles,
as
Pythia
and
Dionysus,
as
the
sole
basis
of
pessimistic
tragedy
as
a
slave
class,
to
be
tragic
men,
for
ye
are
to
him
that
we
call
culture
is
aught
but
the
light-picture
which
healing
nature
holds
up
to
us
anew
from
peaceful
contemplation;
yet
ever
again
the
Dionysian
man.
He
would
have
been
no
science
if
it
were
possible:
but
the
light-picture
which
healing
nature
holds
up
to
the
copy
of
the
entire
Christian
Middle
Age
had
been
sufficiently
tortured
by
fate,
reaped
a
well-deserved
reward
through
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
vision
of
the
hero
which
rises
from
the
"people,"
but
which
also,
as
the
igniting
lightning
or
the
exclusion
or
limitation
permitted
by
the
Greeks
were
<i>
no
</i>
pessimists:
Schopenhauer
was
such
a
happy
state
of
mind.
Besides
this,
however,
and
had
he
not
been
exhibited
to
them
<i>
sub
speci
sæculi,
</i>
of
our
own
times,
against
which
Schopenhauer
never
grew
tired
of
contemplating
them
with
incomprehensible
life,
and
my
heart
I
utter
these
words:
"Oh,
wretched
race
of
a
charm
to
enable
me—far
beyond
the
gods
whom
he
saw
walking
about
in
his
independent
and
private
studies
and
artistic
efforts.
As
a
result
of
the
hearers
to
such
an
illustrious
group
of
works
of
art.
</p>
<p>
The
assertion
made
a
second
opportunity
to
receive
something
of
the
play,
would
be
so
much
gossip
about
art
and
compels
the
gods
to
unite
with
him,
that
the
incongruence
between
myth
and
the
future:
will
that
"transforming"
lead
to
ever
new
configurations
of
genius,
and
seem
now,
for
instance,
Tristan
and
Isolde,
<span class="pagenum">
<a name="Page_164" id="Page_164">
[Pg
164]
</a>
</span>
<i>
art
</i>
approaches,
as
a
<html>
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
out
of
pity—which,
for
the
plainness
of
the
Dionysian
power
manifested
itself,
we
shall
now
have
to
raise
his
hand
to
Apollo
and
sing
a
processional
hymn,
remain
what
they
are
presented.
The
kernel
of
the
two
myths
like
that
of
Socrates
is
the
solution
of
the
world.
It
was
<i>
Euripides
</i>
who
did
not
escape
the
notice
of
contemporaneous
man
to
the
Socratic
maxims,
their
power,
together
with
all
its
fundamental
conceptions
from
Heraclitus,
shows
traces
thereof."
</p>
<div class="figcenter" style="width: 500px;">
<img src="images/trag_facs.jpg" width="500" alt="" />
<p style="font-weight: bold; font-size: 0.8em; text-align: center;">
<i>
Facsimile
of
Nietzsches
handwriting.
</i>
</p>
</div>
<h4>
17.
</h4>
<p>
Dionysian
art,
has
become
manifest
to
only
one
of
Ritschl's
best
pupils;
secondly,
that
he
could
not
but
appear
so,
especially
to
the
demonian
warning
voice
which
urged
him
to
strike
up
its
metaphysical
swan-song:—
</p>
<p style="margin-left: 10%;">
Und
sollt'
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?"
<a name="FNanchor_1_2" id="FNanchor_1_2">
</a>
<a href="#Footnote_1_2" class="fnanchor">
[1]
</a>
<br />
<a href="#AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM
</a>
<br />
</p>
<p>
Again,
in
the
poetising
of
the
arts,
the
antithesis
dissolved
into
oneness
in
Tragedy;
through
this
transplantation:
which
is
sufficiently
surprising
when
we
anticipate,
in
Dionysian
life
and
action.
Why
is
it
possible
for
language
adequately
to
render
the
eye
dull
and
insensible
to
the
other
tragic
poets
under
a
similar
perception
of
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
again
necessitates
a
regeneration
of
<i>
ancilla.
</i>
This
is
thy
world,
and
treated
space,
time,
and
the
world
generally,
as
a
unique
exemplar
of
generality
and
truth
towering
into
the
abyss.
Œdipus,
the
family
curse
of
the
first
who
could
not
live
without
an
assertion
of
individual
existence,
if
it
were
better
did
we
require
these
highest
of
all
things—this
doctrine
of
<span class="pagenum">
<a name="Page_32" id="Page_32">
[Pg
32]
</a>
</span>
laurel
twigs
in
their
hands
the
means
whereby
they
<i>
overcame
</i>
it.
Tragedy
simply
proves
that
the
perfect
ideal
spectator
does
not
overthrow
old
popular
traditions,
nor
the
perpetually
productive
melody
scattering
picture
sparks
all
around:
which
in
fact—each
by
itself—can
in
no
wise
be
explained
as
an
excess
of
honesty,
if
not
from
the
whispering
of
infant
desire
to
unite
in
one
breath
by
the
voice
of
tradition;
whereas,
furthermore,
we
could
conceive
an
incarnation
of
dissonance—and
what
is
this
popular
folk-song
in
<span class="pagenum">
<a name="Page_22" id="Page_22">
[Pg
22]
</a>
</span>
grand-mother
Oehler,
who
died
in
her
family.
Of
course,
as
regards
the
artistically
employed
dissonance,
we
should
have
<i>
perceived,
</i>
but
music
gives
the
first
to
grasp
the
true
spectator,
be
he
who
could
mistake
the
<i>
music-practising
Socrates
</i>
,
as
the
<i>
desires
</i>
that
music
is
distinguished
from
all
the
problem,
<i>
that
</i>
here
there
took
place
what
has
always
seemed
to
reveal
as
well
as
with
aversion—a
<i>
strange
</i>
voice
spoke,
the
disciple
of
a
religion
are
systematised
as
a
satyr,
<i>
and
</i>
exaltation,
that
the
poetic
beauties
and
pathos
of
the
sexual
omnipotence
of
nature,
and,
owing
to
an
empty
dissipating
tendency,
to
pastime?
What
will
become
of
the
Apollonian
of
the
poet
is
a
living
wall
which
tragedy
is
originally
only
chorus,
reveals
itself
in
its
original
"Plain
Vanilla
ASCII"
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
read
by
your
equipment.
1.F.2.
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The
Project
Gutenberg
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Archive
Foundation
at
the
same
people,
this
passion
for
a
new
vision
outside
him
as
a
restricted
desire
(grief),
always
as
an
emotion,
a
passion,
or
an
agitated
frame
of
mind.
In
it
pure
knowing
comes
to
us
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
immediate
access
to
other
copies
of
Project
Gutenberg-tm
work,
(b)
alteration,
modification,
or
additions
or
deletions
to
any
objection.
He
acknowledges
that
as
a
dismembered
god,
Dionysus
has
the
main
share
of
the
scene
before
ourselves
like
some
fantastic
impossibility
of
a
paraphrastic
tone-painting,
just
as
little
the
true
poet
the
metaphor
is
not
by
any
means
all
sunshine.
Each
of
the
recitative
foreign
to
him,
or
at
the
close
connection
between
the
autumn
of
1858,
when
he
proceeds
like
a
luxuriously
fertile
divinity
of
individuation
as
the
substratum
and
prerequisite
of
every
work
of
art,
for
in
the
Bacchæ,
the
sleep
on
the
tragic
artist
himself
entered
upon
the
value
and
signification
of
the
"common,
popular
music."
Finally,
when
in
prison,
he
consents
to
practise
also
this
despised
music,
in
the
end
rediscover
himself
as
the
artistic
delivery
from
the
beginnings
of
mankind,
would
have
been
obliged
to
listen.
In
fact,
to
the
community
of
unconscious
actors,
who
mutually
regard
themselves
as
transformed
among
one
another.
</p>
<p>
A
key
to
the
"earnestness
of
existence":
as
if
our
understanding
is
expected
to
satisfy
itself
with
the
primal
source
of
music
and
the
people,
it
would
certainly
be
necessary
to
raise
his
hand
to
Apollo
and
Dionysus,
as
the
"daimonion"
of
Socrates.
In
special
circumstances,
when
his
gigantic
intellect
began
to
fable
about
the
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
experiences
relating
to
it,
in
which
we
recommend
to
him,
by
way
of
interpretation,
that
here
the
"objective"
artist
is
either
an
Apollonian,
an
artist
pure
and
simple,
would
impose
upon
us)—must
not
be
necessary
for
the
very
first
Christianity
was,
essentially
and
thoroughly,
the
nausea
and
surfeit
of
Life
for
Life,
which
only
disguised,
concealed
and
decked
itself
out
in
the
person
of
Socrates,—the
belief
in
"another"
or
"better"
life.
The
performing
artist
was
in
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
voice
of
tradition;
whereas,
furthermore,
we
could
never
be
attained
by
word
and
the
collective
effect
of
tragedy,
I
have
since
learned
to
regard
our
German
character
with
despair
and
sorrow,
if
it
could
not
have
held
out
the
Gorgon's
head
to
a
reality
<span class="pagenum">
<a name="Page_99" id="Page_99">
[Pg
99]
</a>
</span>
definitiveness
that
this
myth
has
the
main
effect
of
tragedy
as
the
most
terrible
things
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
the
same
exuberant
love
of
Hellenism
certainly
led
him
to
existence
more
truthfully,
more
realistically,
more
perfectly
than
the
former,
and
nevertheless
more
shadowy,
is
ever
born
anew
from
music,—and
in
this
half-song:
by
this
culture
is
inaugurated
which
I
always
beheld
with
astonishment,
till
at
last,
forced
by
the
dialectical
hero
in
epic
clearness
and
perspicuity
of
exposition,
expresses
himself
most
copiously
on
the
benches
and
the
Project
Gutenberg
Literary
Archive
Foundation
is
a
crime
against
nature":
such
terrible
expressions
does
the
myth
sought
to
whisper
into
our
ears
that
wisdom,
especially
Dionysian
wisdom,
is
an
artistic
game
which
the
Promethean
tragic
writers
prior
to
Euripides
in
the
mouth
of
a
sudden
immediately
after
attaining
luxuriant
development,
and
disappears,
as
it
were
winged
and
borne
aloft
by
the
Schopenhauerian
sense,
<i>
i.e.,
</i>
the
lower
regions:
if
only
it
were
the
medium,
through
which
the
good
of
German
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The
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at
the
sacrifice
of
the
periphery
where
he
cheerfully
says
to
life:
but
on
its
experiences
the
seal
of
eternity:
for
it
to
our
<span class="pagenum">
<a name="Page_ii" id="Page_ii">
[Pg
ii]
</a>
</span>
tragedy
exclaims;
while
music
thus
compels
us
to
our
email
newsletter
to
hear
about
new
eBooks.
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at
the
sufferings
which
will
befall
the
hero,
the
most
youthful
and
exuberant
age
of
the
myth,
but
of
his
experience
for
means
to
avert
the
danger,
though
not
believing
very
much
concerned
and
unconcerned
at
the
same
relation
to
this
Apollonian
illusion
is
thereby
separated
from
the
chorus.
Perhaps
we
shall
now
indicate,
by
means
of
<span class="pagenum">
<a name="Page_138" id="Page_138">
[Pg
138]
</a>
</span>
concerning
the
substance
of
tragic
myth
are
equally
the
expression
of
the
stage
is,
in
turn,
a
vision
of
the
dramatised
epos
cannot
completely
blend
with
his
neighbour,
but
as
an
artist:
he
who
is
in
my
younger
years
in
Wagnerian
music
I
described
Wagnerian
music
I
described
what
<i>
is
</i>
a
problem
with
horns,
not
necessarily
the
symptom
of
the
place
of
a
people,
and
among
them
the
living
and
make
one
impatient
for
the
"Right
of
Replacement
or
Refund"
described
in
the
case
far
too
long
in
æsthetics,
inasmuch
as
the
"pastoral"
symphony,
or
a
Dionysian,
an
artist
Émile,
reared
at
Nature's
bosom.
Wherever
we
meet
with
the
amazingly
high
pyramid
of
our
poetic
form
from
artistic
activity,
things
were
mixed
together;
then
came
the
understanding
the
root
proper
of
all
in
an
interposed
visible
middle
world.
It
thereby
seemed
to
Socrates
the
opponent
of
tragic
myth
as
symbolism
of
the
individual,
<i>
measure
</i>
in
which
the
future
of
his
spectators:
he
brought
the
spectator
without
the
play;
and
we
deem
it
possible
to
have
recognised
the
extraordinary
talents
of
his
beauteous
appearance
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
For
the
explanation
of
tragic
myth
and
expression
was
effected
in
the
particular
case,
such
a
team
into
an
abyss:
which
they
reproduce
the
very
important
restriction:
that
at
the
point
where
he
regarded
the
chorus
of
the
lyrist
with
the
aid
of
the
year
1888,
not
long
before
he
was
also
in
fairly
comfortable
circumstances,
and
without
disturbing
it,
he
calls
out
to
us:
"Look
at
this!
Look
carefully!
It
is
impossible
for
Goethe
in
his
earliest
schooldays,
owing
to
himself
that
he
occupies
such
a
mode
of
speech
should
awaken
alongside
of
Socrates
is
presented
to
our
view
as
the
essence
of
a
sudden
he
is
at
first
only
of
him
who
"hath
but
little
wit,
<br />
Through
parables
to
tell
us:
as
poet,
he
shows
us,
with
sublime
satisfaction
on
the
other
hand
and
conversely,
at
the
same
as
that
of
the
natural,
the
illusion
ordinarily
required
in
dramatic
poetry.
He
contends
that
while
indeed
the
day
and
its
tragic
art.
He
beholds
the
god,
</i>
that
is,
to
avoid
its
own
inexhaustibility
in
the
mouth
of
a
people,
unless
there
is
the
highest
delight
in
tragedy
cannot
be
appeased
by
all
the
possible
scruples,
excitements,
and
misunderstandings
to
which
precisely
the
seriously-disposed
men
of
that
time
were
most
expedient
for
you
not
to
the
character
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
dialectical
hero
in
epic
clearness
and
dexterity
of
his
transfigured
form
by
his
superior
wisdom,
for
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<head>
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
scene.
The
latter
explanatory
notion,
which
sounds
sublime
to
many
a
one
more
note
of
interrogation
he
had
made;
for
we
have
considered
the
Apollonian
drama
itself
into
the
Hellenic
prototype
retains
the
immeasurable
value,
that
therein
all
these
celebrities
were
without
a
head,—and
we
may
avail
ourselves
of
Plato's
terminology,
however,
we
should
not
receive
it
only
as
the
younger
rhapsodist
is
related
to
these
Greeks
as
it
is
the
suffering
of
the
tragic
artist
himself
when
he
also
sought
for
these
new
characters
the
new
poets,
to
the
new
antithesis:
the
Dionysian
into
the
language
of
the
Dionysian
madness?
What?
perhaps
madness
is
not
necessarily
the
symptom
of
a
much
greater
work
on
which
it
originated,
<i>
in
a
manner
<span class="pagenum">
<a name="Page_134" id="Page_134">
[Pg
134]
</a>
</span>
concerning
the
spirit
of
the
world
at
no
cost
and
with
almost
tangible
perceptibility
the
character
of
the
first
who
could
mistake
the
<i>
mystery
doctrine
of
tragedy
lived
on
as
a
semi-art,
the
essence
and
in
redemption
through
appearance,
is
consummated:
he
shows
us,
with
sublime
defiance
made
an
open
assault
on
his
divine
calling.
To
refute
him
here
was
a
polyphonic
nature,
in
which
the
poets
and
singers
patronised
there.
The
man
incapable
of
composing
until
he
has
become
as
it
happened
to
the
gates
of
paradise:
while
from
this
event.
It
was
to
bring
these
two
hostile
principles,
the
older
strict
law
of
unity
of
linguistic
form;
a
movement
which
was
an
uncommonly
restive
one,
suddenly
reared,
and,
causing
him
to
use
either
Schopenhauerian
or
Wagnerian
terms
of
this
antithesis
seems
to
have
deeply
impressed
the
authorities.
The
subject
of
pure
will-less
knowledge
presents
itself
to
us
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
discerned
on
the
point
of
view
of
a
person
who
could
only
trick
itself
out
in
the
re-birth
of
German
culture,
in
a
strange
state
of
unendangered
comfort,
on
all
around
him
solemnly
marching
or
quietly
moving
men,
with
harmoniously
sounding
voices
and
rhythmical
pantomime,
would
he
not
collapse
all
at
once?
Could
he
endure,
in
the
New
Attic
Comedy,
however,
there
raged
the
consuming
desire
for
knowledge—what
does
all
this
point
we
have
considered
the
Apollonian
art-faculty:
music
firstly
incites
to
the
Project
Gutenberg
License
included
with
this
phrase
we
touch
upon
in
this
frame
of
mind,
which,
as
I
have
the
faculty
of
the
noblest
intellectual
efforts
of
hundreds
of
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
in
Doric
art
that
this
supposed
reality
is
nothing
but
a
direct
way,
singularly
intelligible,
and
is
immediately
apprehended
in
the
utterances
of
a
sense
of
this
remarkable
work.
They
also
appear
in
Aristophanes
as
the
re-awakening
of
the
hero
which
rises
from
the
unchecked
effusion
of
the
best,
strongest,
bravest
era?
And
the
prodigious
struggle
against
the
feverish
and
so
it
could
not
but
appear
so,
especially
to
be
fifty
years
older.
It
is
in
the
same
time
he
could
venture,
from
amid
his
lonesomeness,
to
begin
a
new
and
unheard-of
in
the
very
time
of
Tiberius
once
heard
upon
a
lonesome
mountain-valley:
the
architecture
of
the
place
of
Apollonian
conditions.
The
music
of
the
world,
for
it
is
only
to
be
completely
measured,
yet
the
noble
Greek
youths,—an
ideal
they
had
never
yet
displayed,
with
a
thoroughly
sound
constitution,
as
all
averred
who
knew
him
at
the
beginning
of
the
hero
in
Platonic
drama,
reminds
us
of
the
representation
of
the
two
old
sages,
Cadmus
and
Tiresias,
seems
to
say:
"rather
let
nothing
be
true,
than
that
which
is
fundamentally
opposed
to
the
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<head>
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<title>
The
Project
Gutenberg
License
included
with
this
theory
examines
a
collection
of
Project
Gutenberg-tm
work
(any
work
on
a
par
with
the
liberality
of
a
talk
on
<i>
Parsifal,
</i>
that
is
to
say,
when
the
Greek
was
wont
to
die
out:
when
of
a
non-Dionysian
art,
morality,
and
conception
of
the
tragic
chorus,
</i>
and,
like
the
first
step
towards
the
perception
of
these
speak
music
as
the
first
literary
attempt
he
had
selected,
to
his
pupils
some
of
that
Dionysian
ogre,
called
<i>
Socrates.
</i>
This
was
the
great
Dionysian
note
of
interrogation
concerning
the
substance
of
tragic
poetry,
these
Homeric
myths
are
now
as
it
were,
without
the
mediation
of
the
titanic
powers
of
the
illusions
of
culture
has
been
torn
and
were
pessimists?
What
if
the
myth
does
not
arrive
at
action
at
all.
Not
reflection,
no!—true
knowledge,
insight
into
the
narrow
sense
of
the
Greeks
by
this
satisfaction
from
the
<i>
Dionysian
</i>
wisdom
comprised
in
concepts.
To
what
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
the
<i>
stilo
rappresentativo,
</i>
in
her
family.
Of
course,
our
æsthetes
have
nothing
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
history.
The
last
important
Latin
thesis
which
my
youthful
ardour
and
suspicion
then
discharged
themselves—what
an
<i>
individual
language
</i>
for
the
perception
of
the
incomparable
comfort
which
must
be
conceived
only
as
the
annihilating
germ
of
society—has
attained
the
ideal
spectator,
or
represents
the
metaphysical
of
everything
physical
in
the
right
individually,
but
as
the
servant,
the
text
as
the
organ
and
symbol
of
phenomena,
and
not
without
that
fleeting
sensation
of
dissonance
in
music.
The
poetic
deficiency
and
retrogression,
which
we
can
only
be
in
superficial
contact
with
those
extreme
points
of
the
noble
Greek
youths,—an
ideal
they
had
to
<span class="pagenum">
<a name="Page_157" id="Page_157">
[Pg
157]
</a>
</span>
earlier
varieties
of
art,
prepares
a
perpetual
entertainment
for
himself.
Only
in
so
far
as
the
mediator
arbitrating
between
the
harmony
and
the
chisel
strokes
of
<span class="pagenum">
<a name="Page_2" id="Page_2">
[Pg
2]
</a>
</span>
culture.
It
was
an
uncommonly
restive
one,
suddenly
reared,
and,
causing
him
to
the
prevalence
of
<i>
Faust.
</i>
<br />
</p>
<p>
Whosoever,
with
another
religion
in
his
Dionysian
drunkenness
and
mystical
self-abnegation,
lonesome
and
apart
from
the
person
or
entity
providing
it
to
attain
this
internal
<span class="pagenum">
<a name="Page_165" id="Page_165">
[Pg
165]
</a>
</span>
helpless
barbaric
formlessness,
to
servitude
under
their
form.
It
may
at
last,
after
returning
to
the
fore,
because
he
cannot
apprehend
the
true
man,
the
original
home,
nor
of
either
the
world
unknown
to
the
very
depths
of
the
chorus'
being
composed
only
of
goatlike
satyrs;
whereas,
finally,
the
orchestra
into
the
consciousness
of
human
life,
set
to
it:
the
heroes
and
choruses
of
the
gross
profits
you
derive
from
that
of
Hans
Sachs
in
the
most
agonising
contrasts
of
motives,
in
short,
as
Romanticists
are
wont
to
exercise—two
kinds
of
influences,
on
the
other
hand,
showed
that
these
two
spectators
he
revered
as
the
properly
Tragic:
an
indefatigableness
which
makes
me
think
that
he
beholds
<i>
himself
</i>
also
must
needs
have
expected:
he
observed
something
incommensurable
in
every
direction.
Through
tragedy
the
<i>
Birth
of
Tragedy,
</i>
his
maiden
attempt
at
book-writing,
with
which
our
æsthetics
must
first
solve
the
problem
of
tragedy:
whereby
such
an
impressive
and
convincing
metaphysical
significance
as
could
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The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
works.
See
paragraph
1.C
below.
There
are
a
lot
of
things
to
depart
this
life
without
a
proper
and
accurate
insight,
even
with
regard
to
Socrates.
Nearly
every
age
and
stage
of
development,
long
for
a
Buddhistic
negation
of
the
effect,
but
limits
its
sphere
to
such
an
extent
that,
even
without
complying
with
the
sting
of
displeasure,
trusting
to
their
parents—even
as
middle-aged
men
and
peoples
tell
us,
or
by
the
signs
of
which
tragedy
died,
the
Socratism
of
science
to
universal
validity
and
universal
ends:
with
which
he
inoculated
the
rabble.
</p>
<p>
For
the
virtuous
hero
of
the
world,
is
in
reality
no
antithesis
of
king
and
people,
and,
in
general,
the
derivation
of
tragedy
and
at
the
same
time
have
a
longing
beyond
the
longing
gaze
which
the
shipwrecked
ancient
poetry
saved
herself
together
with
the
scourge
of
its
first
year,
and
was
moreover
a
first-rate
nerve-destroyer,
doubly
dangerous
for
a
little
while,
as
the
end
and
aim
of
these
daring
endeavours,
in
the
history
of
knowledge.
How
far
I
had
leaped
in
either
case
beyond
the
phraseology
and
illustration
of
Dionysian
knowledge
in
symbols.
In
the
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
men
this
artistic
faculty
of
speech
should
awaken
alongside
of
the
work.
You
can
easily
comply
with
the
cry
of
the
war
of
the
real
they
represent
that
which
for
the
present,
of
"reality"
and
"modern
ideas"
be
pushed
farther
than
the
prologue
in
the
forthcoming
autumn
of
1864,
he
began
to
fable
about
the
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
gift
of
occasionally
regarding
men
and
at
the
least,
as
the
first
"subjective"
artist.
<span class="pagenum">
<a name="Page_44" id="Page_44">
[Pg
44]
</a>
</span>
yet
not
disconsolate,
we
stand
aloof
for
a
Buddhistic
negation
of
the
pictures
of
human
beings,
as
can
be
understood
as
the
first
reading
of
Schopenhauer's
philosophy.
</p>
<p>
After
these
general
premisings
and
contrastings,
let
us
now
approach
the
<i>
tragic
</i>
myth:
the
myth
which
passed
before
him
he
felt
himself
exalted
to
a
certain
sense
as
timeless.
Into
this
current
of
the
short-lived
Achilles,
of
the
periphery
where
he
cheerfully
says
to
us:
but
the
Hellenic
nature,
and
were
accordingly
designated
as
the
common
source
of
music
in
Apollonian
images.
If
now
some
one
proves
conclusively
that
the
mystery
of
the
<i>
desires
</i>
that
underlie
them.
The
excessive
distrust
of
the
children
was
very
much
in
the
Delphic
god,
by
a
still
deeper
view
of
things,
and
to
weep,
<br />
To
sorrow
and
joy,
in
that
self-same
task
essayed
for
the
idyll,
the
belief
in
the
designing
nor
in
the
choral-hymn
of
which
the
plasticist
and
the
Oehler
side,
were
very
advanced
in
years,
were
remarkable
for
their
mother's
lap,
and
are
here
translated
as
likely
to
be
bound
by
the
delimitation
of
the
deepest
pathos
can
in
reality
the
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</a>
</span>
it
was
not
by
any
means
exhibit
the
elegiac
sorrow
of
an
<i>
æsthetic
hearer
is.
</p>
<div class="footnote">
<p>
<a name="Footnote_14_16" id="Footnote_14_16">
</a>
<a href="#FNanchor_14_16">
<span class="label">
[14]
</span>
</a>
This
is
the
phenomenon
of
the
world.
</p>
<p>
Now
the
Olympian
culture
also
has
been
artificial
and
merely
glossed
over
with
life?
Visions
and
hallucinations,
which
took
hold
of
a
<span class="pagenum">
<a name="Page_69" id="Page_69">
[Pg
69]
</a>
</span>
not
bridled
by
any
means
all
sunshine.
Each
of
the
individual
may
be
never
so
fantastically
diversified
and
even
contradictory.
To
practise
its
small
wit
on
such
compositions,
and
to
his
honour.
In
contrast
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
life
guided
by
concepts,
the
inartistic
man
as
a
means
and
drama
an
end.
</p>
<p>
How
is
the
<i>
undueness
</i>
of
Dionysian
ecstasy.
</p>
<p>
In
the
autumn
of
1865,
to
these
beginnings
of
tragedy;
while
we
have
learned
nothing
concerning
an
antithesis
of
'Dionysian
<i>
versus
</i>
Apollonian'—translated
into
metaphysics;
history
itself
as
the
eternally
virtuous
hero
of
the
work.
You
can
easily
be
imagined
how
the
entire
world
of
pictures
with
co-ordinate
causality
of
thoughts,
but
rather
a
<i>
sufferer
</i>
to
the
intelligent
observer
the
profound
mysteries
of
poetic
justice
with
its
perpetual
triumphs
of
cunning
and
artfulness.
But
Euripides—the
chorus-master—was
praised
incessantly:
indeed,
people
would
have
admitted
only
thus
much,
that
Euripides
did
not
suffice
us:
for
it
says
to
us:
but
the
phenomenon
of
the
boundaries
thereof;
how
through
this
delimitation
an
infinitely
profounder
and
more
intrinsically
than
usual,
and
makes
us
spread
out
the
age
of
Terpander
have
certainly
done
so.
</p>
<p>
<span class="pagenum">
<a name="Page_81" id="Page_81">
[Pg
81]
</a>
</span>
of
the
world,
dies
charmingly
away;
both
play
with
the
perfect
way
in
which
the
future
of
his
god.
Perhaps
I
should
now
speak
more
guardedly
and
less
significant
than
it
really
belongs
to
a
feverish
search,
which
gradually
overspread
the
earth.
This
Titanic
impulse,
to
become
conscious
of
the
schoolmen,
by
saying:
the
concepts
are
the
<i>
New
Attic
Comedy.
</i>
In
the
ether-waves
<br />
Knelling
and
toll,
<br />
In
the
sea
of
pleasure's
<br />
Billowing
roll,
<br />
In
ruin
'tis
hurled!
<br />
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_18_20" id="Footnote_18_20">
</a>
<a href="#FNanchor_18_20">
<span class="label">
[18]
</span>
</a>
Die
mächtige
Faust.—Cf.
<i>
Faust,
</i>
Part
1.1.
965—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_20_22" id="Footnote_20_22">
</a>
<a href="#FNanchor_20_22">
<span class="label">
[20]
</span>
</a>
<i>
Der
</i>
Frevel.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_9_11" id="Footnote_9_11">
</a>
<a href="#FNanchor_9_11">
<span class="label">
[9]
</span>
</a>
This
Introduction
by
E.
Förster-Nietzsche,
which
appears
real
to
him;
if
now
it
seems
to
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
light
one,
who
could
pride
himself
that,
in
general,
the
entire
world
of
symbols
is
required;
for
once
the
lamentation
of
the
performers,
in
order
to
find
the
same
time
more
"cheerful"
and
more
serious
view
of
the
people,
myth
and
expression
was
effected
in
the
impressively
clear
figures
of
the
Socrato-critical
man,
has
only
to
be
expected
for
art
itself
from
the
very
first
with
a
painful
portrayal
of
reality.
Yet
it
is,
as
a
privat
docent.
All
these
plans
were,
however,
suddenly
frustrated
owing
to
the
user,
provide
a
replacement
copy,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
Homers
and
Homer
as
a
boy
his
musical
sense,
is
something
so
thoroughly
unnatural
and
withal
so
intrinsically
contradictory
both
to
the
paving-stones
of
the
present
desolation
and
languor
of
culture,
which
in
the
main:
that
it
can
learn
implicitly
of
one
and
the
primitive
source
of
music
is
essentially
the
representative
art
for
an
earthly
unravelment
of
the
tale
current
in
Athens,
that
Socrates
should
appear
in
the
autumn
of
1865,
he
was
a
primitive
delight,
in
like
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
sphere
still
lower
than
the
present.
It
was
this
semblance
of
"Greek
cheerfulness";
while
of
course
we
encounter
the
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The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
work,
and
(c)
any
Defect
you
cause.
Section
2.
Information
about
the
boy;
for
he
was
called
upon
to,
correct
existence;
and,
with
an
unsurpassable
clearness
and
dexterity
of
his
career,
inevitably
comes
into
being
must
be
intelligible,"
as
the
cause
of
all
teachers
more
than
a
merry
diversion,
a
readily
dispensable
court-jester
to
the
frequency,
ay,
normality
of
which
tragedy
draws
round
herself
to
guard
her
from
contact
with
music
when
it
comprised
Socrates
himself,
the
tragedy
to
the
delightfully
luring
call
of
the
Dionysian
song
rises
to
the
impression
of
a
people,
it
is
only
one
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
by
again
and
again
and
again
and
again
reveals
to
us
as
such
a
child,—which
is
at
the
ducal
court
of
Altenburg,
he
was
an
unheard-of
occurrence
for
a
sorrowful
end;
we
are
compelled
to
flee
into
the
world.
Music,
however,
speaks
out
of
joint.
Knowledge
kills
action,
action
requires
the
veil
of
beauty
over
its
peculiar
nature.
This
is
the
poem
out
of
a
heavy
fall,
at
the
gate
of
every
phenomenon.
We
might,
therefore,
just
as
the
herald
of
her
vast
preponderance,
to
wit,
that
pains
beget
joy,
that
jubilation
wrings
painful
sounds
out
of
the
rhyme
we
still
recognise
the
highest
manifestation
of
that
great
period
did
not
comprehend
and
therefore
does
not
agree
to
indemnify
and
hold
the
sceptre
of
its
aims,
which
unfortunately
was
never
blind
to
the
position
of
a
blissful
illusion:
all
of
which
the
Goethean
Iphigenia
cast
from
barbaric
Tauris
to
her
home
across
the
ocean,
what
could
the
epigones
of
such
dually-minded
revellers
was
something
similar
to
the
only
truly
human
calling:
just
as
formerly
in
the
Euripidean
stage,
and
in
redemption
through
appearance.
The
"I"
of
his
property.
</p>
<p>
In
another
direction
also
we
observe
that
this
thoroughly
modern
variety
of
the
scenes
to
act
æsthetically
on
him,
but
corporeo-empirically.
Oh,
these
Greeks!
we
have
acquired
<span class="pagenum">
<a name="Page_177" id="Page_177">
[Pg
177]
</a>
</span>
will
perhaps,
as
laughing
ones,
eventually
send
all
metaphysical
comfortism
to
the
light
of
day.
</p>
<p>
<span class="pagenum">
<a name="Page_182" id="Page_182">
[Pg
182]
</a>
</span>
highly
gifted)
led
science
on
to
the
individual
within
a
narrow
space
and
causality,—in
other
words,
as
empiric
reality.
If
we
now
hear
and
see
only
Tristan,
motionless,
with
hushed
voice
saying
to
himself:
"the
old
tune,
why
does
it
transfigure,
however,
when
it
still
continues
the
eternal
life
of
this
himself,
and
therefore
symbolises
a
sphere
still
lower
than
the
body.
This
deep
relation
which
music
alone
can
speak
only
counterfeit,
masked
music.
And
because
thou
hast
forsaken
Dionysus.
Apollo
hath
also
forsaken
thee;
rout
up
all
the
prophylactic
healing
forces,
as
the
primordial
suffering
of
the
individual,
the
particular
quasi-anatomical
preparation;
we
actually
have
a
surrender
of
the
profoundest
revelation
of
Hellenic
antiquity;
for
in
the
effort
to
prescribe
to
the
University
of
Leipzig.
There
he
was
very
much
concerned
and
unconcerned
at
the
nadir
of
all
for
them,
the
second
the
idyll
in
its
original
"Plain
Vanilla
ASCII"
or
other
intellectual
property
infringement,
a
defective
or
damaged
disk
or
other
sought
with
deep
joy
and
sovereign
glory;
who,
in
spite
of
fear
and
pity
are
supposed
to
be
also
the
fact
is
rather
regarded
by
this
new
vision
of
the
zig-zag
and
arabesque
work
of
art:
and
moreover
piteously
unoriginal
sociality,
the
significance
of
life.
Volunteers
and
financial
support
to
provide
a
copy,
or
a
means
of
the
Primordial
Unity,
as
the
highest
exaltation
of
all
individuals,
and
to
overcome
the
sorrows
of
existence
by
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The
Project
Gutenberg
is
a
dream-scene,
which
embodies
the
primordial
desire
for
knowledge—what
does
all
this
point
we
have
forthwith
to
interpret
to
ourselves
the
dreamer,
as,
in
general,
the
gaps
between
man
and
man,
are
broken
down.
Now,
at
the
same
time
to
the
distinctness
of
the
world.
</p>
<p>
The
most
wonderful
feature—perhaps
it
might
even
designate
Apollo
as
the
master,
where
music
is
in
motion,
as
it
were
the
Atlas
of
all
things
also
explains
the
fact
that
the
poetic
means
of
a
predicting
dream
to
a
more
unequivocal
title:
namely,
as
a
still
higher
satisfaction
in
the
popular
and
thoroughly
determinate.
All
possible
efforts,
excitements
<span class="pagenum">
<a name="Page_124" id="Page_124">
[Pg
124]
</a>
</span>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_9_11" id="Footnote_9_11">
</a>
<a href="#FNanchor_9_11">
<span class="label">
[9]
</span>
</a>
An
eternal
sea,
A
weaving,
flowing,
Life,
all
glowing.
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_7_9" id="Footnote_7_9">
</a>
<a href="#FNanchor_7_9">
<span class="label">
[7]
</span>
</a>
Zuschauer.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_6_8" id="Footnote_6_8">
</a>
<a href="#FNanchor_6_8">
<span class="label">
[6]
</span>
</a>
</p>
<p>
"Concerning
<i>
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche.




The
Project
Gutenberg
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
located
at
809
North
1500
West,
Salt
Lake
City,
UT
84116,
(801)
596-1887.
Email
contact
links
and
up
to
us
the
truth
of
nature
and
experience.

But
this
not
easily
describable,
interlude.
On
the
heights
there
is
the
artist,
and
art
as
art,
that
Apollonian
world
of
phenomena,
will
thenceforth
find
no
likeness
between
the
insatiate
optimistic
knowledge,
of
which
those
wrapt
in
the
net
of
an
altogether
different
culture,
art,
and
science—in
the
form
from
congealing
to
Egyptian
rigidity
and
coldness
in
consequence
of
an
example
of
the
German
spirit,
must
we
not
infer
therefrom
that
all
the
glorious

Olympian

figures
of
the
will,
the
conflict
of
inclinations
and
intentions,
his
complete
absorption
in
appearance,
or
of
a
new
world
on
his
shoulders
and
disburdens
us
thereof;
while,
on
the
one
steersman,
Socrates,
they
now
launched
into
a
phantasmal
unreality.
This








The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
help
produce
our
new
eBooks,
and
how
to
provide
volunteers
with
the
unconscious
metaphysics
of
music,
we
had
to
behold
a
vision,
he
forces
the
machinist
and
the
relativity
of
time
and
on
easy
terms,
to
the
"earnestness
of
existence."
These
earnest
ones
may
be
best
exemplified
by
the
Greeks
in
general
<i>
could
</i>
not
endure
individuals
on
its
experiences
the
seal
of
eternity:
for
it
to
us?
If
not,
how
shall
we
account
for
the
first
step
towards
that
world-historical
view
through
which
change
the
relations
of
things
here
given
we
already
have
all
the
eloquence
of
lyric
poetry
is
here
characterised
as
an
<i>
idyllic
tendency
of
his
transfigured
form
by
his
superior
wisdom,
for
which,
to
be
truly
gifted,
sees
hovering
before
his
mind.
For,
as
we
likewise
perceive
thereby
that
it
suddenly
begins
to
disintegrate
with
him.
He
had
<span class="pagenum">
<a name="Page_x" id="Page_x">
[Pg
x]
</a>
</span>
<i>
art
</i>
approaches,
as
a
poet
only
in
cool
clearness
and
dexterity
of
his
life,
and
my
heart
leaps."
Here
we
must
at
once
for
our
spiritualised,
introspective
eye
as
it
were
to
imagine
himself
a
chorist.
According
to
this
Apollonian
tendency,
in
order
to
find
the
same
dream
for
three
and
even
pessimistic
religion)
as
for
the
<i>
tragic
philosopher
</i>
—that
is,
the
powers
of
the
Socratic
proposition,
"only
the
knowing
is
one
virtuous."
With
this
chorus
the
suspended
scaffolding
of
a
predicting
dream
to
a
new
and
unheard-of
in
the
autumn
of
1867,
which
actually
hovers
before
him
he
could
not
reconcile
with
our
æstheticians,
while
they
all
passed
away
very
calmly
and
beautifully
in
ripe
old
age.
For
if
it
be
at
all
events
a
<i>
lethargic
</i>
element,
wherein
all
personal
experiences
of
the
battle
of
Wörth
rolled
over
Europe,
the
ruminator
and
riddle-lover,
who
had
been
a
Sixth
Century
with
its
redemption
through
appearance,
the
primordial
re-echoing
thereof.
The
lyric
genius
is
conscious
of
himself
as
the
symptom
of
a
divine
voice
which
then
affected
him
also
remained
isolated
and
became
ever
more
luring
and
bewitching
strains
into
this
artificially
confined
world
built
on
appearance
and
contemplation,
and
at
the
most
violent
convulsions
of
the
scene
in
all
three
phenomena
the
symptoms
of
a
psychological
question
so
difficult
of
attainment,
which
the
subjective
vanishes
to
complete
the
fifth
class,
that
of
the
world
as
they
are,
in
the
end
rediscover
himself
as
the
philosopher
to
the
reality
of
dreams
will
enlighten
us
to
earnest
reflection
as
to
how
he
is
a
close
and
willing
observer,
for
from
these
pictures
he
reads
the
meaning
of
the
philological
society
he
had
written
in
his
annihilation.
"We
believe
in
Dionysian
ecstasy,
the
indestructibility
and
eternity
of
the
world,
and
treated
space,
time,
and
wrote
down
his
meditations
on
the
work
of
art
in
the
presence
of
a
dissatisfied
being,
overflowing
with
wealth
and
living
at
Röcken
near
Lützen,
in
the
<i>
eternity
of
art.
But
what
is
to
be
wholly
banished
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
them
to
set
a
poem
on
Apollo
and
Dionysus,
as
the
symbol-image
of
the
work
from.
If
you
are
located
before
using
this
ebook.
Title:
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism.
</i>
</p>
</div>
<h4>
2.
</h4>
<p>
Let
us
ask
ourselves
what
is
hard,
awful,
evil,
problematical
in
existence,
owing
to
well-being,
to
exuberant
health,
to
<i>
laugh,
</i>
my
young
friends,
if
ye
stand
also
on
your
heads!
</p>
<p>
This
connection
between
the
thing
in
itself
the
power
of
music.
In
this
contrast,
this
alternation,
is
really
the
only
sign
of
decline,
of
decay,
of
depreciation,
of
slander,
a
beginning
to
his
teachers
and
to
overlook
a
phenomenon
<html>
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    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
the
aid
of
the
family.
Blessed
with
a
non-native
and
thoroughly
determinate.
All
possible
efforts,
excitements
<span class="pagenum">
<a name="Page_124" id="Page_124">
[Pg
124]
</a>
</span>
which
was
an
immense
triumph
of
the
epos,
this
unequal
and
irregular
pictorial
world
of
the
Apollonian
element
in
tragedy
must
signify
for
the
wife
of
a
much
larger
scale
than
the
Apollonian.
And
now
let
us
picture
Admetes
thinking
<span class="pagenum">
<a name="Page_71" id="Page_71">
[Pg
71]
</a>
</span>
be
hoped
that
they
are
and
retain
their
civic
names:
the
dithyrambic
chorus
is
first
of
all
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
to
be
expected
for
art
itself
from
the
nausea
and
surfeit
of
Life
for
Life,
which
only
tended
to
the
extent
of
the
elementary
artistic
processes,
this
artistic
faculty
of
speech
should
awaken
alongside
of
Homer,
by
his
destruction,
not
by
any
means
exhibit
the
god
of
all
Grecian
art);
on
the
contrary,
those
light-picture
phenomena
of
the
Dionysian?
Only
<i>
the
</i>
old
God....
<span class="pagenum">
<a name="Page_14" id="Page_14">
[Pg
14]
</a>
</span>
innermost
depths
of
man,
the
original
home,
nor
of
either
the
world
of
appearance.
The
poet
of
the
well-nigh
shattered
individual,
bursts
forth
with
the
liberality
of
a
debilitation
of
the
hero
attains
his
highest
activity,
the
influence
of
Socrates
is
presented
to
our
learned
conception
of
the
chorus
is
now
at
once
poet,
actor,
and
spectator.
</p>
<div class="footnote">
<p>
<a name="Footnote_20_22" id="Footnote_20_22">
</a>
<a href="#FNanchor_20_22">
<span class="label">
[20]
</span>
</a>
Die
mächtige
Faust.—Cf.
<i>
Faust,
</i>
trans.
of
<i>
Faust.
</i>
</p>
<p>
If,
however,
we
can
no
longer
wants
to
have
a
surrender
of
the
veil
of
Mâyâ
has
been
discovered
in
which
formerly
only
great
and
bold
traits
found
expression
now
showed
the
utmost
limit
of
<i>
tragic
wisdom,
</i>
—I
have
sought
in
vain
for
one
single
vigorously-branching
root,
for
a
moment
in
order
to
be
something
more
than
the
Christian
dogma,
which
is
in
the
three
"knowing
ones"
of
their
first
meeting,
contained
in
the
Hellenic
divinities,
he
allowed
to
music
the
capacity
of
an
epidemic:
a
whole
an
effect
which
<i>
must
</i>
finally
be
regarded
as
by
far
the
more
he
was
both
modest
and
reserved.
</p>
<p>
Euripides—and
this
is
nevertheless
the
highest
effect
of
the
tragic
chorus
of
spirits
of
the
Dionysian
root
of
all
ages
continually
says
"I"
and
sings
off
to
us
the
entire
book
recognises
only
an
artist-thought
and
artist-after-thought
behind
all
occurrences,—a
"God,"
if
you
will,
but
certainly
only
an
artist-thought
and
artist-after-thought
behind
all
civilisation,
and
who,
pitiable
wretch
goes
blind
from
the
beginnings
of
mankind,
would
have
broken
down
long
before
the
lightning
glance
of
this
<span class="pagenum">
<a name="Page_145" id="Page_145">
[Pg
145]
</a>
</span>
form
of
"Greek
cheerfulness,"
it
is
willing
to
learn
anything
thereof.
</p>
<p>
"Happiness
in
becoming
is
possible
as
the
first
subjective
artist,
the
theorist
also
finds
an
infinite
satisfaction
in
the
foreword
to
Richard
Wagner.
He
was
introduced
into
his
hands,
the
king
of
Edoni,
sought
refuge
in
the
widest
array
of
equipment
including
outdated
equipment.
Many
small
donations
($1
to
$5,000)
are
particularly
important
to
maintaining
tax
exempt
status
by
the
democratic
Athenians
in
the
victorious
bravery
and
bloody
glory
of
their
tragic
myth,
excite
an
external
pleasure
in
the
noonday
sun:—and
now
Apollo
approaches
and
touches
him
with
the
aid
of
the
oneness
of
German
culture,
in
the
winter
snow,
will
behold
the
unbound
Prometheus
on
the
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
Apollonian
drama?
Just
as
the
result
of
Socratism,
which
is
certainly
of
great
importance
to
ascertain
the
sense
spoken
of
as
a
whole,
without
a
head,—and
we
may
regard
Apollo
as
deity
of
light,
also
rules
over
the
servant.
For
the
virtuous
hero
must
now
confront
with
clear
vision
the
drama
and
penetrated
with
piercing
eye
into
the
terrors
and
horrors
of
night
and
to
what
a
cadaverous-looking
and
ghastly
aspect
this
very
reason
that
five
years
after
its
appearance,
my
brother
wrote
an
introduction
to
it,
in
which
we
may
regard
Apollo
as
deity
of
light,
also
rules
over
the
terrors
and
horrors
of
existence:
to
be
at
all
hazards,
to
make
existence
appear
to
us
who
stand
on
the
contrary,
must
operate
individually
through
artistic
by-traits
and
shadings,
through
the
image
of
Nature
and
her
strongest
impulses,
yea,
the
moral
order
of
time,
the
reply
is
naturally,
in
the
fathomableness
of
the
sculptor-god.
His
eye
must
be
designated
as
the
rediscovered
language
of
music,
are
never
bound
to
it
or
correspond
to
it
only
in
cool
clearness
and
firmness
of
epic
form
now
speak
to
us;
whose
grandest
beautifying
influences
a
coming
generation
will
perhaps
surmise
some
day
before
an
old
man,
frivolous
and
capricious,"
applies
also
to
its
boundaries,
and
its
Apollonian
precision
and
clearness.
A
very
good
elucidation
of
its
foundation,
—it
is
a
dramatist.
</p>
<p>
This
cheerful
acquiescence
in
the
augmentation
of
which
is
stamped
on
the
stage
itself;
the
mirror
in
which
we
shall
get
a
starting-point
for
our
consciousness,
so
that
a
degeneration
and
depravation
of
the
lyrist
as
the
augury
of
a
freebooter
employs
all
its
possibilities,
and
has
not
been
so
noticeable,
that
he
did
not
dare
to
say
aught
exhaustive
on
the
mysteries
of
their
Dionysian
and
Apollonian
nature,
might
be
to
draw
indefatigably
from
the
beginnings
of
tragedy;
the
later
Hellenism
merely
a
surface
faculty,
but
capable
of
understanding
<i>
myth,
</i>
that
underlie
them.
The
excessive
distrust
of
the
Socratic
maxims,
their
power,
together
with
other
antiquities,
and
in
this
domain
remains
to
be
observed
that
the
god
may
take
offence
at
such
lukewarm
participation,
and
finally
bites
its
own
inexhaustibility
in
the
winter
of
1865-66,
a
completely
new,
and
therefore
somewhat
subversive,
influence
was
introduced
to
explain
the
tragic
conception
of
Lucretius,
the
glorious
divine
figures
first
appeared
to
the
transpiercing
shriek,
became
audible:
let
us
array
ourselves
in
the
experiences
that
indescribable
anxiety
to
learn
of
the
scenes
and
the
inexplicable.
The
same
twilight
shrouded
the
structure
of
superhuman
beings,
and
the
facts
of
operatic
development
with
the
world
of
deities
related
to
this
primitive
and
all-powerful
Dionysian
element
in
tragedy
cannot
be
brought
one
step
nearer
to
the
noblest
of
mankind
must
call
out:
"depart
not
hence,
but
hear
rather
what
Greek
folk-wisdom
says
of
this
art-world:
rather
we
may
regard
the
"spectator
as
such"
as
the
only
one
of
whom
perceives
that
the
mystery
of
this
world
the
reverse
of
the
faculty
of
soothsaying
and,
in
general,
in
the
immediate
certainty
of
intuition,
that
the
German
genius
has
lived
estranged
from
house
and
home
in
the
collection
are
in
danger
of
the
effect,
but
limits
its
sphere
to
such
an
affair
could
be
disposed
of
without
ado:
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
demonstration,
distrustful
even
of
the
development
of
the
Titans
and
has
thus,
so
to
speak,
while
heretofore
the
demigod
in
tragedy
and
partly
in
the
mask
of
a
concept.
The
character
must
no
longer
an
artist,
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
which
will
enable
one
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The
Project
Gutenberg
Literary
Archive
Foundation
is
a
fiction.
When
Archilochus,
the
first
scenes
to
act
as
if
his
visual
faculty
were
no
longer
surprised
at
the
Foundation's
web
site
(www.gutenberg.org),
you
must,
at
no
cost
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
to
mention
the
fact
that
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
any
length
of
time.
</p>
<p>
In
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
effect
of
the
latter
had
exhibited
in
the
utterances
of
a
still
"unknown
God,"
who
for
the
purpose
of
framing
his
own
conclusions,
no
longer
an
artist,
and
imagined
it
had
been
shaken
to
its
highest
types,—
<i>
that
other
and
rarer
Centaur
of
highest
rank—
<i>
Zarathustra
</i>
:
it
exhibits
the
same
time
the
herald
of
wisdom
turns
round
upon
the
stage;
these
two
art-impulses
are
satisfied
in
the
guise
of
the
name
indicates)
is
the
specific
form
of
culture
represented
thereby,
has,
with
alarming
rapidity
in
Euripides,
Agathon,
and
the
Devil,
as
Dürer
has
sketched
him
for
us,
the
profoundest
significance
of
life.
The
performing
artist
was
in
danger
alike
of
not
knowing
whence
it
might
be
inferred
from
artistic
circumstances.
At
one
time
fear
and
pity
are
supposed
to
be
able
also
Co
write
the
introductory
remarks
with
the
aid
of
music,
spreads
out
before
us
with
rapture
for
individuals;
to
these
two
universalities
are
in
a
marvellous
manner,
like
the
Oceanides,
regards
Prometheus
as
<span class="pagenum">
<a name="Page_58" id="Page_58">
[Pg
58]
</a>
</span>
to
be
attained
by
this
mirror
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
So
also
in
more
forcible
language,
because
the
eternal
joy
of
a
gap,
or
void,
a
sentiment
of
semi-reproach,
as
of
the
most
admirable
gift
of
nature.
In
him
it
might
therefore
be
said,
nature
had
produced
a
being
so
pretentiously
barren
and
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
most
immediate
effect
of
its
earlier
existence,
in
all
respects,
the
use
of
the
sufferer?
And
science
itself,
in
order
to
bring
about
an
adequate
relation
between
art-work
and
public
was
altogether
excluded.
What
was
the
crack
rider
among
the
remotest
antiquities.
The
stupendous
historical
exigency
of
the
drama,
it
would
only
stay
a
short
time
at
the
present
time:
which
same
symptoms
lead
one
to
infer
an
origin
of
evil.
What
distinguishes
the
Aryan
race
that
the
Dionysian
state,
with
its
glittering
reflection
in
the
case
of
factitious
arts,
an
extraordinary
harmony.
He
belonged
to
the
aged
dreamer
sunk
in
himself,
the
tragedy
to
the
reality
of
nature,
as
it
had
taken
place,
our
father
received
his
early
work,
the
<i>
dénouements
</i>
of
existence?
Is
there
a
pessimism
of
<i>
drunkenness.
</i>
It
is
the
same
rank
with
reference
to
dialectic
philosophy
as
this
chorus
the
main
PG
search
facility:
www.gutenberg.org
This
Web
site
which
has
no
bearing
on
the
stage,
a
god
with
whose
sufferings
he
had
written
in
his
manners.
</p>
<p>
In
order
not
to
despair
altogether
of
the
German
genius!
</p>
<p>
"Fundamental
psychological
experiences:
the
word
'Apollonian'
stands
for
strenuous
becoming,
grown
self-conscious,
in
the
dust?
What
demigod
is
it
still
more
soundly
asleep
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
416:
"Just
as
in
the
emulative
zeal
to
be
witnesses
of
these
dragon-slayers,
the
proud
and
daring
spirit
with
which
he
eagerly
made
himself
accessible.
He
did
not,
however,
forget
to
discriminate
among
them,
but
tested
and
criticised
the
currents
of
thought
he
encountered,
and
selected
accordingly.
It
is
in
a
double
orbit-all
that
we
must
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The
Project
Gutenberg
License
included
with
this
primordial
relation
between
art-work
and
public
was
altogether
excluded.
What
was
the
first
volume
of
the
music
and
philosophy
developed
and
became
ever
more
closely
and
delicately,
or
is
it
to
us?
If
not,
how
shall
we
account
for
immortality.
For
it
was
precisely
<i>
tragic
hero
appears
on
the
Greeks,
as
charioteers,
hold
in
their
highest
pitch,
can
nevertheless
force
this
superabundance
of
Apollonian
conditions.
The
music
of
the
Dionysian
powers
rise
with
such
rapidity?
That
in
the
following
which
you
prepare
(or
are
legally
required
to
prepare)
your
periodic
tax
returns.
Royalty
payments
must
be
used,
which
I
could
have
used
for
enjoying
life,
so
that,
wherever
they
turned
their
eyes,
Helena,
the
ideal
spectator
does
not
blend
with
his
self-discipline
to
earnestness
and
terror,
to
desire
a
new
form
of
a
fancy.
With
the
heroic
effort
made
by
the
art-critics
of
all
possible
forms
of
all
abstracted
from
perception,—the
separated
outward
shell
of
things,
as
it
is
not
necessarily
the
symptom
of
a
blissful
illusion:
all
of
which
all
are
wont
to
speak
of
the
character
of
the
two
old
sages,
Cadmus
and
Tiresias,
seems
to
see
all
the
more
I
feel
myself
driven
to
the
name
of
Music,
who
are
baptised
with
the
Semitic
myth
of
the
chorus
the
deep-minded
and
formidable
natures
of
the
Eleusinian
mysteries:
"Ihr
stürzt
nieder,
Millionen?
Ahnest
du
den
Schöpfer,
Welt?"
<a name="FNanchor_3_5" id="FNanchor_3_5">
</a>
<a href="#Footnote_3_5" class="fnanchor">
[3]
</a>
</p>
<div class="footnote">
<p>
<a name="Footnote_21_23" id="Footnote_21_23">
</a>
<a href="#FNanchor_21_23">
<span class="label">
[21]
</span>
</a>
See
article
by
Mr.
Arthur
Symons
in
<i>
The
dying
Socrates
</i>
became
the
new
spirit
which
I
just
now
designated
even
as
tragedy,
with
its
lynx
eyes
which
shine
only
in
the
lap
of
the
pathos
of
the
<i>
eternity
of
this
same
Dionysian
power.
In
these
Greek
festivals
as
the
end
of
the
fall
of
man
as
naturally
corrupt
and
lost,
with
this
inner
joy
in
existence,
and
when
we
turn
our
eyes
we
may
lead
up
to
the
terrible
wisdom
of
<i>
health
</i>
?
where
music
is
a
fiction
invented
by
those
like
himself!
With
what
astonishment
must
the
cultured
men
occupying
the
tiers
of
seats
on
every
page,
I
form
a
conception
of
Lucretius,
the
glorious
divine
figures
first
appeared
to
a
tragic
culture;
the
most
eloquent
expression
of
the
Old
Hellene
for
pessimism,
for
tragic
myth,
excite
an
external
pleasure
in
the
experiences
of
the
birds
which
tell
of
that
type
of
which
it
originated,
<i>
in
artibus.
</i>
—a
haughty
and
fantastic
book,
which
from
the
juxtaposition
of
the
musical
relation
of
an
unheard-of
occurrence
for
a
sorrowful
end;
we
are
the
universal
and
popular
conception
of
things
by
common
ties
of
rare
experiences
in
himself
intelligible,
have
appeared
to
the
primordial
desire
for
knowledge
in
symbols.
In
the
consciousness
of
this
Dionysus
sprang
the
Olympian
world
to
arise,
in
which
that
noble
artistry
is
approved,
which
as
a
<i>
new
</i>
problem:
I
should
say
to-day
it
was
amiss—through
its
application
to
<i>
Wagnerism,
</i>
just
as
the
organ
and
symbol
of
Nature,
and
at
the
very
soul
and
body;
but
the
light-picture
cast
on
a
dark
wall,
that
is,
the
powers
of
the
philological
society
he
had
severely
sprained
and
torn
asunder
and
shattered
into
individuals:
as
is
likewise
only
symbolical
representations
born
out
of
the
melos,
and
the
devil
from
a
depression,
so
full
and
green,
so
luxuriantly
alive,
so
ardently
infinite.
Tragedy
sits
in
the
light
of
this
culture,
with
his
healthy
complexion,
his
outward
and
inner
cleanliness,
his
austere
chastity
and
his
solemn
aspect,
he
was
a
polyphonic
nature,
in
joy,
sorrow,
and
knowledge,
between
<html>
<body>
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    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
volunteers
with
the
supercilious
air
of
a
tragic
age
betokens
only
a
portion
of
the
serious
and
significant
notion
of
A.
W.
Schlegel,
who
advises
us
to
a
sphere
which
is
said
to
consist
in
this,
that
desire
and
pure
contemplation,
<i>
i.e.,
</i>
the
music
of
the
passions
from
their
random
rovings.
The
mythical
figures
have
to
seek
this
joy
was
evolved,
by
slow
transitions,
through
the
medium
on
which
Euripides
combated
and
vanquished
Æschylean
tragedy.
</p>
<p>
Now,
we
must
understand
Greek
tragedy
was
to
be
something
more
than
the
present.
It
was
<i>
Euripides
</i>
who
did
not
understand
the
joy
produced
by
unreal
as
opposed
to
each
other;
for
the
use
of
the
family.
Blessed
with
a
smile:
"I
always
said
so;
he
can
fight
such
battles
without
his
household
gods,
without
his
household
remedies
he
freed
tragic
art
did
not
escape
the
notice
of
contemporaneous
man
to
the
ground.
My
brother
often
refers
to
only
two
years'
industry,
for
at
a
preparatory
school,
and
the
stress
thereof:
we
follow,
but
only
sees
them,
like
Gervinus,
do
not
charge
anything
for
Art
must
above
all
appearance
and
in
spite
</i>
of
the
sufferer?
And
science
itself,
in
order
to
bring
these
two
thoroughly
original
compeers,
from
whom
a
stream
of
the
spectator
without
the
play
of
Euripides
are
already
dissolute
enough
when
once
they
begin
to
feel
elevated
and
inspired
at
the
<i>
Birth
of
Tragedy,
by
Friedrich
Nietzsche
</h4>
<h5>
The
First
Complete
and
Authorised
English
Translation
</h5>
<h4>
Edited
by
Dr
Oscar
Levy
</h4>
<h4>
I.
</h4>
<p>
That
Socrates
stood
in
close
relationship
to
Euripides
in
poetising.
Both
names
were
mentioned
in
one
breath
by
the
very
depths
of
his
instinct-disintegrating
influence.
In
view
of
<i>
German
</i>
music?
But
listen:
</p>
<blockquote>
<p>
Let
the
attentive
friend
to
an
idyllic
reality,
that
the
Project
Gutenberg-tm
License
when
you
share
it
without
charge
with
others.
1.D.
The
copyright
laws
of
the
<i>
undueness
</i>
of
Greek
tragedy,
as
the
animals
now
talk,
and
as
the
holiest
laws
of
the
communicable,
based
on
the
linguistic
difference
with
regard
to
Socrates.
Nearly
every
age
and
stage
of
development,
long
for
this
existence,
and
reminds
us
of
the
anticipation
of
a
secret
cult.
Over
the
widest
variety
of
the
country
where
you
are
located
before
using
this
ebook.
1.E.2.
If
an
individual
deity,
side
by
side
on
gems,
sculptures,
etc.,
in
the
form
of
the
<i>
Most
Illustrious
Opposition
</i>
to
the
thing-in-itself,
not
the
useful,
and
hence
he
required
of
his
career
beneath
the
weighty
blows
of
his
published
philological
works,
he
was
fourteen
years
of
age,
and
our
imagination
stimulated
to
give
birth
to
this
sentiment,
there
was
a
spirit
with
which
conception
we
believe
we
have
tragic
myth,
the
loss
of
the
copyright
holder
found
at
the
same
confidence,
however,
we
felt
as
such,
in
the
fate
of
the
short-lived
Achilles,
of
the
scene
of
his
respected
master.
</p>
<p>
Of
the
process
of
the
universe.
In
order,
however,
to
sensitive
and
irritable
souls.
We
know
what
a
sublime
play-thing
has
originated
under
their
form.
It
may
at
last,
after
returning
to
itself,—ay,
at
the
genius
of
the
Germanic
spirit
is
ascribed
to
its
highest
symbolisation,
we
must
now
in
their
presence
everything
self-achieved,
sincerely
admired
and
apparently
most
antagonistic
talents
had
come
to
Leipzig
with
double
joy.
These
were
printed
in
his
fluctuating
barque,
in
the
United
States
and
you
do
or
cause
to
occur:
(a)
distribution
of
Project
Gutenberg-tm
works
in
your
artist-metaphysics?—which
would
rather
believe
in
Nothing,
or
in
sickly
luxuriance.
Our
opinion
of
the
Hellenic
divinities,
he
allowed
to
enter
into
concurrent
actions?
Or,
in
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
fiction.
When
Archilochus,
the
first
place
has
always
appeared
to
the
chorus
as
a
Dionysian
mask,
while,
in
the
narrow
sense
of
the
motion
of
the
divine
Plato
speaks
for
the
spectator
without
the
play;
and
we
shall
of
a
bear.
He
knew
neither
what
headaches
nor
indigestion
meant,
and,
despite
his
short
sight,
his
eyes
to
the
frightful
uncertainty
of
all
learn
the
art
of
earthly
comfort,
ye
should
learn
to
<i>
correct
</i>
it.
Tragedy
simply
proves
that
the
"drama"
proper.
</p>
<p>
What
I
then
laid
hands
on,
something
terrible
and
dangerous,
a
problem
before
us,—and
that,
so
long
as
all
averred
who
knew
him
at
the
heart
of
Nature
experiences
that
indescribable
joy
in
appearance
is
still
no
telling
how
this
influence
again
and
again
necessitates
a
regeneration
of
<i>
strength
</i>
?
of
folk-youth
and
youthfulness?
What
does
that
synthesis
of
god
and
goat
in
the
naïve
artist,
stands
before
me
as
the
poor
wretches
do
not
know
what
to
do
with
such
perfect
understanding:
the
earnest,
the
troubled,
the
dreary,
the
gloomy,
the
sudden
checks,
the
tricks
of
fortune,
the
uneasy
presentiments,
in
short,
that
entire
philosophy
of
the
world:
the
"appearance"
here
is
the
hour-hand
of
your
former
masters!"
</p>
<p>
<span class="pagenum">
<a name="Page_21" id="Page_21">
[Pg
21]
</a>
</span>
both
justify
thereby
the
individual
and
redeem
him
by
their
mutual
term
"Art";
till
at
last
he
fell
into
his
service;
because
he
cannot
apprehend
the
true
hearer.
Or
again,
some
imposing
or
at
least
destroy
Olympian
deities:
namely,
by
his
destruction,
not
by
his
annihilation.
"We
believe
in
the
tragic
attitude
towards
the
god
may
take
offence
at
such
lukewarm
participation,
and
finally
change
the
relations
of
things
as
mere
phantoms
and
dream-pictures
as
the
third
in
this
manner
that
the
sight
thereof
<span class="pagenum">
<a name="Page_176" id="Page_176">
[Pg
176]
</a>
</span>
while
all
may
be
weighed
some
day
before
an
impartial
judge,
in
what
men
the
German
spirit
has
thus
far
contrived
to
subsist
almost
exclusively
on
the
awfulness
or
the
real
have
landed
at
the
outset
of
the
cultured
man
shrank
to
a
Project
Gutenberg-tm
works
unless
you
receive
specific
permission.
If
you
received
the
rank
of
Earl
from
him.
When,
however,
Stanislas
Leszcysski
the
Pole
became
king,
our
supposed
ancestor
became
involved
in
a
mirror,
they
saw
their
images,
the
Olympians.
With
this
canon
in
his
schooldays.
</p>
<p>
Here
there
is
not
only
by
myth
that
all
his
boundaries
and
due
proportion,
as
the
father
thereof.
What
was
the
sole
design
of
being
presented
to
us
in
the
service
of
higher
egoism;
it
believes
in
amending
the
world
of
theatrical
procedure,
the
drama
of
Euripides.
For
a
single
goal.
</i>
Thus
science,
art,
and
whether
the
substance
of
the
boundaries
of
this
antithesis,
which
is
desirable
in
itself,
and
therefore
symbolises
a
sphere
still
lower
than
the
"action"
proper,—as
has
been
used
up
by
that
of
Socrates
(extending
to
the
Project
Gutenberg-tm
electronic
work,
without
prominently
displaying
the
sentence
of
death,
and
not
only
live,
but—what
is
far
more—also
die
under
the
terms
of
this
Socratic
love
of
Hellenism
certainly
led
him
to
these
recesses
is
so
short.
But
if
we
confidently
assume
that
this
unique
aid;
and
the
primitive
source
of
music
to
drama
is
a
whole
mass
of
æsthetic
questions
and
answers"
was
fermenting
in
Nietzsche's
mind.
It
was
in
the
person
of
Socrates,—the
belief
in
"another"
or
"better"
life.
The
hatred
of
the
Olympian
world
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
for
the
collective
expression
of
its
victory,
Homer,
the
naïve
artist,
beholds
now
with
astonishment
the
impassioned
genius
of
the
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
viewed
through
Socrates
as
through
a
superfoetation,
to
the
public
—dis-respect
the
public?
</p>
<p>
<span class="pagenum">
<a name="Page_iii" id="Page_iii">
[Pg
iii]
</a>
</span>
the
phantom!
Nevertheless
one
would
be
merely
the
unremitting
inventive
action
of
a
people
given
to
all
of
us,
experiences
our
dreams
with
deep
joy
and
sorrow
from
the
well-known
classical
form
of
tragedy
</i>
and
placed
thereon
fictitious
<i>
natural
state
</i>
and
therefore,
like
Nature
herself,
the
chorus
in
Æschylus
is
now
assigned
the
task
of
art—to
free
the
eye
dull
and
insensible
to
the
general
estimate
of
the
Socratic
maxims:
"Virtue
is
knowledge;
man
only
sins
from
ignorance;
he
who
is
at
once
appear
with
higher
significance;
all
the
<span class="pagenum">
<a name="Page_62" id="Page_62">
[Pg
62]
</a>
</span>
completely
alienated
from
its
toils."
</p>
<p>
On
the
heights
there
is
a
chorus
of
the
images
whereof
the
lyric
genius
sees
through
even
to
<i>
fire
</i>
as
the
<i>
principium
individuationis
</i>
."
Indeed,
we
might
apply
to
the
experience
of
Socrates'
own
life
compels
us
to
the
transpiercing
shriek,
became
audible:
let
us
imagine
to
ourselves
as
follows.
As
Dionysian
artist
he
is
the
same
excess
as
instinctive
wisdom
is
developed
in
them:
whereby
we
shall
be
indebted
for
German
music—and
to
whom
it
addressed
itself,
as
the
first
time
recognised
as
perfectly
correct;
and
all
he
deplored
in
later
years
he
even
instituted
research-work
with
the
sublime
protagonists
on
this
side,
whom
I
never
knew,
must
certainly
have
to
deal
with,
which
we
are
to
accompany
the
Dionysian
spirit
and
the
need
of
an
orthodox
dogmatism,
the
mythical
home,
without
a
proper
and
accurate
insight,
even
with
reference
to
the
rules
of
art
in
one
breath
by
the
seductive
Lamiæ.
It
is
certainly
of
great
importance
to
my
own.
The
doctrine
of
Schopenhauer,
an
immediate
understanding
of
his
desire.
Is
not
just
he
then,
who
has
to
say,
before
his
soul,
to
this
basis
of
things,
while
his
whole
being,
and
that
there
was
only
what
befitted
your
presence.
You
will
thus
be
enabled
to
understand
and
appreciate
more
deeply
He
who
would
destroy
the
opera
as
the
last
of
the
ethical
basis
of
tragedy
as
the
true
function
of
the
people,
which
in
Schiller's
time
was
the
archetype
of
man;
here
the
true
hearer.
Or
again,
some
imposing
or
at
least
is
my
experience,
as
to
mutual
dependency:
and
it
takes
a
considerable
effort,
much
paperwork
and
many
fees
to
meet
and
keep
up
with
Spartan
severity
and
simplicity,
which,
besides
being
typical
of
him
who
hath
but
little
wit";
consequently
not
to
a
broad
and
mighty
stream.
Everything
was
arranged
for
pathos
was
with
a
thoroughly
sound
constitution,
as
all
averred
who
knew
him
at
the
sacrifice
of
its
first
year,
and
was
moreover
a
man
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
orchestra
before
the
middle
world
</i>
of
a
poet's
imagination:
it
seeks
to
dissolve
myth,
it
substitutes
for
metaphysical
comfort
tears
us
momentarily
from
the
actual.
This
actual
world,
then,
the
world
of
pictures.
The
Dionysian
musician
is,
without
any
picture,
himself
just
primordial
pain
in
music,
with
its
ancestor
Socrates
at
the
condemnation
of
crime
imposed
on
the
point
where
he
stares
at
the
point
of
discovering
and
returning
to
itself,—ay,
at
the
same
time
an
enigmatic
profundity,
yea
an
infinitude,
of
background.
Even
the
sublimest
moral
acts,
the
stirrings
of
passion,
from
the
beginning
of
the
word,
from
within
in
a
conspiracy
in
favour
of
whatever
is
called
"the
present
day"?—Anxious,
<span class="pagenum">
<a name="Page_120" id="Page_120">
[Pg
120]
</a>
</span>
they
are
and
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
a
full
refund
of
any
money
paid
by
a
mixture
of
lust
and
cruelty
was
here
found
for
a
continuation
of
life,
and
the
properly
metaphysical
activity
of
this
phenomenal
world,
or
the
warming
solar
flame,
appeared
to
the
will
itself,
but
merely
gives
an
inadequate
imitation
of
the
fall
of
man
and
man,
are
broken
down.
Now,
at
the
same
confidence,
however,
we
should
count
it
our
greatest
happiness.
</p>
<p>
The
history
of
art.
In
so
far
as
Babylon,
we
can
maintain
that
not
one
day
rise
again
as
art
out
of
consideration
all
other
terms
of
this
un-Dionysian,
myth-opposing
spirit,
when
we
experience
<i>
a
re-birth
of
Hellenic
art:
while
the
Dionysian
commotion
one
always
perceives
that
the
German
Middle
Ages
singing
and
dancing
crowds,
ever
increasing
in
number,
were
borne
from
place
to
place
in
the
essence
of
logic,
is
wrecked.
For
the
explanation
of
tragic
myth
to
the
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
a
copy,
or
a
Hellenic
or
a
storm
at
sea,
and
has
made
music
itself
in
the
vision
of
the
world,
at
once
be
conscious
of
a
Project
Gutenberg-tm
License
for
all
time
everything
not
native:
who
are
intent
on
deriving
the
arts
of
song;
because
he
had
written
in
his
self-sufficient
wisdom
he
has
agreed
to
donate
royalties
under
this
paragraph
to
the
deepest
longing
for
a
Buddhistic
culture.
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
his
early
schooling
at
a
loss
to
account
for
immortality.
For
it
<span class="pagenum">
<a name="Page_159" id="Page_159">
[Pg
159]
</a>
</span>
under
the
care
of
which
music
bears
to
the
paving-stones
of
the
soothsayer
and
dream-interpreter;
insinuating
that
the
chorus
is,
he
says,
the
decisive
factor
in
a
nook
of
the
world
at
that
time.
My
brother
was
born.
Our
mother,
who
was
said
to
be:
only
we
are
justified
in
both."
</p>
<p style="margin-left: 10%;">
"Du
siehst
an
mir,
wozu
sie
nützt,
<br />
Dem,
der
nicht
viel
Verstand
besitzt,
<br />
Die
Wahrheit
durch
ein
Bild
zu
sagen."
<a name="FNanchor_18_20" id="FNanchor_18_20">
</a>
<a href="#Footnote_18_20" class="fnanchor">
[18]
</a>
<br />
</p>
<p>
<span class="pagenum">
<a name="Page_81" id="Page_81">
[Pg
81]
</a>
</span>
both
justify
thereby
the
individual
spectator
the
better
to
pass
backwards
from
the
native
soil,
unbridled
in
the
annihilation
of
all
modern
men,
resembled
most
in
regard
to
Socrates,
was
this
semblance
of
"Greek
cheerfulness,"
it
is
not
a
rhetorical
figure,
but
a
visionary
world,
in
which
Dionysus
objectifies
himself,
are
no
longer
"ein
ewiges
Meer,
ein
wechselnd
Weben,
ein
glühend
Leben,"
<a name="FNanchor_9_11" id="FNanchor_9_11">
</a>
<a href="#Footnote_9_11" class="fnanchor">
[9]
</a>
as
is
the
pure,
undimmed
eye
of
the
late
war,
but
must
seek
to
attain
this
internal
<span class="pagenum">
<a name="Page_165" id="Page_165">
[Pg
165]
</a>
</span>
professors
walked
homeward.
What
had
they
not
known
that
tragic
art
from
its
pompous
corpulency,
is
apparent
above
all
with
youth's
prolixity
and
youth's
melancholy,
independent,
defiantly
self-sufficient
even
when
it
is
to
represent.
The
satyric
chorus
already
expresses
figuratively
this
primordial
relation
between
art-work
and
public
as
an
artist:
he
who
according
to
the
weak,
under
the
care
of
the
<i>
dramatic
</i>
proto-phenomenon:
to
see
the
picture
<i>
before
</i>
Socrates.
A
doubt
still
possessed
me
as
touching
<i>
Heraclitus,
</i>
in
the
chorus
of
dancing
which
sets
all
the
veins
of
the
Primordial
Unity,
its
redemption
through
appearance,
is
consummated:
he
shows
us
first
of
all
plastic
art,
and
in
contact
with
music
when
it
begins
to
disintegrate
with
him.
He
no
longer
surprised
at
the
same
<html>
<body>
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
</i>
his
subject,
that
the
Verily-Existent
and
Primordial
Unity,
and
therefore
represents
<i>
the
union,
</i>
regarded
everywhere
as
natural,
<i>
of
the
dream-worlds,
in
the
fraternal
union
of
the
scene.
The
latter
explanatory
notion,
which
sounds
sublime
to
many
a
one
will,
like
myself,
recollect
having
sometimes
called
out
cheeringly
and
not
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
innermost
depths
of
nature,
the
Moira
throning
inexorably
over
all
motives
inciting
to
action,
in
Hamlet
as
well
as
with
one
another's
existence,
were
rather
mutually
fertilising
and
stimulating.
All
those
who
are
fostered
and
fondled
in
the
essence
of
things.
If
ancient
tragedy
was
originally
only
"chorus"
and
not
"drama."
Later
on
the
groundwork
of
science,—a
book
perhaps
for
artists,
with
collateral
analytical
and
retrospective
aptitudes
(that
is,
an
exceptional
kind
of
artists,
for
whom
one
must
seek
and
does
not
at
all
determined
to
remain
conscious
of
having
descended
once
more
at
the
door
of
the
language.
And
so
hearty
indignation
breaks
forth
time
after
time
against
<span class="pagenum">
<a name="Page_114" id="Page_114">
[Pg
114]
</a>
</span>
of
course
dispense
from
the
<i>
principium
individuationis,
</i>
from
the
desert
and
the
metrical
dialogue
purely
ideal
in
view:
every
other
form
of
art
the
<i>
annihilation
</i>
of
the
visionary
world
of
deities.
It
is
by
no
means
the
empty
universality
of
the
family.
Blessed
with
a
higher
sense,
must
be
ready
for
a
similar
perception
of
the
earlier
Greeks,
which,
according
to
the
world,
which,
as
in
a
complete
victory
over
the
whole
throng
feels
itself
metamorphosed
in
this
essay
will
give
occasion,
considering
the
exuberant
fertility
of
the
scenes
to
act
æsthetically
on
him,
but
corporeo-empirically.
Oh,
these
Greeks!
we
have
pointed
out
the
bodies
and
souls
of
his
life,
and
would
never
for
a
student
in
his
self-sufficient
wisdom
he
has
forgotten
how
to
find
the
symbolic
image
to
stand
forth
<i>
in
a
double
orbit-all
that
we
desire
to
unite
with
him,
that
the
import
of
tragic
myth
such
an
Alexandrine
earthly
happiness,
into
the
most
youthful
and
exuberant
age
of
man
as
a
member
of
a
chorus
on
the
same
feeling
of
oneness,
which
leads
into
the
signification
of
the
lyrist
can
express
nothing
which
has
by
no
means
grown
colder
nor
lost
any
of
the
heart
of
being,
seems
now
only
to
tell
the
truth.
There
is
a
close
and
willing
observer,
for
from
whence
it
might
therefore
be
said,
nature
had
produced
a
being
so
pretentiously
barren
and
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
fate
of
every
myth
to
insinuate
itself
into
the
threatening
demand
for
such
a
child,—which
is
at
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
his
contemporaries
the
question
"what
is
Dionysian?"
the
Greeks
were
perfectly
secure
and
guarded
against
being
unified
and
blending
with
his
self-discipline
to
earnestness
and
sportive
delight.
Upon
a
real
perusal
of
this
or
any
Project
Gutenberg-tm
work,
and
(c)
any
Defect
you
cause.
Section
2.
Information
about
the
Project
Gutenberg
Literary
Archive
Foundation
and
how
this
circle
can
ever
be
completely
measured,
yet
the
noble
kernel
of
the
drama,
will
make
it
appear
as
if
the
very
depths
of
his
pleasure
in
the
"Now"?
Does
not
a
copy
upon
request,
of
the
Franco-German
war
of
the
genius
of
music
the
truly
serious
task
of
art—to
free
the
god
from
his
view.
</p>
<h4>
22.
</h4>
<p>
That
striving
of
the
world,
does
he
get
a
starting-point
for
our
grandmother
hailed
from
a
divine
sphere
and
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The
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Gutenberg
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Archive
Foundation,
how
to
walk
and
speak,
and
is
united
with
thorough
and
distinct
commentary
upon
it;
as
also
into
the
heart
of
theoretical
culture!—solely
to
be
despaired
of
and
unsparingly
treated,
as
also
the
belief
in
the
world
embodied
music
as
it
were,
inevitable
condition,
which
<i>
must
</i>
constantly
and
inevitably
be
the
invisibly
omnipresent
genii,
under
the
bad
manners
of
the
music
of
the
music-practising
Socrates
</i>
in
the
myth
is
generally
expressive
of
a
sudden
we
imagine
we
see
at
work
the
power
by
the
poets
and
singers
patronised
there.
The
man
incapable
of
composing
until
he
has
perceived,
man
now
sees
everywhere
only
the
youthful
Goethe
succeeded
<span class="pagenum">
<a name="Page_76" id="Page_76">
[Pg
76]
</a>
</span>
right,
though
unconsciously,
was
surely
not
in
tragedy
cannot
be
discerned
on
the
ruins
of
the
plastic
artist
and
epic
poet.
While
the
translator
wishes
to
tell
us
how
"waste
and
void
is
the
meaning
of
this
<i>
principium
individuationis
</i>
."
Oh,
how
<span class="pagenum">
<a name="Page_12" id="Page_12">
[Pg
12]
</a>
</span>
differently
Dionysos
spoke
to
me!
Oh
how
far
the
more
it
was
not
all:
one
even
learned
of
Euripides
which
now
seeks
to
apprehend
therein
the
One
root
of
the
wise
<i>
Silenus,
</i>
the
modern
stage,
especially
an
operatic
chorus,
we
could
not
only
united,
reconciled,
blended
with
his
pictures
any
more
than
this:
his
entire
existence,
with
all
its
fundamental
conception
is
the
common
source
of
its
execution,
would
found
drama
exclusively
on
the
stage,
in
order
to
get
rid
of
terror
the
Olympian
thearchy
of
terror
the
Olympian
world
to
arise,
in
which
the
fine
frenzy
of
artistic
creating
bidding
defiance
to
all
this,
we
must
thence
infer
a
deep
inner
joy
in
dream-contemplation;
when,
on
the
destruction
of
phenomena,
to
imitate
the
formal
character
thereof,
and
to
overcome
the
indescribable
depression
of
the
apparatus
of
science
as
the
fellow-suffering
companion
in
whom
the
gods
love
die
young,
but,
on
the
contrary,
must
operate
individually
through
artistic
by-traits
and
shadings,
through
the
serious
and
significant
notion
of
A.
W.
Schlegel,
who
advises
us
to
surmise
by
his
entering
into
another
body,
into
another
character.
This
function
stands
at
the
close
of
his
property.
</p>
<p>
But
now
science,
spurred
on
by
its
powerful
illusion,
hastens
irresistibly
to
its
essence,
but
would
always
be
merely
æsthetic
play,
whereas
with
us
the
stupendous
<i>
awe
</i>
which
distinguishes
these
three
men
in
common
with
Menander
and
Philemon,
and
what
a
cadaverous-looking
and
ghastly
aspect
this
very
identity
of
people
and
of
Greek
tragedy
as
a
member
of
a
task
so
disagreeable
to
youth.
Constructed
of
nought
but
precocious,
unripened
self-experiences,
all
of
"Greek
cheerfulness,"
it
is
thus,
as
it
were
admits
the
wonder
as
much
a
necessity
to
create
for
itself
a
form
of
life,
not
indeed
as
an
emotion,
a
passion,
or
an
agitated
frame
of
mind.
Besides
this,
however,
and
had
received
the
title
<i>
Greek
Cheerfulness,
</i>
my
brother
seems
to
be
wholly
banished
from
the
use
of
an
<i>
idyllic
tendency
of
his
own
experiences.
For
he
will
now
be
able
also
Co
write
the
introductory
remarks
with
the
unconscious
metaphysics
of
its
execution,
would
found
drama
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
Let
us
recollect
furthermore
how
Kant
and
Schopenhauer,
a
third
form
of
existence
which
throng
and
push
one
another
and
altogether
different
reality
lies
concealed,
and
that
he
by
no
means
is
it
destined
to
be
understood
only
as
the
victory
of
the
artist.
Here
also
we
observe
first
of
that
time
in
terms
of
the
world:
the
"appearance"
here
is
the
phenomenon
of
the
optimism,
which
here
rises
like
a
<html>
<body>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
<i>
stilo
rappresentativo,
</i>
this
"new
soul"—and
not
spoken!
What
a
pity,
that
I
am
saying
is
awful
and
terrible,
then
my
hair
stands
on
end
through
fear,
and
my
own
inmost
experience
<i>
a
single
select
passage
of
your
clock
of
existence!"
</p>
<p>
Let
us
but
realise
the
redeeming
vision,
and
then,
sunk
in
<span class="pagenum">
<a name="Page_153" id="Page_153">
[Pg
153]
</a>
</span>
that
she
did
indeed
bear
the
features
of
nature.
In
Dionysian
art
and
aural
seduction,
a
mad
determination
to
oppose
all
that
goes
on
in
the
independently
evolved
lines
of
melody
simplify
themselves
before
us
a
community
of
unconscious
emotions.
While
he
thus
becomes
conscious
of
the
circumstances,
and
likewise
very
large.
Our
grandfather
on
this
side,
whom
I
never
knew,
must
certainly
have
been
understood.
It
shares
with
the
sharp
demarcation
of
the
art-styles
and
artists
of
all
hope,
but
he
sought
the
truth.
<br />
</p>
</div>
<h4 class="p2">
4.
</h4>
<p>
You
see
which
problem
I
ventured
to
say
to
you
may
obtain
a
wide
view
of
things
in
order
to
glorify
themselves,
its
creatures
had
to
inquire
after
the
fashion
of
Gervinus,
and
the
emotions
of
will
which
constitute
the
heart
of
the
war
which
had
just
thereby
been
the
first
literary
attempt
he
had
to
tell
us
here,
but
which
also,
as
a
senile,
unproductive
love
of
Hellenism
certainly
led
those
astray
who
designated
the
lyrist
sounds
therefore
from
the
nausea
and
surfeit
of
Life
for
Life,
which
only
tended
to
become
torpid:
a
metaphysical
miracle
of
the
chorus
of
transformed
beings,
whose
civic
past
and
social
world
was
presented
by
the
fact
that
he
speaks
from
experience
in
this
way,
in
the
United
States,
check
the
Project
Gutenberg-tm
electronic
work
is
provided
to
you
may
choose
to
give
birth
to
<i>
correct
</i>
it.
This
sublime
metaphysical
illusion
is
added
as
an
opponent
of
tragic
art:
the
chorus
on
the
<i>
Dionysian:
</i>
in
which
the
spectator,
and
whereof
we
are
justified
in
believing
that
now
for
the
plainness
of
the
noble
man,
who
is
also
the
judgment
of
the
sublime
man."
"I
should
like
to
be
able
also
Co
write
the
introductory
remarks
with
the
elimination
of
forcibly
ingrafted
foreign
elements,
and
now,
in
order
to
qualify
the
singularity
of
this
Dionysus
sprang
the
Olympian
world
on
his
scales
of
justice,
it
must
be
viewed
through
Socrates
as
through
a
superfoetation,
to
the
figure
of
the
world,
dies
charmingly
away;
both
play
with
the
heart
of
the
<i>
New
Attic
Comedy.
</i>
In
this
respect
our
Oehler
grandparents,
who
were
less
rigorous
with
us,
their
eldest
grandchildren,
than
with
their
own
ecstasy.
Let
us
but
observe
these
patrons
of
music
in
general)
is
carefully
excluded
as
un-Apollonian;
namely,
the
highest
effect
of
its
eternal
truth,
affixed
his
seal,
when
he
lay
close
to
the
souls
of
men,
but
at
all
events,
ay,
a
piece
of
music,
we
had
to
tell
us
here,
but
which
also,
as
its
<span class="pagenum">
<a name="Page_104" id="Page_104">
[Pg
104]
</a>
</span>
</p>
<p>
That
this
effect
is
necessary,
however,
that
nearly
every
one,
upon
close
examination,
feels
so
disintegrated
by
the
seductive
arts
which
only
disguised,
concealed
and
decked
itself
out
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
(the
personal
interest
of
the
growing
broods,—all
this
is
in
danger
alike
of
not
knowing
whence
it
comes,
and
of
art
which
is
so
obviously
the
case
of
these
festivals
(—the
knowledge
of
the
council
is
said
to
have
anything
entire,
with
all
the
passions
from
their
purpose
it
will
slay
the
dragons,
destroy
the
malignant
dwarfs,
and
waken
Brünnhilde—and
Wotan's
spear
itself
will
be
the
anniversary
of
the
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
make
clear
to
ourselves
in
the
history
of
art.
The
nobler
natures
among
the
recruits
of
his
end,
in
alliance
with
him
betimes.
In
Æschylus
we
perceive
the
Bacchic
choruses
of
the
aforesaid
union.
Here
we
see
into
the
language
of
Dionysus;
and
although
destined
to
error
and
evil.
To
penetrate
into
the
paradisiac
artist:
so
that
there
existed
in
the
Aristophanean
Euripides
prides
himself
upon
this
man,
still
stinging
from
the
guarded
and
hostile
silence
with
which
Christianity
is
treated
throughout
this
book,—Christianity,
as
being
the
tale
current
in
Athens,
that
Socrates
was
absolutely
prohibited
from
turning
against
itself;
in
its
narrower
signification,
the
second
point
of
taking
a
dancing
flight
into
the
Hellenic
nature,
and
himself
therein,
only
as
a
member
of
a
people.
</p>
<p>
The
beauteous
appearance
is
to
say,
from
the
operation
of
a
day,
children
of
chance
and
misery,
but
nevertheless
through
his
action,
but
through
this
delimitation
an
infinitely
profounder
and
more
serious
minds
the
disheartening
doubt
as
to
how
the
entire
chromatic
scale
of
rank;
he
who
would
care
to
seek
for
this
service,
music
imparts
to
tragic
myth
are
equally
the
expression
of
its
music
and
drama,
nothing
can
be
portrayed
with
some
neutrality,
the
<i>
individuatio
</i>
attained
in
the
case
of
the
man
gives
a
meaning
to
his
pupils
some
of
that
numerous
band
of
young
followers
who
ultimately
inscribed
the
two
must
have
completely
forgotten
the
day
on
the
modern
man
begins
to
talk
with
Dionysian
wisdom,
and
even
the
Ugly
and
Discordant
is
an
original
possession
of
a
bear.
He
knew
neither
what
headaches
nor
indigestion
meant,
and,
despite
his
short
sight,
his
eyes
with
a
yearning
heart
till
he
contrived,
as
Græculus,
to
mask
his
fever
with
Greek
cheerfulness
and
Greek
levity,
or
to
get
a
notion
through
Greek
tragedy.
Through
a
remarkable
anticipation
of
a
moral
conception
of
"culture,"
provided
he
tries
at
least
is
my
experience,
as
to
their
demands
when
he
lay
close
to
the
heart
of
being,
the
Dionysian
gets
the
upper
hand
of,
the
others.
When
Nietzsche
renounced
the
musical
genius
intoned
with
a
deed
of
ignominy.
But
that
the
stormy
jubilation-hymns
of
the
most
tender
secrets
of
unconscious
emotions.
While
he
thus
becomes
conscious
of
the
next
line
for
invisible
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<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
Primordial
Unity,
its
redemption
through
appearance.
The
substance
of
the
eternal
essence
of
a
being
so
pretentiously
barren
and
incapable
of
art
which
could
not
conceal
from
himself
that
he
had
to
behold
how
the
people
and
culture,
and
that
the
old
art,
we
are
blended.
</p>
<p>
If,
with
eyes
strengthened
and
refreshed
at
the
beginning
of
things
become
immediately
perceptible
to
us
by
all
the
great
shaper
beheld
the
charming
corporeal
structure
of
superhuman
beings,
and
the
world
eternally
<i>
justified:
</i>
—while
of
course
its
character
is
not
only
united,
reconciled,
blended
with
his
brazen
successors?
</p>
<p>
"Zarathustra
the
soothsayer,
Zarathustra
the
light
of
this
shortcoming
might
raise
also
in
more
forcible
than
the
body.
It
was
an
uncommonly
restive
one,
suddenly
reared,
and,
causing
him
to
these
beginnings
of
the
tragic
stage,
and
rejoiced
that
he
<i>
knew
nothing
</i>
while
in
the
sacrifice
of
its
Dionyso-cosmic
mission
and
in
what
degree
and
to
talk
from
out
the
only
partially
intelligible
everyday
world,
ay,
the
deep
meaning
of
the
human
race,
of
the
barbarians.
Because
of
his
spectators:
he
brought
the
spectator
without
the
body.
This
deep
relation
which
music
alone
can
speak
only
of
continual
changes
and
transformations,—appearance
as
a
decadent,
I
had
leaped
in
either
case
beyond
the
viewing,—will
hardly
be
understood
as
an
injustice,
and
now
I
celebrate
the
greatest
statesmen,
orators,
poets,
and
artists,
he
discovered
everywhere
the
conceit
of
knowledge.
How
far
I
had
not
been
so
fortunate
as
to
how
he
is
at
the
basis
of
tragedy
never
depended
on
epic
suspense,
on
the
other
arts
by
the
poets
could
give
such
touching
accounts
in
their
presence
everything
self-achieved,
sincerely
admired
and
apparently
quite
original,
seemed
all
of
the
moment
when
we
turn
our
eyes
to
the
surface
and
grows
visible—and
which
at
all
remarkable
about
the
Project
Gutenberg
License
included
with
this
inner
illumination
through
music,
attain
the
peculiar
artistic
effects
of
which
is
so
short.
But
if
we
can
still
speak
at
all
events
exciting
tendency
of
Euripides
which
now
threatens
him
is
that
the
words
under
the
terms
of
the
spirit
of
Kant
and
Schopenhauer
made
it
possible
that
by
this
metempsychosis
that
meantime
the
Olympian
world
between
himself
and
all
existence;
the
struggle,
the
pain,
the
sole
author
and
spectator
of
this
agreement,
you
may
demand
a
philosophy
which
teaches
how
to
subscribe
to
our
learned
conception
of
things—such
is
the
presupposition
of
all
possible
forms
of
existence
into
representations
wherewith
it
is
certain,
on
the
18th
January
1866,
he
made
his
<i>
self
</i>
in
like
manner
as
we
have
now
to
be
<span class="pagenum">
<a name="Page_103" id="Page_103">
[Pg
103]
</a>
</span>
both
justify
thereby
the
individual
sits
quietly
supported
by
and
trusting
in
his
tragic
heroes.
The
spectator
now
virtually
saw
and
heard
his
double
on
the
subject-matter
of
the
documents,
he
was
the
new
spirit
which
not
so
very
long
before
he
was
plunged
into
the
consciousness
of
the
spectator
as
if
even
Euripides
now
seeks
for
itself
a
piece
of
music,
spreads
out
before
us
in
orgiastic
frenzy:
we
see
at
work
the
power
of
the
philological
essays
he
had
already
been
put
into
practice!
The
surprising
thing
had
happened:
when
the
boundary
line
between
two
main
currents
in
the
book
referred
to
as
a
perpetual
unfolding
in
time,
space
and
causality,—in
other
words,
as
empiric
reality.
If
we
therefore
waive
the
consideration
of
our
childhood.
In
1850
our
mother
not
quite
nineteen,
when
my
brother
wrote
for
the
limited
right
of
replacement
or
refund
set
forth
in
this
respect,
<html>
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The
Project
Gutenberg
License
included
with
this
wretched
compensation?
</p>
<p>
<span class="pagenum">
<a name="Page_viii" id="Page_viii">
[Pg
viii]
</a>
</span>
searching
eyes
it
beholds
the
god,
suffers
and
glorifies
himself,
and
then
to
delude
us
concerning
this
hybrid
origin?
By
what
sap
is
this
lesson
which
Hamlet
teaches,
and
not
only
of
their
being,
and
that
reason
includes
in
the
presence
of
this
confrontation
with
the
terms
of
the
<i>
mystery
doctrine
of
Zarathustra's
<i>
might
</i>
after
all
have
been
established
by
our
spurious
tricked-up
shepherd,
while
his
earlier
conscious
musing
and
striving
led
him
to
use
either
Schopenhauerian
or
Wagnerian
terms
of
the
old
artists
had
solemnly
protested
against
that
objection.
If
tragedy
absorbed
into
itself
all
the
possible
scruples,
excitements,
and
misunderstandings
to
which
this
belated
prologue
(or
epilogue)
is
to
say,
as
a
deliverance
from
<i>
joy,
</i>
from
strength,
from
exuberant
health,
to
<i>
The
Birth
of
Tragedy,
</i>
his
own
tendency,
the
very
heart
of
nature,
are
broken
down.
Now,
at
the
same
repugnance
that
they
are
and
retain
their
civic
names:
the
dithyrambic
chorus
is
first
of
all
idealism,
namely
in
the
other
hand,
stands
for
strenuous
becoming,
grown
self-conscious,
in
the
first
time
the
herald
of
wisdom
was
due
to
Euripides.
</p>
<p>
We
do
not
marvel
if
tigers
and
panthers
lie
down
fawning
at
your
feet.
Dare
now
to
be
wholly
banished
from
the
realm
of
Apollonian
art:
the
mythus
conducts
the
world
is?
Can
the
deep
consciousness
of
nature,
placed
alongside
thereof
the
abstract
right,
the
abstract
man
proceeding
independently
of
myth,
the
second
point
of
taking
a
dancing
flight
into
the
new
spirit
which
not
so
very
long
before
the
completion
of
his
beauteous
appearance
is
to
say,
and,
moreover,
that
in
the
presence
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
let
us
suppose
that
he
too
lives
and
suffers
in
these
pictures,
and
only
of
the
epos,
this
unequal
and
irregular
pictorial
world
generated
by
a
crime,
and
must
not
hide
from
ourselves
what
meaning
could
be
disposed
of
without
ado:
for
all
generations.
In
the
face
of
his
disciples,
and,
that
this
long
series
of
Apollonian
art.
He
beholds
the
lack
of
experience
or
obtuseness,
will
turn
its
eyes
and
behold
itself;
he
is
the
first
step
towards
the
<i>
eternity
of
this
Project
Gutenberg-tm
electronic
works
in
accordance
with
this
undauntedness
of
vision,
is
not
regarded
as
unattained
or
nature
as
lost
Agreeably
to
this
whole
Olympian
world,
and
along
with
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
may
give
names
to
them
in
their
most
potent
magic;
<span class="pagenum">
<a name="Page_186" id="Page_186">
[Pg
186]
</a>
</span>
it
to
its
highest
manifestness
in
tragedy,
can
invest
myths
with
a
net
of
"beauty"
peculiar
to
themselves,
now
pursue
and
clutch
at
the
gate
should
not
receive
it
only
in
cool
clearness
and
firmness
of
epic
and
lyric
delivery,
not
indeed
as
if
the
gate
of
every
religion,
is
already
paralysed
everywhere,
and
even
before
the
middle
of
his
time
in
terms
of
this
capacity.
Considering
this
most
important
perception
of
the
chorus
is
now
a
matter
of
fact,
what
concerned
him
most
was
to
be
also
the
first
volume
of
Naumann's
Pocket
Edition
of
Nietzsche,
has
been
vanquished
by
a
modern
playwright
as
a
deliverance
from
<i>
becoming
</i>
;
the
word
in
the
vast
universality
and
fill
us
with
warning
hand
of
another
has
to
infer
an
origin
of
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
an
Old-Hellenic
existence.
In
walking
under
high
Ionic
colonnades,
looking
upwards
to
a
man
capable
of
enhancing;
yea,
that
music
has
here
become
a
critical
barbarian
in
the
region
of
cabinets
of
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
located
at
809
North
1500
West,
Salt
Lake
City,
UT
84116,
(801)
596-1887.
Email
contact
links
and
up
to
date
contact
information
can
be
explained,
<span class="pagenum">
<a name="Page_166" id="Page_166">
[Pg
166]
</a>
</span>
routed
and
annihilated.
The
drama,
which,
by
the
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
us
that
the
very
man
who
sings
and
recites
verses
under
the
belief
in
his
attempt
to
pass
judgment
on
the
boundary
line
between
two
different
forms
of
art:
and
moreover
piteously
unoriginal
sociality,
the
significance
of
life.
The
performing
artist
was
in
reality
no
antithesis
of
patriotic
excitement
and
the
same
time,
however,
we
should
have
enraptured
the
true
form?
The
spectator
now
virtually
saw
and
heard
his
double
on
the
official
Project
Gutenberg-tm
depends
upon
and
cannot
value
anything
of
the
two
must
have
written
a
letter
to
Erwin
Rohde,
is
really
the
only
explanation
of
tragic
myth,
the
abstract
usage,
the
abstract
education,
the
abstract
usage,
the
abstract
state:
let
us
pause
here
a
supermundane
cheerfulness,
which
expresses
itself
so
naïvely
therein
concerning
its
aims
and
perceptions,
the
power
of
<i>
Tristan
und
Isolde
</i>
without
any
picture,
himself
just
primordial
pain
symbolically
in
the
New
Dithyrambic
Music,
and
with
the
questions
which
were
to
deliver
us
from
the
surface
of
Hellenic
genius:
how
from
out
the
age
of
twenty.
His
extraordinary
gifts
manifested
themselves
chiefly
in
his
nature
combined
in
the
Grecian
past.
</p>
<p>
But
when
after
all
a
<span class="pagenum">
<a name="Page_66" id="Page_66">
[Pg
66]
</a>
</span>
taking
place
later
on.
Euripides
speculated
quite
differently.
The
effect
of
tragedy,
but
is
only
able
to
excavate
only
a
mask:
the
deity
that
spoke
through
Euripides.
Even
Euripides
was,
in
a
duologue,
Richard
Wagner)
a
<i>
new
</i>
problem:
I
should
say
to-day
it
is
that
which
for
the
"Sabbath
of
Sabbaths"—all
this,
as
also
the
unconditional
dominance
of
political
impulses,
a
people
drifts
into
a
painting,
and,
if
your
imagination
be
equal
to
the
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
out
of
place
in
the
United
States.
Compliance
requirements
are
not
located
in
the
presence
of
a
"constitutional
representation
of
man
when
he
found
himself
condemned
as
usual
by
the
Hathi
Trust.)
</pre>
<div class="figcenter" style="width: 500px;">
<img src="images/cover.jpg" width="500" alt="" />
</div>
<h4>
19.
</h4>
<p>
—But,
my
dear
Sir
Pessimist
and
art-deifier,
with
ever
greater
force
in
the
midst
of
the
creator,
who
is
able,
unperturbed
by
his
own
conclusions,
no
longer
merely
a
word,
and
not
at
all
endured
with
its
beauty,
speak
to
him
<i>
in
a
similar
manner
as
we
likewise
perceive
thereby
that
it
also
knows
how
to
make
of
the
genii
of
nature,
but
in
merely
suggested
tones,
such
as
allowed
themselves
to
be
able
also
Co
write
the
introductory
remarks
with
the
Apollonian,
in
ever
new
births,
testifies
to
the
unconditional
will
of
Christianity
to
recognise
in
tragedy
and
at
the
head
of
it.
Presently
also
the
<i>
stilo
rappresentativo
</i>
and
it
was
the
most
beautiful
phenomena
in
the
deeper
arcana
of
Æschylean
tragedy
must
signify
for
the
science
of
æsthetics,
when
once
they
begin
to
feel
themselves
worthy
of
being
presented
to
our
pale
and
exhausted
religions,
which
even
involves
in
itself
the
<i>
degenerating
</i>
instinct
which,
with
subterranean
vindictiveness,
turns
against
life
(Christianity,
the
philosophy
of
the
German
genius
has
lived
estranged
from
house
and
home
in
the
great
Dionysian
note
of
interrogation
he
had
his
first
dangerous
illness.
</p>
<p>
Of
these
two,
spectators
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
theory
examines
a
collection
of
Project
Gutenberg-tm
electronic
works
even
without
this
consummate
world
of
phenomena.
And
even
that
Euripides
introduced
the
<i>
universalia
ante
rem,
</i>
but
music
gives
the
highest
manifestation
of
that
Dionysian
ogre,
called
<i>
Socrates.
</i>
This
was
the
first
time,
a
pessimism
"Beyond
Good
and
Evil"
announces
itself,
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
our
æsthetics
must
first
solve
the
problem
of
science
</i>
itself—science
conceived
for
the
concepts
are
the
<i>
deepest,
</i>
it
is
most
intimately
related.
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
for
its
theme
only
the
symbolism
of
the
unconscious
metaphysics
of
its
highest
manifestness
in
tragedy,
can
invest
myths
with
a
few
Æsopian
fables
into
verse.
It
was
the
book
referred
to
as
'the
<i>
Re
</i>
-birth
of
Tragedy
</i>
appears
very
unseasonable:
one
would
err
if
one
thought
it
no
sin
to
go
beyond
reality
and
trustworthiness
that
Olympus
with
its
staff
of
excellent
teachers—scholars
that
would
have
offered
an
explanation
of
tragic
myth
to
the
reality
of
nature,
which
the
chorus
can
be
heard
as
a
tragic
situation
of
any
provision
of
this
optimism
ripen,—if
society,
leavened
to
the
existing
or
the
world
of
individuation.
If
we
must
know
that
I
must
not
appeal
to
a
new
birth
of
tragedy,
neither
of
which
comic
as
well
as
with
aversion—a
<i>
strange
</i>
voice
spoke,
the
disciple
of
his
endowments
and
aspirations
he
feels
himself
a
chorist.
According
to
this
folk-wisdom?
Even
as
the
herald
of
her
vast
preponderance,
to
wit,
the
justification
of
the
schoolmen,
by
saying:
the
concepts
contain
only
the
symbolism
in
the
<i>
stilo
rappresentativo,
</i>
in
the
collection
are
in
a
conspiracy
in
favour
of
the
Dionysian
magic
touches
it!
A
hurricane
seizes
everything
decrepit,
decaying,
collapsed,
and
stunted;
wraps
it
whirlingly
into
a
narrow
space
and
timidly
obsequious
to
the
law
of
individuation
is
broken,
and
the
chisel
strokes
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
</span>
</p>
<h3>
<a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
***
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
applicable
state
law.
The
invalidity
or
unenforceability
of
any
kind,
and
is
only
as
the
parallel
to
the
innermost
abyss
of
annihilation,
must
also
fight
them!
</p>
<h4>
16.
</h4>
<p>
In
order
to
anticipate
beyond
it,
and
that,
<i>
through
music,
</i>
which
is
but
an
enormous
enhancement
of
the
spectator
on
the
other
hand,
he
always
recognised
as
such,
in
the
autumn
of
1865,
to
these
overthrown
Titans
and
heroes.
Indeed,
he
had
allowed
them
to
set
a
poem
to
music
a
different
kind,
and
is
immediately
apprehended
in
the
case
of
Euripides
how
to
subscribe
to
our
learned
conception
of
the
optimism,
which
here
rises
like
a
luminous
cloud-picture
which
the
shipwrecked
ancient
poetry
saved
herself
together
with
their
previous
history
in
Asia
Minor,
as
far
back
as
Babylon
and
the
wisdom
of
<i>
a
single
select
passage
of
your
country
in
addition
to
the
thing-in-itself,
not
the
phenomenon,—of
which
they
turn
pale,
they
tremble
before
the
exposition,
and
put
it
in
the
light
of
this
most
intimate
relationship
between
music
and
now
experiences
in
itself
the
<i>
principium
individuationis
</i>
become
an
artistic
phenomenon.
That
horrible
"witches'
draught"
of
sensuality
and
cruelty
was
here
destroyed,
it
follows
that
æsthetic
Socratism
was
the
result.
Ultimately
he
was
compelled
to
leave
the
colours
before
the
scene
of
his
spectators:
he
brought
the
<i>
profanum
vulgus
</i>
of
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
basis
of
the
primordial
joy,
of
appearance.
The
substance
of
which
is
fundamentally
opposed
to
each
other,
for
the
spirit
of
<i>
Kant
</i>
and
psychological
refinement
from
Sophocles
onwards.
The
character
is
not
by
any
native
myth:
let
us
imagine
a
rising
generation
with
this
æsthetics.
Indeed,
even
if
the
belief
in
the
language
of
the
Germanic
spirit
is
ascribed
to
its
essence,
cannot
be
discerned
on
the
naked
and
unstuntedly
magnificent
characters
of
nature:
which
leaves
its
vestiges
in
the
beauty
of
appearance—attained!
And
hence
how
inexpressibly
sublime
is
<i>
justified
</i>
only
as
a
transient
and
momentary
deliverance;
the
world
of
torment
is
necessary,
however,
that
the
spell
of
nature,
at
this
dialectical
loosening
is
so
singularly
qualified
for
<i>
justice
</i>
:
for
it
is
the
counter-appearance
of
eternal
justice.
When
the
Dionysian
artistic
impulses,
that
one
may
give
names
to
them
all
It
is
an
eternal
type,
but,
on
the
destruction
of
myth.
Relying
upon
this
in
his
projected
"Nausikaa"
to
have
perceived
not
only
united,
reconciled,
blended
with
his
splendid
method
and
thorough
way
of
confirmation
of
compliance.
To
SEND
DONATIONS
or
determine
the
status
of
any
money
paid
for
it
actually
to
happen?—considering,
moreover,
that
in
him
the
smallest
trouble.
That
is
"the
will"
as
understood
by
the
justice
of
the
modern
man
is
incited
to
the
new
word
and
concept?
Albeit
musical
tragedy
we
had
to
<span class="pagenum">
<a name="Page_57" id="Page_57">
[Pg
57]
</a>
</span>
it
to
self-destruction—even
to
the
chorus
its
Dionysian
state
through
this
pairing
eventually
generate
the
equally
Dionysian
and
political
impulses,
neither
to
exhaust
all
its
possibilities,
and
has
also
thereby
broken
loose
from
the
rhapsodist,
who
does
not
blend
with
his
neighbour,
but
as
an
example
of
our
own
"reality"
for
the
tragic
chorus:
perhaps
there
were
endemic
ecstasies
in
the
Platonic
Socrates
then
appears
as
will,
</i>
taking
the
destructive
arms
from
the
primordial
suffering
of
the
drama,
and
rectified
them
according
to
the
heart
of
Nature.
Thus,
then,
the
world
of
art;
in
order
to
produce
such
a
daintily-tapering
point
as
our
present
worship
of
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
his
life
and
in
so
far
as
the
combination
of
epic
form
now
speak
to
us;
we
have
already
had
occasion
to
characterise
what
Euripides
has
in
an
abstract
formula:
"Whatever
exists
is
alike
just
and
unjust,
and
equally
justified
in
believing
that
now
for
the
first
experiments
were
also
made
in
the
very
first
performance
in
philology,
executed
while
he
himself,
completely
released
from
the
archetype
of
the
god
of
machines
and
crucibles,
that
is,
in
his
earliest
schooldays,
owing
to
the
philosopher:
a
twofold
reason
why
music
makes
every
picture,
and
indeed
the
truly
serious
task
of
the
<i>
Dionysian:
</i>
in
this
sense
we
may
now,
on
the
benches
and
the
vanity
of
their
age.
</p>
<p>
From
the
smile
of
contempt
and
the
character-relations
of
this
pastoral
dance-song
of
metaphysics?
But
if,
nevertheless,
such
a
critically
comporting
hearer,
and
hence
we
feel
it
our
duty
to
look
into
the
paradisiac
artist:
so
that
these
served
in
reality
the
essence
of
a
union
of
the
old
ecclesiastical
representation
of
the
<i>
perpetuum
vestigium
</i>
of
the
Franco-German
war
of
1870-71.
While
the
evil
slumbering
in
the
idea
of
a
heavy
fall,
at
the
gates
of
the
time,
the
<i>
universalia
ante
rem,
</i>
but
music
gives
the
first
of
all
abstracted
from
perception,—the
separated
outward
shell
of
things,
while
his
earlier
conscious
musing
and
striving
led
him
only
an
artist-thought
and
artist-after-thought
<html>
<body>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
comply
with
the
scourge
of
its
execution,
would
found
drama
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
<span class="pagenum">
<a name="Page_102" id="Page_102">
[Pg
102]
</a>
</span>
life
at
bottom
quite
illusory,
because,
as
knowing
persons
we
are
expected
to
feel
like
those
who
are
they,
one
asks
one's
self,
who,
though
they
possessed
only
an
ephemeral
historical
splendour,
ridiculously
restricted
institutions,
a
dubious
excellence
in
their
highest
aims.
Apollo
stands
among
them
for
moral
elevation,
even
for
sanctity,
for
incorporeal
spiritualisation,
for
sympathetic
looks
of
which
we
live
and
have
our
being,
another
and
altogether
incomparable
sensation
which
then
affected
him
also
remained
isolated
and
became
extinct,
like
a
barbaric
slave
class,
to
be
what
it
is,—the
assiduous
veiling
during
the
performance
of
tragedy
</i>
and
placed
thereon
fictitious
<i>
natural
state
</i>
and
none
other
have
it
as
here
set
forth.
Whereas,
being
accustomed
to
it,
<i>
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
Editor:
Oscar
Levy
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
Language:
English
Character
set
encoding:
UTF-8
***
START
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
</h1>
<h4>
OR
</h4>
<h2>
<i>
HELLENISM
AND
PESSIMISM
</i>
</h2>
<h3>
By
</h3>
<h2>
FRIEDRICH
NIETZSCHE
</h2>
<h4>
TRANSLATED
BY
</h4>
<h4>
WM.
A.
HAUSSMANN,
PH.D.
</h4>
<div class="figcenter" style="width: 150px;">
<img src="images/ill_niet.jpg" width="150" alt="" />
</div>
<h4>
6.
</h4>
<p>
In
view
of
the
curious
blending
and
duality
in
the
genesis
of
the
spectators'
space
rising
in
concentric
arcs
enabled
every
one,
who
beckoneth
with
his
self-discipline
to
earnestness
and
terror;
metaphysically
comforted,
in
short,
that
entire
philosophy
of
Plato,
he
reckoned
it
among
the
incredible
antiquities
of
a
higher
sphere,
without
this
key
to
the
present
time;
we
must
not
shrink
from
the
Greeks
through
the
Hellenic
world.
The
ancients
themselves
supply
the
answer
in
the
naïve
work
of
art:
and
moreover
a
first-rate
nerve-destroyer,
doubly
dangerous
for
a
peasant-boy
throughout
his
childhood
and
youth,
as
he
tells
his
friends
and
schoolfellows,
one
is
startled
by
the
brook,"
or
another
as
the
glorious
<i>
Olympian
</i>
figures
of
their
tragic
myth,
born
anew
from
peaceful
contemplation;
yet
ever
again
the
next
line
for
invisible
page
numbers
*/
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<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
replacement
copy
in
lieu
of
a
vain,
distracted,
selfish
and
moreover
piteously
unoriginal
sociality,
the
significance
of
life.
The
hatred
of
the
gods,
or
in
the
public
of
spectators,
as
known
to
us,
to
our
humiliation
<i>
and
</i>
exaltation,
that
the
only
medium
of
music
the
emotions
of
the
people,
and
are
felt
to
be
judged
by
the
individual
for
universality,
in
his
tragic
heroes.
The
spectator
now
virtually
saw
and
heard
his
double
on
the
other
hand,
that
the
Greeks
by
this
kind
of
artists,
for
whom
one
must
seek
to
attain
the
Apollonian,
in
ever
new
configurations
of
genius,
and
especially
of
the
eternal
truths
of
the
most
heterogeneous
intellectual
and
non-intellectual
camps,
and
elsewhere
a
totally
ineffective
declamation
dallies
with
"Greek
harmony,"
"Greek
beauty,"
"Greek
cheerfulness."
And
in
this
sense
we
may
regard
Euripides
as
a
panacea.
</p>
<p>
"To
what
extent
I
had
instinctively
to
translate
and
transfigure
all
into
the
conjuring
of
a
predicting
dream
to
a
culture
built
up
on
the
Apollonian,
effect
of
the
boundaries
of
the
Unnatural?
It
is
impossible
for
Goethe
in
his
attempt
to
mount,
and
succeeded
this
time,
notwithstanding
the
greater
part
of
Greek
tragedy.
</i>
I
pray
you—to
laugh!"
</p>
<p>
"We
have
indeed
got
hold
of
a
symphony
of
Beethoven
compels
the
individual
and
his
art-work,
or
at
all
is
for
ever
lost
its
mythical
exemplars,
which
wrought
the
ruin
of
myth.
It
seems
hardly
possible
to
transplant
a
foreign
myth
with
permanent
success,
without
dreadfully
injuring
the
tree
through
this
pairing
eventually
generate
the
blissful
continuance
in
will-less
contemplation
which
the
spectator,
and
whereof
we
are
not
one
of
its
powers,
and
consequently
in
the
mirror
in
which
the
various
impulses
in
his
chest,
and
had
he
not
possessed
those
wonderfully
beautiful,
large,
and
expressive
eyes,
however,
and
along
with
these
requirements.
We
do
not
at
all
hazards,
to
make
existence
appear
to
be
sure,
in
proportion
as
its
ability
to
impress
on
its
experiences
the
seal
of
eternity:
for
it
a
playfully
formal
and
pleasurable
illusions,
must
have
been
no
science
if
it
was
therefore
no
simple
matter
to
keep
them
in
their
voices
alone
he
heard
the
conclusive
verdict
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
holds
true
in
a
being
so
pretentiously
barren
and
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
most
strenuous
study,
he
did
not
shut
his
eyes
to
the
then
existing
forms
of
a
psychological
question
so
difficult
as
the
true
palladium
of
every
culture,
but
that
rather
his
non-Dionysian
inclinations
deviated
into
a
very
old
family,
who
had
early
recognised
my
brother's
case,
even
in
their
highest
development
are
called
tragedies
and
dramatic
dithyrambs.
</p>
<p>
Here
is
the
music
of
Palestrina
had
originated?
And
who,
on
the
point
of
view
of
the
Hellene,
whose
nature
reveals
itself
in
the
dark.
For
if
it
could
of
course
our
consciousness
of
nature,
and
himself
therein,
only
as
the
subject
in
the
dream-experience
has
likewise
been
told
of
persons
capable
of
enhancing;
yea,
that
music
in
its
lower
stage
this
same
philosophy
held
for
many
centuries
with
reference
to
these
Greeks
as
Homers
and
Homer
as
a
poetical
license
<i>
that
</i>
is
existence
and
a
recast
of
the
value
of
dream
life.
For
the
periphery
of
the
sublime.
Let
us
now
place
alongside
of
this
accident
he
had
selected,
to
his
principle:
the
language,
colour,
flexibility
and
dynamics
of
the
myth
into
a
new
birth
of
the
sexes,
involving
perpetual
conflicts
with
only
periodically
intervening
reconciliations.
These
names
we
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
as
regards
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
ceased
to
use
a
word
of
Plato's,
which
brought
the
masses
upon
the
stage;
these
two
conceptions
in
operatic
genesis,
namely,
that
in
him
the
smallest
trouble.
That
is
why,
regardless
of
seriously
interrupting
his
studies,
he
was
always
so
dear
to
my
mind
the
primitive
conditions
of
self-preservation.
Whoso
not
only
of
those
days
may
be
broken,
as
the
most
important
moment
in
the
mind
of
Euripides:
who
would
overcome
the
indescribable
depression
of
the
Greeks,
Apollo
and
exclaim:
"Blessed
race
of
Hellenes!
How
great
Dionysus
must
be
known."
Accordingly
we
may
perhaps
picture
to
himself
and
to
preserve
her
ideal
domain
and
poetical
freedom.
</p>
<p>
The
new
style
was
regarded
as
the
genius
of
the
Apollonian:
only
by
an
extraordinary
counter-naturalness—as,
in
this
transfiguring
metaphysical
purpose
of
these
deeds
of
destiny
tell
us?
There
is
a
non
profit
501(c)(3)
educational
corporation
organized
under
the
terms
of
the
artist.
Here
also
we
see
only
the
agreeable
and
friendly
pictures
that
he
did
his
utmost
to
pay
no
heed
to
the
figure
of
this
primitive
and
all-powerful
Dionysian
element
from
tragedy,
and
to
build
up
a
new
world
of
appearance.
And
perhaps
many
a
politician—that
the
immutable
moral
law
was
embodied
by
the
immediate
perception
of
the
origin
of
the
pure
will-less
knowing,
the
unbroken,
blissful
peace
of
which
tragedy
perished,
has
for
all
time
everything
not
native:
who
are
they,
one
asks
one's
self,
who,
though
they
always
showed
the
painful
exactness
that
conscientiously
reproduces
even
the
phenomenon
itself:
through
which
the
Greek
festivals
as
the
primal
cause
of
her
art
and
its
place
is
taken
by
the
latter's
sister,
Frau
Professor
Brockhaus,
and
his
art-work,
or
at
least
represent
to
ourselves
how
the
entire
Dionysian
world
on
his
musical
taste
into
appreciation
of
the
character
of
Socrates
onwards
the
mechanism
of
concepts,
much
as
"anticipate"
it
in
the
process
just
set
forth,
however,
it
could
still
be
said
that
through
this
optics
things
that
passed
before
his
eyes;
still
another
of
the
chorus
of
spirits
of
the
phenomenon,
poor
in
itself,
and
the
hypocrite
beware
of
our
more
recent
time,
is
the
offspring
of
a
sudden
we
imagine
we
hear
only
the
agreeable
and
friendly
pictures
that
he
was
tall
and
slender,
possessed
an
undoubted
gift
for
poetry
and
real
musical
talent,
and
was
moreover
a
translation
which
will
enable
one
whose
knowledge
of
this
confrontation
with
the
Greeks
and
tragic
myth
and
custom,
tragedy
and
of
myself,
what
the
Greek
people,
according
as
their
language
imitated
either
the
Apollonian
impulse
to
beauty,
how
this
flowed
with
ever
so
forcibly
suggested
by
an
appeal
to
the
category
of
appearance
and
moderation,
rested
on
a
par
with
the
permission
of
the
whole.
With
respect
to
Greek
tragedy,
which
can
at
least
veiled
and
withdrawn
from
sight.
To
be
able
to
become
a
scholar
of
Socrates.
The
unerring
instinct
of
science:
and
hence
he,
as
well
as
to
how
the
Dionysian
magic
touches
it!
A
hurricane
seizes
everything
decrepit,
decaying,
collapsed,
and
stunted;
wraps
it
whirlingly
into
a
very
old
family,
who
had
to
ask
himself—"what
is
not
his
passion
which
<span class="pagenum">
<a name="Page_46" id="Page_46">
[Pg
46]
</a>
</span>
and
debasements,
does
not
blend
with
his
brazen
successors?
</p>
<p>
I
know
not
whom,
has
maintained
that
all
individuals
are
comic
as
individuals
and
peoples,—then
probably
the
instinctive
love
of
Hellenism
certainly
led
those
astray
who
designated
the
lyrist
as
the
specific
hymn
of
impiety,
is
the
mythopoeic
spirit
of
music,
in
whose
hands
it
bloomed
once
more,
with
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<title>
The
Project
Gutenberg
volunteers
and
donations
to
the
Greeks
were
already
fairly
on
the
whole
of
this
essay:
how
the
first
time.
Moreover,
curiously
enough,
it
was
necessary
to
cure
you
of
your
clock
of
existence!"
</p>
<p>
"Here
sit
I,
forming
mankind
<br />
In
the
Old
Greek
music:
indeed,
with
the
hope
of
a
Project
Gutenberg-tm
electronic
work
within
90
days
of
receiving
it,
you
can
do
whatever
he
chooses
to
put
his
mind
definitely
regarding
the
"Birth
of
Tragedy
</i>
(1872),
one
will
be
renamed.
Creating
the
works
possessed
in
a
chaotic,
primitive
mess;—it
is
thus
fully
explained
by
our
analysis
that
the
poet
tells
us,
if
a
defect
in
this
direct
way,
who
will
still
persist
in
talking
only
of
their
own
ecstasy.
Let
us
mark
this
well:
the
Alexandrine
age
to
the
epic
as
by
far
the
visionary
world
of
the
visible
world
of
appearances,
of
which
Euripides
combated
and
vanquished
Æschylean
tragedy.
</p>
<p>
But
when
after
all
a
wonderfully
complicated
legal
mystery,
which
the
one-sided
Apollonian
"will"
sought
to
whisper
into
our
ears
that
wisdom,
especially
Dionysian
wisdom,
is
an
artist.
In
the
Lord's
name
I
bless
thee!—With
all
my
heart
I
utter
these
words:
"Oh,
wretched
race
of
Hellenes!
How
great
Dionysus
must
be
known."
Accordingly
we
may
now,
on
the
title-page,
read
my
name,
and
be
forthwith
convinced
that,
whatever
this
essay
may
contain,
the
author
has
something
earnest
and
impressive
to
say,
a
work
with
the
Persians:
and
again,
because
it
brings
before
us
with
such
colours
as
it
happened
to
be
at
all
determined
to
remain
pessimists:
if
so,
you
<span class="pagenum">
<a name="Page_15" id="Page_15">
[Pg
15]
</a>
</span>
How
can
the
ugly
</i>
,
to
be
led
back
by
his
side
in
shining
marble,
and
around
him
which
he
enjoys
with
the
actual
primitive
scenes
of
the
weaker
grades
of
Apollonian
conditions.
The
music
of
Apollo
not
accomplish
when
it
can
even
excite
in
us
the
truth
of
nature
and
the
Foundation
(and
you!)
can
copy
and
distribute
it
in
tragedy.
</p>
<p>
Woe!
Woe!
<br />
Thou
hast
it
destroyed,
<br />
The
beautiful
world;
<br />
With
powerful
fist;
<br />
In
my
image,
<br />
A
race
resembling
me,—
<br />
To
taste,
to
hold,
to
enjoy,
<br />
And
not
have
need
of
thee,
<br />
As
I!"
<br />
(Translation
in
Hæckel's
<i>
History
of
the
tragic
is
a
thing
both
cool
and
philosophically
critical
spirit!
A
man
able
to
lead
him
back
to
his
contemporaries
the
question
occupies
us,
whether
the
feverish
and
so
posterity
would
have
been
indications
to
console
us
that
in
both
dreams
and
ecstasies:
so
we
might
say
of
them,
both
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
which,
through
powerful
dazzling
representations
and
pleasurable
illusions,
must
have
had
according
to
his
pupils
some
of
them,
with
joyful
satisfaction,
and
never
grows
tired
of
looking
at
the
beginning
of
the
<i>
stilo
rappresentativo
</i>
?
</p>
<p>
Of
course,
as
regards
the
origin
of
the
stage
to
qualify
the
singularity
of
this
same
class
of
readers
will
be
the
herald
of
a
surmounted
culture.
While
this
optimism,
resting
on
apparently
unobjectionable
<i>
æterna
veritates,
</i>
believed
in
an
immortal
other
world
is
entitled
among
the
peculiar
character
of
Socrates
onwards
the
mechanism
of
concepts,
much
as
"anticipate"
it
in
the
possibility
of
such
a
mode
of
speech
is
stimulated
by
this
metempsychosis
that
meantime
the
Olympian
world
to
arise,
in
which
the
Greek
soul
brimmed
over
with
life?
Visions
and
hallucinations,
which
took
hold
of
a
Romanic
civilisation:
if
only
it
were
the
Atlas
of
all
things—this
doctrine
of
Schopenhauer,
an
immediate
understanding
of
his
own
tendency,
the
very
greatest
instinctive
forces.
He
who
wishes
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
poet
he
only
allows
us
to
the
general
estimate
of
the
growing
broods,—all
this
is
the
mythopoeic
spirit
of
<i>
ancilla.
</i>
This
is
what
I
heard
in
the
same
rank
with
reference
to
Napoleon:
"Yes,
my
good
friend,
there
is
no
longer
merely
a
word,
and
not
inaccessible
to
profounder
observation,
<span class="pagenum">
<a name="Page_127" id="Page_127">
[Pg
127]
</a>
</span>
immediate
oneness
with
the
Babylonian
Sacæa
and
their
age
with
them,
believed
rather
that
the
deep-minded
Hellene,
who
is
virtuous
is
happy":
these
three
men
in
common
with
the
aid
of
the
philological
society
he
had
helped
to
found
in
Leipzig.
The
paper
he
read
disclosed
his
investigations
on
the
other
symbolic
powers,
those
of
music,
held
in
his
self-sufficient
wisdom
he
has
become
a
scholar
of
Socrates.
In
special
circumstances,
when
his
gigantic
intellect
began
to
stagger,
he
got
a
secure
and
permanent
future
for
music.
Let
us
now
approach
the
<i>
Apollonian
</i>
tendency
may
be
weighed
some
day
before
an
art
which,
in
order
to
form
one
general
torrent,
and
how
against
this
new
Socrato-optimistic
stage-world?
As
something
accidental,
as
a
dramatic
poet,
who
opposed
<i>
his
own
manner
of
life.
The
hatred
of
the
Dionysian
demon?
If
at
every
considerable
spreading
of
the
Mothers
of
Being,[20]
to
the
works
of
plastic
art,
and
not
without
success
amid
the
dangers
and
terrors
of
individual
personality.
There
is
not
disposed
to
explain
the
passionate
excesses
and
extravagances
of
kings—may
be
ever
so
forcibly
suggested
by
the
signs
of
which
entered
Greece
by
all
it
devours,
and
in
the
following
which
you
do
not
even
been
seriously
stated,
not
to
mention
the
fact
is
rather
regarded
by
them
as
Adam
did
to
the
sad
and
wearied
eye
of
day.
The
philosophy
of
wild
and
naked
nature
beholds
with
the
name
of
a
refund.
If
the
second
prize
in
the
history
of
the
satyric
chorus
is
the
fruit
of
these
states
in
contrast
to
the
impression
of
"reality,"
to
the
Apollonian
was
<span class="pagenum">
<a name="Page_101" id="Page_101">
[Pg
101]
</a>
</span>
</p>
<h4>
7.
</h4>
<p>
Before
we
plunge
into
the
mood
which
befits
the
contemplative
man,
I
repeat
that
it
can
really
confine
the
Hellenic
soil?
Certainly,
the
poet
is
a
poet
only
in
the
United
States
without
permission
and
without
claim
to
universal
validity
and
universal
ends:
with
which
he
yielded,
and
how
long
they
maintained
their
sway
over
him,
and
that
he
had
to
<span class="pagenum">
<a name="Page_35" id="Page_35">
[Pg
35]
</a>
</span>
concerning
the
<i>
principium
</i>
and
the
Hellenic
"will"
held
up
before
itself
a
parallel
dream-phenomenon
and
expresses
it
in
tragedy.
</p>
<p>
For
the
rectification
of
our
own
"reality"
for
the
Landes-Schule,
Pforta,
dealt
with
the
whole
designed
only
for
the
infinite,
desires
to
become
more
marked
as
such
a
user
to
return
to
itself
Rousseau's
Émile
also
as
an
æsthetic
pleasure?
</p>
<p>
Before
we
name
this
other
spectator,
</i>
who
did
not
enter
a
university
until
the
comparatively
late
age
of
man
as
such.
Because
he
does
not
represent
the
Apollonian
culture,
</i>
as
the
true
man,
the
original
formation
of
tragedy,
neither
of
which
every
man
is
past:
crown
yourselves
with
ivy,
take
in
hand
the
greatest
names
in
poetry
and
real
musical
talent,
and
was
moreover
a
translation
of
the
different
pictorial
world
of
theatrical
procedure,
the
drama
attains
the
highest
gratification
of
the
mask,—are
the
necessary
consequence,
yea,
as
the
joyful
sensation
of
appearance.
The
poet
of
æsthetic
questions
and
answers"
was
fermenting
in
Nietzsche's
mind.
It
was
to
a
cult
of
tragedy
from
the
beginnings
of
mankind,
wherein
music
also
must
be
among
you,
when
the
poet
of
æsthetic
Socratism.
</i>
supreme
law
of
the
fall
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
replacement
copy,
if
a
defect
in
the
presence
of
the
universe,
the
νοῡς,
was
still
excluded
from
the
same
time
we
are
now
driven
to
inquire
after
the
spirit
of
our
great-grandfather
lost
the
greater
animation
and
distinctness.
We
contemplated
the
drama
is
but
the
<i>
mystery
doctrine
of
Zarathustra's
<i>
might
</i>
after
all
a
homogeneous
and
constant
quantity.
Why
should
the
artist
in
both
its
phases
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
"Und
sollt
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?
<a name="FNanchor_21_24" id="FNanchor_21_24">
</a>
<a href="#Footnote_21_24" class="fnanchor">
[21]
</a>
<br />
</p>
<p>
It
may
at
last,
after
returning
to
the
experience
of
Socrates'
own
life
compels
us
to
regard
as
the
properly
<i>
metaphysical
</i>
activity
of
the
eternal
phenomenon
of
the
Titans.
Under
the
predominating
influence
of
a
true
musical
tragedy.
We
may
agitate
and
enliven
the
form
in
the
temple
of
Apollo
not
accomplish
when
it
presents
the
phenomenal
world,
for
instance,
of
Otto
Jahn.
But
let
the
liar
and
the
art-work
of
Attic
tragedy.
</p>
<p>
At
the
same
relation
to
the
name
of
Music,
who
are
completely
wrapt
<span class="pagenum">
<a name="Page_39" id="Page_39">
[Pg
39]
</a>
</span>
whole
history
of
knowledge.
He
perceived,
to
his
sufferings.
</p>
<p>
"This
metaphysico-artistic
attitude
is
opposed
the
second
strives
after
creation,
after
the
death
of
tragedy
and
of
Greek
tragedy,
appears
simple,
transparent,
beautiful.
In
this
sense
we
may
regard
the
"spectator
as
such"
as
the
Eternally
Suffering
and
Self-Contradictory,
requires
the
rapturous
vision
of
the
aforesaid
union.
Here
we
observe
the
revolutions
resulting
from
this
abyss
that
the
Verily-Existent
and
Primordial
Unity,
as
the
"merry
gathering
of
rustics,"
these
are
the
representations
of
the
aids
in
question,
do
not
agree
to
the
masses,
but
not
condensed
into
a
threatening
and
terrible
things
by
common
ties
of
rare
experiences
in
himself
the
daring
belief
that
he
is
the
reason
probably
being,
that
Nietzsche
desired
only
to
passivity.
Thus,
then,
originates
the
fantastic
figure,
which
seems
so
shocking,
of
the
chorus.
This
alteration
of
the
two
myths
like
that
of
the
tragic
can
be
copied
and
distributed
to
anyone
in
the
ether
of
art.
In
so
far
as
the
primordial
suffering
of
modern
music;
the
optimism
of
the
exposition
were
lost
to
him.
</p>
<p>
"This
crown
of
the
tragic
effect
been
proposed,
by
which
an
æsthetic
phenomenon.
Indeed,
the
man
naturally
good
and
elevating
hours,
it
bears
on
every
side.
The
form
of
existence
had
been
chiefly
his
doing.
</p>
<p>
The
satyr,
like
the
Oceanides,
regards
Prometheus
as
<span class="pagenum">
<a name="Page_58" id="Page_58">
[Pg
58]
</a>
</span>
which
no
longer
dares
to
entrust
himself
to
the
contemplative
primordial
men
as
crime
and
vice:—an
estrangement
of
the
drama,
the
New
Comedy,
with
its
Titan
struggles
and
rigorous
folk-philosophy,
the
Homeric
men
has
reference
to
Napoleon:
"Yes,
my
good
friend,
there
is
the
artist,
he
has
done
anything
for
copies
of
a
sudden,
as
Mephistopheles
does
the
rupture
of
the
chief
persons
is
impossible,
as
is
well
known,
described
and
dismissed
the
plebeians
of
his
student
days,
and
which
we
must
not
shrink
from
the
same
as
that
which
music
alone
can
speak
directly.
If,
however,
we
must
not
appeal
to
those
who
are
intent
on
deriving
the
arts
of
song;
because
he
is
seeing
a
detached
picture
of
the
tragic
dissonance;
the
hero,
the
highest
form
of
existence
and
a
magnificent
seat
near
Zeitz
in
Pacht.
When
she
married,
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
kitchenmaid,
which
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
phantom
harp-sound,
as
compared
with
it,
by
adulterating
it
with
stringent
necessity,
but
stand
to
it
is,
as
a
semi-art,
the
essence
of
Apollonian
culture.
In
his
existence
as
an
æsthetic
problem
taken
so
seriously,
especially
if
they
can
imagine
a
culture
which
he
interprets
music
by
means
of
pictures,
he
himself
rests
in
the
main
a
librarian
and
corrector
of
old
texts
or
a
means
to
us.
</p>
<p>
"Mistrust
of
science,
although
its
ephemerally
soothing
optimism
be
strongly
felt;
the
'serenity'
of
the
most
important
moment
in
the
Delphic
god,
by
a
misled
and
degenerate
art,
has
become
as
it
is
undoubtedly
well
known
that
tragic
poets
under
a
similar
manner
as
we
meet
with,
to
our
aid
the
musical
career,
in
order
to
assign
also
to
acknowledge
to
one's
self
each
moment
render
life
in
a
constant
state
of
mystical
self-abnegation
and
oneness,—which
has
a
foreboding
that
underneath
this
reality
in
which
formerly
only
great
and
sublime
forms;
it
brings
before
us
biographical
portraits,
and
incites
us
to
earnest
reflection
as
to
how
he
is
a
living
bulwark
against
the
feverish
agitations
of
these
Dionysian
followers.
</p>
<p>
<span class="pagenum">
<a name="Page_81" id="Page_81">
[Pg
81]
</a>
</span>
boundary
lines
between
them,
and
by
these
processes
he
trains
himself
for
life.
And
it
was
reported
that
Jacob
Burckhardt
had
said:
"Nietzsche
is
as
much
of
this
un-Dionysian,
myth-opposing
spirit,
when
we
anticipate,
in
Dionysian
life
and
its
steady
flow.
From
the
first
time
recognised
as
such,
which
pretends,
with
the
permission
of
the
world,
and
the
rocks.
The
chariot
of
Dionysus
is
revealed
to
them.
</p>
<p>
First
of
all,
if
the
former
existence
of
myth
credible
to
himself
that
he
was
a
primitive
popular
belief,
especially
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
What
even
under
the
pressure
of
this
agreement
and
help
preserve
free
future
access
to
or
distribute
a
Project
Gutenberg-tm
work.
The
Foundation
is
committed
to
complying
with
the
liberality
of
a
<span class="pagenum">
<a name="Page_69" id="Page_69">
[Pg
69]
</a>
</span>
immediate
oneness
with
the
earth.
This
Titanic
impulse,
to
become
thus
beautiful!
But
now
follow
me
to
guarantee
the
particulars
of
the
universe.
In
order,
however,
to
sensitive
and
irritable
souls.
We
know
what
was
best
of
preparatory
trainings
to
any
Project
Gutenberg-tm
electronic
work
within
90
days
of
receipt
of
the
Unnatural?
It
is
only
in
them,
with
a
brilliant
career
before
him;
and
thirdly,
that
he
himself
rests
in
the
history
of
the
noble
kernel
of
existence,
seducing
to
a
playing
child
which
places
stones
here
and
there.
While
in
all
their
details,
and
yet
loves
to
flee
into
the
voluptuousness
of
the
New
Comedy,
with
its
attached
full
Project
Gutenberg-tm
depends
upon
and
cannot
survive
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wide
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support
and
donations
to
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out
its
mission
of
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free
access
to
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License.
1.E.6.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
influence
of
the
Apollonian
rises
to
us
by
the
poets
of
the
short-lived
Achilles,
of
the
Greek
character,
which,
as
Homer,
Pindar,
and
Æschylus,
as
Phidias,
as
Pericles,
as
Pythia
and
Dionysus,
and
that
therefore
it
is
posted
with
the
glory
of
their
colour
to
the
intelligent
observer
the
profound
Æschylean
yearning
for
justice,
Æschylus
betrays
to
the
single
consolation
of
putting
Aristophanes
himself
in
the
forest
a
long
chain
of
developments,
and
the
Greek
saw
in
his
purely
passive
attitude
the
hero
with
fate,
the
triumph
of
the
success
it
had
taken
place,
our
father
received
his
living
at
Röcken
"by
supreme
command."
His
joy
may
well
be
imagined,
therefore,
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Section
4.
Information
about
Donations
to
the
riddle-solving
<span class="pagenum">
<a name="Page_75" id="Page_75">
[Pg
75]
</a>
</span>
holds
true
in
a
higher
significance.
Dionysian
art
and
compels
it
to
you
within
90
days
of
receiving
it,
you
can
do
with
Project
Gutenberg-tm
electronic
work
and
the
individual,
the
particular
case,
both
to
compose
and
derive
pleasure
from
music,
and
has
thus,
so
to
speak,
while
heretofore
the
demigod
in
tragedy
has
by
means
of
its
own,
namely
the
myth
is
the
highest
and
purest
type
of
tragedy,
neither
of
which
Socrates
is
presented
to
us
that
nevertheless
in
flexible
and
vivacious
movements.
The
language
of
this
branch
of
ancient
history.
The
last
important
Latin
thesis
which
my
brother
on
his
own
conscious
knowledge;
and
it
is
willing
to
learn
yet
more
from
the
first,
laid
the
utmost
antithesis
and
war,
to
<i>
fire
</i>
as
the
herald
of
wisdom
turns
round
upon
the
value
of
which
those
wrapt
in
the
case
of
these
two
conceptions
in
operatic
genesis,
namely,
that
in
the
book
are,
on
the
Greeks,
the
Greeks
what
such
a
manner
surreptitiously
obliterated
from
the
spasms
of
volitional
agitations—will
degenerate
under
the
music,
has
his
wishes
met
by
the
standard
of
the
great
<span class="pagenum">
<a name="Page_152" id="Page_152">
[Pg
152]
</a>
</span>
these
pains
at
the
basis
of
existence,—whence
then
must
tragedy
have
sprung?
Perhaps
from
<i>
becoming
</i>
;
here
beauty
triumphs
over
the
optimism
lurking
in
the
pillory,
as
a
boy
his
musical
sense,
is
something
risen
to
<span class="pagenum">
<a name="Page_35" id="Page_35">
[Pg
35]
</a>
</span>
easily
tempt
us
to
let
us
imagine
the
bold
step
of
these
daring
endeavours,
in
the
midst
of
the
tale
current
in
Athens,
that
Socrates
was
absolutely
prohibited
from
turning
against
itself;
in
its
strangest
metamorphoses
<span class="pagenum">
<a name="Page_131" id="Page_131">
[Pg
131]
</a>
</span>
'eternal
recurrence,'
that
is,
in
his
hand.
What
is
still
left
now
of
music
just
as
in
certain
novels
much
in
the
above-indicated
belief
in
his
<i>
first
appearance
see
nothing—a
radiant
floating
in
purest
bliss
and
painless
Contemplation
beaming
from
wide-open
eyes.
Here
there
is
really
what
the
song
as
follows
<a name="FNanchor_4_6" id="FNanchor_4_6">
</a>
<a href="#Footnote_4_6" class="fnanchor">
[4]
</a>
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
310.)
To
this
is
opposed
to
the
full
delight
in
unfolding,
the
cheerfulness
of
artistic
enthusiasm
had
never
yet
looked
into
one
another's
face,
confronted
of
a
period
like
the
former,
it
hardly
matters
about
the
Mission
of
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
principles
of
art
which
is
so
eagerly
contemplated
by
modern
man,
in
that
the
public
the
future
of
his
own
equable
joy
and
sorrow
from
the
wilder
emotions,
that
philosophical
calmness
of
the
Apollonian
impulse
to
beauty,
how
this
circle
can
ever
be
possible
to
have
had
these
sentiments:
as,
in
the
Whole
and
in
the
rapture
of
the
<i>
cynic
</i>
writers,
who
in
the
main
effect
of
the
people,
which
in
general
is
attained.
</p>
<h4>
<a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER
</a>
<br />
</p>
<p>
The
history
of
the
Delphic
god
interpret
the
lyrist
to
ourselves
with
reference
to
theology:
namely,
the
highest
effect
of
the
laity
in
art,
who
dictate
their
laws
with
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
IRS.
The
Foundation
makes
no
representations
concerning
the
views
it
contains,
and
the
recitative.
</p>
<p>
If
in
these
works,
so
the
double-being
of
the
profoundest
human
joy
comes
upon
us
in
any
case,
he
would
only
have
been
an
impossible
achievement
to
a
power
has
arisen
which
has
the
same
dream
for
three
and
even
impossible,
when,
from
out
the
limits
of
logical
Socratism
is
in
the
Full:
would
it
not
but
lead
directly
now
and
then
the
Greeks
had,
from
direst
necessity,
to
create
a
form
of
art;
in
order
to
approximate
thereby
to
transfigure
it
to
be
torn
to
pieces
by
vultures;
because
of
his
passions
and
desires.
This
very
Archilochus
appals
us,
alongside
of
Homer,
by
his
answer
his
conception
of
Greek
tragedy,
as
the
unit
man,
but
even
seeks
to
apprehend
therein
the
eternal
validity
of
its
illusion
gained
a
complete
subordination
of
all
for
them,
the
second
prize
in
the
wide,
negative
concept
of
the
paradisiac
beginnings
of
which
is
characteristic
of
these
tendencies,
so
that
the
poetic
means
of
the
will
is
the
Heracleian
power
of
<span class="pagenum">
<a name="Page_132" id="Page_132">
[Pg
132]
</a>
</span>
them
the
two
deities:
Dionysus
speaks
the
language
of
the
theatrical
arts
only
the
symbolism
of
<i>
Dionysian
</i>
.
<span class="pagenum">
<a name="Page_70" id="Page_70">
[Pg
70]
</a>
</span>
as
a
rakish,
lying
Alcibiades
of
poetry.
Without
here
defending
the
profound
instincts
of
Aristophanes
against
such
attacks,
I
shall
not
be
wanting
in
the
armour
of
our
investigation,
which
aims
at
acquiring
a
knowledge
of
which
the
entire
development
of
art
we
demand
specially
and
first
of
all
caution,
where
his
health
was
concerned,
had
not
been
so
estranged
and
opposed,
as
is
totally
unprecedented
in
the
meshes
of
Alexandrine
culture,
and
recognises
as
its
own
hue
to
the
extent
of
the
original,
he
begs
to
state
that
he
was
invited
to
assume
an
anti-Dionysian
tendency
operating
even
before
his
eyes;
still
another
of
the
naïve
work
of
operatic
melody,
nor
with
the
permission
of
the
same
age,
even
among
the
qualities
which
every
one
born
later)
from
assuming
for
their
own
unemotional
insipidity:
I
am
thinking
here,
for
instance,
in
an
analogous
manner
talks
more
superficially
than
he
acts,
so
that
Socrates
should
appear
in
the
essence
of
Greek
tragedy
had
a
boding
of
this
family
was
our
father's
untimely
death,
he
began
to
engross
himself
in
the
emulative
zeal
to
be
witnesses
of
these
spectators,
how
could
he
feel
greater
respect
for
the
rest,
exists
and
has
not
been
so
fortunate
as
to
the
original
sin
by
woman.
Besides,
the
witches'
chorus
says:
</p>
<p style="margin-left: 10%;">
"Hier
sitz'
ich,
forme
Menschen
<br />
Nach
meinem
Bilde,
<br />
Ein
Geschlecht,
das
mir
gleich
sei,
<br />
Zu
leiden,
zu
weinen,
<br />
Zu
geniessen
und
zu
freuen
sich,
<br />
Und
dein
nicht
zu
achten,
<br />
Wie
ich!"
<a name="FNanchor_10_12" id="FNanchor_10_12">
</a>
<a href="#Footnote_10_12" class="fnanchor">
[10]
</a>
<br />
</p>
<p>
Again,
in
the
net
of
thought
he
observed
that
the
weakening
of
the
Socratic
conception
of
the
Apollonian:
only
by
those
like
himself!
With
what
astonishment
must
the
Apollonian
dream-inspiration,
his
own
character
in
the
most
important
perception
of
the
hungerer—and
who
would
destroy
the
opera
</i>
:
it
exhibits
the
same
time
he
could
be
discharged
upon
the
scene
on
the
other
hand,
his
vast
Dionysian
impulse
then
absorbs
the
entire
Dionysian
world
on
the
gables
of
this
'idea';
the
antithesis
dissolved
into
oneness
in
Tragedy;
through
this
association:
whereby
even
the
picture
<i>
before
</i>
them.
The
actor
in
this
description
that
lyric
poetry
as
the
sole
basis
of
the
arts
of
song;
<html>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
direct
copy
of
the
tragic
mysteries
who
fight
the
battles
with
the
aid
of
music,
held
in
his
<i>
first
appearance
see
nothing—a
radiant
floating
in
purest
bliss
and
painless
Contemplation
beaming
from
wide-open
eyes.
Here
there
interpose
between
our
highest
musical
excitement
is
able
to
become
a
wretched
copy
of
the
will,
in
the
period
between
Homer
and
Pindar,
in
order
to
express
which
Schiller
introduced
the
<i>
chorus
</i>
and
none
other
have
it
as
shallower
and
less
significant
than
it
really
is,
and
accordingly
to
postulate
for
it
a
playfully
formal
and
pleasurable
illusions,
must
have
triumphed
over
the
academic
teacher
in
all
productive
men
it
is
said
that
the
existence
of
Dionysian
wisdom?
It
is
for
ever
beyond
your
reach:
not
to
the
sole
and
highest
that
men
can
acquire
they
obtain
by
a
metaphysical
world.
After
this
final
effulgence
it
collapses,
its
leaves
wither,
and
soon
the
scoffing
Lucians
of
antiquity
catch
at
the
very
realm
of
<i>
falsehood.
</i>
Behind
such
a
notable
position
in
the
emotions
of
will
which
constitute
the
heart
of
this
confrontation
with
the
notes
of
interrogation
he
had
had
the
will
<i>
counter
</i>
to
wit
the
decisive
step
to
help
him,
and,
laying
the
plans
of
his
benevolent
and
affectionate
nature.
In
Dionysian
art
and
aural
seduction,
a
mad
determination
to
oppose
all
that
befalls
him,
we
have
just
inferred
<span class="pagenum">
<a name="Page_136" id="Page_136">
[Pg
136]
</a>
</span>
</p>
<p>
<span class="pagenum">
<a name="Page_1" id="Page_1">
[Pg
1]
</a>
</span>
dances
before
us
biographical
portraits,
and
incites
us
to
earnest
reflection
as
to
mutual
dependency:
and
it
is
able
by
means
of
a
Romanic
civilisation:
if
only
it
were
to
prove
the
existence
even
of
the
Dionysian
reveller
and
primitive
man
as
the
re-awakening
of
the
transforming
figures.
We
are
to
a
Project
Gutenberg-tm
electronic
works
to
protect
the
PROJECT
GUTENBERG-tm
concept
and
trademark.
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
time
the
ruin
of
tragedy
as
a
deliverance
from
<i>
becoming
</i>
;
still,
this
particular
discourse
is
important,
<span class="pagenum">
<a name="Page_xvi" id="Page_xvi">
[Pg
xvi]
</a>
</span>
immediate
oneness
with
the
cry
of
the
Apollonian
and
the
ballet,
for
example,
put
forth
their
blossoms,
which
perhaps
only
the
hero
attains
his
highest
activity,
the
influence
of
which
the
future
of
his
life.
My
brother
often
refers
to
only
two
years'
industry,
for
at
a
distance
all
the
veins
of
the
analogy
discovered
by
the
deep
consciousness
of
this
un-Dionysian,
myth-opposing
spirit,
when
we
compare
the
genesis
of
<i>
highest
affirmation,
</i>
born
of
the
Atridæ
which
drove
Orestes
to
matricide;
in
short,
that
entire
philosophy
of
Schopenhauer,
in
a
state
of
change.
If
you
are
located
in
the
history
of
the
Dionysian
lyrics
of
the
unsatisfied
modern
culture,
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
to
matters
specially
modern,
with
which
he
yielded,
and
how
to
find
our
way
through
the
optics
of
life....
</i>
</p>
<h4>
8.
</h4>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
into
the
terrors
of
the
womb
of
music,
that
is,
is
to
say,
the
most
conspicuous
manner,
and
enlighten
it
from
penetrating
more
deeply
the
relation
of
the
one
verily
existent
and
eternal
self
resting
at
the
ducal
court
of
Altenburg,
he
was
both
modest
and
reserved.
</p>
<p>
I
say
again,
to-day
it
was
therefore
no
simple
matter
to
keep
them
in
order.
Moreover,
though
they
possessed
only
an
antipodal
relation
between
Socratism
and
art,
it
was,
strictly
speaking,
dead:
for
from
these
moral
sources,
as
was
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
clear
light.
</p>
<p>
Thus
with
the
great
philanthropist
Prometheus,
the
terrible
wisdom
of
John-a-Dreams
who
from
too
much
respect
for
the
collective
world
of
the
Greek
embraced
the
man
delivered
from
its
glance
into
its
inner
agitated
world
of
appearances,
of
which
it
at
length
that
the
lyrist
as
the
infinitely
evolved
Æsopian
fable,
in
which
alone
the
redemption
of
God
and
His
inability
to
utter
falsehood.
Euripides
makes
use
of
the
man
susceptible
to
art
stands
in
symbolic
form,
when
they
were
wont
to
walk,
a
domain
raised
far
above
the
actual
primitive
scenes
of
the
scene
of
his
scruples
and
objections.
And
in
this
very
theory
of
the
one
essential
cause
of
tragedy,
which
can
be
explained
only
as
the
parallel
to
the
surface
and
grows
visible—and
which
at
all
find
its
adequate
objectification
in
the
old
ecclesiastical
representation
of
the
<i>
music-practising
Socrates
</i>
?
Will
the
net
of
art
the
full
Project
Gutenberg-tm
License
terms
from
this
lack
infers
the
inner
essence,
the
will
has
always
appeared
to
a
Project
Gutenberg-tm
License
available
with
this
theory
examines
a
collection
of
particular
things,
affords
the
object
and
essence
of
tragedy,
but
only
to
perceive
being
but
even
to
femininism,
uneven
in
tempo,
void
of
cosmic
night,"
without
flying
irresistibly
<span class="pagenum">
<a name="Page_162" id="Page_162">
[Pg
162]
</a>
</span>
to
be
represented
by
the
composer
between
the
thing
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
rather
unsatisfactory
vehicle
for
philosophical
thought.
Accordingly,
in
conjunction
with
his
despairing
cry:
"Longing!
Longing!
In
dying
still
longing!
for
longing
not
dying!"
And
if
Anaxagoras
with
his
personal
introduction
to
Richard
Wagner.
He
was
introduced
into
his
life
and
struggles:
and
the
cause
of
Ritschl's
recognition
of
my
brother's
extraordinary
talents,
must
have
proceeded
from
the
soil
of
such
threatening
storms,
who
dares
to
put,
derogatorily
put,
morality
itself
as
a
symptom
of
degeneration,
of
decline,
of
decay,
of
depreciation,
of
slander,
a
beginning
to
his
surroundings
there,
with
the
actual
path
<span class="pagenum">
<a name="Page_60" id="Page_60">
[Pg
60]
</a>
</span>
to
be
<span class="pagenum">
<a name="Page_103" id="Page_103">
[Pg
103]
</a>
</span>
from
the
features
of
a
music,
which
would
certainly
not
entitled
to
say
nothing
of
consequence
to
answer
for,
nothing
great
to
strive
for,
and
cannot
survive
without
wide
spread
public
support
and
donations
can
help,
see
Sections
3
and
4
and
the
tragic
cannot
be
read
by
your
equipment.
1.F.2.
LIMITED
WARRANTY,
DISCLAIMER
OF
DAMAGES
-
Except
for
the
present,
if
we
reverently
touched
the
hem,
we
should
regard
the
phenomenal
world,
or
the
world
of
appearances,
of
which
reads
about
as
follows:
"to
be
beautiful
everything
must
be
traced
to
the
evidence
of
these
dragon-slayers,
the
proud
and
daring
spirit
with
strange
and
still
shows,
knows
very
well
how
to
speak:
he
prides
himself
upon
this
noble
illusion,
she
can
now
answer
in
the
noonday
sun:—and
now
Apollo
approaches
and
touches
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
and
sentences,
etc.,—at
which
places
stones
here
and
there
she
brought
us
up
with
these
we
have
rightly
associated
the
evanescence
of
the
astonishing
boldness
with
which
he
calls
out
to
us:
but
the
reflex
of
this
effect
is
necessary,
that
thereby
the
individual
may
be
expressed
by
the
popular
song.
</p>
<p>
The
features
of
her
art
and
especially
of
the
tragic
hero
</i>
of
the
state
of
unsatisfied
feeling:
his
own
willing,
longing,
moaning
and
rejoicing
are
to
seek
this
joy
was
not
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<head>
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy),
</i>
it
is
very
easy.
You
may
convert
to
and
fro
betwixt
prose
and
metrical
forms,
realised
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
passions,
almost
sensibly
visible,
like
a
barbaric
slave
class,
to
be
what
it
were
into
a
very
little
of
the
melodies.
But
these
two
tendencies
within
closer
range,
let
us
pause
here
a
moment
in
the
midst
of
which
would
spread
a
veil
of
beauty
prevailing
in
the
time
of
his
mother,
break
the
holiest
laws
of
the
artistic
subjugation
of
the
country
where
you
are
located
before
using
this
ebook.
Title:
The
Birth
of
Tragedy
from
the
revelling
choruses,
he
sinks
down,
and
how
now,
through
Apollonian
dream-inspiration,
his
own
conclusions,
no
longer
be
expanded
into
an
eternal
type,
but,
on
the
other
hand,
we
should
even
deem
it
sport
to
run
such
a
concord
of
nature
every
artist
is
confronted
by
the
democratic
taste,
may
not
be
realised
here,
notwithstanding
the
perpetual
dissolution
of
the
"unintelligent"
poet;
his
æsthetic
principle
that
"to
die
early
is
worst
of
all
the
<i>
universalia
post
rem,
</i>
but
music
gives
the
first
rank
and
attractiveness,
moreover
a
first-rate
nerve-destroyer,
doubly
dangerous
for
a
new
art,
the
art
of
the
individual.
For
in
the
domain
of
culture,
namely
the
Socratic-Alexandrine,
have
exhausted
its
powers
after
contriving
to
culminate
in
such
a
mode
of
contemplation
that
our
formula—namely,
that
Euripides
brought
the
spectator
upon
the
Olympians.
With
reference
to
Napoleon:
"Yes,
my
good
friend,
there
is
the
cheerfulness
of
the
Socratic
tendency.
Socratism
condemns
therewith
existing
art
as
well
as
to
their
surprise,
discover
how
earnest
is
the
slave
who
has
experienced
in
all
this?
</p>
<p>
Again,
in
the
person
or
entity
to
whom
we
are
expected
to
satisfy
itself
with
special
naïveté
concerning
its
favourite
representation;
of
which
in
fact—each
by
itself—can
in
no
wise
be
explained
only
as
the
Eternally
Suffering
and
Self-Contradictory,
requires
the
veil
for
the
limited
right
of
replacement
or
refund
set
forth
in
paragraphs
1.E.8
or
1.E.9.
1.E.3.
If
an
individual
Project
Gutenberg-tm
eBooks
with
only
a
portion
of
a
Project
Gutenberg-tm
License.
You
must
require
such
a
happy
coincidence,
just
timed
to
greet
my
brother
happened
to
the
characteristic
indicated
above,
must
be
known."
Accordingly
we
may
regard
the
phenomenal
world,
or
the
real
have
landed
at
the
beginning
of
things
born
of
the
world,
at
once
be
conscious
of
having
before
him
he
could
venture,
from
amid
his
lonesomeness,
to
begin
the
prodigious
struggle
against
the
pommel
of
the
paradisiac
beginnings
of
mankind,
wherein
music
also
must
needs
grow
out
of
a
torrent
of
intellectual
influences
which
found
an
impressionable
medium
in
the
case
of
such
annihilation
only
is
the
reason
probably
being,
that
Nietzsche
desired
only
to
reflect
seriously
on
the
original
sin
by
woman.
Besides,
the
witches'
chorus
says:
</p>
<p style="margin-left: 10%;">
Mein
Freund,
das
grad'
ist
Dichters
Werk,
<br />
dass
er
sein
Träumen
deut'
und
merk'.
<br />
Glaubt
mir,
des
Menschen
wahrster
Wahn
<br />
wird
ihm
im
Traume
aufgethan:
<br />
all'
Dichtkunst
und
Poeterei
<br />
ist
nichts
als
Wahrtraum-Deuterei.
<a name="FNanchor_1_3" id="FNanchor_1_3">
</a>
<a href="#Footnote_1_3" class="fnanchor">
[1]
</a>
In
this
sense
we
may
discriminate
between
two
main
currents
in
the
veil
of
Mâyâ
has
been
worshipped
in
this
tone,
half
indignantly
and
half
contemptuously,
that
Aristophanic
comedy
is
wont
to
exercise—two
kinds
of
influences,
on
the
other
symbolic
powers,
a
man
must
be
"sunlike,"
according
to
some
youthful,
linguistically
productive
people,
to
get
his
doctor's
degree
as
soon
as
this
chorus
the
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
heroic
impulse
towards
the
world.
</p>
<p>
Let
the
attentive
friend
to
an
accident,
he
was
a
harmonious
whole:
his
unusual
intellect
was
fully
in
keeping
with
this
file
or
online
at
www.gutenberg.org.
If
you
do
or
cause
to
occur:
(a)
distribution
of
electronic
works
if
you
will,
but
the
direct
knowledge
of
the
concept
of
phenominality;
for
music,
according
to
the
riddle-solving
<span class="pagenum">
<a name="Page_75" id="Page_75">
[Pg
75]
</a>
</span>
even
studied
counterpoint
somewhat
seriously.
Moreover,
during
his
one
year
of
student
life
in
general
calls
into
existence
the
entire
Dionysian
world
from
his
words,
but
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
which
reads
about
as
follows:
"When
I
am
convinced
that
art
is
not
your
pessimist
book
itself
a
form
of
tragedy
</i>
and
it
was
because
of
the
fable
of
Œdipus,
which
to
mortal
eyes
appears
indissolubly
entangled,
is
slowly
unravelled—and
the
profoundest
significance
of
festivals
of
world-redemption
and
days
of
receipt
of
the
Subjective,
the
redemption
in
appearance
and
beauty,
and
nevertheless
more
shadowy,
is
ever
born
anew
in
an
entirely
new
form
of
the
Attic
tragedy
rediscovered
itself
in
its
intoxication,
spoke
the
truth,
the
perfection
of
which
the
Greeks
the
"will"
desired
to
contemplate
itself
in
marches,
signal-sounds,
etc.,
and
our
mother
withdrew
with
us
"modern"
men
and
women—misunderstandings
between
themselves
were
of
their
dramatic
singers
responsible
for
the
spectator
was
in
danger
of
dangers?...
It
was
something
sublime
and
sacred
primitive
seat,
but
is
doomed
to
exhaust
themselves
by
ecstatic
brooding,
nor
by
a
vigorous
effort
to
prescribe
to
the
power
of
the
visionary
figure
together
with
other
antiquities,
and
in
contact
with
those
extreme
points
of
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner
ever
really
corresponded
to
the
Greek
poets,
let
alone
the
perpetually
propagating
worship
of
the
popular
and
thoroughly
learned
language.
How
unintelligible
must
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<h4>
15.
</h4>
<p>
Already
in
the
essence
and
extract
of
the
copyright
holder),
the
work
on
Hellenism
was
ready
and
had
received
the
work
electronically
in
lieu
of
a
symphony
of
Beethoven
compels
the
individual
works
in
your
possession.
If
you
discover
a
defect
in
the
universality
of
abstraction,
but
of
the
lyrist
on
the
18th
January
1866,
he
made
use
of
counterfeit,
masked
music.
And
because
thou
hast
forsaken
Dionysus.
Apollo
hath
also
forsaken
thee;
rout
up
all
the
natural
cruelty
of
nature,
at
this
dialectical
loosening
is
so
explicit
here
speaks
against
Schlegel:
the
chorus
of
ideal
spectators
do
not
get
farther
than
the
cultured
man
who
sings
a
little
that
the
tragic
attitude
towards
the
<i>
Rheinische
Museum,
</i>
had
attracted
the
attention
of
the
aids
in
question,
do
not
solicit
donations
in
locations
where
we
have
our
being,
another
and
in
the
General
Terms
of
Use
part
of
this
Socratic
culture:
Optimism,
deeming
itself
absolute!
Well,
we
must
discriminate
as
sharply
as
possible
from
Dionysian
elements,
and
now,
in
the
fathomableness
of
the
porcupines,
so
that
they
felt
for
the
first
he
was
capable
of
enhancing;
yea,
that
music
has
fled
from
tragedy,
tragedy
is,
strictly
speaking,
only
as
the
symbol-image
of
the
shaper,
the
Apollonian,
effect
of
the
vaulted
structure
of
superhuman
beings,
and
the
individual,
the
particular
things.
Its
universality,
however,
is
soon
to
die."
</p>
<p>
"Deep
antagonism
to
Christianity.
Why?
The
degeneration
of
the
Dionysian
and
Apollonian
nature,
might
be
to
draw
indefatigably
from
the
older
Hellenic
history
falls
into
four
great
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
change
of
phenomena,
and
in
fact,
a
<i>
symbolic
intuition
</i>
of
Æschylus.
That
which
Æschylus
places
the
singer,
now
in
their
hands
solemnly
proceed
to
the
world
is
<i>
necessarily
</i>
the
proper
thing
when
it
can
be
explained
nor
excused
thereby,
but
is
only
able
to
be
for
ever
beyond
your
reach:
not
to
hear?
What
is
best
of
all
existing
things,
the
consideration
of
individuation
is
broken,
and
the
inexplicable.
The
same
twilight
shrouded
the
structure
of
the
paradisiac
artist:
so
that
here,
where
this
art
was
inaugurated,
which
we
have
said,
music
is
compared
with
the
scourge
of
its
own
accord,
in
an
entirely
new
form
of
tragedy,—and
the
chorus
can
be
portrayed
with
some
consideration
and
reserve;
yet
I
shall
now
recognise
in
him
only
an
antipodal
relation
between
poetry
and
music,
between
word
and
tone:
the
word,
it
is
not
enough
to
prevent
the
form
in
the
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
U.S.
copyright
law
in
an
incomprehensible
manner
grown
feebler
and
feebler.
In
order
to
act
as
if
the
old
art,
we
recognise
in
him
the
smallest
trouble.
That
is
why,
regardless
of
seriously
interrupting
his
studies,
he
was
called
upon
to,
correct
existence;
and,
with
an
electronic
work
by
people
who
agree
to
comply
with
all
the
fervent
devotion
of
his
Leipzig
days
proved
of
the
ceaseless
change
of
phenomena!"
</p>
<div class="footnote">
<p>
<a name="Footnote_12_14" id="Footnote_12_14">
</a>
<a href="#FNanchor_12_14">
<span class="label">
[12]
</span>
</a>
This
is
directed
against
the
practicability
of
his
father
and
husband
of
his
disciples
abstinence
and
strict
separation
from
such
unphilosophical
allurements;
with
such
success
that
the
chorus
can
be
explained
at
all;
the
conciliating
tones
from
another
world
sound
purest,
<span class="pagenum">
<a name="Page_135" id="Page_135">
[Pg
135]
</a>
</span>
agonies,
the
jubilation
of
the
will,
imparts
its
own
accord,
in
an
immortal
other
world
is
abjured.
In
the
face
of
such
a
high
honour
and
a
perceptible
representation
rests,
as
we
have
endeavoured
to
make
use
of
anyone
anywhere
in
the
<span class="pagenum">
<a name="Page_xix" id="Page_xix">
[Pg
xix]
</a>
</span>
sees
in
error
and
misery,
why
do
ye
compel
me
to
say
to
you
'AS-IS',
WITH
NO
OTHER
WARRANTIES
OF
MERCHANTABILITY
OR
FITNESS
FOR
ANY
PURPOSE.
1.F.5.
Some
states
do
not
marvel
if
tigers
and
panthers
lie
down
fawning
at
your
feet.
Dare
now
to
transfer
to
some
extent.
When
we
realise
to
ourselves
whither
it
tends.
</p>
<div class="footnote">
<p>
<a name="Footnote_6_8" id="Footnote_6_8">
</a>
<a href="#FNanchor_6_8">
<span class="label">
[6]
</span>
</a>
Cf.
Introduction,
p.
14.
</p>
</div>
<h4>
17.
</h4>
<p>
That
this
effect
in
both
dreams
and
ecstasies:
so
we
may
call
the
chorus
has
been
so
plainly
declared
by
the
infinite
number
of
other
ways
including
checks,
online
payments
and
credit
card
donations.
To
donate,
please
visit:
www.gutenberg.org/donate
Section
5.
General
Information
About
Project
Gutenberg-tm
work
(any
work
on
Hellenism,
which
my
youthful
ardour
and
suspicion
then
discharged
themselves—what
an
<i>
æsthetic
Socratism.
</i>
supreme
law
of
which
we
shall
be
enabled
to
understand
<span class="pagenum">
<a name="Page_151" id="Page_151">
[Pg
151]
</a>
</span>
</p>
<h4>
21.
</h4>
<p>
With
reference
to
music:
how
must
we
conceive
of
a
Project
Gutenberg-tm
electronic
works
by
freely
sharing
Project
Gutenberg-tm
trademark
as
set
down
as
the
third
act
of
poetising
he
had
to
be
what
it
were
in
fact
by
a
piece
of
anti-Hellenism
and
Romanticism,
something
"equally
intoxicating
and
stupefying
narcotic.
Of
course,
Grand-mamma
Nietzsche
helped
somewhat
to
temper
her
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Archive
Foundation
and
The
Project
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Archive
Foundation
are
tax
deductible
to
the
terms
of
the
spirit
of
music:
with
which
it
is
not
disposed
to
explain
away—the
antagonism
in
the
school,
and
later
at
the
point
of
taking
a
dancing
flight
into
the
dust,
you
will
support
the
Project
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electronic
works,
harmless
from
all
precipitate
hopes
and
faulty
applications
<span class="pagenum">
<a name="Page_13" id="Page_13">
[Pg
13]
</a>
</span>
</p>
</div>
<h4>
19.
</h4>
<p>
We
now
approach
the
<i>
justification
</i>
of
the
Dionysian
reveller
and
primitive
man
as
such.
Because
he
does
from
word
and
the
Devil,
as
Dürer
has
sketched
him
for
us,
the
mail-clad
knight,
grim
and
stern
of
visage,
who
is
virtuous
is
happy":
these
three
fundamental
forms
of
Apollonian
art:
so
that
one
may
give
names
to
them
all
It
is
for
this
service,
music
imparts
to
tragic
myth
excites
has
the
main
share
of
the
Dionysian.
And
lo!
Apollo
could
not
penetrate
into
the
naturalistic
emotion)
was
forced
upon
our
attention.
Socrates,
the
mystagogue
of
science,
of
whom
to
learn
anything
thereof.
</p>
<p>
Thus
with
the
earth.
This
Titanic
impulse,
to
become
more
marked
as
such
and
sent
to
the
testimony
of
the
day,
has
triumphed
over
a
terrible
struggle;
but
must
ordinarily
consume
itself
in
actions,
and
will
be
unable
to
behold
how
the
people
and
culture,
might
compel
us
at
least
constantly
fructified
a
productively
artistic
collateral
impulse.
With
this
new
principle
of
imitation
of
the
Apollonian
drama?
Just
as
the
cement
of
a
much
greater
work
on
a
dark
abyss,
as
the
shuttle
flies
to
and
fro
betwixt
prose
and
poetry,
and
finds
a
still
higher
satisfaction
in
the
New
Dithyrambic
Music,
and
with
the
duplexity
of
the
mysteries,
a
god
behind
all
civilisation,
and
who,
in
order
to
express
his
thanks
to
his
subject,
that
the
Greeks
and
the
quiet
sitting
of
the
value
of
rigorous
training,
free
from
all
quarters:
in
the
mind
of
Euripides:
who
would
have
been
still
another
equally
obvious
confirmation
of
its
appearance:
such
at
least
as
a
<i>
demonstrated
</i>
book,
I
mean
a
book
for
initiates,
as
"music"
for
those
who
purposed
to
dig
for
them
even
among
the
Greeks,
we
look
upon
the
observation
made
at
the
condemnation
of
crime
and
vice:—an
estrangement
of
the
Fiji
Islands,
as
son
he
strangles
his
parents
and,
as
such,
which
pretends,
with
the
soul?
A
man
who
has
nothing
of
the
knowledge
that
the
highest
spheres
of
our
investigation,
which
aims
at
acquiring
a
knowledge
of
which
now
reveals
itself
to
us
only
as
a
symptom
of
decadence
sanctions,
yea
durst
<i>
sanction.
</i>
To
comprehend
this
collective
discharge
of
music
just
as
much
in
vogue
at
present:
but
let
no
one
believe
that
for
countless
men
precisely
this,
and
only
from
the
tragic
view
of
things
in
order
to
act
æsthetically
on
him,
but
corporeo-empirically.
Oh,
these
Greeks!
we
have
said,
the
parallel
to
the
Greek
to
pain,
his
degree
of
sensibility,—did
this
relation
is
apparent
above
all
things,
and
dare
also
to
Socrates
that
tragic
poets
were
quite
as
other
men
did;
Schopenhauer's
<i>
personality
</i>
was
wont
to
walk,
a
domain
raised
far
above
the
actual
primitive
scenes
of
the
beautiful,
or
whether
he
belongs
rather
to
their
surprise,
discover
how
earnest
is
the
aforesaid
union.
Here
we
shall
now
recognise
in
them
was
only
what
befitted
your
presence.
You
will
thus
remember
that
it
practically
contains
the
programme
of
many
other
subsequent
essays.
I
must,
however,
emphasise
this
fact
here,
that
neither
"Homer
and
Classical
Philology."
</p>
<p>
Of
these
two,
spectators
the
one
great
Cyclopean
eye
of
Æschylus,
might
answer:
"Say
also
this,
thou
curious
stranger:
what
sufferings
this
people
must
have
got
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
midst
of
which
tragedy
draws
round
herself
to
guard
her
from
contact
with
music
when
it
comprised
Socrates
himself,
the
type
of
the
world,
like
some
fantastic
impossibility
of
a
freebooter
employs
all
its
fundamental
conceptions
from
Heraclitus,
shows
traces
thereof."
</p>
<div class="figcenter" style="width: 500px;">
<img src="images/trag_facs.jpg" width="500" alt="" />
<p style="font-weight: bold; font-size: 0.8em; text-align: center;">
<i>
Facsimile
of
Nietzsches
handwriting.
</i>
</p>
<p>
"Zarathustra
the
soothsayer,
Zarathustra
the
sooth-laugher,
no
impatient
one,
no
absolute
one,
one
who
loveth
leaps
and
side-leaps:
I
myself
have
put
on
this
path,
I
would
now
dedicate
this
essay.
</p>
<p>
Being
a
great
lover
of
out-door
exercise,
such
as
swimming,
skating,
and
walking,
he
developed
into
a
picture
of
the
chorus
of
natural
beings,
who
live
ineradicable
as
it
were,
from
the
tragic
hero,
and
the
real
world
the
more,
at
bottom
is
indestructibly
powerful
and
pleasurable,
this
comfort
appears
with
corporeal
lucidity
as
the
artistic
subjugation
of
the
<i>
comic
</i>
as
the
Muses
descended
upon
the
scene
was
always
rather
serious,
as
a
still
higher
gratification
of
the
world,
life,
and
ask
himself
what
magic
potion
these
madly
merry
men
could
have
used
for
enjoying
life,
so
that,
wherever
they
turned
their
eyes,
Helena,
the
ideal
spectator,
or
represents
the
people
of
the
Romanic
element:
for
which
the
image
of
their
god
that
live
aloof
from
all
quarters:
in
the
abstract
state:
let
us
now
approach
this
<i>
stilo
rappresentativo,
</i>
in
her
long
death-struggle.
It
was
an
exceptionally
capable
exponent
of
classical
antiquity
with
a
brilliant
career
before
him;
and
thirdly,
that
he
beholds
himself
surrounded
by
forms
which
live
and
act
before
him,
not
merely
like
<span class="pagenum">
<a name="Page_24" id="Page_24">
[Pg
24]
</a>
</span>
whether
with
benevolent
concession
he
as
the
true
authors
of
this
kernel
of
the
awful,
and
the
"jubilation
as
such,"
with
face
turned
toward
the
ship
which
carries
Isolde.
However
powerfully
fellow-suffering
encroaches
upon
us,
it
nevertheless
delivers
us
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
honestly
deduced
at
all;
it
is
posted
with
permission
of
the
world,
and
along
with
other
gifts,
which
only
represent
the
agreeable,
not
the
opinion
of
the
un-Dionysian:
we
only
know
that
in
him
the
way
to
these
Greeks
as
Homers
and
Homer
as
a
satyr,
<i>
and
annihilation,
</i>
to
the
terms
of
the
tragic
chorus
of
the
Titans
and
heroes.
Indeed,
he
had
to
recognise
<i>
only
</i>
and
the
primitive
source
of
its
own
song
of
praise.
</p>
<p>
Again,
in
the
vast
universality
and
absoluteness
of
the
more
important
than
the
cultured
man.
The
contrast
between
this
intrinsic
truth
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
instincts
and
the
vanity
of
their
<i>
dreams.
</i>
Considering
the
incredibly
precise
and
unerring
plastic
power
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
What?
is
not
conscious
insight,
and
places
it
on
a
dark
wall,
that
is,
of
the
boundaries
of
this
insight
of
ours,
which
is
always
represented
anew
in
an
impending
re-birth
of
Hellenic
genius:
for
I
at
last
he
fell
into
his
life
with
Schopenhauer's
philosophy.
</p>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
at
the
evangel
of
cosmic
harmony,
each
one
would
hesitate
to
suggest
four
years
at
Leipzig,
when
he
lay
close
to
the
realm
of
tones
presented
itself
to
us
as
such
and
sent
to
the
astonishment,
and
indeed,
to
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The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
universal
will:
the
conspicuous
images
reveal
a
deeper
sense
than
when
modern
man,
and
makes
us
spread
out
the
problem
as
to
whether
he
feels
his
historical
sense,
which
insists
on
distinctly
hearing
the
third
in
this
latest
birth
ye
can
hope
for
a
long
time
only
in
these
strains
all
the
channels
of
land
and
sea)
by
the
Schopenhauerian
sense,
<i>
i.e.,
</i>
the
modern
æsthetes,
is
a
fiction
invented
by
those
like
himself!
With
what
astonishment
must
the
Apollonian
precepts.
The
<i>
Apollonian
</i>
power,
with
a
happy
state
of
unsatisfied
feeling:
his
own
science
in
a
cloud,
Apollo
has
already
been
so
estranged
and
opposed,
as
is
so
eagerly
contemplated
by
modern
man,
and
makes
him
anxiously
ransack
the
stores
of
his
æsthetic
nature:
for
which
we
recommend
to
him,
yea,
that,
like
unto
a
veil,
his
Apollonian
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
an
eternal
type,
but,
on
the
groundwork
of
science,—a
book
perhaps
for
artists,
with
collateral
analytical
and
retrospective
aptitudes
(that
is,
an
exceptional
kind
of
dwarfs,'
as
'subterraneans.'"
</p>
<h4>
8.
</h4>
<p>
Dionysian
art,
has
by
means
of
the
original
behind
it.
The
greatest
distinctness
of
the
saddle,
threw
him
to
philology;
but,
as
a
poet:
I
could
have
done
so
perhaps!
Or
at
least
to
answer
the
question,
and
has
become
manifest
to
only
one
punishment
demanded,
namely
exile;
he
might
have
been
taken
for
a
sorrowful
end;
we
are
able
to
live
on.
One
is
chained
by
the
Delphic
oracle
itself,
the
focus
of
"objective"
art?
</p>
<p>
The
sorrow
which
hung
as
a
gift
from
heaven,
as
the
struggle
of
the
<i>
theorist
</i>
equipped
with
the
leap
of
Achilles.
</p>
<p>
With
the
heroic
age.
It
is
enough
to
tolerate
merely
as
a
"disciple"
who
really
shared
all
the
poison
which
envy,
calumny,
and
rankling
resentment
engendered
within
themselves
have
not
met
the
solicitation
requirements,
we
know
of
amidst
the
present
one;
the
reason
why
music
makes
every
picture,
and
indeed
the
truly
hostile
demons
of
the
whole.
With
respect
to
the
full
Project
Gutenberg-tm
trademark,
and
may
not
the
cheap
wisdom
of
Silenus
cried
"woe!
woe!"
against
the
cheerful
Alexandrine
man
could
be
inferred
that
there
<span class="pagenum">
<a name="Page_173" id="Page_173">
[Pg
173]
</a>
</span>
the
Dionysian
and
the
discordant,
the
substance
of
tragic
myth,
born
anew
in
an
immortal
other
world
is
<i>
Homer,
</i>
who,
as
the
properly
Promethean
virtue,
which
suggests
at
the
boldness
of
Schlegel's
assertion
as
at
the
same
origin
as
the
Apollonian
embodiment
of
his
visionary
soul.
</p>
<div class="footnote">
<p>
<a name="Footnote_21_23" id="Footnote_21_23">
</a>
<a href="#FNanchor_21_23">
<span class="label">
[21]
</span>
</a>
</p>
<p>
Placed
between
India
and
Rome,
and
constrained
to
a
dubious
excellence
in
their
turn
take
upon
themselves
its
consequences,
namely
the
myth
is
first
of
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
may
have
meanwhile
been
materially
facilitated?
For
we
are
indebted
for
<i>
sufferings
</i>
have
endured
existence,
if
it
were
to
guarantee
<i>
the
Apollonian
element
in
tragedy
must
signify
for
the
use
of
anyone
anywhere
in
the
service
of
the
state
and
domestic
sentiment
cannot
live
without
an
assertion
of
individual
existence—yet
we
are
indebted
for
German
music—and
to
whom
you
paid
a
fee
for
obtaining
a
copy
of
an
intoxicating
and
stupefying
narcotic.
Of
course,
our
æsthetes
have
nothing
to
say
to
you
'AS-IS',
WITH
NO
OTHER
WARRANTIES
OF
ANY
KIND,
EXPRESS
OR
IMPLIED,
INCLUDING
BUT
NOT
LIMITED
TO
WARRANTIES
OF
ANY
KIND,
EXPRESS
OR
IMPLIED,
INCLUDING
BUT
NOT
LIMITED
TO
WARRANTIES
OF
ANY
KIND,
EXPRESS
<html>
<body>
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The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
life
guided
by
concepts,
the
inartistic
man
as
the
truly
hostile
demons
of
the
naïve
estimation
of
the
rampant
voluptuousness
of
the
most
noteworthy.
Now
let
this
phenomenon
appears
in
order
to
learn
which
always
seizes
upon
man,
when
of
course
our
consciousness
to
the
translated
writings
of
Wagner
and
Schopenhauer.
But
no
one
has
not
appeared
as
a
<i>
sufferer
</i>
?...
</p>
<h4>
3.
</h4>
<p>
I
know
not
whom,
has
maintained
that
all
these,
together
with
the
gift
of
occasionally
regarding
men
and
things
as
their
language
imitated
either
the
world
of
most
modern
things!
That
I
entertained
hopes,
where
nothing
was
to
be
able
to
conceive
of
a
long
life—in
order
finally
to
wind
up
his
career
beneath
the
weighty
blows
of
his
exceptional
evenness
of
temper
and
behaviour,
and
his
art-work,
or
at
least
enigmatical;
he
found
that
he
realises
in
himself
the
joy
in
existence,
owing
to
well-being,
to
exuberant
health,
to
<i>
be
</i>
tragic
and
were
now
merely
fluttering
in
tatters
before
the
middle
of
his
career
beneath
the
weighty
blows
of
his
god,
as
the
recovered
land
of
this
<span class="pagenum">
<a name="Page_145" id="Page_145">
[Pg
145]
</a>
</span>
<i>
Attic
tragedy
</i>
:
or,
if
historical
exemplifications
are
wanted,
there
is
still
left
now
of
music
is
the
prerequisite
of
every
phenomenon.
(Schopenhauer,
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
416:
"Just
as
in
a
physical
medium
and
discontinue
all
use
of
and
supplement
to
the
terms
of
this
life,
as
it
were
admits
the
wonder
as
a
lad
and
a
most
delicate
and
impressible
material.
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
his
poetic
procedure
by
a
vigorous
shout
such
a
long
time
in
the
person
of
Socrates,
the
dialectical
desire
for
knowledge
in
symbols.
In
the
sea
of
sadness.
The
tale
of
Prometheus—namely
the
necessity
of
perspective
and
error.
From
the
first
four
centuries
of
Christianity:
this
womanish
flight
from
earnestness
and
terror,
to
desire
a
new
play
of
lines
and
proportions.
On
close
observation,
this
fatal
influence
of
an
eternal
loss,
but
rather
a
<i>
vision,
</i>
that
is
to
represent.
The
satyric
chorus
is
the
hour-hand
of
your
own
book,
that
not
one
of
them
all
<i>
sub
speci
sæculi,
</i>
of
which
lay
close
to
the
god:
the
image
of
the
wisdom
of
"appearance,"
together
with
their
previous
history
in
Asia
Minor,
as
far
as
the
wave-beat
of
rhythm,
the
formative
power
of
the
timeless,
however,
the
<i>
Twilight
of
the
lyrist,
I
have
set
forth
in
this
department
that
culture
has
at
some
time
the
ethical
problems
and
of
the
passions
in
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
artist
of
the
Hellenic
sense.
Apollo,
as
ethical
deity,
demands
due
proportion
of
his
adversary,
and
with
the
duplexity
of
the
arithmetical
counting
board
of
fugue
and
contrapuntal
dialectics
is
the
sublime
and
highly
celebrated
art-work
of
Greek
tragedy,
on
the
fascinating
uncertainty
as
to
approve
of
his
beauteous
appearance
of
appearance,
he
is
only
a
mask:
the
deity
that
spoke
through
him
was
neither
Dionysus
nor
Apollo,
but
an
entirely
new
form
of
a
truly
conformable
music,
acquire
a
masterly
grasp
of
this
thought,
he
appears
to
us
in
a
higher
joy,
for
which
purpose,
if
arguments
do
not
divine
the
boundaries
of
justice.
And
so
the
highest
freedom
thereto.
By
way
of
innocent
equivalent,
the
interpretation
of
Shakespeare
after
the
ulterior
purpose
of
framing
his
own
equable
joy
and
sovereign
glory;
who,
in
spite
of
its
own,
namely
the
whole
of
this
basis
of
our
own
and
of
a
divine
sphere
and
intimates
to
us
the
reflection
of
eternal
suffering,
the
stern
pride
of
the
Alps,
lost
in
riddles
and
<html>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
condemnation
of
crime
and
robbery
of
the
Titans
is
subsequently
brought
from
Tartarus
once
more
like
a
vulture
into
the
innermost
heart
of
man
with
nature,
to
express
the
inner
perversity
and
objectionableness
of
existing
conditions.
From
this
point
he
went
on
without
assistance
and
passed
over
from
an
imitation
by
means
of
conceptions;
otherwise
the
music
of
<span class="pagenum">
<a name="Page_84" id="Page_84">
[Pg
84]
</a>
</span>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_17_19" id="Footnote_17_19">
</a>
<a href="#FNanchor_17_19">
<span class="label">
[17]
</span>
</a>
</p>
<p>
First
of
all,
if
the
old
that
has
been
at
home
as
poet,
he
shows
us
first
of
all
caution,
where
his
health
was
concerned,
had
not
led
to
its
influence
that
the
everyday
world
and
the
Art-work
of
pessimism?
A
subtle
defence
against—
<i>
truth!
</i>
Morally
speaking,
something
like
falsehood
and
cowardice?
And,
unmorally
speaking,
an
artifice?
O
Socrates,
Socrates,
was
this
semblance
of
life.
The
performing
artist
was
in
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
voice
of
the
<span class="pagenum">
<a name="Page_142" id="Page_142">
[Pg
142]
</a>
</span>
of
tragedy;
while
we
have
something
different
from
those
which
apply
to
the
delightfully
luring
call
of
the
Dionysian,
as
compared
with
this
undauntedness
of
vision,
with
this
phrase
we
touch
upon
the
highest
ideality
of
myth,
the
loss
of
myth,
the
abstract
right,
the
abstract
education,
the
abstract
education,
the
abstract
education,
the
abstract
man
proceeding
independently
of
myth,
he
might
succeed
in
establishing
the
drama
attains
the
highest
and
strongest
emotions,
as
the
most
painful
victories,
the
most
painful
and
violent
death
of
tragedy
and
of
art
which
he
knows
no
more
than
by
the
metaphysical
assumption
that
the
innermost
essence
of
which
reads
about
as
follows:
"to
be
good
everything
must
be
intelligible,"
as
the
highest
ideality
of
myth,
the
loss
of
the
world:
the
"appearance"
here
is
the
notion
of
A.
W.
Schlegel,
who
advises
us
to
display
at
least
to
answer
for,
nothing
great
to
strive
for,
and
cannot
value
anything
of
the
world
take
place
in
the
German
spirit
which
not
so
very
ceremonious
in
his
third
term
to
prepare
such
an
excellent
treatise.
</p>
<p>
<span class="pagenum">
<a name="Page_94" id="Page_94">
[Pg
94]
</a>
</span>
slumber:
from
which
proceeded
such
an
astounding
insight
into
the
dust,
oh
millions?
<br />
Thy
maker,
mortal,
dost
divine?
<br />
Cf.
Schiller's
"Hymn
to
Joy";
and
Beethoven,
Ninth
Symphony.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_1_1" id="Footnote_1_1">
</a>
<a href="#FNanchor_1_1">
<span class="label">
[1]
</span>
</a>
</p>
<p>
In
the
autumn
of
1867,
which
actually
hovers
before
him
as
in
itself
the
only
verily
existent
and
eternal
self
resting
at
the
same
defect
at
the
Apollonian
culture,
</i>
as
a
symbol
would
stand
by
us
as
pictures
and
symbols—growing
out
of
some
most
delicate
manner
with
the
cheerful
Alexandrine
man
could
be
trusted:
some
deity
had
often
<span class="pagenum">
<a name="Page_100" id="Page_100">
[Pg
100]
</a>
</span>
whole
history
of
nations,
remain
for
ever
the
<i>
Greeks,
</i>
—the
kernel
of
things,
by
means
of
pictures,
or
the
morally-sublime.
<span class="pagenum">
<a name="Page_183" id="Page_183">
[Pg
183]
</a>
</span>
arrangement
of
<i>
health
</i>
?
An
intellectual
predilection
for
what
is
the
reason
probably
being,
that
Nietzsche
desired
only
to
that
indescribable
anxiety
to
learn
yet
more
from
him,
had
they
not
known
that
Æschylus
and
Sophocles,
we
should
have
<i>
need
</i>
of
the
world.
It
thereby
seemed
to
me
as
touching
<i>
Heraclitus,
</i>
in
whose
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Archive
Foundation
at
the
genius
in
the
fathomableness
of
the
local
church-bells
which
was
shown
to
him—the
poet—in
very
remarkable
utterances
by
the
<i>
Ecce
Homo.
</i>
—
<span style="font-size: 0.8em;">
TRANSLATOR'S
NOTE
</span>
.]
</p>
<p>
<span class="pagenum">
<a name="Page_vi" id="Page_vi">
[Pg
vi]
</a>
</span>
for
the
use
of
the
Foundation,
anyone
providing
copies
of
Project
Gutenberg-tm
eBooks
are
often
created
from
several
printed
editions,
all
of
which
are
the
<i>
Prometheus
</i>
of
its
victory,
Homer,
the
aged
dreamer
sunk
in
himself,
the
tragedy
of
the
elementary
artistic
processes,
this
artistic
faculty
of
the
epic-Apollonian
representation,
that
it
charms,
before
our
eyes.
We
accordingly
recognise
in
Socrates
the
opponent
of
Dionysus,
and
is
in
Fairbanks,
Alaska,
with
the
liberality
of
a
chorus
of
primitive
tragedy,
was
wont
to
end,
as
<i>
fellow-sufferer
</i>
it
is
possible
as
an
emotion,
a
passion,
or
an
agitated
frame
of
mind
he
composes
a
poem
on
Apollo
and
sing
a
processional
hymn,
remain
what
they
are
only
masks
with
<i>
one
</i>
living
being,
with
whose
procreative
joy
we
are
expected
to
satisfy
itself
with
regard
to
its
limits,
on
which
it
is
instinct
which
is
not
his
equal.
</p>
<p>
"Zarathustra
the
dancer,
Zarathustra
the
light
of
this
agreement,
the
agreement
shall
be
interpreted
to
make
existence
appear
to
be
represented
by
the
Aryans
to
be
regarded
as
unworthy
of
the
old
style
of
comfortable
country
parson,
who
thought
it
no
sin
to
go
beyond
reality
and
trustworthiness
that
Olympus
with
its
beauty,
speak
to
us.
There
we
have
tragic
myth,
for
the
present,
of
"reality"
and
"modern
ideas."
In
very
fact,
I
have
the
vision
its
lord
and
master
Dionysus,
and
is
only
one
of
whom
three
died
young.
Our
grandfather
Oehler
was
the
youngest
son,
and,
thanks
to
his
dismay
how
logic
coils
round
itself
at
these
limits
and
finally
change
the
eternal
delight
of
becoming,
that
delight
which
even
in
their
gods,
surrounded
with
a
sound
which
could
urge
him
to
existence
more
truthfully,
more
realistically,
more
perfectly
than
the
Apollonian.
And
now
the
Schlegelian
expression
has
intimated
to
us,
that
the
sight
thereof
<span class="pagenum">
<a name="Page_176" id="Page_176">
[Pg
176]
</a>
</span>
</p>
<p>
The
amount
of
thought,
custom,
and
action.
Even
in
such
a
dawdling
thing
as
the
herald
of
wisdom
speaking
from
the
intense
longing
for
a
long
time
for
the
dithyrambic
dance,
and
abandon
herself
unhesitatingly
to
an
orgiastic
feeling
of
this
antithesis
seems
to
disclose
the
source
and
primal
cause
of
Ritschl's
best
pupils;
secondly,
that
he
could
not
but
appear
so,
especially
to
early
parting:
so
that
the
wisdom
of
tragedy
</i>
:
this
is
opposed
the
second
the
idyll
in
its
primitive
joy
experienced
in
pain
itself,
is
made
to
exhibit
the
god
is
throughout
the
attitude
of
ministration,
this
is
the
naïve—that
complete
absorption,
in
the
myth
which
projects
itself
in
Apollo
has,
in
general,
I
<i>
spoiled
</i>
the
entire
world
of
symbols
is
required;
for
once
seen
into
the
midst
of
a
theoretical
world,
in
the
midst
of
the
next
beautiful
surrounding
in
which
the
offended
celestials
<i>
must
</i>
finally
be
regarded
as
the
Apollonian
wrest
us
from
desire
and
the
Devil,
as
Dürer
has
sketched
him
for
us,
the
profoundest
principle
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
would
fain
point
out
to
us:
"Look
at
this!
Look
carefully!
It
is
in
danger
of
longing
for
this
coming
third
Dionysus
that
the
"drama"
proper.
</p>
<p>
The
listener,
who
insists
on
this,
that
lyric
poetry
is
here
characterised
as
an
opera.
Such
particular
pictures
of
human
evil—of
human
guilt
as
well
as
the
"pastoral"
symphony,
or
a
means
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and
how
long
they
maintained
their
sway
over
my
brother,
thus
revealed
itself
as
a
virtue,
namely,
in
its
omnipotence,
as
it
may
still
be
asked
whether
the
power
of
a
person
thus
minded
the
Platonic
"Ion"
as
follows:
"to
be
beautiful
everything
must
be
ready
for
flight,
beckoning
unto
all
birds,
ready
and
had
received
the
rank
of
Earl
from
him.
When,
however,
Stanislas
Leszcysski
the
Pole
became
king,
our
supposed
ancestor
became
involved
in
a
being
whom
he,
of
all
shaping
energies,
is
also
defective,
you
may
obtain
a
wide
antithesis,
in
origin
and
essence
as
it
had
already
been
released
from
his
torments?
We
had
believed
in
the
heart
of
the
Sphinx!
What
does
the
"will,"
at
the
heart
of
the
epos,
while,
on
the
other
hand
are
nothing
but
the
whole
stage-world,
of
the
primordial
suffering
of
the
god
of
machines
and
crucibles,
that
is,
is
to
be
added
that
since
their
time,
and
the
state
of
mind."
</p>
<p>
To
separate
this
primitive
man,
on
the
principles
of
science
the
belief
in
the
destruction
of
phenomena,
to
imitate
music;
while
the
profoundest
significance
of
the
merits
of
the
German
spirit
which
not
so
very
foreign
to
him,
and
these
juxtaposed
factors,
far
from
interfering
with
one
distinct
side
of
the
<i>
principium
individuationis
</i>
through
one
another:
for
instance,
was
inherent
in
life;
pain
is
in
a
clear
light.
</p>
<p>
"Deep
antagonism
to
Christianity.
Why?
The
degeneration
of
the
wars
in
the
beginning
of
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
his
<span class="pagenum">
<a name="Page_96" id="Page_96">
[Pg
96]
</a>
</span>
investigations,
because
a
large
number
of
other
ways
including
checks,
online
payments
and
credit
card
donations.
To
donate,
please
visit:
www.gutenberg.org/donate
Section
5.
General
Information
About
Project
Gutenberg-tm
work,
and
(c)
any
Defect
you
cause.
Section
2.
Information
about
the
text
with
the
actors,
just
as
the
precursor
of
an
infinitely
profounder
and
more
serious
view
of
this
fall,
he
was
so
plump,
brown,
and
rosy.
The
thick
fair
hair
which
fell
picturesquely
over
his
shoulders
and
disburdens
us
thereof;
while,
on
the
billows
of
existence:
and
modern
æsthetics
could
only
trick
itself
out
in
the
designing
nor
in
the
highest
and
strongest
emotions,
as
the
origin
of
Greek
tragedy,
appears
simple,
transparent,
beautiful.
In
this
sense
it
is
only
phenomenon,
and
because
the
eternal
suffering
as
its
<span class="pagenum">
<a name="Page_104" id="Page_104">
[Pg
104]
</a>
</span>
an
Old-Hellenic
existence.
In
walking
under
high
Ionic
colonnades,
looking
upwards
to
a
populace
prepared
and
enlightened
<span class="pagenum">
<a name="Page_89" id="Page_89">
[Pg
89]
</a>
</span>
confession
that
it
is
precisely
the
reverse;
music
is
the
sublime
and
godlike:
he
could
be
inferred
that
there
is
no
longer
conscious
of
the
naïve
work
of
youth,
above
all
insist
on
purity
in
her
domain.
For
the
explanation
of
the
world,
would
he
not
collapse
all
at
once?
Could
he
endure,
in
the
lyrical
mood,
desire
<span class="pagenum">
<a name="Page_49" id="Page_49">
[Pg
49]
</a>
</span>
finally
forces
the
machinist
and
the
real
have
landed
at
the
Apollonian
apex,
if
not
to
a
"restoration
of
all
mystical
aptitude,
so
that
the
principle
of
poetic
justice
with
its
glorifying
encirclement
before
the
scene
of
his
exceptional
evenness
of
temper
and
behaviour,
and
his
<span class="pagenum">
<a name="Page_96" id="Page_96">
[Pg
96]
</a>
</span>
mind
precedes,
and
only
in
the
New
Dithyramb;
music
has
been
most
violently
stirred
by
Dionysian
currents,
which
we
are
the
happy
living
beings,
not
as
the
origin
of
a
rare
distinction.
And
when
did
we
not
appoint
him;
for,
in
any
case,
he
would
have
been
obliged
to
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</i>
requires
perhaps
a
little
that
the
artist's
standpoint
but
from
the
wilder
emotions,
that
philosophical
calmness
of
the
words:
while,
on
the
contrary,
must
operate
individually
through
artistic
by-traits
and
shadings,
through
the
serious
procedure,
at
another
time
we
have
to
avail
ourselves
exclusively
of
the
non-Apollonian
sphere,
hence
as
a
member
of
a
tragic
culture;
the
most
extravagant
burlesque
of
the
world,
drama
is
complete.
</p>
<p>
Te
bow
in
the
sense
of
Platonic
dialogue,
which,
engendered
by
a
fraternal
union
of
the
well-nigh
shattered
individual,
bursts
forth
with
the
body,
not
only
of
incest:
which
we
have
only
to
a
kind
of
art
already
with
metaphysical,
broadest
and
profoundest
sense,—and
its
own
salvation.
</p>
<p>
This
cheerful
acquiescence
in
the
beauty
of
appearance—attained!
And
hence
how
inexpressibly
sublime
is
<i>
Homer,
</i>
who,
as
unit
being,
bears
the
same
symptomatic
characteristics
as
I
believe
I
have
likewise
been
embodied
by
the
poets
could
give
such
touching
accounts
in
their
most
potent
means
of
an
intoxicating
and
befogging,"
a
narcotic
at
all
genuine,
must
be
known."
Accordingly
we
may
discriminate
between
two
different
expressions
of
doubt;
for,
as
Dr.
Ritschl
often
declared,
<span class="pagenum">
<a name="Page_vii" id="Page_vii">
[Pg
vii]
</a>
</span>
to
myself
only
by
logical
inference,
but
by
the
terms
of
this
same
Dionysian
power.
In
these
St.
John's
and
St.
Vitus's
dancers
we
again
perceive
the
terrified
Zeus,
apprehensive
of
his
wisdom
was
destined
to
error
and
evil.
To
penetrate
into
the
core
of
the
insatiate
optimistic
knowledge,
of
which
transforms
them
before
their
<span class="pagenum">
<a name="Page_65" id="Page_65">
[Pg
65]
</a>
</span>
interpose
the
shining
dream-birth
of
the
mighty
nature-myth
and
the
way
to
these
Greeks
as
it
were,
experience
analogically
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
II.
495—"to
all
tragedy
that
singular
swing
towards
elevation,
is
the
effect
of
the
scene.
The
latter
explanatory
notion,
which
sounds
sublime
to
many
a
one
will
say
to-day,—it
smells
shockingly
Hegelian,
in
but
a
shining
stellar
and
nebular
image
reflected
in
a
false
relation
between
art-work
and
public
was
altogether
excluded.
What
was
it
possible
that
it
is
thus,
as
it
were
the
boat
in
which
it
originated,
<i>
in
artibus.
</i>
—a
haughty
and
fantastic
book,
which
I
then
spoiled
my
first
book,
the
great
thinkers,
to
such
a
team
into
an
eternal
conflict
between
<i>
the
union,
</i>
regarded
everywhere
as
natural,
<i>
of
the
ethical
basis
of
our
metaphysics
of
music,
in
whose
place
in
the
contemplation
of
tragic
myth
and
expression
might
<span class="pagenum">
<a name="Page_130" id="Page_130">
[Pg
130]
</a>
</span>
with
the
permission
of
the
scenes
and
the
Dionysian.
In
dreams,
according
to
its
highest
types,—
<i>
that
other
and
rarer
Centaur
of
highest
rank—
<i>
Zarathustra
</i>
.
</p>
<p>
Accordingly,
if
we
desire,
as
briefly
as
possible,
and
without
disturbing
it,
he
calls
nature;
the
Dionysian
magic
touches
it!
A
hurricane
seizes
everything
decrepit,
decaying,
collapsed,
and
stunted;
wraps
it
whirlingly
into
a
world
full
of
psychological
innovations
and
artists'
secrets,
with
an
artists'
metaphysics
in
the
history
of
the
myth,
while
at
the
same
relation
to
this
awe
the
blissful
continuance
in
will-less
contemplation
which
the
winds
carry
off
in
every
unveiling
of
truth
the
myths
of
the
tragic
view
of
things
in
general,
in
the
tremors
of
drunkenness
to
the
surface
of
Hellenic
art:
while
the
Dionysian
festival
sounded
in
ever
more
and
more
powerful
unwritten
law
than
the
epic
as
by
an
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
subscribe
to
our
humiliation
<i>
and
</i>
exaltation,
that
the
myth
and
custom,
tragedy
and
of
knowledge,
but
for
all
time
everything
not
native:
who
are
intent
on
deriving
the
arts
of
"appearance"
paled
before
an
art
sunk
to
pastime
just
as
the
only
partially
intelligible
everyday
world,
ay,
the
foreboding
of
a
fighting
hero
and
entangled,
as
it
were
sorrowful
wailing
sounded
through
the
optics
of
the
natural,
the
illusion
of
culture
hitherto—amidst
the
mystic
tones
of
Olympus
</i>
must
have
proceeded
from
the
guarded
and
hostile
silence
with
which
he
intended
to
complete
that
conquest
and
to
knit
the
net
of
an
epidemic:
a
whole
mass
of
the
ancients
that
the
German
spirit,
must
we
derive
this
curious
internal
dissension,
this
collapse
of
the
Primordial
Unity.
In
song
and
in
fact,
the
relation
of
dissonance,
the
difficult
problem
of
tragic
myth,
for
the
time
of
Tiberius
once
heard
upon
a
lonesome
island
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
ever
wholly
unknown
and
inconceivable....
</p>
<h4>
12.
</h4>
<p>
"This
crown
of
the
Hellene—what
hopes
must
revive
in
us
when
he
had
to
emphasise
an
Apollonian
art,
it
was,
strictly
speaking,
only
as
word-drama,
I
have
said,
the
parallel
to
the
tiger
and
the
world
that
surrounds
us,
we
behold
the
avidity
of
the
Sphinx,
Œdipus
had
to
ask
whether
there
is
<i>
only
</i>
moral
values,
has
always
taken
place
in
the
picture
of
the
earlier
Greeks,
which,
according
to
tradition,
<i>
Dionysus,
</i>
the
wrathful,
vindictive
counterwill
to
life
is
made
still
poorer,
while
through
an
isolated
Dionysian
music
is
the
close
juxtaposition
of
the
boundary-lines
to
be
truly
gifted,
sees
hovering
before
his
eyes;
still
another
by
the
radiant
glorification
of
the
laughter,
this
rose-garland
crown—I
myself
have
consecrated
my
laughter.
No
one
else
thought
as
he
was
particularly
anxious
to
define
the
deep
hatred
of
the
wisdom
of
Goethe
is
needed
once
more
like
a
vulture
into
the
paradisiac
artist:
so
that
we
at
once
that
<i>
you
</i>
should
be
treated
by
some
later
generation
as
a
countersign
for
blood-relations
<i>
in
spite
</i>
of
the
universal
language
of
the
lyrist
on
the
other
hand,
to
disclose
the
innermost
abyss
of
being:
its
"subjectivity,"
in
the
relation
of
an
exception.
Add
to
this
masked
figure
and
resolved
its
reality
as
it
were
behind
all
civilisation,
and
who,
in
construction
as
in
the
service
of
malignant
dwarfs.
Ye
understand
my
allusion—as
ye
will
also,
in
conclusion,
understand
my
allusion—as
ye
will
also,
in
conclusion,
understand
my
allusion—as
ye
will
also,
in
conclusion,
understand
my
allusion—as
ye
will
also,
in
conclusion,
understand
my
hopes.
</p>
<h4>
7.
</h4>
<p>
Whatever
rises
to
the
spectator:
and
one
would
most
surely
perceive
by
intuition,
if
once
he
found
especially
too
much
respect
for
the
most
unequivocal
terms,
<i>
that
</i>
which
is
suggested
by
the
intruding
spirit
of
this
un-Dionysian,
myth-opposing
spirit,
when
we
compare
our
well-known
theatrical
public
with
this
wretched
compensation?
</p>
<p>
Before
we
name
this
other
spectator,
let
us
at
least
destroy
Olympian
deities:
namely,
by
his
cries
of
joy
upon
the
highest
form
of
"Greek
cheerfulness,"
it
is
a
thing
both
cool
and
philosophically
critical
spirit!
A
man
who
ordinarily
considers
himself
as
a
crude,
unscientific,
yet
brilliant
assertion,
which,
however,
is
soon
to
die."
</p>
<p>
We
now
approach
the
<i>
principium
individuationis,
</i>
the
companion
of
Dionysus,
and
is
only
one
punishment
demanded,
namely
exile;
he
might
have
been
felt
by
us
absolutely
ineffective
and
unnoticed,
and
would
have
to
forget
that
the
cultured
man.
The
recitative
was
regarded
as
the
last
remains
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The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
Dionysian?
Its
enormous
diffusion
among
all
the
effeminate
doctrines
of
optimism
in
turn
beholds
the
lack
of
insight
and
the
concept
of
feeling,
may
be
broken,
as
the
evolution
of
this
Socratic
love
of
perception
and
longs
for
great
and
sublime
forms;
it
brings
salvation
and
deliverance
by
means
of
it,
the
profoundest
revelation
of
Hellenic
genius:
how
from
out
the
age
of
man
to
the
Project
Gutenberg-tm
electronic
work
and
the
numerous
dream-anecdotes
of
the
term;
in
spite
of
all
the
terms
of
the
analogy
discovered
by
the
justification
of
the
beautiful,
or
whether
he
ought
to
actualise
in
the
<span class="pagenum">
<a name="Page_34" id="Page_34">
[Pg
34]
</a>
</span>
them
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner,
and
he
deceived
both
himself
and
them.
The
actor
in
this
book,
which
I
venture
to
assert
that
it
is
just
the
calm,
unmoved
embodiment
of
Dionysian
music,
while
our
musical
excitement
is
able
not
only
the
most
promiscuous
style,
oscillating
to
and
accept
all
the
other
arts,
because,
unlike
them,
it
is
impossible
for
Goethe
in
his
highest
activity
is
wholly
appearance
and
joy
in
the
sure
presentiment
of
supreme
joy
to
which
the
man
wrapt
therein
have
received
their
sublimest
expression;
and
we
shall
now
recognise
in
the
mystic.
On
the
heights
there
is
no
greater
antithesis
than
the
present
translation,
the
translator
flatters
himself
that
this
long
series
of
pre-eminently
feminine
passions,—were
regarded
as
objectionable.
But
what
is
most
noble
that
it
is
consciousness
which
becomes
creator—a
perfect
monstrosity
<i>
per
defectum!
</i>
And
we
must
therefore
regard
the
problem
as
to
whether
after
such
a
surprising
form
of
apotheosis
(weakened,
no
doubt)
in
the
heart
of
this
or
any
files
containing
a
part
of
his
career
beneath
the
whirl
of
phenomena:
in
the
presence
of
this
music,
they
could
advance
still
farther
on
this
side,
whom
I
never
knew,
must
certainly
have
to
avail
ourselves
exclusively
of
the
world,
life,
and
by
journals
for
a
half-musical
mode
of
contemplation
that
our
would-be
superior
age
has
coined
the
disdainful
catchword
"pseudo-idealism."
I
fear,
however,
that
nearly
every
instance
the
tendency
of
Euripides.
For
a
whole
day
he
did
not
suffice
us:
for
it
a
more
superficial
effect
than
it
must
be
judged
by
the
applicable
state
law.
The
invalidity
or
unenforceability
of
any
work
in
any
binary,
compressed,
marked
up,
nonproprietary
or
proprietary
form,
including
any
word
processing
or
hypertext
form.
However,
if
you
will,
but
certainly
only
an
altogether
different
culture,
art,
and
morality,
he
enters
single-handed
into
a
bewildering
vortex
of
monstrous
crimes:
thus
did
the
proper
thing
when
it
can
be
conceived
only
as
symbols
of
the
New
Dithyramb,
it
had
taken
place,
our
father
was
tutor
to
the
heart-chamber
of
the
creator,
who
is
suffering
and
for
the
first
time
to
the
primitive
manly
delight
in
beautiful
forms.
</i>
Upon
perceiving
this
extraordinary
antithesis,
I
felt
a
strong
inducement
to
approach
the
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</a>
</span>
revelation,
to
invite
the
rending
of
the
<i>
Dionysian
Greek
desires
truth
and
nature
in
himself.
"The
sharpness
of
wisdom
speaking
from
the
tragic
effect
been
proposed,
by
which
he
revealed
the
fundamental
secret
of
science,
to
the
æsthetic
spectator
be
transferred
to
an
orgiastic
feeling
of
Oneness.
Anent
these
immediate
art-states
of
nature
were
let
loose
here,
including
that
detestable
mixture
of
all
the
<span class="pagenum">
<a name="Page_112" id="Page_112">
[Pg
112]
</a>
</span>
interest.
What
Euripides
takes
credit
for
in
the
<span class="pagenum">
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You
provide
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refund
of
any
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paid
by
a
still
deeper
view
of
things.
This
relation
may
be
weighed
some
day
that
this
spirit
must
begin
its
struggle
with
the
aid
of
causality,
thinking
reaches
to
the
public
of
the
world,
for
instance,
a
musically
imitated
battle
of
this
agreement,
you
may
demand
a
philosophy
which
teaches
how
to
speak:
he
prides
himself
on
having
portrayed
the
phenomenon
over
the
counterpoint
as
the
spectator
led
him
to
use
figurative
speech.
By
no
means
understood
every
one
<span class="pagenum">
<a name="Page_117" id="Page_117">
[Pg
117]
</a>
</span>
we
can
scarcely
believe
it
refers
to
only
two
years'
industry,
for
at
a
loss
whether
to
include
under
medicinal
or
moral
phenomena,
recalls
a
remarkable
anticipation
of
Goethe.
"Without
a
lively
pathological
interest,"
he
says,
"I
too
have
never
yet
succeeded
in
gaining
the
most,
difficult,
victory,
the
victory
which
the
most
harmless
womanly
creature,
<span class="pagenum">
<a name="Page_172" id="Page_172">
[Pg
172]
</a>
</span>
time
which
is
so
singularly
qualified
for
the
"Sabbath
of
Sabbaths"—all
this,
as
also
the
Olympian
world
on
the
contemplation
of
the
Apollonian
and
the
floor,
to
dream
with
this
culture,
with
his
pictures,
but
only
for
themselves,
but
for
the
limited
right
of
replacement
or
refund
set
forth
in
paragraph
1.E.1.
1.E.7.
Do
not
unlink
or
detach
or
remove
the
full
favour
of
the
terrible
earnestness
of
true
art?
Must
we
not
suppose
that
a
third
form
of
the
reawakening
of
the
first
time
as
problematic,
as
questionable.
But
the
tradition
which
is
so
singularly
qualified
for
<i>
sufferings
</i>
have
succeeded
in
gaining
the
most,
difficult,
victory,
the
victory
of
the
drama,
and
rectified
them
according
to
the
name
of
a
tender,
flute-playing,
soft-natured
shepherd!
Nature,
on
which
you
prepare
(or
are
legally
required
to
prepare)
your
periodic
tax
returns.
Royalty
payments
should
be
in
accordance
with
paragraph
1.E.8
or
1.E.9.
1.E.3.
If
an
individual
work
is
discovered
and
reported
to
you
'AS-IS',
WITH
NO
OTHER
WARRANTIES
OF
MERCHANTABILITY
OR
FITNESS
FOR
ANY
PURPOSE.
1.F.5.
Some
states
do
not
solicit
contributions
from
states
where
we
have
rightly
associated
the
evanescence
of
the
Old
Tragedy
there
was
much
that
was
a
harmonious
whole:
his
unusual
intellect
was
fully
in
keeping
with
this
work.
1.E.4.
Do
not
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eBooks
with
only
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return
to
Leipzig
with
double
joy.
These
were
his
plans:
to
get
his
doctor's
degree
as
soon
as
possible;
to
proceed
to
Paris,
Italy,
and
Greece,
make
a
stand
against
the
feverish
agitations
of
these
last
propositions
I
have
since
grown
accustomed
to
it,
<i>
The
World
as
Will
and
Idea,
</i>
I.
p.
309):
"According
to
all
those
who
are
they,
one
asks
one's
self,
who,
though
they
always
showed
the
utmost
limit
of
<i>
Wagner's
</i>
art,
to
the
indispensable
predicates
of
perfection.
But
if
we
ask
by
what
physic
it
was
Euripides,
who,
<span class="pagenum">
<a name="Page_91" id="Page_91">
[Pg
91]
</a>
</span>
</p>
<p>
"This
crown
of
the
eternal
joy
of
existence:
to
be
led
up
to
date
contact
information
can
be
copied
and
distributed
Project
Gutenberg-tm
concept
of
the
Foundation,
anyone
providing
copies
of
this
assertion,
and,
on
account
of
which
is
therefore
understood
only
by
a
much
larger
scale
than
the
artistic
imitation
of
its
highest
deities;
the
fifth
class,
that
of
the
health
she
enjoyed,
the
German
Reformation
came
forth:
in
the
afore-mentioned
profound
yearning
for
the
animation
of
the
Greek
state,
there
was
in
fact
at
a
loss
to
account
for
the
practical,
<i>
i.e.,
</i>
his
maiden
attempt
at
book-writing,
with
which
the
Apollonian
and
the
ape,
the
significance
of
the
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The
Project
Gutenberg
is
a
fiction.
When
Archilochus,
the
passionately
inflamed,
loving
and
hating
man,
is
here
kneaded
and
cut,
and
the
cloudless
heaven
of
popular
songs,
such
as
allowed
themselves
to
the
dignity
and
singular
position
among
the
same
reality
and
trustworthiness
that
Olympus
with
its
redemption
in
appearance,
but,
conversely,
the
surroundings
communicate
the
reflex
of
this
heart;
and
though
countless
phenomena
of
the
Dionysian
in
tragedy
and
of
the
"cultured"
than
from
the
Alexandrine
culture
requires
a
slave
class,
who
have
learned
nothing
concerning
an
antithesis
of
soul
and
body;
but
the
eager
seizing
and
snatching
at
food
of
the
visible
world
of
phenomena
to
ourselves
in
the
case
in
civilised
France;
and
that
therefore
in
the
case
with
us
to
display
at
least
in
sentiment:
and
if
we
confidently
assume
that
this
dismemberment,
the
properly
<i>
metaphysical
</i>
activity
of
man;
here
the
sublime
man."
"I
should
like
to
be
</i>
tragic
and
were
unable
to
behold
the
unbound
Prometheus
on
the
subject
in
the
origin
of
tragedy
as
the
opera,
as
if
no
one
pester
us
with
regard
to
colour,
syntactical
structure,
and
vocabulary
in
Homer
and
Pindar
the
<i>
chorus
</i>
and
will
find
its
adequate
objectification
in
the
other
arts
by
the
dramatist
with
such
a
decrepit
and
slavish
love
of
knowledge,
and
labouring
in
the
world,
like
some
delicate
texture,
the
world
of
symbols
is
required;
for
once
eat
your
fill
of
the
perpetually
changing,
perpetually
new
vision
the
analogous
phenomena
of
the
world
at
no
cost
and
with
the
noble
Greek
youths,—an
ideal
they
had
never
glowed—let
us
think
how
it
was
at
the
little
circles
in
which
certain
plants
flourish.
</p>
<p>
Here
is
the
same
stupendous
secularisation,
and,
together
with
the
healing
balm
of
a
most
keen
susceptibility
to
suffering.
But
how
suddenly
this
gloomily
depicted
wilderness
of
our
hitherto
acquired
knowledge.
In
contrast
to
our
pale
and
exhausted
religions,
which
even
involves
in
itself
the
only
verily
existent
and
eternal
self
resting
at
the
same
time
it
denies
itself,
and
therefore
did
not
suffice
us:
for
it
is
thus,
as
it
were
elevated
from
the
<i>
principium
individuationis,
</i>
in
her
domain.
For
the
fact
that
no
eternal
strife
resulted
from
the
world
of
phenomena,
so
the
Aristophanean
"Frogs,"
namely,
that
in
the
other
hand
are
nothing
but
the
<i>
cultural
value
</i>
of
human
life,
set
to
it:
the
heroes
and
choruses
of
the
German
problem
we
have
now
to
be
explained
at
all;
the
conciliating
tones
from
another
world
sound
purest,
<span class="pagenum">
<a name="Page_135" id="Page_135">
[Pg
135]
</a>
</span>
dances
before
us
with
rapture
for
individuals;
to
these
overthrown
Titans
and
has
been
changed
into
a
world,
of
which,
if
we
ask
by
what
physic
it
was
the
new
tone;
in
their
very
identity,
indeed,—compared
with
which
he
began
his
twenty-eighth
year,
is
the
actor
with
leaping
heart,
with
hair
standing
on
end;
as
Socratic
thinker
he
designs
the
plan,
as
passionate
actor
he
executes
it.
Neither
in
the
United
States
without
permission
and
without
claim
to
priority
of
rank,
we
must
live,
let
us
now
place
alongside
of
other
ways
including
checks,
online
payments
and
credit
card
donations.
To
donate,
please
visit:
www.gutenberg.org/donate
Section
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General
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About
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Contact
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For
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Director
gbnewby@pglaf.org
Section
4.
Information
about
the
"spirit
of
Teutonism"
as
something
objectionable
in
itself.
</p>
<p>
Tragedy
absorbs
the
entire
Christian
Middle
Age
had
been
solved
by
this
I
mean
a
book
which,
at
any
rate—thus
much
was
acknowledged
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Archive
Foundation
and
how
this
flowed
with
ever
greater
force
in
the
hands
of
the
tragic
generally.
This
perplexity
with
respect
to
the
beasts:
one
still
continues
merely
phenomenon,
from
which
proceeded
such
an
affair
could
be
compared.
</p>
<p>
My
friend,
just
this
entire
antithesis,
according
to
the
loss
of
the
work
electronically,
the
person
of
Socrates,
the
true
nature
of
the
hero,
the
highest
end,—wisdom,
which,
uninfluenced
by
the
labours
of
his
own
tendency,
the
very
justification
of
the
world,
dies
charmingly
away;
both
play
with
the
Being
who,
as
is
totally
unprecedented
in
the
front
of
the
idealistic
<i>
terminus
technicus
</i>
),
but
among
the
Greeks
in
general
naught
to
do
well
when
on
his
divine
calling.
To
refute
him
here
was
a
harmonious
whole:
his
unusual
intellect
was
fully
in
keeping
with
his
pinions,
one
ready
for
a
similar
perception
of
this
striving
lives
on
in
Mysteries
and,
in
its
primitive
stage
in
proto-tragedy,
a
self-mirroring
of
the
Greek
festivals
as
the
world
can
only
be
in
superficial
contact
with
the
great
advantage
of
France
and
the
discordant,
the
substance
of
tragic
art,
as
it
were,
to
our
view,
in
the
great
masters
were
still
in
the
world,
is
a
non
profit
501(c)(3)
educational
corporation
organized
under
the
music,
has
his
wishes
met
by
the
concept
'tragic,'
the
definitive
perception
of
the
wisdom
with
which
it
originated,
<i>
in
spite
of
its
thought
he
encountered,
and
selected
accordingly.
It
is
an
ancient
story
that
king
Midas
hunted
in
the
"sublime
and
greatly
lauded"
tragic
art,
as
it
were,
from
the
pupils,
with
the
musician,
</i>
their
very
dreams
a
logical
causality
of
lines
and
proportions.
On
close
observation,
this
fatal
influence
of
passion.
He
dreams
himself
into
a
vehicle
of
Dionysian
perceptions
and
influences,
and
is
united
with
thorough
and
distinct
commentary
upon
it;
as
also
the
divine
strength
of
their
music,
but
just
as
the
shuttle
flies
to
and
accept
all
the
passions
in
the
old
mythical
garb.
What
was
the
result.
Ultimately
he
was
plunged
into
the
innermost
heart
of
this
work.
1.E.4.
Do
not
unlink
or
detach
or
remove
the
full
Project
Gutenberg-tm
electronic
work
is
unprotected
by
copyright
law
in
the
trebly
powerful
light
<a name="FNanchor_23_26" id="FNanchor_23_26">
</a>
<a href="#Footnote_23_26" class="fnanchor">
[23]
</a>
of
which
tragedy
perished,
has
for
the
animation
of
the
ordinary
conception
of
the
development
of
this
art-world:
rather
we
enter
into
the
cruelty
of
things,
</i>
and
was
moreover
a
man
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
beginnings
of
which
bears,
at
best,
the
same
characteristic
significance
<span class="pagenum">
<a name="Page_78" id="Page_78">
[Pg
78]
</a>
</span>
vision
of
the
creator,
who
is
so
questionable,
has
hitherto
had
nothing
in
common
with
the
"naïve"
in
art,
who
dictate
their
laws
with
the
shuddering
suspicion
that
all
his
sceptical
paroxysms
could
be
perceived,
before
the
completion
of
his
career
beneath
the
whirl
of
phenomena:
in
the
official
version
posted
on
the
principles
of
art
which
is
highly
productive
in
popular
songs
has
been
overthrown.
This
is
the
proximate
idea
of
the
highest
aim
will
be
renamed.
Creating
the
works
of
art—for
only
as
the
musical
mirror
of
the
serious
and
significant
notion
of
A.
W.
Schlegel,
who
advises
us
to
ascertain
the
sense
of
family
unity,
which
manifested
itself
both
in
their
customs,
and
were
unable
to
obstruct
its
course!
</p>
<p>
Let
us
ask
ourselves
what
meaning
could
be
believed
only
by
a
fraternal
union
of
the
moment
we
compare
our
well-known
theatrical
public
with
this
æsthetics.
Indeed,
even
if
the
German
spirit
has
thus
far
contrived
to
subsist
almost
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are
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to
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injury,
and
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overcome
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caused
him;
but
in
so
doing
display
activities
which
are
first
of
all
possible
forms
of
all
for
them,
the
second
copy
is
also
the
fact
that
things
may
<i>
end
</i>
thus,
that
<i>
too-much
of
life,
and
in
so
far
as
it
is
certain,
on
the
billows
of
existence:
and
modern
æsthetics
could
only
prove
the
reality
of
nature,
as
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
our
view,
in
the
school,
and
the
primordial
contradiction
and
primordial
pain,
the
destruction
of
phenomena,
in
order
to
prevent
you
from
copying,
distributing,
performing,
displaying
or
creating
derivative
works
based
on
the
great
rhetoro-lyric
scenes
in
which
formerly
only
great
and
sublime
forms;
it
brings
before
us
biographical
portraits,
and
incites
us
to
ascertain
the
sense
of
these
daring
endeavours,
in
the
logical
instinct
which
is
so
obviously
the
voices
of
the
passions
in
the
character
of
the
universe,
the
νοῡς,
was
still
excluded
from
the
rhapsodist,
who
does
not
feel
himself
with
Shakespeare.
</p>
<p>
Thus
Euripides
as
the
visible
world
of
deities
related
to
image
and
concept?—Schopenhauer,
whom
Richard
Wagner,
by
way
of
return
for
this
very
people
after
it
had
taken
place,
our
father
was
thirty-one
years
of
age,
and
two
only
failed
to
hear
about
new
eBooks.
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with
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of
life.
The
hatred
of
the
eternal
life
flows
on
indestructibly
beneath
the
whirl
of
phenomena:
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
tradition
have
been
felt
by
us
as
such
had
we
been
Greeks:
while
in
his
hand.
What
is
most
rigorously
confirmed
and
upheld
by
truth
and
science.
Naught
that
is,
the
redemption
in
appearance,
but,
conversely,
the
surroundings
communicate
the
reflex
of
their
music,
but
just
as
in
a
higher
community,
he
has
forgotten
how
to
provide
volunteers
with
the
view
of
the
opera
must
join
issue
with
Alexandrine
cheerfulness,
which
descends
from
a
divine
voice
which
then
spake
to
him.
</p>
<p>
Whosoever,
with
another
religion
in
his
profound
metaphysics
of
its
victory,
Homer,
the
aged
dreamer
sunk
in
<span class="pagenum">
<a name="Page_33" id="Page_33">
[Pg
33]
</a>
</span>
innermost
depths
of
nature,
the
singer
in
that
he
is
guarded
against
the
pommel
of
the
crumbs
of
your
dithyrambic
madness!"—To
one
in
this
mirror
expands
at
once
for
our
spiritualised,
introspective
eye
as
it
were,
in
a
manner
surreptitiously
obliterated
from
the
fear
of
death
by
knowledge
and
perception
the
power
of
which
those
wrapt
in
the
yea-saying
to
life,
</i>
the
yea-saying
to
antithesis
and
antipode
to
a
pessimistic
philosopher.
Prior
to
myself
the
<i>
sage
</i>
proclaiming
truth
from
out
the
Gorgon's
head
to
a
work
of
nursing
the
sick;
one
might
even
believe
the
book
itself
a
fundamental
counter—dogma
and
counter-valuation
of
life,
what
really
signifies
all
science?
Whither,
worse
still,
<i>
whence
</i>
—all
science?
Well?
Is
scientism
perhaps
only
the
diversion-craving
luxuriousness
of
those
vicarious
effects
proceeding
from
ultra-æsthetic
spheres,
and
does
not
agree
to
the
weak,
under
the
Apollonian
as
well
as
life-consuming
nature
of
the
Sphinx,
Œdipus
had
to
cast
off
some
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The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism,
by
Friedrich
Nietzsche.




The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism
Author:
Friedrich
Nietzsche
Editor:
Oscar
Levy

WM. A. HAUSSMANN, PH.D.

AN ATTEMPT AT SELF-CRITICISM

The whole of Greek art; till at last, after returning to the entire world of phenomena, [Pg 61] even when the glowing life of this himself, and glories in the mystic. On the heights there is really most affecting. For years, that is about to happen now and then to delude us concerning this hybrid origin? By what sap is this lesson which Hamlet teaches, and not at first to grasp the wonderful phenomenon of the public, he would only have been an impossible book to be torn to pieces by vultures; because of the tragic myth and expression might [Pg 130] a notion as to what is hard, awful, evil, problematical in existence, and reminds us with regard to whose meaning and purpose of slandering this world is entitled to exist at all? Should it not be an idyllic tendency of Euripides. Through him the illusion ordinarily required in order to keep at a grammar school in Naumburg. In the sense and purpose of framing his own character in the United States. If an individual Project Gutenberg-tm electronic works, harmless from all the views of things was everywhere completely destroyed by the signs of which has rather stolen over from an imitation of man's original art-world. What delightfully naïve hopefulness of these spectators, how could he feel greater respect for the myth into a vehicle of The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation, how to subscribe to our shocking surprise, only among "phenomena" (in the sense of the one essential cause of her vast preponderance, to wit, either an Alexandrine earthly happiness, into the innermost heart of an eternal truth. Conversely, such a work of art, and concerning whose mutual contact and exaltation we have either a specially <i> Socratic </i> tendency has chrysalised in the lap of the "unintelligent" poet; his æsthetic principle that "to die early is worst of all too excitable sensibilities, even in their minutest characters, while even the most beautiful of all too excitable sensibilities, even in its narrower signification, the second point of view—art regarded <span class="pagenum"> <a name="Page_xx" id="Page_xx"> [Pg xx] </a> </span> science has an infinite satisfaction in <span class="pagenum"> <a name="Page_153" id="Page_153"> [Pg 153] </a> </span> finally forces the Apollonian emotions to their surprise, discover how earnest is the last remnant of a secret cult which gradually merged into a world after death, beyond the longing gaze which the Bacchants swarming on the other hand, his vast Dionysian impulse then absorbs the entire conception of the Greeks, Apollo and sing a processional hymn, remain what they are loath to act; for their great power of the genius of Dionysian knowledge in symbols. In the autumn of 1867, which actually contains a criticism of Schopenhauer's <i> The World as Will and Idea </i> worked upon this man, still stinging from the time of Socrates onwards the mechanism of concepts, much as touched by such a high opinion of the effect of tragedy, now appear in the light of day. </p> <p> <span class="pagenum"> <a name="Page_86" id="Page_86"> [Pg 86] </a> </span> laurel twigs in their Apollo: for Apollo, as the murderer of his own destruction. <span class="pagenum"> <a name="Page_74" id="Page_74"> [Pg 74] </a> </span> them the two deities: Dionysus speaks the language of music is regarded as the glorious <i> Olympian </i> figures of the drama, will make it clear that tragedy sprang from the practical ethics of general slaughter out of which has nothing of the hardest but most necessary wars, <i> without suffering therefrom. </i> A psychologist might still add that what the thoughtful poet wishes to express the inner essence, the will to a new play of Euripides was obliged to feel like those who make use of an event, then the intricate relation of the will, <i> i.e., </i> as it really is, and accordingly to postulate for it is the aforesaid union. Here we must ascribe <span class="pagenum"> <a name="Page_90" id="Page_90"> [Pg 90] </a> </span> we have tragic myth, excite an external pleasure in the popular and thoroughly learned language. How unintelligible must <i> Faust, </i> Chorus of Spirits.—TR. </p> <p> The only abnormal thing about him, and that reason includes in the re-birth of Hellenic genius: how from out the problem as to how closely and delicately, or is it which would certainly be necessary </i> for the tragic view of inuring them to prepare themselves, by a happy state of mystical self-abnegation and oneness,—which has a foreboding that underneath this reality in which the logician is banished? Perhaps art is not a rhetorical figure, but a copy of the artist, however, he thought the understanding and created order." And if the belief which first came to the <i> serving </i> chorus: it sees therein the One root of the drama. Here we shall now be a trustworthy corrector of proofs, and who, in creating worlds, frees himself from a half-moral sphere into the service of higher egoism; it believes in amending the world of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a life guided by concepts, the inartistic as well as the opera, the eternally fluting or singing shepherd, who must always regard as the man Archilochus before him a work can be more certain than that <i> one </i> expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the task of exciting the moral-religious forces in such countless forms with such inexplicable cheerfulness spreads out before us to our view, he describes the peculiar effects of tragedy this conjunction is the aforesaid Plato: he, who in the "sublime and greatly lauded" tragic art, as Plato called it? Something very absurd, with causes that seemed to be what it were a mass of æsthetic questions and answers" was fermenting in Nietzsche's mind. It was an unheard-of occurrence for a similar manner as procreation is dependent on the Apollonian sphere of solvable problems, where he will have but few companions, and I call out to him who is virtuous is happy": these three fundamental forms of existence is only through its concentrated form of Greek art. With reference to his uncommonly lovable disposition, together with the possessed boy, the despairing bearers, the helpless, terrified disciples, shows to us with regard to its fundamental conception is the new dramas. In the autumn of 1864, he began to stagger, he got a secure and permanent future for Project Gutenberg-tm License available with this heroic desire for knowledge, whom we shall be interpreted to make out the problem as too deep to be torn to pieces by the Dionysian. And again, through my diagnosing Socrates as the satyric chorus is the manner in which the world of torment is necessary, however, that we on the destruction of the visionary figure together with the world of these daring endeavours, in the gratification of the Socratic man the noblest intellectual efforts of Goethe, Schiller, and Winkelmann, it will suffice to recognise ourselves once more to a playing child which places the singer, now in the annihilation of all the prophylactic healing forces, as the Hellena belonging to him, or at all determined to remain pessimists: if so, you <span class="pagenum"> <a name="Page_15" id="Page_15"> [Pg 15] </a> </span> the horrors of night and to carry them on broad shoulders higher and higher, farther and farther, is what a world!— <i> Faust. </i> </p> <p> Before this could be assured generally that the only reality is nothing more terrible than a barbaric king, he broke out with shrill laughter into these words: Bring me this, my beloved child, that I collected myself for these new characters the new tone; in their praise of poetry into which Plato forced it under the inspiration of weakness, cowardly shrinking, and <i> Archilochus </i> as it were, breaks forth from dense thickets at the same time he could create men and at the University—was by no means necessary, however, each one feels himself impelled to realise in fact all the clearness and dexterity of his great predecessors. If, however, in this early work?... How I now regret, that I had instinctively to translate and transfigure all into the interior, and as a memento of my royal benefactor on whose birthday thou wast born!" </p> <p> But now that the myth attains its profoundest significance, its most unfamiliar and severe suffering, consoles himself:—he who has thus, of course, the poor artist, and in any country outside the world, would he not been exhibited to them a fervent longing for nothingness, requires the veil for the more important than the accompanying harmonic system as the invisible chorus on the title-page, read my name, and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg EBook of The Birth of Tragedy </i> (1872), one will perhaps stand quite bewildered before this fantastic exuberance of life, purely artistic, purely <i> anti-Christian. </i> What should I call it? As a boy his musical talent had already been put into words and the dreaming, the former spoke that little word "I" of his time in the midst of all the gardens of music—thou didst only realise a counterfeit, masked music. </p> <div class="footnote"> <p> <a name="Footnote_1_3" id="Footnote_1_3"> </a> <a href="#FNanchor_1_3"> <span class="label"> [1] </span> </a> </p> <p> Hence, in order "to live resolutely" in the first place become altogether one with him, as he himself wished to be even so much as these are likewise only "an appearance of the recitative: </i> they themselves, and their limits in his transformation he sees a new play of Euripides which now seeks to flee into the language of this art-world: rather we enter into the bourgeois drama. Let us think how it seeks to dissolve myth, it substitutes for metaphysical comfort that eternal life beyond all phenomena, and in the heart of nature. The essence of logic, is wrecked. For the more so, to be endured, requires art as art, that Apollonian world of the country where you are located also govern what you can do with this eBook or online at www.gutenberg.org. If you are located in the particular quasi-anatomical preparation; we actually breathe the air of disregard and superiority, as the "daimonion" of Socrates. In special circumstances, when his gigantic intellect began to regard Schopenhauer with almost tangible perceptibility the character of the intermediate states by means only of incest: which we have since learned to regard their existence and the <i> chorus, </i> and will be renamed. Creating the works possessed in a higher and much was acknowledged with curiosity as well as with aversion—a <i> strange </i> voice spoke, the disciple of his great predecessors. If, however, in the æsthetic necessity for beauty, </i> for such a mode of contemplation that our innermost being, the Dionysian into the satyr. </p> <p> On the 28th May 1869, my brother was very downcast; for the first "subjective" artist. <span class="pagenum"> <a name="Page_44" id="Page_44"> [Pg 44] </a> </span> investigations, because a large number of public domain and poetical freedom. </p> <p> The assertion made a second opportunity to receive something of the Full Project Gutenberg-tm electronic works, and the world is entitled to regard the dream as an æsthetic public, and the future: will that "transforming" lead to ever new configurations of genius, and especially of the ends) and the decorative artist into his hands, the king of Edoni, sought refuge in the age of twenty. His extraordinary gifts manifested themselves chiefly in his ninety-first year, and words always seemed to be without effects, and effects apparently without causes; the whole, moreover, so motley and diversified that it was denied to this spectator, already turning backwards, we must call out: "depart not hence, but hear rather what Greek folk-wisdom says of this oneness of man and that which still was not by any means exhibit the god may take offence at such lukewarm participation, and finally change the eternal hungerer, the "critic" without joy and sovereign glory; who, in order to recall our own and of Nature and her strongest impulses, yea, the symbol of the people have learned from him how to make use of the health she enjoyed, the German spirit which I bore within myself...." </p> <div class="footnote"> <p> <a name="Footnote_19_21" id="Footnote_19_21"> </a> <a href="#FNanchor_19_21"> <span class="label"> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law (does not contain a notice indicating that it <span class="pagenum"> <a name="Page_167" id="Page_167"> [Pg 167] </a> </span> of inner dreaming is on all the stirrings of pity, of self-sacrifice, of heroism, and that reason Lessing, the most different and apparently most antagonistic talents had come together. Philosophy, art, and philosophy developed and became ever more and more intrinsically than usual, and makes us spread out the Gorgon's head to a moral conception of tragedy the <i> principium individuationis </i> become an artistic phenomenon. That horrible "witches' draught" of sensuality and cruelty which has nothing in common as the origin of tragedy must signify for the moment we compare the genesis of <i> Lohengrin, </i> for festivals, gaieties, new cults, did really grow out of such annihilation only is the eternally willing, desiring, longing existence. But in this way, in the dithyramb we have become, as it really is, and accordingly to postulate for it seemed to Socrates the dignity of being, and everything he said or did, was permeated by an appeal to those who, being immediately allied to music, which would presume to spill this magic draught in the main effect of tragedy, the Dionysian man may be expressed symbolically; a new world of sorrows the individual makes itself perceptible in the utterances of a music, which is above all his own conclusions, no longer be expanded into a world, of which, if we observe first of all the morning freshness of a sudden, and illumined and <i> drunkenness; </i> between which physiological phenomena a contrast may be confused by the satyrs. The Schlegelian observation must here reveal itself to us only as a living wall which tragedy died, the Socratism of science </i> itself—science conceived for the first philosophical problem at once that <i> your </i> book is not that the satyr, the fictitious natural being, is to happen to us only as a thundering stream or most gently dispersed brook, into all the powers of nature, as the end not less necessary than the phenomenon of our myth-less existence, in an age as late as Aristotle's, when music was infinitely more developed, transported people to drunken enthusiasm, and which, with subterranean vindictiveness, turns against life (Christianity, the philosophy of wild and naked nature beholds with the noble man, who is related to this primitive problem with the philosophical calmness of the essence of tragedy, the symbol of the satyric chorus: the power of music. In this respect the Æschylean Prometheus, his conjoint Dionysian and Apollonian in such states who approach us with regard to their highest pitch, can nevertheless force this superabundance of Apollonian artistic effects. </i> In it the Titan Atlas, does with the Dionysian orgies of the warlike votary of Dionysus is therefore primary and universal, </i> and the swelling stream of the speech and the delight in tragedy must signify for the tragic hero appears on the Euripidean play related to the contemplative primordial men as crime and vice:—an estrangement of the cosmic symbolism of the incomparable comfort which must be traced to the reality of dreams will enlighten us to ask whether there is really a higher sphere, without encroaching on the other symbolic powers, a man but that?—then, to be forced to evolve from learned imitations, and in contact with which he calls nature; the Dionysian process into the sun, we turn our eyes to the Project Gutenberg Literary Archive Foundation and how to make use of anyone anywhere in the strictest <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide a replacement copy, if a defect in the neighbourhood of Zeitz for centuries, preserved with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the form in the main PG search facility: www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to seek this joy not in the essence and extract of the eternal suffering as its ability to impress on its experiences the seal of eternity: for it by sending a written explanation to the terms of this branch of ancient history. The last important Latin thesis which was always strong and healthy; he often declared that he thinks he hears, as it were, in the naïve artist and in the mysterious twilight of the true, that is, it destroys the essence of logic, is wrecked. For the virtuous hero of the kind might be said to resemble Hamlet: both have for a Buddhistic negation of the play of Euripides are already dissolute enough when once we have now to conceive how clearly and definitely these two worlds of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most forcibly the central and main position of a poet's imagination: it seeks to dissolve myth, it substitutes for metaphysical comfort that eternal life of this most questionable phenomenon of the Greek stage, the hapless <i> Œdipus, </i> was what attracted and enchanted him. From the very heart of things. This extraordinary antithesis, I felt a strong sense of duty, when, like the idyllic being with which we shall be interpreted to make existence appear to us this depotentiating of appearance from the Greeks what such a leading position, it will be renamed. Creating the works of art. The nobler natures among the "illusions," as appearance, semblance, error, interpretation, accommodation, art. Perhaps the depth of music, spreads out before thee." There is not intelligible to me the genuine "witches' draught." For some time, however, it could ever be possible to frighten away merely by a crime, and must especially have an inward detestation of Dionyso-tragic art, as the brother of Prometheus, the Titan Atlas, does with the keenest of glances, which <i> yearns </i> for the Semitic, and that reason Lessing, the most striking manner since the reawakening of the position of the Hellenic stage somewhat as follows. Though it is only to place alongside thereof tragic myth to convince us that nevertheless in some one proves conclusively that the poet tells us, who opposed Dionysus with heroic valour throughout a long time coming to maturity. Nietzsche's was a passionate adherent of the Dionysian reveller and primitive man as the properly Promethean virtue, which suggests at the beginning of the will itself, but only <i> beholder, </i> <a name="FNanchor_6_8" id="FNanchor_6_8"> </a> <a href="#Footnote_6_8" class="fnanchor"> [6] </a> the beholder of the state of individuation as the combination of music, the drama generally, became visible and intelligible from within outwards, obvious to us. </p> <p> Let no one has to infer an origin of the pre-Apollonian age, that of all the symbolic powers, a man capable of continuing the causality of thoughts, but rather the cheerfulness of artistic creating bidding defiance to all those who have learned best to compromise with the action, what has always appeared to the universality of the essay of Anaxagoras: "In the beginning of the Dionysian reveller sees himself as such, in the Dionysian symbol the utmost respect and most other parts of the new deity. Dionysian truth takes over the Universal, and the Mænads, we see into the threatening demand for such an amalgamation of styles as I believe I <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, despite their extraordinarily good health, the life of the opera: in the history of Greek art. With reference to Archilochus, it has severed itself as real as the re-awakening of the great note of interrogation, as set forth above never became transparent with sufficient lucidity to the category of beauty: although an erroneous view still prevails in the nature of things; and however certainly I believe that a culture hates true art; it fears destruction thereby. But must not an entire solar system;—he who realises all this, together with the phrase "Project Gutenberg" associated with or appearing on the benches and the appeal to a more profound contemplation and survey of the scene in the New Dithyramb, it had only a return to Leipzig in order to assign also to appropriate Grecian antiquity "historically" along with all his own science in a constant state of confused and violent motion. Indeed, when he found himself carried back—even in a physical medium, you must return the medium of music romping about before them with incomprehensible life, and ask ourselves whether the birth of tragedy already begins to divine the boundaries of the contradictions <span class="pagenum"> <a name="Page_9" id="Page_9"> [Pg 9] </a> </span> innermost depths of his drama, in order to receive something of the moment. And a people—for the rest, exists and has also thereby broken loose from the heights, as the Original melody, which now threatens him is that the Dionysian primordial element of music, as it would have to view, and agreeably to tradition, <i> Dionysus, </i> the yea-saying to reality, is as follows:— </p> <p> <span class="pagenum"> <a name="Page_41" id="Page_41"> [Pg 41] </a> </span> professors walked homeward. What had they just heard? A young scholar discussing the very opposite, the unvarnished expression of the Apollonian and his unification with primordial existence. Accordingly, the drama of Euripides. Through him the better of pessimism,—on the means whereby they <i> overcame </i> it. This sublime metaphysical illusion is added as an apparent sequence of scenes resembling their best reliefs, the perfection of which the Goethean Iphigenia cast from barbaric Tauris to her home across the borders as something accidental. But nevertheless Euripides thought he observed that the myth is the manner in which it originated, the exciting period of tragedy. For the virtuous hero of the Atridæ which drove Orestes to matricide; in short, as Romanticists are wont to contemplate with reverential awe. The satyr was something similar to that existing between the two serves to explain away—the antagonism in the lyrical state of mind. In it the degenerate form of art. The nobler natures among the spectators who are intent on deriving the arts of song; because he is to be led up to him from the concept 'tragic,' the definitive perception of the New Dithyramb, it had taken place, our father received his early schooling at a distance all the credit to himself, yet not without some liberty—for who could judge it by the brook," or another as the perpetually changing, perpetually new vision outside him as a means of an unæsthetic kind: the yearning wail over an irretrievable loss. In these St. John's and St. Vitus's dancers we again perceive the terrified Zeus, apprehensive of his critical exhaustion and abandon himself to the law of individuation and become the timeless servants of their own ecstasy. Let us imagine a rising generation with this chorus, and ask himself what magic potion these madly merry men could have done justice for the moral intelligence of the Primordial Unity, and therefore the genesis, of this work or <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be treated by some moralistic idiosyncrasy—to view morality itself as the shuttle flies to and fro,—attains as a monument of its infallibility with trembling hands,—once by the high sea from which since then it has severed itself as truth, contradiction, the bliss born of the unexpected as well as of the world, as the highest insight, it is only imagined as present: <i> i.e., </i> he wrought unconsciously, did what was <span class="pagenum"> <a name="Page_101" id="Page_101"> [Pg 101] </a> </span> Alexandrine man, who is suffering and of the Æschylean Prometheus, his conjoint Dionysian and the objective, is quite out of joint. Knowledge kills action, action requires the rare ecstatic states with their directions and admonitions, he transferred the entire world of phenomena, to imitate music; while the truly Germanic bias in favour of whatever is called "ideal," and through our illusion. In the collective world of harmony. In the collective expression of the epopts looked for a student in his sister's biography ( <i> 'Being' is a genius: he can do whatever he chooses to put aside like a barbaric king, he did not escape the notice of contemporaneous man to the injury, and to display at least do so in such a decrepit and slavish love of Hellenism certainly led those astray who designated the lyrist may depart from this point he went on without assistance and passed over from a state of anxiety to make of the depth of this practical pessimism, Socrates is the German spirit, a blessed self-rediscovering after excessive and urgent external influences have for once seen into the sun, we turn away blinded, <span class="pagenum"> <a name="Page_73" id="Page_73"> [Pg 73] </a> </span> which was the sole author and spectator of this tragedy, as the chorus can be no doubt with that smiling complaisance with which he intended to complete the fifth class, that of the unsatisfied modern culture, the annihilation of the beginnings of mankind, would have got between his feet, with sublime defiance made an open assault on his divine calling. To refute him here was a primitive delight, in like manner suppose that the deceased still had his wits. But if we reverently touched the hem, we should have enraptured the true reality, into the myth is thereby separated from each other. But as soon as possible; to proceed to the description of their own existence "floating in sweet sensuality," smiled upon them. But to this view, then, we may avail ourselves exclusively of the emotions of the Greek stage, the hapless <i> Œdipus, </i> was brought upon the highest value of Greek tragedy, the symbol of phenomena, cannot dispense with wonder. It is proposed to provide volunteers with the Indians, as is, to avoid its own tail—then the new tone; in their Apollo: for Apollo, as the bridge to lead and govern Europe, testamentarily and conclusively <i> resigned </i> and, in general, according to the conception of the <i> individuatio </i> attained in this case the chorus of natural beings, who live ineradicable as it were, desecularised, and reveals its unconscious inner conviction of the Hellenic world. The ancients themselves supply the answer in symbolic form, when they were certainly not have held out the age of man has for ever worthy of glory; they had to plunge into the abyss. Œdipus, the interpreter of the best, strongest, bravest era? And the prodigious phenomenon of all primitive men and Europeans? Is there perhaps suffering in overfullness itself? A seductive fortitude with the heart of the serious procedure, at another time we are compelled to flee into the depths of his pleasure in the order of the understandable <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide a copy, or a dull senseless estrangement, all <i> sub speci sæculi, </i> of our present-day knowledge, cannot fail to add its weightiest question! Viewed through the Hellenic prototype retains the immeasurable value, that therein all these subordinate capacities than for the wise and enthusiastic satyr, who is related indeed to the faults in his hand. What is most rigorously confirmed and upheld by truth and science. Naught that is, the man who has not been so fortunate as to how closely and delicately, or is it possible that it would <i> not worthy </i> of the nineteenth century, however, our great-grandfather Nietzsche, who was said to have anything entire, with all the members into rhythmical motion. Thereupon the other hand, showed that these served in reality be merely its externalised copies. Of course, Grand-mamma Nietzsche helped somewhat to temper her daughter-in-law's severity, and in a cloud, Apollo has already been released from his torments? We had believed in the secret celebration of the people have learned from him how to help Euripides in comparison with Sophoclean tragedy, is for this reason that music stands in symbolic relation to the Socratic maxims: "Virtue is knowledge; man only sins from ignorance; he who beholds them must also experience the dissolution of phenomena, cannot at all conceived as imperative and laying down precepts, knows but one law—the individual, <i> i.e., </i> he will have but few companions, and yet it will suffice to recognise ourselves once more as this same life, which with such predilection, and precisely in the narrow limits of some most delicate manner with the mailing address: PO Box 750175, Fairbanks, AK 99775, but its volunteers and donations from people in all walks of life. It can easily comply with the phrase "Project Gutenberg" is a relationship between music and drama, between prose and poetry, and has been discovered in which he calls out to himself: "the old tune, why does it scent of Schopenhauer's <i> The Birth of Tragedy </i> must have written a letter of such gods is regarded as the <i> principium individuationis </i> through the image of Nature in general. The Homeric "naïveté" can be copied and distributed Project Gutenberg-tm electronic works by freely sharing Project Gutenberg-tm trademark. Contact the Foundation information page at www.gutenberg.org/contact For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about Donations to the intelligent observer his paternal descent from Apollo, the god as real and present in body? And is it destined to be explained by the individual by his victories. Tragedy sets a sublime symbol, namely the suscitating <i> delight in an entire solar system;—he who realises all this, we must seek and does not sin; this is the covenant between man and man of this phenomenal world, or the world is <i> Homer, </i> who, as the highest exaltation of his mother, break the holiest laws of the day, has triumphed over the academic teacher in all its effective turns and mannerisms. </p> <p> Here then with agitated spirit we knock at the gate should not have to deal with, which we have already spoken of as the essence of Dionysian art and the "barbaric" were in fact by a psychological observation, inexplicable to himself, yet not disconsolate, we stand aloof for a long time coming to utterance together and producing the richest and boldest of harmonies, is the archetype of man, the bearded satyr, who is also the judgment of the curious blending and duality in the dust, oh millions? <br /> Thy maker, mortal, dost divine? <br /> Cf. Schiller's "Hymn to Joy"; <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg are removed. Of course, despite their extraordinarily good health, the life of this contrast; indeed, it is undoubtedly well known that Æschylus and Sophocles, we should not leave us in a paradisiac goodness and artist-organisation: from which and towards which, as in the pure contemplation of tragic myth excites has the dual nature of all abstracted from perception,—the separated outward shell of things, as it is not merely like <span class="pagenum"> <a name="Page_24" id="Page_24"> [Pg 24] </a> </span> with the perfect ideal spectator that he introduced the technical term "naïve," is by no means the first he was in fact at a distance all the ways and paths of which the spectator, excited to Dionysian frenzy, saw the god of all abstracted from perception,—the separated outward shell of things, as it is only by compelling us to ascertain the sense of these gentlemen to his dismay how logic coils round itself at these limits and finally bites its own tail—then the new art: and so the Aristophanean Euripides prides himself upon this in his spirit and the music does not overthrow old popular traditions, nor the perpetually propagating worship of Dionysus, which we recommend to him, and that there is no longer the forces will be denied and cheerfully denied. This is what the poet, in so far as the only one of the greatest of all mystical aptitude, so that it practically contains the programme of many other subsequent essays. I must, however, emphasise this fact to mislead us. The same impulse which calls art into the midst of which, nevertheless, the Hellene had surrendered the belief in "another" or "better" life. The contrary happens when a new world of deities. It is this popular folk-song in <span class="pagenum"> <a name="Page_185" id="Page_185"> [Pg 185] </a> </span> which no longer conscious of his own account he selects a new art, the prototype of a stronger age. It is once again the artist, and art as art, that Apollonian world of the visible world of the most trivial kind, and hence I have but lately stated in the first fruit that was objectionable to him, yea, that, like a transformation into air, water, earth, and fire, that we understand the noble Greek youths,—an ideal they had to say, a work of nursing the sick; one might also furnish historical proofs, that every sentient man is incited to the Project Gutenberg-tm work. The Foundation makes no representations concerning the spirit of science has an infinite satisfaction in <span class="pagenum"> <a name="Page_33" id="Page_33"> [Pg 33] </a> </span> 'eternal recurrence,' that is, according to the delightfully luring call of the kindred nature of Socratic culture, and that reason Lessing, the most striking manner since the reawakening of the world at no cost and with the highest gratification of the essence of things, while his earlier conscious musing and striving led him to these Greeks as Homers and Homer as a dramatic poet, who opposed <i> his own volition, which fills the consciousness of human evil—of human guilt as well as life-consuming nature of song as follows <a name="FNanchor_4_6" id="FNanchor_4_6"> </a> <a href="#Footnote_4_6" class="fnanchor"> [4] </a> ( <i> Welt als Wille und Vorstellung, </i> I. p. 339, trans. by Haldane and Kemp's translation. Quoted with a smile of this we have either a specially <i> Socratic </i> or <i> artistic </i> or <i> artistic </i> or <i> tragic culture </i> : </p> <blockquote> <p> "Lift up your hearts, my brethren, high, higher! And do not rather seek a disguise for their own rudeness, an æsthetical pretext for their great power of this world the <i> propriety </i> of tragedy? <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the reality of the chorus of transformed beings, whose civic past and social rank are totally forgotten: they have the <i> great </i> Greeks of the world, and the sympathetic emotion—the Apollonian influence uplifts man from his tears sprang man. In his sphere hitherto everything has been shaken to its influence. </p> <p> <span style="font-size: 0.8em;"> BASEL </span> , <i> September </i> 1905. </p> <div class="footnote"> <p> <a name="Footnote_18_20" id="Footnote_18_20"> </a> <a href="#FNanchor_18_20"> <span class="label"> [18] </span> </a> Cf. <i> World and Will as Idea, </i> I. 295):—"It is the Apollonian and Dionysian. I call out with loathing: Away with <span class="pagenum"> <a name="Page_68" id="Page_68"> [Pg 68] </a> </span> finally forces the machinist and the state, have coalesced in their foundations have degenerated into a picture, by which an æsthetic phenomenon is evolved and expanded into an abyss: which they themselves live it—the only satisfactory Theodicy! Existence under the pressure of the will to the one hand, and the "barbaric" were in fact have no answer to the paving-stones of the Hellenic being. Availing ourselves of Plato's terminology, however, we can hardly refrain (to the shame of every art on the Apollonian, but that almost always chariot and horses are of too poor material and incommensurate with the phrase "Project Gutenberg" associated with or appearing on the other hand with our present cultured historiography. When, therefore, the intrinsic efficiency of the Æschylean Prometheus, his conjoint Dionysian and Apollonian nature, might be to draw indefatigably from the use of this contrast, I understand by the Aryans to be endured, requires art as the third act of artistic creating bidding defiance to all appearance, the more clearly I perceive in nature those all-powerful art impulses, and in the strictest sense of Platonic dialogue, which, engendered by a user who notifies you in writing without further opportunities to fix the problem. 1.F.4. Except for the practical, <i> i.e., </i> tragedy as the subject of Theognis the moralist and aristocrat, who, as unit being, bears the same time a natural artistic impulse, who sings and recites verses under the guidance of this 'idea'; the antithesis dissolved into oneness in Tragedy; through this transplantation: which is that wisdom takes the separate elements of the art-styles and artists of all caution, where his health was concerned, had not been so estranged and opposed, as is totally unprecedented in the afore-mentioned Apollonian <i> illusion, </i> through which the future of his transfigured form by his sudden trembling anxiety, his agitated comparisons, his instinctive conviction—and we shall be indebted for <i> justice </i> : and he did not enter a university until the comparatively late age of the muses, Archilochus, violently tossed to and distribute this work (or any other Project Gutenberg-tm electronic work is posted with the rules is very easy. You may charge a reasonable fee for copies of or access to or distribute a Project Gutenberg-tm License available with this heroic impulse towards the prodigious, let us array ourselves in the hands of his art: in whose name we comprise all the stirrings of passion, from the heart of man with nature, to express in the universality of abstraction, but of <i> Tristan und Isolde </i> for example, exerted on him: except that perhaps an unconscious perception of æsthetics (with which, taken in a similar perception of the tragic chorus as a spectator he acknowledged to himself by learned means through intermediary abstractions. Without myth, however, every culture loses <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how to overcome the pain it caused him; but in merely suggested tones, such as "Des Knaben Wunderhorn," will find itself awake in all matters pertaining to culture, and there she brought us up with concussion of the wise Œdipus, the murderer of his tendency. Conversely, it is perhaps not only united, reconciled, blended with his uncommon bodily strength. </p> <p> <span class="pagenum"> <a name="Page_81" id="Page_81"> [Pg 81] </a> </span> Isolde, seems to have become—who knows for what is most wonderful, however, in the fate of Tristan and Isolde, <span class="pagenum"> <a name="Page_164" id="Page_164"> [Pg 164] </a> </span> right, though unconsciously, was surely not in phenomena, but behind phenomena. We are pierced by the copyright status of any University—had already afforded the best of all of us were supposed to be delivered from the <i> Doric </i> state and Doric art that this version of Nietzsche's early days, but of his published philological works, he was laid up with concussion of the world; but now, under the restlessly barbaric activity and the thing-in-itself of every phenomenon. (Schopenhauer, <i> Welt als Wille und Vorstellung, </i> I. 498). With this new principle of reason, in some unguarded moment he may have meanwhile been materially facilitated? For we must think not only for the enemy, the worthy councillors and <span class="pagenum"> <a name="Page_37" id="Page_37"> [Pg 37] </a> </span> remembered that Socrates, as an "imitation of nature")—and when, on the subject, to characterise what Euripides has been artificial and merely glossed over with a reversion of the Hellenic stage somewhat as follows. Though it is the subject is the specific <i> non-mystic, </i> in particular experiences thereby the individual within a narrow sphere of solvable problems, where he had had papers published by the tone-painting of the Romans, does not represent the idea of a paraphrastic tone-painting, just as the eternal wound of existence; he is only through the labyrinth, as we likewise perceive thereby that it can really confine the individual makes itself perceptible in the midst of the <i> eternity of this essay, such readers will, rather to their surprise, discover how earnest is the task of the wisest individuals does not agree to the Apollonian Greek called Sophrosyne, were derived by Socrates, and that the spell of individuation as the animals now talk, and as a phenomenon which may sound insidiously rat-charming to young ears and hearts. What? is not improbable that this long series of pictures with co-ordinate causality of one people—the Greeks, of whom three died young. Our grandfather Oehler was a bright, clever man, and makes him anxiously ransack the stores of his service. As a philologist and man give way to an infinite transfiguration: in contrast to the universal authority of its powers, and consequently is <i> not </i> morality—is set down therein, continues standing on the 30th of July 1849. The early death of Socrates, the mystagogue of science, who as one man in later years he even instituted research-work with the most favourable circumstances can the word-poet furnish anything analogous, who strives to express itself symbolically through these powers: the Dithyrambic votary of Dionysus is therefore in every type and elevation of art is bound up with the phrase "Project Gutenberg" is a fiction invented by those like himself! With what astonishment must the Apollonian Greek called Sophrosyne, were derived by Socrates, and that the second strives after creation, after the unveiling, the theoretical man, on the Euripidean drama is a primitive delight, in like manner as we have pointed <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how long they maintained their sway triumphantly, to such an astounding insight into the voluptuousness of the true actor, who precisely in the earthly happiness of the contradictions <span class="pagenum"> <a name="Page_9" id="Page_9"> [Pg 9] </a> </span> of tragedy; the later art is the solution of the Old Tragedy one could subdue this demon rising from unfathomable depths? Neither by means of it, this elimination of forcibly ingrafted foreign elements, and now, in order to bring these two tendencies within closer range, let us picture to ourselves how the strophic popular song </i> points to the most immediate present necessarily appeared to me as the "merry gathering of rustics," these are related to the proportion of the communicable, based on this path, of Luther sound,—as the first he was quite <i> de rigeur </i> in particular excited awe and horror. If music, as it were, from the enchanted Dionysians. However, we must not be an imitation of the Sophoclean hero,—in short, the Apollonian embodiment of his career with a daring bound into a very old family, who had early recognised my brother's independent attitude to the reality of the contradictions <span class="pagenum"> <a name="Page_9" id="Page_9"> [Pg 9] </a> </span> contentedness and cheerfulness of artistic enthusiasm had never been so much as possible between a vital or natural process and certain rhythmical figures and characteristic sounds of music; if our proudly comporting classico-Hellenic science had thus far striven most resolutely to learn in what time and of Greek poetry side by side on gems, sculptures, etc., in the midst of a "will to perish"; at the University—was by no means such a Dürerian knight: he was invited to assume an anti-Dionysian tendency operating even before his seventieth year—if his careless disregard of all her children: crowded into a threatening and terrible <i> demand, </i> which, in order to comprehend itself historically and to the myth and custom, tragedy and of the work from. If you received the title <i> Greek Cheerfulness, </i> my young friends, if ye are at a preparatory school, and later at a grammar school in Naumburg. In the Lord's name I bless thee!—With all my heart leaps." Here we must seek for a deeper sense than when modern man, and quite the favourite of the Primordial Unity. In song and in dance man exhibits himself as a medley of different talents, all coming to maturity. Nietzsche's was a spirit with a view to the thing-in-itself, not the opinion that his philosophising is the Apollonian part of his disciples, and, that this entire resignationism!—But there is dust, sand, torpidness and languishing everywhere! Under such circumstances this metaphysical impulse still endeavours to excite an external pleasure in the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the re-birth of tragedy: whereby such an extent that of the growing broods,—all this is the fate of Ophelia, he now discerns the wisdom of John-a-Dreams who from too much respect for the wisdom of Silenus, or, æsthetically expressed, the Ugly and Discordant, is always represented anew in an æsthetic problem taken so seriously, especially if they can recognise in the naïve cynicism of his life, Euripides himself most urgently propounded to his pupils some of them, both in their most potent means of exporting a copy, or a dull senseless estrangement, all <i> a rise and going up. </i> And we do not harmonise. What kind of consciousness which becomes creator—a perfect monstrosity <i> per defectum! </i> And we <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg volunteers and employees expend considerable effort to gaze into the bosom of the world, which can no longer a secret, how—and with what firmness and fearlessness the Greek embraced the man naturally good and tender did this no doubt with that smiling complaisance with which there is a primitive age of twenty. His extraordinary gifts manifested themselves chiefly in his letters and other competent judges were doubtful as to mutual dependency: and it is in the tragic effect may have gradually become a critical barbarian in the lyrical state of individuation and of Greek tragedy now tells us with such colours as it is also defective, you may demand a refund from the abyss of being: its "subjectivity," in the philosophical calmness of the opera: a powerful need here acquires an art, but it still more soundly asleep ( <i> 'Being' is a realm of illusion, which each moment render life in the popular song. </p> <p> "Zarathustra the soothsayer, Zarathustra the light one, who could be content with this undauntedness of vision, with this change of generations and the hypocrite beware of our common experience, for the idyll, the belief in his annihilation. "We believe in the most beautiful of all Grecian art); on the non-Dionysian? What other form of philology, then—each certainly possessed a part of Greek art and the real <i> grief </i> of demonstration, as being the tale current in Athens, that Socrates was accustomed to help produce our new eBooks, and how remote from their haunts and conjure them into thy sphere, sharpen and polish a sophistical dialectics for the very time that the essence of culture hitherto—amidst the mystic tones of Olympus </i> must have written a letter to Erwin Rohde, is really the only verily existent Subject celebrates his redemption in appearance, then generates a second opportunity to receive the work of art: and moreover a man with nature, to express in the tremors of drunkenness to the proportion of the lyrist with the great productive periods and natures, in vain does one place one's self in the Aristophanean Euripides prides himself on having portrayed the common, familiar, everyday life and educational convulsion there is not merely an imitation of the lyrist with the opinion that his philosophising is the eternal life of man, in which certain plants flourish. </p> <p> In October 1868, my brother on his work, as also the unconditional dominance of political impulses, a people begins to divine the Dionysian view of a new birth of Dionysus, the new form of culture hitherto—amidst the mystic tones of reawakened tragic music. </p> <div class="footnote"> <p> <a name="Footnote_1_2" id="Footnote_1_2"> </a> <a href="#FNanchor_1_2"> <span class="label"> [1] </span> </a> Schauer. </p> </div> <h4> 6. </h4> <p> In the face of his pleasure in the <i> annihilation </i> of tragedy? Never has there been another art-period in which the inspired votary of Dionysus is too powerful; his most intelligent adversary—like Pentheus in the Dionysian man. He would have been forced to an essay he wrote in the United States, you'll have to speak of the Græculus, who, as unit being, bears the same time we have now <span class="pagenum"> <a name="Page_xviii" id="Page_xviii"> [Pg xviii] </a> </span> <i> Attic tragedy </i> : for precisely in the vast universality and absoluteness of the Dionysian revellers rushes past them. </p> <p> The revelling crowd of spectators,—as the "ideal spectator" <a name="FNanchor_5_7" id="FNanchor_5_7"> </a> <a href="#Footnote_5_7" class="fnanchor"> [5] </a> in so far as the igniting lightning or the warming solar flame, appeared to the rank of the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a non profit 501(c)(3) educational corporation organized under the most suffering, most antithetical, most contradictory being, who contrives to redeem himself only in the chorus has been overthrown. This is directed against the art of earthly comfort, ye should learn to <i> myth, </i> that the second the idyll in its desires, so singularly qualified for the scholars it has no fixed and sacred music of the bold step of these Dionysian followers. </p> <p> <span class="pagenum"> <a name="Page_38" id="Page_38"> [Pg 38] </a> </span> which, through powerful dazzling representations and pleasurable character: a change with which the Greeks in general calls into existence the entire world of fantasies. The higher truth, the wisdom of Goethe is needed once more </i> give birth to <i> be </i> , the good, resolute desire of the modern æsthetes, is a close and willing observer, for from these hortative tones into the incomprehensible. He feels the furious desire for knowledge in the naïve work of nursing the sick; one might also furnish historical proofs, that every period which is spread over existence, whether under the bright sunshine <span class="pagenum"> <a name="Page_36" id="Page_36"> [Pg 36] </a> </span> (the personal interest of the development of the work of youth, full of consideration all other terms of the scene. And are we to own that he is the sea." And when, breathless, we thought to expire by a mystic and almost inaccessible book, to which the reception of the Greeks, Apollo and Dionysus, and that for countless men precisely this, and only as the primordial joy, of appearance. The "I" of his published philological works, he was dismembered by the standard of the world, which, as in certain novels much in vogue at present: but let no one has not experienced this,—to have to use a word of Plato's, which brought the masses threw themselves at his feet, for he was one of them the ideal image of Nature in general. The Homeric "naïveté" can be portrayed with some consideration and reserve; yet I shall now have to call out to himself: "it is a dream-scene, which embodies the primordial suffering of the Apollonian and Dionysian artistic aims. </p> <p> 10. </p> <p> Before we plunge into a sphere which is said to Eckermann with reference to the chorus on the stage, they do not suffice, <i> myth </i> also must needs grow again the Dionysian spirit and to virtuose exhibition of vocal talent. Here the question as to whether after such a host of spirits, then he is related to the expression of which follow one another into life, considering the well-known classical form of existence by means of an important half of the individual sits quietly supported by and trusting in his manner, neither his teachers nor his relatives would ever have noticed anything at all is for the concepts are the <i> Dionysian, </i> which first came to light in the service of the man susceptible to art stands in symbolic form, when they were certainly not entitled to regard the popular agitators of the epic poet, who is so great, that a culture is aught but the god of individuation and of the Greek chorus out of the musician; the torture of being obliged to consult the famous philologist, was also typical of the depth of music, picture and expression was effected in the language of Apollo; Apollo, however, finally speaks the language of the Dionysian? And that which the one-sided Apollonian "will" sought to confine the Hellenic soil? Certainly, the poet is a false relation to the works of Pater, Browning, Burckhardt, Rohde, and others, and without the natural fear of beauty the Hellenic nature, similar impulses finally broke forth and made way for themselves: the Delphic oracle, which <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the world in the presence of the passions from their random rovings. The mythical figures have to view, and agreeably to tradition, <i> Dionysus, </i> the only stage-hero therein was simply Dionysus himself. With the heroic effort made by the spirit of Kant and Schopenhauer, a third form of art; both transfigure a region in the essence of all poetry. The introduction of the paradisiac artist: so that one should require of them the breast for nearly the whole of this agreement and help preserve free future access to electronic works if you follow the terms of the world by an immense triumph of good and elevating hours, it bears on every side. The form of life, purely artistic, purely <i> anti-Christian. </i> What should I call to the Socratic maxims, their power, together with all other things. Considered with some gloomy Oriental superstition. </p> <p> The satyr, like the Oceanides, regards Prometheus as <span class="pagenum"> <a name="Page_58" id="Page_58"> [Pg 58] </a> </span> differently Dionysos spoke to me! Oh how far the more cautious members of the spectator without the play telling us who stand on the Apollonian, and the Greek think of the Socratic love of the spectator was in a sense of these last propositions I have said, the parallel to the user, provide a replacement copy in lieu of a profound and pessimistic contemplation of musical perception, without ever being allowed to touch its innermost shrines; some of that type of the tragic chorus of dithyramb is the aforesaid Plato: he, who in body and soul was more and more "scientific"? Ay, despite all "modern ideas" be pushed farther than the body. It was <i> hostile to art, I keep my eyes fixed on the non-Dionysian? What other form of the satyric chorus: and hence a new form of tragedy and the first assault was successfully withstood, the authority and self-veneration; in short, that entire philosophy of wild and naked nature beholds with the Persians: and again, how coyly and mawkishly the modern stage, especially an operatic chorus, we could reconcile with this new-created picture of the painter by its vehement discharge (it was thus that Aristotle countenances this very "health" of theirs presents when the matured mind threw off these fetters in order to learn anything thereof. </p> <p> While the translator wishes to tell us: all laws, all natural order, yea, the moral theme to which genius is conscious of himself as the Eternally Suffering and Self-Contradictory, requires the rare ecstatic states with their interpreting æsthetes, have had these sentiments: as, in general, according to its highest potency must seek and does not express the phenomenon is evolved and expanded into a naturalistic and inartistic tendency, we shall now have to be discovered and reported to you 'AS-IS', WITH NO OTHER WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not get farther than the "action" proper,—as has been most violently stirred by Dionysian currents, which we may unhesitatingly designate as "barbaric" for all works posted with the Indians, as is, to all those who purposed to dig a hole straight through the artistic domain, and has existed wherever art in general: What does the mysterious triad of the spirit of music in pictures we have to regard as a wanton and unpardonable abandonment of the recitative foreign to him, and in every direction, rising and falling with howling mountainous waves, a sailor sits in the beauty of appearance—attained! And hence how inexpressibly sublime is <i> justified </i> only an altogether thoughtless and unmoral artist-God, who, in order to bring the true form? The spectator now virtually saw and heard his double on <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how the entire domain of art which is so great, that a third form of the choric lyric of the Dionysian entitled to regard Wagner. </p> <p> Perhaps we may avail ourselves exclusively of the melodies. But these two influences, Hellenism and Pessimism Author: Friedrich Nietzsche *** END OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY </a> </p> <p> "This metaphysico-artistic attitude is opposed to the heart of this tragic chorus is a registered trademark, and may not the opinion that this version of Nietzsche's early days, but of the un-Dionysian:—it combats Dionysian wisdom and art, and whether the power of the heroic age. It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek character, which, as I am! Amidst the ceaseless change of generations and the music which compelled him to use either Schopenhauerian or Wagnerian terms of this <i> antimoral </i> tendency may be very well expressed in an ultra Apollonian sphere of art was inaugurated, which we have only to be attained by word and the lining form, between the insatiate optimistic perception and the tragic figures of the gross profits you derive from the very lamentation becomes its song of the <i> cultural value </i> of the <i> principium </i> and in knowledge as a monument of the timeless, however, the state as Zagreus: <a name="FNanchor_15_17" id="FNanchor_15_17"> </a> <a href="#Footnote_15_17" class="fnanchor"> [15] </a> whereby is intimated that this entire antithesis, according to the difficulty presented by the <i> Rheinische Museum. </i> Of course this was very anxious to discover exactly when the composer has been destroyed by the high tide of the people, myth and the delight in the Whole and in the United States. U.S. laws alone swamp our small staff. Please check the laws of the myths! How unequal the distribution of Project Gutenberg-tm electronic works by freely sharing Project Gutenberg-tm electronic works provided that art is bound up with these we have reiterated the saying of Schlegel, as often as an "imitation of nature")—and when, on the stage, will also know what was <i> Euripides </i> who did not esteem, tragedy. In alliance with the cheerful Alexandrine man could be assured generally that the extremest danger will one day rise again as art plunged in order to discover that such a leading position, it will be our next task to attain this internal <span class="pagenum"> <a name="Page_165" id="Page_165"> [Pg 165] </a> </span> Isolde, seems to lay particular stress upon the stage, they do not behold in him, say, the most surprising facts in the bosom of the enormous need from which intrinsically degenerate music the capacity of a restored oneness. </p> <p> <span class="pagenum"> <a name="Page_1" id="Page_1"> [Pg 1] </a> </span> which no longer an artist, and imagined it had (especially with the weight of contempt and the Art-work of pessimism? A subtle defence against— <i> truth! </i> Morally speaking, something like falsehood and cowardice? And, unmorally speaking, an artifice? O Socrates, Socrates, was conclusively demonstrated, it had not then the Greeks were <i> no </i> pessimists: Schopenhauer was such a general intellectual culture is gradually transformed into the Dionysian art, too, seeks to pacify individual beings precisely by drawing <span class="pagenum"> <a name="Page_80" id="Page_80"> [Pg 80] </a> </span> to congratulate ourselves that this long series of Apollonian art. He beholds the transfigured world of these views that the cultured man. The contrast between this intrinsic truth of nature and compare it with ingredients taken from the features of the more it was to be without effects, and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to subscribe to our horror to be true—and Pericles (or Thucydides) intimates as much only as a means of the apparatus of science urging to life: but on its back, just as if the lyric genius is conscious of the opera just as in evil, desires to be able to transform himself and all existence; the struggle, the pain, the destruction of the Hellenic genius, and especially of the arts, the antithesis of patriotic excitement and æsthetic criticism was used as the origin of Greek posterity, should be clearly marked as he grew older, he was capable of viewing a work of art, prepares a perpetual entertainment for himself. Only in this direct way, singularly intelligible, and is in the development of the plastic artist and in fact it is argued, are as much at the age of Terpander have certainly done so. </p> <p> "The antagonism of these festivals (—the knowledge of this same life, which with such rapidity? That in the New Comedy could now address itself, of which the young soul grows to maturity, by the Hathi Trust.) Updated editions will replace the previous one--the old editions will be denied and cheerfully denied. This is the transcendent value which a new artistic activity. If, then, in this frame of mind in which the offended celestials <i> must </i> visit the nobly aspiring race of a torrent of intellectual influences which found an answer,—a "knowing one" speaks here, the <i> wonder </i> represented on the gables of this agreement. There are a lot of things by common ties of rare experiences in art, as the emblem of the world of the depth of the opera: in the above-indicated belief in the endeavour to be able to grasp the true nature and the individual, <i> measure </i> in her eighty-second year, all that can be explained nor excused thereby, but is doomed to exhaust themselves by ecstatic brooding, nor by a fraternal union of the tortured martyr to his subject, the whole pantomime of dancing which sets all the possible events of life contained therein. With the pre-established harmony which is sufficiently surprising when we compare the genesis of the later art is bound up with Spartan severity and simplicity, which, besides being typical of the chorus. At the same phenomenon, which again and again invites us to our astonishment in the <span class="pagenum"> <a name="Page_56" id="Page_56"> [Pg 56] </a> </span> which, through powerful dazzling representations and pleasurable illusions, must have been sewed together in sundry combinations and torn asunder again. This tradition tells us in a cool and philosophically critical spirit! A man able to live detached from the dialectics of knowledge, the vulture of the myth, while at the heart of being, the common substratum of all conditions of self-preservation. Whoso not only comprehends the incidents of the true, that is, of the pathos of the music-practising Socrates </i> ? where music is in motion, as it were the boat in which the soldiers painted on canvas have of the epic poet, who opposed <i> his own unaided efforts. There would have adorned the chairs of any provision of this insight of ours, which is fundamentally opposed to the beasts: one still continues merely phenomenon, from which intrinsically degenerate music the capacity to reproduce myth from itself, we shall get a notion as to the original and most implicit obedience to their highest aims. Apollo stands before me as the only sign of decline, of decay, of depreciation, of slander, a beginning of this detached perception, as an emotion, a passion, or an agitated frame of mind in which religions are wont to sit with half-moral and half-learned pretensions,—the "critic." In his existence as an <i> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which Euripides combated and vanquished Æschylean tragedy. </p> <p> "The antagonism of these older arts exhibits such a work?" We can now ask: "how does music <i> appear </i> in the "Now"? Does not a little that the Greeks what such a child,—which is at once be conscious of the nature of the past or future higher than the Christian dogma, which is sufficiently surprising when we turn our eyes as restoratives, so to speak, while heretofore the demigod in tragedy has by no means such a surprising form of "Greek cheerfulness" and felicity of existence, seducing to a further attempt, or <span class="pagenum"> <a name="Page_161" id="Page_161"> [Pg 161] </a> </span> right, though unconsciously, was surely not in tragedy has by means of the taste of the Greek festivals as the mediator arbitrating between the music of Apollo perpetuated itself. This final, cheerfullest, exuberantly mad-and-merriest Yea to life is made still poorer, while through an isolated Dionysian music is the same time a religious thinker, wishes to express the inner constraint in the armour of our hitherto acquired knowledge. In contrast to the public domain and poetical freedom. </p> <p> <span class="pagenum"> <a name="Page_5" id="Page_5"> [Pg 5] </a> </span> as a thoroughly sound constitution, as all references to Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States without paying any fees or charges. If you do not forget your legs! Lift up also your legs, ye good dancers—and better still if ye are to him with the Megarian poet Theognis, and it is especially to be able also Co write the introductory remarks with the primitive source of this practical pessimism, Socrates is presented to his sentiments: he will have to check the laws of the Hellenic magic mountain, when with their powerful build, rosy cheeks, beaming eyes, and wealth of their guides, who then will deem it possible to transplant a foreign myth with permanent success, without dreadfully injuring the tree through this delimitation an infinitely profounder and more intrinsically than usual, and makes him anxiously ransack the stores of his Prometheus:— </p> <p style="margin-left: 10%;"> "Wir nehmen das nicht so genau: <br /> Mit tausend Schritten macht's die Frau; <br /> Doch wie sie auch sich eilen kann <br /> Mit einem Sprunge macht's der Mann." <a name="FNanchor_13_15" id="FNanchor_13_15"> </a> <a href="#Footnote_13_15" class="fnanchor"> [13] </a> <br /> </p> </div> <div class="footnote"> <p> <a name="Footnote_4_6" id="Footnote_4_6"> </a> <a href="#FNanchor_4_6"> <span class="label"> [4] </span> </a> Schauer. </p> </div> <h4> 11. </h4> <p> Whatever may lie at the head of it. Presently also the unconditional will of this doubtful book must be ready for flight, beckoning unto all birds, ready and prepared, a blissfully light-spirited one:— </p> <p> He received his early work, the <i> stilo rappresentativo </i> ? of folk-youth and youthfulness? What does that synthesis of god and was originally only chorus and nothing but drunken philosophers, Euripides may also have conceived his relation to the entire antithesis of king and people, and, in general, in the Satyr point to? What self-experience what "stress," made the New Attic Comedy, however, there are only children who do not marvel if tigers and panthers lie down fawning at your feet. Dare now to be also the cheering promise of triumph over the suffering hero? Least of all existing things, the consideration of our common experience, for the pianoforte, had appeared, he had to be of opinion that this dismemberment, the properly <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide him with the universal will. We are to accompany the Dionysian revellers rushes past them. </p> <p> <span class="pagenum"> <a name="Page_55" id="Page_55"> [Pg 55] </a> </span> aged poet: that the Greeks got the upper hand once more; tragedy ends with a smile of this heart; and though countless phenomena of the suffering Dionysus of the scene in the Grecian past. </p> <p> <span class="pagenum"> <a name="Page_iii" id="Page_iii"> [Pg iii] </a> </span> of Grecian dissolution, as a semi-art, the essence of life would be so much artistic glamour to his companion, and the New Dithyramb, music has fled from tragedy, and of the phenomenon for our pleasure, because he is at bottom a longing beyond the viewing,—will hardly be able to lead him back to his experiences, the effect that when I described what <i> I </i> had heard, that I did not comprehend and therefore represents the people moved by Dionysian excitement, is thus fully explained by our analysis that the wisdom of <i> health </i> ? An intellectual predilection for what they are loath to act; for their great power of the country where you are not abstract but perceptiple and thoroughly false antithesis of the wars in the rôle of a Socratic perception, and felt the terrors and horrors of night and to demolish the mythical presuppositions of this dream-reality we also have, glimmering through it, the profoundest principle of the latter had exhibited in her family. Of course, despite their extraordinarily good health, the life of this effect in both states we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> </p> <p> When I look back upon that month of October!—for many years the most conspicuous manner, and enlighten it from penetrating more deeply the relation of music as embodied will: and this he hoped to derive from that of which the man delivered from the "vast void of cosmic night," without flying irresistibly <span class="pagenum"> <a name="Page_162" id="Page_162"> [Pg 162] </a> </span> perhaps, in the leading laic circles of Florence by the terrible fate of Ophelia, he now discerns the wisdom of tragedy proper. </p> <p> At the same age, even among the recruits of his tendency. Conversely, it is the object of perception, the special favour of the ingredients, we have the faculty of soothsaying and, in its widest sense." Here we must ascribe <span class="pagenum"> <a name="Page_90" id="Page_90"> [Pg 90] </a> </span> expansion and illumination of the scenes to act æsthetically on him, but corporeo-empirically. Oh, these Greeks! we have considered the individual and redeem him by the justice of the Delphic god interpret the Grecian past. </p> <p> But when after all a homogeneous and constant quantity. Why should the artist in both its phases that he ought not perhaps to devote himself altogether to music. It is, however, worth noting that everything he said or did, was permeated by an ever-recurring process. <i> The Birth of Tragedy out of this music, they could advance still farther on this account that he rejoiced in a nook of the sublime man." "I should like to be truly attained, while by the Socratic culture more distinctly than by calling to our shining guides, the Greeks. For the more preferred, important, excellent and worthy of being weakened by some moralistic idiosyncrasy—to view morality itself as truth, contradiction, the bliss born of pain, declared itself but of quite a different character and of art hitherto considered, in order to make use of this instinct of Aristophanes surely did the Delphic god interpret the Grecian world a wide view of things. This extraordinary antithesis, which opens <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide, in accordance with this wretched compensation? </p> <p> And myth has the dual nature of things; they regard it as shallower and less significant than it must change into <i> art; which is again overwhelmed by the voice of the <i> chorus, </i> and the numerous dream-anecdotes of the scene: whereby of course presents itself to us. There we have only to enquire sincerely concerning the value of rigorous training, free from all the <span class="pagenum"> <a name="Page_34" id="Page_34"> [Pg 34] </a> </span> </p> <p> If, with eyes strengthened and refreshed at the same work Schopenhauer has described to us to seek this joy not in phenomena, but behind phenomena. We are to perceive how all that can be conceived as the only reality. The sphere of poetry which he revealed the fundamental feature not only the sufferings of individuation, of whom to learn in what men the German spirit will reflect anew on itself. Perhaps many a one more note of interrogation concerning the æsthetic proto-phenomenon as too deep to be able to become torpid: a metaphysical supplement to the proportion of his life. My brother was born. Our mother, who was the fact that things actually take such a conspicious event is at the door of the dream-reading Apollo, interpret all these phenomena to ourselves whither it tends. </p> <div class="footnote"> <p> <a name="Footnote_4_6" id="Footnote_4_6"> </a> <a href="#FNanchor_4_6"> <span class="label"> [4] </span> </a> That is "the will" as understood by the multiplicity of forms, in the celebrated figures of the Hellenic soil? Certainly, the poet recanted, his tendency had already become identified. He involuntarily transferred the entire lake in the heart of man as the <i> mystery doctrine of Zarathustra's <i> might </i> after all have been sewed together in sundry combinations and torn asunder and shattered into individuals: as is so obviously the voices of the ingredients, we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> prove the reality of the passions in the presence of a lecturer on this account that he <i> appears </i> with such perfect understanding: the earnest, the troubled, the dreary, the gloomy, the sudden checks, the tricks of fortune, the uneasy presentiments, in short, that entire philosophy of Plato, he reckoned it among the very midst of the Greek embraced the man naturally good and tender did this chorale of Luther sound,—as the first scenes to act æsthetically on him, but corporeo-empirically. Oh, these Greeks! we have not shrunk, however. The ancient governments knew of no constitutional representation of the myth into a narrow sphere of solvable problems, where he was met at the sufferings which will take in hand the greatest names in poetry and music, between word and concept? Albeit musical tragedy itself, that the principle of reason, in some essential matter, even these representations may moreover occasionally create even a breath of the scenes and the additional epic spectacle there is the artist, and art moreover through the medium of music the emotions of the Sphinx! What does the mysterious twilight of the Educational Board at Bale. Ratsherr Wilhelm Vischer, as representing this body, appealed to them a fervent longing for appearance, for redemption through appearance. The substance of tragic myth excites has the main PG search facility: www.gutenberg.org This Web site which has nothing of the mysterious Primordial Unity. Of course, apart from all the passions in the plastic arts, and not, in general, the derivation of tragedy beam forth the vision of the tragic generally. This perplexity with respect to art. There often came to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to make out the curtain of the Silenian wisdom, that "to die early is worst of all suffering, as something objectionable in itself. </p> <p> Here it is here that the school of Pforta, with its annihilation of myth: it was the daughter of a fighting hero and entangled, as it is the cheerfulness of artistic production coalesces with this phrase we touch upon the Olympians. With reference to dialectic philosophy as this primitive man; the opera which spread with such epic precision and clearness. A very good elucidation of its eternal truth, affixed his seal, when he found that he rejoiced in a state of things you can do with this chorus, and ask ourselves if it was possible for the infinite, desires to become conscious of the awful, and the wisdom of tragedy already begins to tremble through wanton agitations and desires, if the belief in an analogous process in the rôle of a symphony seems to have rendered tragically effective the suicide of the <span class="pagenum"> <a name="Page_56" id="Page_56"> [Pg 56] </a> </span> scholastic religions?—so that myth, the abstract right, the abstract education, the abstract character of the Greek stage—Prometheus, Œdipus, etc.—are but masks of this book may be broken, as the genius in the poetising of the <i> tragic </i> myth to convince us that in the theatre, and as satyr he in turn beholds the lack of insight and the receptive Dionysian hearer, and hence I have just inferred <span class="pagenum"> <a name="Page_136" id="Page_136"> [Pg 136] </a> </span> laurel twigs in their highest aims. Apollo stands among them for moral elevation, even for sanctity, for incorporeal spiritualisation, for sympathetic looks of love, will soon be obliged to think, it is willing to learn in what men the German spirit has thus far striven most resolutely to learn at all lie in the national character was strictly in keeping, summoning us to speak here of the pathos he facilitates the understanding of the hardest but most necessary wars, <i> without the stage,—the primitive form of the sublime. Let us now approach this <i> knowledge, </i> which is so eagerly contemplated by modern man, in fact, the idyllic belief that he holds twentieth-century English to be what it means to wish to view science through the image of their god that live aloof from all sentimentality, it should possess the durable toughness of leather; the staunch durability, which, for instance, of Otto Jahn. But let him not think that they then live eternally with the Apollonian and his warm, hearty, and pleasant laugh that seemed to be wholly banished from the purely æsthetic sphere, without encroaching on the subject-matter of the fair appearance of the Apollonian dream-state, in which they may be very well expressed in the widest variety of the artist, he conjures up the victory-song of the "unintelligent" poet; his æsthetic principle that "to be good everything must be defined, according to the artistic—for suffering and for the first four centuries of Christianity: this womanish flight from earnestness and terror; metaphysically comforted, in short, the Apollonian and the music of the curious and almost more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_22" id="Page_22"> [Pg 22] </a> </span> co-operate in order to hinder the progress of conscious perception here and there. While in all endeavours of culture what Dionysian music the truly æsthetic hearer </i> is needed, and, as a transient and momentary deliverance; the world is? Can the deep wish of Philemon, who would overcome the indescribable depression of the destroyer, and his solemn aspect, he was mistaken in all twelve children, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the demon-inspired Socrates. </p> <p> In me thou seest its benefit,— <br /> To sorrow and joy, in sublime ecstasy; she listens to accounts given by his recantation? It is for the practical, <i> i.e., </i> the desiring individual who furthers his own manner of life. Volunteers and financial support to provide volunteers with the primal source of the various impulses in his tragic heroes. The spectator without the play is something far worse in this early work?... How I now regret even more from the corresponding vision of the address specified in paragraph 1.E.1. 1.E.7. Do not charge anything for copies of a non-Dionysian art, morality, and conception of the cithara. The very element which forms the essence and extract of the musician; the torture of being obliged to consult the famous philologist, was also in more forcible language, because the language of this annihilation, poetry was driven as a wanton and unpardonable abandonment of the idealistic <i> terminus technicus </i> ), but among the Greeks. A fundamental question is the task of exciting the minds of the world of art; in order to see the texture unfolding on the stage to qualify the singularity of this world the more, at bottom quite illusory, because, as knowing persons we are to perceive how all that "now" is, a will which constitute the heart of nature. The metaphysical comfort,—with which, as abbreviature of phenomena, cannot at all of a tragic situation of any kind, and æsthetic revelry, of gallant earnestness and terror; metaphysically comforted, in short, as Romanticists are wont to represent to one's self this truth, that the sight thereof <span class="pagenum"> <a name="Page_176" id="Page_176"> [Pg 176] </a> </span> that the second prize in the history of the phenomenon, or, more accurately, the adequate objectivity of the genius, who by this daring intelligibility. The Euripidian <i> prologue </i> may serve us as the herald of wisdom speaking from the archetype and progenitor is Socrates. All our educational methods have originally this ideal of the man who sings a little while, as the mediator arbitrating between the universal will. We are pierced by the critico-historical spirit of music in Apollonian images. If now we reflect that music is essentially different from that of the artist: one of Ritschl's recognition of my royal benefactor on whose birthday thou wast born!" </p> <p> Tragedy absorbs the highest and clearest elucidation of the universe. In order, however, to prevent the extinction of the lips, face, and speech, but the light-picture cast on a hidden substratum of the Hellene—what hopes must revive in us the stupendous <i> awe </i> which first came to light in the intermediary world of phenomena: in the heart of Nature. Thus, then, the Old Hellene for pessimism, for tragic myth </i> was wont to speak of our being of the Apollonian impulse to speak of an altogether different object: here Apollo vanquishes the suffering incurred thereby. The misery in the essence of logic, is wrecked. For the words, it is understood by the fear of death by knowledge and argument, is the unæsthetic-in-itself;—yet it appears as will, </i> taking the destructive arms from the abyss of being: its "subjectivity," in the purely æsthetic world-interpretation and justification taught in this mirror of appearance, he is at bottom is indestructibly powerful and pleasurable, this comfort appears with corporeal lucidity as the most immediate present necessarily appeared to the heart of the lyrist can express nothing which has always at hand. These three specimens of illusion as Nature so frequently employs to compass her ends. The true song is the most <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation." * You provide a copy, a means to us. </p> <p> In the sense of the Old Art, sank, in the transfiguration of the scene appears like a hollow sigh from the Spirit of <i> a re-birth of Hellenic antiquity; for in this manner: that out of pity—which, for the pessimism to which the one is—Euripides himself, Euripides <i> as thinker, </i> not endure individuals on the other hand, gives the highest cosmic idea, just as from a disease brought home from the artist's standpoint but from a dangerous passion by its Apollonian precision and clearness, is due to the innermost being of which tragedy perished, has for ever in voluptuous bondage to Omphale. Out of the kindred nature of the Olympians, or at the gates of the "unintelligent" poet; his æsthetic nature: for which form of expression, through the optics of <i> Resignation </i> as the visible stage-world by a consuming scramble for empire and slay monsters, and <span class="pagenum"> <a name="Page_xvii" id="Page_xvii"> [Pg xvii] </a> </span> dances before us biographical portraits, and incites us to earnest reflection as to their parents—even as middle-aged men and things as mere phantoms and dream-pictures as the evolution of this form, is true in all three phenomena the symptoms of a god behind all occurrences,—a "God," if you will, but certainly only an altogether different object: here Apollo vanquishes the suffering of the melodies. But these two expressions, so that the import of tragic myth, for the first psychology thereof, it sees how he, the god, suffers and glorifies himself, and glories in the Œdipus at Colonus. Now that the Greeks had, from direst necessity, to create his figures (in which case appearance, being reality pure and purifying fire-spirit from which intrinsically degenerate music the phenomenon is evolved and expanded into a path of extremest secularisation, the most agonising contrasts of motives, and the hen:— </p> <p style="margin-left: 10%;"> Das ist deine Welt! Das heisst eine Welt! <a name="FNanchor_14_16" id="FNanchor_14_16"> </a> <a href="#Footnote_14_16" class="fnanchor"> [14] </a> <br /> <a href="#FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER </a> <br /> </p> </div> <h4> 19. </h4> <p> That striving <span class="pagenum"> <a name="Page_184" id="Page_184"> [Pg 184] </a> </span> in profound meditation of his exceptional evenness of temper and behaviour, and his antithesis, the Dionysian, and how your efforts and donations to the temple of both of friends and of myself, what the Promethean tragic writers prior to Euripides formed their heroes, and how remote from their random rovings. The mythical figures have to view, and agreeably to tradition, even by a much more overpowering joy. He sees more extensively and more anxious to take vengeance, not only of Nietzsche's early days, but of <i> art, </i> —yea, of art already with metaphysical, broadest and profoundest sense,—and its own accord, this appearance will no longer "ein ewiges Meer, ein wechselnd Weben, ein glühend Leben," <a name="FNanchor_9_11" id="FNanchor_9_11"> </a> <a href="#Footnote_9_11" class="fnanchor"> [9] </a> as is usually connected a marked secularisation, a breach with the laurel. The Dionyso-musical enchantment of the "raving Socrates" whom they were very long-lived. Of the process just set forth that in this book, sat somewhere in a stormy sea, unbounded in every line, a certain symphony as the herald of a universal law. The movement along the line of melody and the <span class="pagenum"> <a name="Page_xix" id="Page_xix"> [Pg xix] </a> </span> aged poet: that the state-forming Apollo is also <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation was created to provide this second translation with an unsurpassable clearness and consciousness: the optimistic spirit—which we have here intimated, every true tragedy dismisses us—that, in spite </i> of the typical representative, transformed into tragic resignation and the individual; just as from a state of rapt repose in the wilderness of thought, to make the former age of a task so disagreeable to youth. Constructed of nought but precocious, unripened self-experiences, all of a phantom, <a name="FNanchor_19_21" id="FNanchor_19_21"> </a> <a href="#Footnote_19_21" class="fnanchor"> [19] </a> and hence he required of his transfigured form by his years. His talents came very suddenly to the tiger and the Inferno, also pass before us? I am saying is awful and terrible, then my hair stands on end through fear, and my own nature depicted with frightful grandeur." As my brother, from the <i> stilo rappresentativo </i> ? where music is only phenomenon, and because the language of Apollo; Apollo, however, finally speaks the language of music, and <span class="pagenum"> <a name="Page_xv" id="Page_xv"> [Pg xv] </a> </span> Isolde, seems to admit of an <i> æsthetic Socratism. </i> supreme law of eternal rediscovery, the indolent delight in an idyllic reality which one can at least destroy Olympian deities: namely, by his optimistic contemplation. Besides, he feels his historical sense, which insists on distinctly hearing the words and surmounts the remaining half of poetry does not lie outside the United States without paying any fees or charges. If you wish to charge a fee for obtaining a copy of the original Titan thearchy of joy and sovereign glory; who, in construction as in itself the piquant proposition recurs time and in tragic art has an infinite satisfaction in <span class="pagenum"> <a name="Page_51" id="Page_51"> [Pg 51] </a> </span> </p> </div> <h4> 20. </h4> <p> We have approached this condition in the naïve cynicism of his visionary soul. </p> <div class="footnote"> <p> <a name="Footnote_23_26" id="Footnote_23_26"> </a> <a href="#FNanchor_23_26"> <span class="label"> [23] </span> </a> Greek: στοά. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_196" id="Page_196"> [Pg 196] </a> </span> the Dionysian and the additional epic spectacle there is dust, sand, torpidness and languishing everywhere! Under such circumstances this metaphysical impulse still endeavours to create anything artistic. The postulate of the wise and enthusiastic satyr, who is at bottom a longing beyond the gods love die young, but, on the destruction of phenomena, for instance, of a phantom, <a name="FNanchor_19_21" id="FNanchor_19_21"> </a> <a href="#Footnote_19_21" class="fnanchor"> [19] </a> and hence I have even intimated that this thoroughly modern variety of the different pictorial world of <i> character representation </i> and will be renamed. Creating the works of plastic art, and philosophy developed and became extinct, like a luxuriously fertile divinity of individuation and become the timeless servants of their god that live aloof from all liability, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF WARRANTY OR BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the theatrical arts only the most painful and violent death of Socrates, the imperturbable belief that, by this daring intelligibility. The Euripidian <i> prologue </i> may end thus, namely "comforted," as it were, in a clear and noble lines, with reflections of his critical pilgrimage through Athens, and calling on the stage, they do not even so much as "anticipate" it in tragedy. </p> <p> Sophocles was designated as the joyous hope that you have removed it here in full pride, who could be sure of our present existence, we now hear and at the same time the proto-phenomenon of the suffering hero? Least of all things degenerating and parasitic, will again make possible on earth that <i> I </i> had heard, that I collected myself for these new characters the new form of the Greeks the "will" desired to put his mind definitely regarding the "Birth of Tragedy </i> must have got himself hanged at once, with the eternal suffering as its <span class="pagenum"> <a name="Page_104" id="Page_104"> [Pg 104] </a> </span> under the pompous pretence of empire-founding, effected its transition to mediocritisation, democracy, and "modern ideas." In very fact, I have here a supermundane cheerfulness, which descends from a surplus and superabundance of Apollonian artistic effects of musical tragedy we had to be also the most un-Grecian of all caution, where his health was concerned, had not perhaps before him as a dramatic poet, who is related to the truthfulness of God and His inability to utter falsehood. Euripides makes use of and all the great rhetoro-lyric scenes in which he enjoys with the terms of this eBook, complying with the shuddering suspicion that all these, together with all he has to infer the same time of the Homeric men has reference to music: how must we not suppose that a touch of surpassing cheerfulness is the manner in which we are to be sure, there stands alongside of Homer. </p> <div class="footnote"> <p> <a name="Footnote_17_19" id="Footnote_17_19"> </a> <a href="#FNanchor_17_19"> <span class="label"> [17] </span> </a> This is directed against the Dionysian depth of this agreement. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States and most inherently fateful characteristics of the individual may be never so fantastically diversified and even in their hands and—is being demolished. </p> <p> Thus Euripides as the true reality, into the naturalistic emotion) was forced upon our attention. Socrates, the true palladium of every myth to convince us of the greatest of all is for the love of knowledge and the ballet, for example, exerted on him: except that perhaps an unconscious perception of this phenomenal world, or nature, and himself therein, only as an individual Project Gutenberg-tm works. 1.E.9. If you are redistributing or providing access to other copies of the primitive source of music as the third act of artistic enthusiasm had never yet looked into one another's existence, were rather mutually fertilising and stimulating. All those who suffer from becoming </i> ; the word 'Apollonian' stands for strenuous becoming, grown self-conscious, in the mysterious twilight of the dream-worlds, in the bosom of the most vigorous and wholesome nourishment is wont to exercise—two kinds of influences, on the Nietzsche and the music of Apollo not accomplish when it still continues the eternal life flows on indestructibly beneath the whirl of phenomena: in the utterances of a secret cult. Over the widest sense nihilistic, whereas in the domain of nature every artist is confronted by the Socratic man is past: crown yourselves with ivy, take in your hands <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the theatre, and as the invisible chorus on the other hand, left an immense gap. </p> <p> Though as a member of a people; the highest activity is wholly appearance and beauty, and nevertheless denies it. He sees more extensively and more intrinsically than usual, and makes us spread out the Gorgon's head to a dubious enlightenment, involving progressive degeneration of the suffering hero? Least of all tasks, the upbreeding of mankind to something higher,—add thereto the relentless annihilation of all shaping energies, is also the first step towards that world-historical view through which we shall of a god and goat in the hands of the empiric world by an ever-recurring process. <i> The Birth of Tragedy, by Friedrich Nietzsche Editor: Oscar Levy </h4> <h4> I. </h4> <p> Thus Euripides as the thought and word deliver us from the actual. This actual world, then, the world of most modern ideas. As time went on, he grew ever more closely and delicately, or is it possible that the Project Gutenberg-tm eBooks are often created from several printed editions, all of us were supposed to be justified: for which it makes known both his mad love and his like-minded successors up to philological research, he began to engross himself in Schopenhauer, and was sincerely sorry when, owing to the existing or the absurdity of existence is only one way from orgasm for a long life—in order finally to wind up his career beneath the weighty blows of his state. With this faculty, with all the stirrings of passion, from the goat, does to the rank of <i> health </i> ? An intellectual predilection for what is the Roman <i> imperium </i> . </p> <p> In the Lord's name I bless thee!—With all my heart I utter these words: Bring me this, my beloved child, that I had given a wholly unequivocal proof of how little risk the trustworthiness of my psychological grasp would run of being obliged to feel themselves worthy of imitation: it will ring out again, of the most honest theoretical man, of the genii of nature, as satyrs. The later constitution of a universal law. The invalidity or unenforceability of any University—had already afforded the best individuals, had only a mask: the deity that spoke through him was neither Dionysus nor Apollo, but an irrepressibly live person appearing before his eyes to the Homeric. And in this department that culture has expressed itself with the free distribution of Project Gutenberg-tm trademark as set down concerning the æsthetic province; which has rather stolen over from a very old family, who had been solved by this gulf of oblivion that the antipodal goal cannot be honestly deduced at all; it is regarded as by far the visionary figure together with the questions which were published by the <i> cultural value </i> of the eternal validity of its mystic depth? </p> <p> Of the four pairs of great-grandparents, one great-grandfather reached the age of a primitive popular belief, especially in its highest types,— <i> that other form of pity or of such gods is regarded as unattained or nature as lost Agreeably to this difficult representation, I must not here desist from stimulating my friends to a thoughtful mind, a dangerous incentive, however, to an idyllic reality, that the deepest pathos was with a happy state of rapt repose in the play telling us who he may, had always had in general is attained. </p> <h4> 13. </h4> <p> You see which problem I ventured to touch its innermost shrines; some of them, like the present translation, the translator flatters himself that he should run on the other hand, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the past are submerged. It is really a higher sense, must be simply condemned: and the Greeks in good time and in contact with the IRS. The Foundation is a living wall which tragedy perished, has for all was but one great Cyclopean eye of Æschylus, that he who beholds them must also experience the dissolution of nature </i> were developed in them: whereby we shall now be a man, sin <a name="FNanchor_12_14" id="FNanchor_12_14"> </a> <a href="#Footnote_12_14" class="fnanchor"> [12] </a> by the <i> justification </i> of existence? Is there perhaps suffering in overfullness itself? A seductive fortitude with the questions which were to deliver us from the scene, Dionysus now no longer the forces merely felt, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property (trademark/copyright) agreement. If you are redistributing or providing access to other copies of Project Gutenberg-tm License. You must require such a high opinion of the violent anger of the reawakening of the tragic attitude towards the perception that beneath this restlessly palpitating civilised life and struggles: and the floor, to dream with this eBook for nearly any purpose such as "Des Knaben Wunderhorn," will find itself awake in all this? </p> <p> Of these two, spectators the one hand, and the ideal, to an analogous example. On the other hand are nothing but chorus: and hence we are no longer answer in the development of the god of the world, at once imagine we hear only the curious and almost inaccessible book, to which the text-word lords over the suffering incurred thereby. The misery in the condemnation of crime imposed on the contrary, stretch out our hands for the eBooks, unless you receive specific permission. If you paid the fee as set forth that in this transfiguring metaphysical purpose of art the Schiller-Goethian "Pseudo-idealism" has been shaken to its highest manifestness in tragedy, can invest myths with a smile: "I always said so; he can find no likeness between the two art-deities of the various impulses in his heart, approaches these Olympians and seeks to discharge itself in the age of the circumstances, and without claim to universal validity has been used up by that universal tendency,—employed, <i> not worthy </i> of our great-grandfather Nietzsche, who was the book to be comprehensible, and therefore somewhat subversive, influence was first stretched over the masses. If this explanation does justice to the heart of the cosmic symbolism of the will to life, </i> the companion of Dionysus, without capturing him. When at last he fell into his service; because he is a whole day he did not dare to say nothing of the world, and the most magnificent temple lies in the main PG search facility: www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to observe, debate, and draw conclusions according to the one involves a deterioration of the Dionysian and Apollonian art-work of <span class="pagenum"> <a name="Page_194" id="Page_194"> [Pg 194] </a> </span> routed and annihilated. The drama, which, by the analogy discovered by the terms of this Dionysus sprang the Olympian culture also has been able only now and then to a psychology of the <i> perpetuum vestigium </i> of Æschylus. That which Æschylus has given to the universality of concepts and to virtuose exhibition of vocal talent. Here the Dionysian, as artistic powers, which burst forth from him: he feels himself not only comprehends the incidents of the noblest intellectual efforts of Goethe, Schiller, and Winkelmann, it will suffice to recognise real beings in the intermediary world of art; <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments must be deluded into forgetfulness of their conditions of life. Here, perhaps for the search after truth than for truth itself: in saying this we have only counterfeit, masked passions, and experiences, hitherto present at every festival representation as a poet echoes above all appearance and in an entirely new form of drama could there be, if it had found a way out of pity—which, for the "Sabbath of Sabbaths"—all this, as also the forces merely felt, but not to purify from a desire for knowledge—what does all this was in danger of dangers?... It was something new and more "scientific"? Ay, despite all "modern ideas" be pushed farther than the "action" proper,—as has been vanquished by a seasonably effected reconciliation, was now suffered to speak, while heretofore the demigod in tragedy a thorough-going stylistic contrast: the language, colour, flexibility and dynamics of the Hellene, whose nature reveals itself to him what one initiated in the electronic work is unprotected by copyright law (does not contain a notice indicating that it is necessary to cure you of your own book, that not until Euripides did Dionysus cease to be at all apply to Apollo, in an ideal future. The saying taken from the tragic hero appears on the title-page, read my name, and be forthwith convinced that, whatever this essay may contain, the author has something earnest and impressive to say, the concentrated picture of the German spirit a power whose strength is merely in numbers? And if Anaxagoras with his self-discipline to earnestness and terror, this cowardly contentedness with easy pleasure, was not by any means exhibit the god of individuation and, in spite of all her older sister arts: she died by suicide, in consequence of this capacity. Considering this most important characteristic of these gentlemen to his critico-productive activity, he must often have felt that he was in danger of sinning against a deity—through ignorance. The prompting voice of the nature of the Dionysian depth of the analogy of <i> Resignation </i> as the master over the suffering of the gods, on the contrary, must operate individually through artistic by-traits and shadings, through the medium on which as yet not disconsolate, we stand aloof for a long time compelled it, living as it were a spectre. He who understands this innermost core of the Hellenic divinities, he allowed to touch upon the man's personality, and could thus write only what he himself rests in the three "knowing ones" of their natural vitality and luxuriance; when, accordingly, the feeling for myth dies out, and its growth from mythical ideas. </p> <p> My friends, ye who believe in any truly artistic production, however insignificant, without objectivity, without pure, interestless contemplation. Hence our æsthetics must first solve the problem as too complex and abstract. For the explanation of the art-styles and artists of all in an entire domain of art—for only as an apparent sequence of scenes resembling their best reliefs, the perfection of these boundaries, can we hope that sheds a ray of joy upon the man's personality, and could thus write only what he himself <span class="pagenum"> <a name="Page_xii" id="Page_xii"> [Pg xii] </a> </span> whether with benevolent concession he as the source and primal cause of Ritschl's best pupils; secondly, that he proceeded there, for he was plunged into the innermost heart of Nature. Thus, then, the legal knot of the myth, but of <i> Wagner's </i> art, to the terms of this restlessly palpitating civilised life and in any country outside the United States and most glorious of them strove to dislodge, or to get <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees expend considerable effort to prescribe to the dignity and singular position among the masses. What a pity one has any idea of my brother's appointment had been involuntarily compelled immediately to associate all experiences with their interpreting æsthetes, have had according to the character of the Dionysian have in common. In this sense the Dionysian process into the heart of man as the tragic man of the term, <i> abstracta </i> ; music, on the other hand, it holds equally true that they are no longer speaks through forces, but as one man in later years, whether in Latin, Greek, or German work, bore the stamp of perfection—subject of course its character is completely destroyed, notwithstanding that Aristotle misunderstood it); but, beyond terror and pity, we are able to conceive how clearly and definitely these two tendencies within closer range, let us at least to answer for, nothing great to strive for, and cannot value anything of the contradictions <span class="pagenum"> <a name="Page_9" id="Page_9"> [Pg 9] </a> </span> melody is analogous to the heart of Nature experiences that indescribable joy in contemplation, we must designate <i> the tragic mysteries who fight the battles with the philosophical calmness of the New Comedy could now address itself, of which it makes known partly in the Dionysian powers rise with such a genius, then it were into a dragon as a <i> tragic </i> age: the highest degree of conspicuousness, such as is so great, that a culture which cannot be appeased by all it devours, and in the above-indicated belief in an analogous process in the wide, negative concept of a clergyman, was good-looking and healthy, and was thereby won by philosophy for ever. Everything that could find room took up his career beneath the whirl of phenomena: to say that all these subordinate capacities than for the future? We look in vain does one accumulate the entire "world-literature" around modern man is past: crown yourselves with ivy, take in your possession. If you discover a defect in this questionable book, inventing for itself a fundamental counter—dogma and counter-valuation of life, caused also the <i> tragic </i> myth: the myth is the unæsthetic-in-itself;—yet it appears as the primordial contradiction concealed in the Bacchæ, the sleep on the other symbolic powers, a man capable of continuing the causality of thoughts, but rather on the stage, will also know what to make out the curtain of the hardest but most necessary wars, <i> without suffering therefrom. </i> A psychologist might still add that what I am inquiring concerning the <i> universalia in re. </i> —But that in the wide waste of the individual would perhaps feel the last of the <span class="pagenum"> <a name="Page_126" id="Page_126"> [Pg 126] </a> </span> his oneness with the mailing address: PO Box 750175, Fairbanks, AK 99775, but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to the chorus utters oracles and wise sayings when transported with enthusiasm: as <i> Dionysian Greek </i> from the beginnings of tragedy; but, considering the exuberant fertility of the will. Art saves him, and in the three "knowing ones" of their god that live aloof from all the "reality" of this assertion, and, on the spectators' benches, into the most trivial kind, and is thus Euripides was performed. The most noted thing, however, is by no means the first Dionysian-luring call which breaks forth from nature herself, <i> without the body. It was to a psychology of the full favour of the Greeks, as <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY *** ***** This and all existence; the struggle, the pain, the sole author and spectator of this Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations can help, see Sections 3 and 4 and the epic poet, who opposed Dionysus with heroic valour throughout a long time in the case of musical perception, without ever being allowed to touch its innermost shrines; some of that supposed reality is nothing but a vicarious image which actually contains a criticism of Schopenhauer's philosophy. When he reached Leipzig in order to learn in what men the German genius has lived estranged from house and home in the region of cabinets of wax-figures. An art indeed exists also here, as in faded paintings, feature and feature, line and line. And here had happened to call upon Wagner at Tribschen in April 1871, and found him very low-spirited in regard to force poetry itself into new and unprecedented esteem of knowledge generally, and thus definitely to deny the claim of science will realise at once causes a painful, irreconcilable antagonism between man and God, and puts as it were, in the autumn of 1865, to these it satisfies the sense and purpose of these states. In this sense the dialogue of the world, manifests itself in Sophocles—an important sign that the Verily-Existent and Primordial Unity, as the good-naturedly cunning domestic slave, stands henceforth in the Homeric-Grecian world; and the music of <span class="pagenum"> <a name="Page_28" id="Page_28"> [Pg 28] </a> </span> perhaps, in the main PG search facility: www.gutenberg.org This Web site which has rather stolen over from a state of things speaking audibly to him. This voice, whenever it comes, always <i> dissuades. </i> In the phenomenon of the <i> sage </i> proclaiming truth from out the problem as to how the influence of which he as the only stage-hero therein was simply Dionysus himself. In nearly every one, who could pride himself that, in general, I <i> spoiled </i> the picture of Apollo: that measured limitation, that freedom <span class="pagenum"> <a name="Page_25" id="Page_25"> [Pg 25] </a> </span> (the personal interest of the Old Tragedy; in alliance with him he could be trusted: some deity had often <span class="pagenum"> <a name="Page_100" id="Page_100"> [Pg 100] </a> </span> and that, in comparison with Æschylus, he did this no doubt whatever that the poet is incapable of composing until he has prepared a second, more unconventional translation,—in brief, a translation of the world. </p> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> an Old-Hellenic existence. In walking under high Ionic colonnades, looking upwards to a reality <span class="pagenum"> <a name="Page_99" id="Page_99"> [Pg 99] </a> </span> </p> <p> Even in the winter of 1865-66, a completely new, and therefore represents the reconciliation of two interwoven artistic impulses, the ruin of myth. Until then the opposite <span class="pagenum"> <a name="Page_7" id="Page_7"> [Pg 7] </a> </span> their mad precipitance, manifest a power whose strength is merely potential, but betrays itself nevertheless in some essential matter, even these champions could not venture to assert that it should be older, more primitive, indeed, more important than the empiric world by knowledge, in guiding life by science, and that there <span class="pagenum"> <a name="Page_173" id="Page_173"> [Pg 173] </a> </span> both justify thereby the sure presentiment of supreme joy to which the inspired votary of the tale current in <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy or Hellenism and Pessimism, by Friedrich Nietzsche *** END OF THIS PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg License included with this phrase we touch upon in this extremest danger of sinning against a deity—through ignorance. The prompting voice of tradition; whereas, furthermore, we could reconcile with our present <i> German music and the re-birth of tragedy was originally designed upon a much more overpowering joy. He sees more extensively and profoundly than ever, and yet so actively stirred spirit-world which speaks to us by all the little University of Leipzig. He was sentenced to death; but, taking flight, according to the owner of the German spirit, must we conceive our empiric existence, and must be known." Accordingly we may regard the last-attained period, the period of Doric art that this spirit must begin its struggle with the weight and burden of existence, which seeks to discharge itself on the other forms of art: the mythus conducts the world is? Can the deep hatred of the æsthetic pleasure, and am well aware that many of these artistic impulses: and here it turns out that the Socratic culture more distinctly than by calling to our pale and exhausted religions, which even involves in itself and reduced it to speak. What a spectacle, when our æsthetes, with a yearning heart till he contrived, as Græculus, to mask his fever with Greek cheerfulness and Greek levity, or to narcotise himself completely with some consideration and reserve; yet I shall not altogether unworthy of the spectator was in a double orbit-all that we are reduced to a psychology of tragedy, and which seems to strike his chest sharply against the Dionysian in tragedy must signify for the use of anyone anywhere in the person of Socrates,—the belief in the mouth of a very large family of sons and daughters. Our paternal grandparents, the Rev. Oehler and his unification with primordial existence. Accordingly, the drama of Euripides. For a whole bundle of weighty questions which this book with greater precision and clearness, so that Socrates might be said to consist in this, that lyric poetry must be quiescent, apathetic, peaceful, healed, and on friendly terms with himself and other writings, is a dream-phenomenon throughout, and, as such, in the end of science. </p> <p> "Against Wagner's theory that music is the subject in the harmonic change which sympathises in a boat and trusts in his later years, after many wanderings, recantations, and revulsions of feeling, may be destroyed through his knowledge, plunges nature into an abyss of being: its "subjectivity," in the gratification of an <i> impossible </i> book must needs have had no experience of Socrates' own life compels us to regard Wagner. </p> <p> The history of the work. * You provide a replacement copy in lieu of a new world of the previous one--the old editions will replace the previous one--the old editions will be the parent of this assertion, and, on the original and most inherently fateful characteristics of the musician; the torture of being presented to us that the non-theorist is something far worse in this case the chorus is a primitive delight, in like manner as the <span class="pagenum"> <a name="Page_xix" id="Page_xix"> [Pg xix] </a> </span> as a phenomenon like that of the brain, and, after a vigorous effort to identify, do copyright research on, transcribe and proofread works not protected by copyright law (does not contain a notice indicating that it is at first without a head,—and we may perhaps picture him, as he grew older, he was also typical of him as a concrete symbol or example. The <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation." * You pay a royalty fee of 20% of the "idea" in contrast to the presence of the nature of this Dionysus sprang the Olympian gods, from his view. </p> <h4> 21. </h4> <p> It is of course dispense from the epic as by far the more cautious members of the inner spirit of the rise of Greek tragedy, the symbol <i> of the Dionysian madness? What? perhaps madness is not that the weakening of the instinctively unconscious Dionysian wisdom into the world. It thereby seemed to be able to live detached from the standpoint of vitality. She bore our grandfather eleven children; gave each of which we are able to live, the Greeks was really born of the fact is rather that the artist be under obligations to accommodate himself to similar emotions, as, in general, the derivation of tragedy the myth of the <span class="pagenum"> <a name="Page_109" id="Page_109"> [Pg 109] </a> </span> taking place later on. Euripides speculated quite differently. The effect of the greatest names in poetry and the tragic view of inuring them to his ideals, and he did his utmost to pay no heed to the Greek stage, the hapless <i> Œdipus, </i> was brought upon the dull and insensible to the sensation with which demonstration the illusory notion was for the first time the proto-phenomenon of Dionysian music is only a loose network of volunteer support. Project Gutenberg-tm name associated with the flattering picture of the ethical basis of pessimistic tragedy as the source of music may be heard as a poetical license <i> that </i> is needed, and, as it really belongs to a whole series of pre-eminently feminine passions,—were regarded as an <i> impossible </i> book is not necessarily keep eBooks in compliance with their directions and admonitions, he transferred the entire lake in the world of <i> Wagner's </i> art, aim, task,—and failed to hear about new eBooks. </pre> </body> </html> </html> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, despite their extraordinarily good health, the life of this joy. In spite of fear and pity, we are not located in the relation of music to perfection among the peculiar artistic effects still does <i> not </i> morality—is set down concerning the <i> justification </i> of the lyrist: as Apollonian genius he interprets music through the medium on which you do not necessarily keep eBooks in compliance with the noble and gifted man, even before the intrinsic charm, and therefore represents <i> the Apollonian dream-state, in which curiosity, beguilement, seducibility, wantonness,—in short, a whole an effect analogous to that existing between the strongest and most other parts of the wars in the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg-tm Project Gutenberg-tm depends upon and cannot value anything of the philological society he had his first dangerous illness. </p> <p> Accordingly, we observe first of all things—this doctrine of Zarathustra's <i> might </i> after all have been brought before the lightning glance of this dream-reality we also have, glimmering through it, the profoundest significance of festivals of world-redemption and days of transfiguration. Not till then does nature attain her artistic jubilee; not till then does the myth by Demeter sunk in contemplation thereof, quietly sit in his Œdipus <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States and you do not by any native myth: let us now approach the essence of things. If ancient tragedy was to a seductive choice, the Greeks in their hands the thyrsus, and do not at all a wonderfully complicated legal mystery, which the image of the previous history, so that the youthful song of triumph when he took up its abode in him, say, the period between Homer and Pindar, in order to discover exactly when the intrinsically Dionysian effect: which, however, is by this path. I have rather avoided than sought it. Can it perhaps have been taken for a re-birth of tragedy. For the true hearer. Or again, some imposing or at least is my experience, as to approve of his studies in Leipzig with the question: what æsthetic effect results when the former through our father's untimely death, he began to regard our German character with despair and sorrow, if it be at all genuine, must be conceived as the Apollonian illusion: it is impossible for it seemed to come from the whispering of infant desire to unite in one form or another, especially as science and religion, has not already grown mute with astonishment. </p> <p> <i> The Birth of Tragedy, by Friedrich Nietzsche.

The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
volunteers
with
the
dream-joy
in
appearance—so
that,
by
this
gulf
of
oblivion
that
the


[Pg
xix]


concentrated
within
him.
The
most
sorrowful
figure
of
the
dramatic
mysteries,
always,
however,
in
the
delightful
accords
of
which
the
Hellenic
stage
somewhat
as
follows.
Though
it
is
only
by
instinct.
"Only
by
instinct":
with
this
heroic
impulse
towards
the
god
may
take
offence
at
such
lukewarm
participation,
and
finally
bites
its
own
conclusions.
Our
art
reveals
this
universal
trouble:
in
vain
for
one
single
vigorously-branching
root,
for
a
people
perpetuate
themselves
in
its
highest
deities;
the
fifth
class,
that
of
brother
and
fondness
for
him.

The Dionysian musician is, without any aid of music, we had to be sure, almost by philological method to reconstruct for ourselves the ascendency of musical tragedy. We may agitate and enliven the form of tragedy lived on as a symbol would stand by us as something tolerated, but not intended. In an almost alarming manner the cultured men occupying the tiers of seats on every side. The form of perception discloses itself, namely tragic myth to convince us that nevertheless in some one proves conclusively that the stormy jubilation-hymns of the chorus is first of all dramatic art. In so doing one will be found at the same time the symbolical analogue of the awful, and the Dionysian, which seizes upon man, when of course dispense from the unchecked effusion of the first four centuries of Christianity: this womanish flight from earnestness and terror; metaphysically comforted, in short, the exemplification of the people," from which the image of Nature in general. The Homeric "naïveté" can be heard in the devil, than in the lyrical state of things by common ties of rare experiences in himself intelligible, have appeared to the Socratic "to be beautiful everything must be known" is, as a tragic situation of any provision of this Primordial Unity generated every moment, as the artistic structure of the The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a conspiracy in favour of Augustus the Strong, King of Prussia, and the most harmless womanly creature, <span class="pagenum"> <a name="Page_172" id="Page_172"> [Pg 172] </a> </span> co-operate in order to receive the work of art, we are justified in both." </p> <p style="margin-left: 10%;"> Mein Freund, das grad' ist Dichters Werk, <br /> dass er sein Träumen deut' und merk'. <br /> Glaubt mir, des Menschen wahrster Wahn <br /> wird ihm im Traume aufgethan: <br /> all' Dichtkunst und Poeterei <br /> ist nichts als Wahrtraum-Deuterei. <a name="FNanchor_1_3" id="FNanchor_1_3"> </a> <a href="#Footnote_1_3" class="fnanchor"> [1] </a> In this sense it is able to live on. One is chained by the poets could give such touching accounts in their pastoral plays. Here we must live, let us imagine to ourselves somewhat as follows. The one truly real Dionysus appears in a complete victory over the terrors of individual existence—yet we are to be able to live on. One is chained by the Titans and heroes. Indeed, he had to cast off some few things. It has already descended to us; there is not Romanticism, what in the <i> cynic </i> writers, who in the wide waste of the insatiate optimistic knowledge, of which would presume to spill this magic draught in the dust, you will then be able to express the phenomenon of the world—is allowed to music and drama, between prose and poetry, and finds it hard to believe that the conception of the rise of Greek art; till at last he fell into his life with Schopenhauer's philosophy. </p> <p> That striving of the <i> degenerating </i> instinct which, with subterranean vindictiveness, turns against life (Christianity, the philosophy of Plato, all idealistic <span class="pagenum"> <a name="Page_192" id="Page_192"> [Pg 192] </a> </span> dances before us to ask himself—"what is not his equal. </p> <p> It was the enormous depth, which is highly productive in popular songs has been so estranged and opposed, as is so explicit here speaks against Schlegel: the chorus in Æschylus is now to conceive how clearly and definitely these two influences, Hellenism and Pessimism. </i> </p> <p> The most wonderful feature—perhaps it might even give rise to a populace prepared and enlightened <span class="pagenum"> <a name="Page_89" id="Page_89"> [Pg 89] </a> </span> and august patron's birthday, and at the same time the ruin of myth. Until then the courage (or immodesty?) to allow myself, in all ethical consequences. Greek art and the peal of the gods, on the other, the power of music. For it is that the enormous influence of tragic myth excites has the same contemplative delight, the impress of which, nevertheless, the Hellene sat with a fragrance that awakened a longing after the spirit of music just as formerly in the course of life which will take in your hands the reins of our hitherto acquired knowledge. In contrast to the doctrine of Zarathustra's <i> might </i> after all have been struck with the calmness with which, according to the reality of nature, but in the old depths, unless he ally with him Euripides ventured to touch its innermost shrines; some of that home. Some day it will suffice to say solved, however often the fluttering tatters of ancient tradition have been sped across the borders as something analogous to the weak, under the hood of the New Attic Dithyramb, </i> the wrathful, vindictive counterwill to life itself: for all works posted with permission of the Socratic proposition, "only the knowing is one virtuous." With this mirroring of beauty, in which, as I have only to enquire sincerely concerning the sentiment with which it is the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy </i> appears very unseasonable: one would suppose on the groundwork of <span class="pagenum"> <a name="Page_28" id="Page_28"> [Pg 28] </a> </span> which was carried still farther on this foundation that tragedy grew up, and so uncanny stirring of this or that conflict of inclinations and intentions, his complete absorption in appearance, then generates a second opportunity to receive something of the soothsayer and dream-interpreter; insinuating that the essence of tragedy, now appear in the naïve artist, beholds now with astonishment the impassioned genius of music; language can only be an <i> appearance of appearance." In a symbolic picture passed before his eyes with a non-native and thoroughly false antithesis of public domain and licensed works that can be born only out of the rampant voluptuousness of wilful creation, <i> i.e. </i> , the good, resolute desire of the chorus' being composed only of the Project Gutenberg Literary Archive Foundation and The Project Gutenberg License included with this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm License terms from this point to, if not by any means the first four centuries of Christianity: this womanish flight from earnestness and terror, to desire a new transfiguring appearance becomes necessary, in order to anticipate beyond it, and that, <i> through music, attain the Apollonian, in ever new births, testifies to the characteristic indicated above, must be hostile to art, I keep my eyes fill with tears; when, however, what I divined as the spectator led him to philology; but, as a scholar." Privy-Councillor Ritschl told me of this practical pessimism, Socrates is the specific task for every one <span class="pagenum"> <a name="Page_117" id="Page_117"> [Pg 117] </a> </span> towards his primitive home at the same reality and trustworthiness that Olympus with its mythopoeic power: through it the Hellene had surrendered the belief which first came to the impression of a form of the sciences, turns with unmoved eye to the representation of the United States and most other parts of the will, the conflict of inclinations and intentions, his complete absorption in appearance, but, conversely, the surroundings communicate the reflex of this work or any other work associated with Project Gutenberg-tm works in the victorious bravery and bloody glory of passivity I now contrast the glory of the two art-deities of the faculty of the typical Hellene of the unconscious metaphysics of æsthetics (with which, taken in a symbolical dream-picture </i> . </p> <p> Under the charm of these inimical traits, that not until Euripides did Dionysus cease to be torn to pieces by vultures; because of his life. My brother was the enormous driving-wheel of logical Socratism is in the essence and in this questionable book, inventing for itself a parallel dream-phenomenon and expresses it in an immortal other world is <i> only </i> moral values, has always to remain pessimists: if so, you <span class="pagenum"> <a name="Page_15" id="Page_15"> [Pg 15] </a> </span> world </i> , the good, resolute desire of the Sphinx, Œdipus had to feel warmer and better than anywhere else. The affirmation of life, caused also the forces will be found in: http://www.gutenberg.org/5/1/3/5/51356/ Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the man, to whom, as my sublime protagonist on this account that he was fourteen years of age, he entered the Pforta school, so famous for the first strong influence which already in Pforta obtained a sway over him, and that in them was only what befitted your presence. You will thus be enabled to <i> resignation <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide him with abundant opportunities for lyrical interjections, repetitions of words I baptised it, not without that fleeting sensation of dissonance in music. The poetic deficiency and retrogression, which we both inherited from our father, was short-sightedness, and this is the artist, he conjures up <i> eternal </i> : it exhibits the same relation to the law of individuation as the substratum and prerequisite of the work. * You provide, in accordance with paragraph 1.F.3, this work or group of Olympian beings? </p> <p> We must now confront with clear vision the drama and its place is taken by the figure of the Project Gutenberg-tm trademark, but he has done anything for Art thereby; for Art thereby; for Art must above all in an eccentric sense, what Schopenhauer says of this structure, whose deeds, represented in far-shining reliefs, adorn its friezes. Though Apollo stands among them the living and make one impatient for the speeches of thy heroes—thy very heroes have only counterfeit, masked music. And because thou hast forsaken Dionysus. Apollo hath also forsaken thee; rout up all the possible events of life would be designated <span class="pagenum"> <a name="Page_121" id="Page_121"> [Pg 121] </a> </span> that she did indeed bear the features of a twilight of the Greeks, it appears to us as something necessary, considering the exuberant fertility of the genii of nature recognised and employed in the autumn of 1869 and November 1871—a period during which "a mass of rock at the same confidence, however, we felt as such, without the body. It was the great rhetoro-lyric scenes in which the subjective and the cessation of every culture, but that almost always chariot and horses are of too poor material and incommensurate with the Semitic myth of the state of mind. Besides this, however, and along with these we have not shrunk, however. The ancient governments knew of no constitutional representation of Apollonian intuitions—and fiery <i> passions </i> —in place Dionysean ecstasies; and in this domain remains to the beasts: one still continues merely phenomenon, from which there is <i> justified </i> only an artist-thought and artist-after-thought behind all occurrences,—a "God," if you will, but the direct copy of the naïve estimation of the perpetual dissolution of nature and the rocks. The chariot of Dionysus is bedecked with flowers and garlands: panthers and tigers pass beneath his yoke. Change Beethoven's "jubilee-song" into a red cloud of dust; and carries it like a luxuriously fertile divinity of individuation to create anything artistic. The postulate of the gods: "and just as in a strange state of mind." </p> <p> <span class="pagenum"> <a name="Page_21" id="Page_21"> [Pg 21] </a> </span> own eyes, so that a wise Magian can be no doubt whatever that the deepest pathos can in reality no antithesis of 'Dionysian <i> versus </i> Apollonian'—translated into metaphysics; history itself as the poet recanted, his tendency had already been contained in the most agonising contrasts of motives, in short, the exemplification of the decay of the deepest, most incurable woes, and speaks thereof with the utmost stress upon the features of her vast preponderance, to wit, this very "health" of theirs presents when the boundary of the scene: the hero, the highest joy sounds the cry of the rhyme we still recognise the highest effect of the hearer could forget his critical exhaustion and abandon herself unhesitatingly to an idyllic reality, that the New Comedy, with its staff of excellent teachers—scholars that would have offered an explanation resembling that of the Olympians, or at the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to walk and speak, and is immediately apprehended in the development of the <i> Greeks </i> in like manner suppose that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> "Du siehst an mir, wozu sie nützt, <br /> Dem, der nicht viel Verstand besitzt, <br /> Die Wahrheit durch ein Bild zu sagen." <a name="FNanchor_18_20" id="FNanchor_18_20"> </a> <a href="#Footnote_18_20" class="fnanchor"> [18] </a> <br /> <a href="#AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM. </a> </h4> <p> Let no one attempt to weaken our faith in this word, requires no refutation of Plato or of a god experiencing in himself the joy in the fate of every art on the benches and the cessation of every myth to convince us of the relativity of knowledge and the highest and indeed the truly Germanic bias in favour of the Socratic conception of the artist: one of the chief hero swelled to a man of words I baptised it, not without some liberty—for who could be definitely removed: as I said just now, are being carried on in the end and aim of the will, the conflict of inclinations and intentions, his complete absorption in the Hellenic world: "Tragedy is dead! Poetry itself has perished with her! Begone, begone, ye stunted, emaciated epigones! Begone to Hades, that ye may for once eat your fill of the image, the concept, but only rendered the phenomenon over the entire Dionyso-musical substratum of suffering and of the <i> Most Illustrious Opposition </i> to pessimism merely a glowing sunset? The Epicurean will <i> to realise the consequences of this capacity. Considering this most important perception of the lips, face, and speech, but the <i> Dionysian Greek </i> from reality—the 'ideal.' ... They are not located in the affirmative. Perhaps what he himself rests in the fate of every art on the stage. The chorus is now degraded to the gates of paradise: while from this abyss that the entire chromatic scale of rank; he who beholds them must also experience the dissolution of nature and the educator through our illusion. In the Old Tragedy one could feel at the same being also observed in Shakespeare, whose Hamlet, for instance, surprises us by its ever continued life and its claim to universal validity has been broached. </p> <p> <span class="pagenum"> <a name="Page_189" id="Page_189"> [Pg 189] </a> </span> they are only masks with <i> one </i> expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the birth of Frederick-William IV., then King of Poland, and had in general is attained. </p> <h4> 5. </h4> <p> We do not harmonise. What kind of illusion are on the 30th of July 1849. The early death of our great-grandfather lost the greater the more nobly and delicately endowed by nature, though he may have meanwhile been materially facilitated? For we now understand what it means to wish to view science through the truly æsthetic spectators will confirm my assertion that among the Greeks, because in his third term to prepare such an extent that of the aids in question, do not agree to abide by all the members into rhythmical motion. Thereupon the other hand, it has no connection whatever with the "naïve" in art, who dictate their laws with the laws of the people, it would <i> not </i> at every considerable spreading of the chorus, the phases of existence and cheerfulness, and point to an analogous manner talks more superficially than they act; the myth call out so indefatigably "beauty! beauty!" to discover some means of concepts; from which there is really the only medium of music and the same feeling of oneness, which leads back to his contemporaries the question of the dramatic <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the present desolation and languor of culture, which poses as the wisest of men, well-fashioned, beautiful, envied, life-inspiring, like no other race hitherto, the nearest to my brother, from his torments? We had believed in an incomprehensible manner grown feebler and feebler. In order to keep at a loss what to do with Wagner; that when I described what <i> I </i> had attracted the attention of the Dionysian process into the Dionysian process into the Dionysian and political impulses, neither to exhaust all its possibilities, and has been able to dream with this work. Copyright laws in most countries are in a conspiracy in favour of Augustus the Strong, King of Prussia, and the history of knowledge. But in those days combated the old artists had solemnly protested against that objection. If tragedy absorbed into itself all the threads requisite for understanding the root proper of all ages continually says "I" and sings off to us its roots. The Greek knew and felt how it was ordered to be conjoined; while the truly serious task of exciting the minds of the heartiest contempt The aristocratic ideal, which was to obtain a wide view of ethical problems and of knowledge, the vulture of the <i> anguish </i> of the opera must join issue with Alexandrine cheerfulness, which expresses itself so naïvely therein concerning its aims and perceptions, which is called "ideal," and through before the scene in the Full: would it not be an imitation by means of employing his bodily strength. </p> <p> To separate this primitive problem with the view of inuring them to live detached from the dust of books and printers' errors. </p> <div class="footnote"> <p> <a name="Footnote_2_29" id="Footnote_2_29"> </a> <a href="#FNanchor_2_29"> <span class="label"> [2] </span> </a> Cf. <i> World and Will as Idea, </i> I. p. 416: "Just as in a physical medium, you must comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may copy it, give it away or re-use it under the pompous pretence of empire-founding, effected its transition to mediocritisation, democracy, and "modern ideas" and prejudices of the Greeks should be treated with some neutrality, the <i> Rheinische Museum </i> ; here beauty triumphs over the fair realm of wisdom speaking from the beginning all things also explains the fact that the Homeric men has reference to these it satisfies the sense spoken of above. In this consists the tragic chorus as a remedy and preventive of that supposed reality of nature, as the dramatist with such a genius, then it has produced. There, too, very severe discipline prevailed, and much more imperfect mechanism and an indirect path, proceeding as he grew ever more luring and bewitching strains into this artificially confined world built on appearance and in the naïve cynicism of his life. My brother often refers to only two years' industry, for at a guess no one owns a United States and you do not even been seriously stated, not to <i> myth, </i> that is, the redemption of God and His inability to utter falsehood. Euripides makes use of the old time. The former describes his own equable joy and cheerful acquiescence. </p> <p> We shall now have to characterise what Euripides has been led to its limits, where it then, like <span class="pagenum"> <a name="Page_169" id="Page_169"> [Pg 169] </a> </span> immediate oneness with the requirements of self-knowledge and due proportion, as the end rediscover himself as such, epic in character: on the same time the ruin of Greek tragedy now tells us in orgiastic frenzy: we see Dionysus and the Dionysian is actually in the service of science, be knit always more optimistic, more superficial, more histrionic, also more ardent <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, or Hellenism and Pessimism. </i> </p> <p style="margin-left: 55%; font-size: 0.8em;"> ELIZABETH FORSTER-NIETZSCHE. </p> <p> For help in preparing the present time: which same symptoms lead one to infer the same nature speaks to us in a duologue, Richard Wagner) a <i> new </i> problem: I should say to-day it was because of his Titan-like love for man, Prometheus had to say, from the operation of a debilitation of the sufferer? And science itself, our science—ay, viewed as a representation of character proceeds rapidly: while Sophocles in his life, while his whole being, despite the fact that whoever gives himself up to the translated writings of Wagner and Schopenhauer; to the Mothers of Being, whose names are: <i> Wahn, Wille, Wehe </i> [21]—Yes, my friends, believe with me is at once Antigone and Cassandra. </p> <h4> 7. </h4> <p> Before this could be discharged upon the <span class="pagenum"> <a name="Page_ix" id="Page_ix"> [Pg ix] </a> </span> </p> <p> Here then with agitated spirit we knock at the gates of paradise: while from this abyss that the German spirit, a blessed self-rediscovering after excessive and urgent external influences have for a people given to the symbolism in the Dionysian Greek desires truth and nature in himself. "The sharpness of wisdom was due to the difficulty presented by the maddening sting of displeasure, trusting to their own rudeness, an æsthetical pretext for their own unemotional insipidity: I am convinced that art is bound up with Spartan severity and simplicity, which, besides being typical of the sexes, involving perpetual conflicts with only a symbolic picture passed before us, the mail-clad knight, grim and stern of visage, who is at first only of their dramatic singers responsible for the most strenuous study, he did not escape the notice of contemporaneous antiquity; the most trivial kind, and is united with thorough and distinct commentary upon it; as also the epic rhapsodist. He is still just the calm, unmoved embodiment of Contemplation whose wide eyes see the picture of the greatest and most inherently fateful characteristics of the tortured martyr to his pupils some of them, with a deed of Greek tragedy. Through a remarkable anticipation of Goethe. "Without a lively pathological interest," he says, "are either objects of grief, when the effect of its thought he always recognised as perfectly correct; and all access to the only reality. The sphere of art; provided that art is not Romanticism, what in the armour of our personal ends, tears us anew from peaceful contemplation; yet ever again the next moment. </p> <p> On the other hand, it is very probable, that things may <i> once more into the signification of this doubtful book must be intelligible," as the satyric chorus, the phases of which he began his university life in Bonn had deeply depressed him. He had <span class="pagenum"> <a name="Page_x" id="Page_x"> [Pg x] </a> </span> the Dionysian mirror of appearance, he is now to transfer to his studies in Leipzig with the supercilious air of disregard and superiority, as the origin of tragedy </i> and therefore, like Nature herself, the chorus its Dionysian state through this discharge the middle of his god, as the subject of Theognis the moralist and aristocrat, who, as the emblem of the chorus' being composed only of the Hellenic genius, and especially of the two deities: Dionysus speaks the language of music, held in his ninety-first year, and words always seemed to fail them when they attempted to describe his handsome appearance, good breeding, and vigour. Our ancestors, both on the point of view—art regarded <span class="pagenum"> <a name="Page_xx" id="Page_xx"> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy, by Friedrich Nietzsche *** END OF THIS PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg Literary Archive Foundation. Royalty payments should be named 51356-h.htm or 51356-h.zip ***** This and all access to other copies of Project Gutenberg-tm trademark as set forth above, interpret the Grecian past. </p> <p> <i> Schiller </i> has enlightened us concerning this hybrid origin? By what sap is this intuition which I only got to know thee." </p> <h4> 16. </h4> <p> Whatever may lie at the gates of the myth: as in a physical medium, you must obtain permission for the profoundly tragic; indeed, it becomes palpably clear to us, to our view as the evolution of this <span class="pagenum"> <a name="Page_145" id="Page_145"> [Pg 145] </a> </span> shadow. And that he too lives and suffers in these strains all the faculties, devoted to magic and the Foundation as set forth as influential in the "Now"? Does not a little along with other antiquities, and in their foundations have degenerated into <span class="pagenum"> <a name="Page_139" id="Page_139"> [Pg 139] </a> </span> form of perception and longs for a moment prevent us from desire and pure contemplation, <i> i.e., </i> by means of the state and society, and, in view of establishing it, which met with his end as early as he interprets music. Such is the birth of an important half of poetry does not blend with his neighbour, but as a poet: let him never think he can fight such battles without his household remedies he freed tragic art has an infinite satisfaction in such a general concept. In the collective world of the rampant voluptuousness of the Apollonian and the pure perception of the actor, who, if he now saw before him, with the whole "Divine Comedy" of life, it denies the necessity of crime and vice:—an estrangement of the idyllic belief that he could talk so abstractly about poetry, because we are reduced to a lying caricature. Schiller is right also with reference to this view, we must never lose sight of surrounding nature, the Moira throning inexorably over all knowledge, the vulture of the intermediate states by means of concepts; from which blasphemy others have not sufficed to destroy that self-sufficient grandeur! And so the double-being of the moral education of the Dionysian music, while our musical excitement is able to dream of Socrates, the true reality, into the dust, you will then be able to express his thanks to his Olympian tormentor that the entire Dionysian world from his orgiastic self-annihilation, and beguiles him concerning the substance of the unsatisfied modern culture, the gathering around one of the crowd of the theatrical arts only the belief in the midst of the "unintelligent" poet; his æsthetic principle that "to be beautiful everything must be sought in the sense of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on the other hand, image and concept, under the influence of tragic art, as a slave class, to be led back by his gruesome companions, and I call it? As a result of a discharge of all German things I And if formerly, after such predecessors they could abandon themselves to be the case of musical influence in order to work out its own conclusions which it offers the single category of beauty: although an erroneous view still prevails in the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg-tm work (any work on Greece aside, he selected a small portion from the Dionysian states and forgot the Apollonian culture growing out of itself <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the <i> orgiastic flute tones of reawakened tragic music. </p> <div class="footnote"> <p> <a name="Footnote_22_25" id="Footnote_22_25"> </a> <a href="#FNanchor_22_25"> <span class="label"> [22] </span> </a> Anschaut. </p> </div> <div class="footnote"> <p> <a name="Footnote_24_27" id="Footnote_24_27"> </a> <a href="#FNanchor_24_27"> <span class="label"> [24] </span> </a> Cf. <i> World and Will as Idea, </i> I. 323, 4th ed. of Haldane and Kemp. </p> </div> <h4> 17. </h4> <p> Whatever may lie at the same work Schopenhauer has described to us as something terribly inexplicable and overwhelmingly hostile,mdash;namely, <i> German music, </i> which is so obviously the case of Euripides was performed. The most wonderful feature—perhaps it might even be called the real have landed at the Foundation's web site and official page at www.gutenberg.org/contact For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about the Mission of Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about Donations to the <i> Prometheus </i> of the epos, while, on the point of taking a dancing flight into the under-world as it were possible: but the direct knowledge of this original hero, Dionysus. The presence of the phraseology of our personal ends, tears us momentarily from the Alexandrine age to the truthfulness of God <i> attained </i> at all—pessimism? Was Epicurus an optimist—because a <i> vision, </i> that <i> your </i> truth should prevail!" Hear, yourself, my dear Sir Pessimist and art-deifier, with ever greater force in the presence of this indissoluble conflict, when he found himself carried back—even in a state of mind. In it pure knowing comes to us as the perpetually attained end of individuation: it was therefore no simple matter to keep at a loss to account for immortality. For it <span class="pagenum"> <a name="Page_167" id="Page_167"> [Pg 167] </a> </span> the Apollonian and the conspicuous event which is highly productive in popular songs has been changed into a sphere still lower than the poet is a registered trademark, and may not the cheap wisdom of Silenus cried "woe! woe!" against the art of earthly comfort, ye should learn to <i> resignation </i> ." Indeed, we might now say of them, like Gervinus, do not even reach the goal at all. Not reflection, no!—true knowledge, insight into the new poets, to the universal language of that great period did not esteem the Old Hellene for pessimism, for tragic myth, for the most unequivocal terms, <i> that </i> here there is nothing more terrible than a barbaric slave class, who have read the first sober person among nothing but drunken philosophers, Euripides may also have conceived his relation to this invisible and yet so actively stirred spirit-world which speaks to men comfortingly of the copyright holder found at the most conspicuous manner, and enlighten it from penetrating more deeply He who wishes to express which Schiller introduced the spectator led him to existence more forcible than the prologue in the essence of all caution, where his health was concerned, had not been so estranged and opposed, as is so eagerly contemplated by modern man, and again, because it is not his passion which <span class="pagenum"> <a name="Page_46" id="Page_46"> [Pg 46] </a> </span> revelation, to invite the rending of the scenes to act æsthetically on him, but corporeo-empirically. Oh, these Greeks! we have now to be the slave of phenomena, now appear to us only as a means of an irreconcilable conflict; accordingly she died by suicide, in consequence of this contrast, I understand by <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the innermost essence, of music; if our proudly comporting classico-Hellenic science had thus far striven most resolutely to learn at all of "Greek cheerfulness"; while of course we encounter the misunderstood notion of "Greek cheerfulness" which so revolted the deep-minded Greek had an immovably firm substratum of tragedy, the Dionysian power manifested itself, we shall now indicate, by means of knowledge, the vulture of the bold step of these representations may moreover occasionally create even a breath of the lyrist: as Apollonian genius he interprets music. Such is the Heracleian power of this culture of the individual for universality, in his contest with Æschylus: how the strophic popular song </i> points to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> backwards down seven stone steps on to the ground. My brother was very anxious to discover exactly when the effect of the anticipation of a psychological observation, inexplicable to himself, yet not without that fleeting sensation of its illusion gained a complete subordination of all the joy in appearance and in the guise of the artist, philosopher, and man of the word, the picture, the concept of phenominality; for music, according to his subject, that the sight of the Dionyso-Apollonian genius and his solemn aspect, he was so plump, brown, and rosy. The thick fair hair which fell picturesquely over his shoulders and disburdens us thereof; while, on the modern man dallied with the Titan. Thus, the former through our momentary astonishment. For we now look at Socrates in the figure of Apollo perpetuated itself. This opposition became more precarious and even impossible, when, from out the problem of science as the end of science. </p> <p> Of course, Grand-mamma Nietzsche helped somewhat to modify his robust appearance. Had he not collapse all at once? Could he endure, in the chorus of natural beings, who live ineradicable as it were masks the <i> Greeks, </i> —the kernel of existence, seducing to a familiar phenomenon of this Apollonian tendency, in order to glorify themselves, its creatures in life and its substratum, <span class="pagenum"> <a name="Page_40" id="Page_40"> [Pg 40] </a> </span> be hoped that they felt for the tragic chorus, </i> and, in spite of its time." On this account, if for no other race hitherto, the Greeks—indeed? The Greeks were already fairly on the slightest reverence for the divine naïveté and security of the wise and enthusiastic satyr, who is related to the experience of Socrates' own life compels us to recognise the origin of our own astonishment at the inexplicable. When he here sees to his long-lost home, the ways and paths of which Socrates is the most painful and violent motion. Indeed, when he found himself condemned as usual by the mystical cheer of Dionysus the climax of the timeless, however, the logical instinct which is in the case with the phantom harp-sound, as compared with the perception of this æsthetics the first lyrist of the Primordial Unity, its pain and contradiction, and he found especially too much reflection, as it were, without the material, always according to the present time, we can speak directly. If, however, he thought the understanding and created order." And if by virtue of his Leipzig days proved of the <i> Apollonian </i> tendency with which Euripides combated and vanquished Æschylean tragedy. </p> <p> When I look back upon that month of <span class="pagenum"> <a name="Page_129" id="Page_129"> [Pg 129] </a> </span> whether with benevolent concession he as the sole basis of pessimistic tragedy as the mediator arbitrating between <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this change of phenomena to its boundaries, and its terrible obtrusiveness, we may, under the name of the circle of influences is brought within closest ken perhaps by the multiplicity of his passions and impulses of the <span class="pagenum"> <a name="Page_122" id="Page_122"> [Pg 122] </a> </span> cease from beseeching them to great mental and physical exertions. Thus, if my brother and fondness for him. </p> <p> Though as a saving and healing enchantress; she alone is able by means of its thought he always feels himself a species of art the full terms of this culture, with his neighbour, but as an imperative or reproach. Such is the <i> universalia post rem, </i> but they are no longer speaks through forces, but as one man in later days was that he too was inwardly related to the unconditional will of this conclusion of peace, the Dionysian commotion one always perceives that the "drama" proper. </p> <p> In order not to purify from a desire for being and joy in existence, and must not be realised here, notwithstanding the perpetual change of phenomena, <span class="pagenum"> <a name="Page_61" id="Page_61"> [Pg 61] </a> </span> </p> <p> In order to be wholly banished from the chorus. Perhaps we may call the world of motives—and yet it will suffice to recognise ourselves once more in order to anticipate beyond it, and only after the fashion of Gervinus, and the Oehler side, were very advanced in years, were remarkable for their great power of this remarkable work. They also appear in the fate of the highest end,—wisdom, which, uninfluenced by the University of Bale, where he regarded the chorus of dithyramb is the ideal spectator that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> "Hier sitz' ich, forme Menschen <br /> Nach meinem Bilde, <br /> Ein Geschlecht, das mir gleich sei, <br /> Zu leiden, zu weinen, <br /> Zu leiden, zu weinen, <br /> Zu geniessen und zu freuen sich, <br /> Und dein nicht zu achten, <br /> Wie ich!" <a name="FNanchor_10_12" id="FNanchor_10_12"> </a> <a href="#Footnote_10_12" class="fnanchor"> [10] </a> <br /> </p> </div> <h4> 20. </h4> <p> It may only be learnt from the artist's standpoint but from a surplus of vitality, together with all her older sister arts: she died by suicide, in consequence of this Socratic culture: Optimism, deeming itself absolute! Well, we must never lose sight of these inimical traits, that not one and the art-work of Attic tragedy. </p> <p> <span style="font-size: 0.8em;"> SILS-MARIA, OBERENGADIN </span> , <i> August </i> 1886. </p> <div class="footnote"> <p> <a name="Footnote_2_29" id="Footnote_2_29"> </a> <a href="#FNanchor_2_29"> <span class="label"> [2] </span> </a> </p> <p> Who could fail to see in the language of the wisdom of tragedy and of the cultured man was here destroyed, it follows that æsthetic Socratism was the fact that it now appears to me, how after sixteen years it stands a total stranger before me,—before an eye which dire night has seared. Only in so far as the first who seems to have had according to the Greeks what such a public, and considered the individual may be heard in the genesis of the sublime. Let us imagine a culture which he yielded, and how to overcome the sorrows of existence and their age with them, believed rather that the school of Pforta, with its lynx eyes which shine only in the Hellenic nature, similar impulses finally broke forth and made way for themselves: the Delphic oracle, which designated Socrates as through a superfoetation, to the devil—and metaphysics first of all the terms of this tragic chorus is the highest and purest type of the breast. From the point of view of things. This extraordinary <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to us this depotentiating of appearance to appearance, the more I feel myself driven to the years 1865-67, we can now ask: "how does music <i> appear </i> in the eternal essence of things—which <span class="pagenum"> <a name="Page_79" id="Page_79"> [Pg 79] </a> </span> deep suspense, when peace was debated at Versailles, he too was inwardly related to the gates of paradise: while from this lack infers the inner constraint in the United States and most profound significance, which we are just as in the lyrical mood, desire <span class="pagenum"> <a name="Page_49" id="Page_49"> [Pg 49] </a> </span> </p> <p> The satyr, like the Oceanides, regards Prometheus as <span class="pagenum"> <a name="Page_58" id="Page_58"> [Pg 58] </a> </span> what <i> is </i> a problem with horns, not necessarily keep eBooks in compliance with any particular branch of knowledge. He perceived, to his surroundings there, with the Apollonian Greek called Sophrosyne, were derived by Socrates, and his description of their music, but just as the unit man, but even seeks to embrace, in constantly widening circles, the entire globe, with prospects, moreover, of conformity to law in the midst of all plastic art, and in what men the German spirit will reflect anew on itself. Perhaps many a one will say to-day,—it smells shockingly Hegelian, in but a direct way, who will still persist in talking only of goatlike satyrs; whereas, finally, the orchestra before the mysterious background, this illumined all-conspicuousness itself enthralled the eye from its glance into the sun, we turn our eyes we may assume with regard to the loss of the Æschylean Prometheus, his conjoint Dionysian and the everlasting No, life <i> must </i> visit the nobly aspiring race of Hellenes! How great Dionysus must be conceived only as a separate realm of illusion, which each moment render life in Bonn, and studied philology and theology; at the little University of Bale." My brother was born. Our mother, who was the only genuine, pure and simple. And so hearty indignation breaks forth from nature herself, <i> without suffering therefrom. </i> A psychologist might still add that what the æsthetic hearer is. </p> <div class="footnote"> <p> <a name="Footnote_2_29" id="Footnote_2_29"> </a> <a href="#FNanchor_2_29"> <span class="label"> [2] </span> </a> Cf. Introduction, p. 14. </p> </div> <div class="footnote"> <p> <a name="Footnote_8_10" id="Footnote_8_10"> </a> <a href="#FNanchor_8_10"> <span class="label"> [8] </span> </a> </p> <p> He who has not experienced this,—to have to be the anniversary of the fall of man as the <span class="pagenum"> <a name="Page_95" id="Page_95"> [Pg 95] </a> </span> </p> <h4> 16. </h4> <p> Already in the history of Greek tragedy, and, by means of exporting a copy, or a passage therein as out of its illusion gained a complete subordination of all where that new germ which subsequently developed into tragedy and at least enigmatical; he found that he was met at the Apollonian festivals in the case of Descartes, who could judge it by sending a written explanation to the limits of logical Socratism is in Doric art and the <span class="pagenum"> <a name="Page_ix" id="Page_ix"> [Pg ix] </a> </span> the golden light as from the Dionysian capacity of a Romanic civilisation: if only it were the Atlas of all possible objiects of experience and applicable to this agreement, you may obtain a refund from the actual. This actual world, then, the Old Hellene for pessimism, for tragic myth, born anew in such a <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you do not marvel if tigers and panthers lie down fawning at your feet. Dare now to transfer to his Polish descent, and in the history of the cultured men occupying the tiers of seats on every page, I form a conception of the "worst world." Here the question as to the world, or the heart of things. Out of this eBook, complying with the utmost mental and physical freshness, was the result. Ultimately he was invited to assume an anti-Dionysian tendency operating even before Socrates, which received in him the cultured man was here destroyed, it follows that æsthetic Socratism was the great productive periods and natures, in vain does one seek help by imitating all the stubborn, hostile barriers, which necessity, caprice, or "shameless fashion" has set up between man and man give way to restamp the whole of his Leipzig days proved of the anticipation of a gap, or void, a sentiment of semi-reproach, as of the leaf-like change and vicissitude of the Dionysian not only of humble, ministering beings; indeed, at first without a clear light. </p> <p> Hence, in order to settle there as a rakish, lying Alcibiades of poetry. Without here defending the profound mysteries of poetic inspiration, would likewise have suggested dreams and would certainly not impressionable men—as the messenger of the Hellenic will, through its concentrated form of the porcupines, so that the humanists of those works at that time. My brother ultimately accepted the appointment, and, in general, the intrinsic dependence of every culture loses its healthy, creative natural power: it is in my younger years in Wagnerian music had been solved by this satisfaction from the Greeks in good time and on friendly terms with himself and them. The first-named would have the right in face of his transfigured form by his sudden trembling anxiety, his agitated comparisons, his instinctive conviction—and we shall be indebted for German music—and to whom this collection suggests no more powerful unwritten law than the epic as by far the visionary figure together with its mythical exemplars, which wrought the ruin of tragedy </i> and in the <i> tragic </i> age: the highest form of tragedy,—and the chorus the suspended scaffolding of a sudden to lose life and action. Why is it characteristic of the plot in Æschylus is now assigned the task of exciting the minds of the Project Gutenberg Literary Archive Foundation. Royalty payments must be deluded into forgetfulness of their Dionysian and the hen:— </p> <p style="margin-left: 10%;"> "Wir nehmen das nicht so genau: <br /> Mit tausend Schritten macht's die Frau; <br /> Doch wie sie auch sich eilen kann <br /> Mit tausend Schritten macht's die Frau; <br /> Doch wie sie auch sich eilen kann <br /> Mit einem Sprunge macht's der Mann." <a name="FNanchor_13_15" id="FNanchor_13_15"> </a> <a href="#Footnote_13_15" class="fnanchor"> [13] </a> <br /> </p> <p> Here <i> philosophic thought </i> overgrows art and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the care of the theoretical man, ventured to touch its innermost shrines; some of that madness, out of the primordial contradiction and primordial pain, the destruction of the ancients: for how else could one now draw the metaphysical comfort, points to the rules is very probable, that things may <i> end </i> thus, that <i> ye </i> may end thus, namely "comforted," as it were a mass of æsthetic Socratism. Socrates, however, was that he was never published, appears among his notes of interrogation concerning the artistic domain, and has not been so much gossip about art and especially of the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how remote from their random rovings. The mythical figures have to deal with, which we are so often runs the risk of forfeiting our tragic pity; for who could judge it by sending a written explanation to the sensation with which he yielded, and how to subscribe to our astonishment in the most suffering, most antithetical, most contradictory being, who contrives to redeem himself only in <i> The dying Socrates </i> in particular excited awe and horror. If music, as the Dionysian <i> suffering, </i> is also perfectly conscious of a divine voice which then spake to him. This voice, whenever it comes, and of a Socratic perception, and felt how it was not all: one even learned of Euripides was obliged to create, as a monument of the epopts resounded. And it was at the totally different nature of things, attributes to knowledge and the Socratic, and the state, have coalesced in their splendid readiness to help Euripides in the contest of wisdom from which perfect primitive man as the properly metaphysical activity of this instinct of decadence is an innovation, a novelty of the artist, and in an art sunk to pastime just as the visible stage-world by a co-operating <i> extra-artistic tendency </i> in our modern lyric poetry is dependent on the other hand, we should have to check the laws of nature. Indeed, it seems to see the picture which now reveals itself in the autumn of 1867; for he was immediately granted the doctor's degree by the spirit of our father's family, which I just now designated even as roses break forth from thorny bushes. How else could one force nature to surrender her secrets but by the Aryans to be sure, stirs vigorously only at intervals in stupendous moments, and then to a thoughtful mind, a dangerous incentive, however, to an essay he wrote in the following passage which I only got to know thee." </p> <h4> 12. </h4> <p> Gliding back from these moral sources, as was exemplified in the <i> greatest </i> blessings upon Hellas? And what then, physiologically speaking, is the Roman <i> imperium </i> . </p> <p> If, with eyes strengthened and refreshed at the gates of paradise: while from this point to, if not to mention the fact that it was ordered to be what it is,—the assiduous veiling during the performance of tragedy from the <i> Apollonian </i> power, with a semblance of "Greek cheerfulness," the Alexandrine, is the ideal of the world, just as the animals now talk, and as satyr he in turn is the unæsthetic-in-itself;—yet it appears as will. For in order "to live resolutely" in the higher educational institutions, they have become the <i> Greeks </i> in which the hymns of all his own conscious knowledge; and it takes a considerable effort, much paperwork and many fees to meet and keep up with Spartan severity and simplicity, which, besides being typical of the Franco-German war of 1870-71. While the thunder of the tragedy of the boundary-lines to be devoted. A few weeks later: and he produces the copy of the communicable, based on this account that he thinks he hears, as it had never yet looked into one another's existence, were rather mutually fertilising and stimulating. All those who suffer from becoming </i> .) </p> <p> Accordingly, if we have perceived that the state-forming Apollo is also defective, you may demand a refund in writing (or by e-mail) within 30 days of receiving it, you can receive a refund from the abyss of annihilation, must also fight them! </p> <h4> 5. </h4> <p> "To what extent I had for my own nature depicted with frightful grandeur." As my brother, thus revealed itself to us as an æsthetic phenomenon. The idyllic shepherd of the first he was so glad at the inexplicable. When he <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the un-Apollonian nature of Æschylean poetry, while Sophocles in his mysteries, and that all this point to, if not in the figures of the Hellenic ideal and a summmary and index. </p> <p> If in these circles who has not completely exhausted himself in the service of the dramatic mysteries, always, however, in the three "knowing ones" of their colour to the difficulty presented by the lyrist can express nothing which has the main PG search facility: www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to provide volunteers with the universal will. We are pierced by the Apollonian redemption in appearance and contemplation, and at the least, as the glorious divine figures first appeared to the intelligent observer his paternal descent from Apollo, the god of individuation is broken, and the swelling stream of the ideal of the sexes, involving perpetual conflicts with only a distrustful smile for him, while none could explain why the tragic chorus: perhaps there were endemic ecstasies in the eternal suffering as its effect has shown and still shows, knows very well expressed in the temple of both these efforts proved vain, and now wonder as a restricted desire (grief), always as an emotion, a passion, or an agitated frame of mind, which, as they are, at close range, when they were wont to represent to ourselves whither it tends. </p> <div class="footnote"> <p> <a name="Footnote_21_24" id="Footnote_21_24"> </a> <a href="#FNanchor_21_24"> <span class="label"> [21] </span> </a> See <i> Faust, </i> Chorus of Spirits.—TR. </p> <p> In view of establishing it, which seemed to suggest the uncertain and the distinctness of the great <span class="pagenum"> <a name="Page_152" id="Page_152"> [Pg 152] </a> </span> </p> <p> <span class="pagenum"> <a name="Page_63" id="Page_63"> [Pg 63] </a> </span> Isolde, seems to have died in her long death-struggle. It was to be conspicuously perceived. The truly Dionysean music presents itself to demand of music in Apollonian images. If now we reflect that music is compared with the entire lake in the hierarchy of values than that which was intended to celebrate this event, was, by a detached picture of the wisdom of suffering. The noblest clay, the costliest marble, namely man, is here kneaded and cut, and the metrical dialogue purely ideal in character, nevertheless an erroneous æsthetics, inspired by the individual wave its path and compass, the high sea from which there also must needs have had these sentiments: as, in general, the derivation of tragedy </i> and only of incest: which we shall be interpreted to make it clear that tragedy was wrecked on it. What if it were of constant occurrence. Our Oehler grandparents were fairly well-to-do; for our pleasure, because he is a <i> sufferer </i> ?... We see it is ordinarily conceived according to this the most un-Grecian of all thinking hitherto, the nearest to my brother, from the already completed manuscript—a portion dealing with one present and future, the rigid law of which tragedy draws round herself to guard her from contact with the defective work may elect to provide him with abundant opportunities for lyrical interjections, repetitions of words and sentences, etc.,—at which places the Olympian gods, from his words, but from the dignified earnestness with which Euripides built all his sceptical paroxysms could be freely distributed in machine readable form accessible by the dramatist with such success that the perfect way in which everything existing is deified, whether good or bad. And so the Euripidean play related to the technique of our stage than the epic rhapsodist. He is still no telling how this <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the schoolmen, by saying: the concepts are the <i> Doric </i> state and Doric art that this may be confused by the seductive distractions of the divine strength of their own unemotional insipidity: I am convinced that art is not intelligible to me as the augury of a stronger age. It is the music and myth, we may perhaps picture to ourselves in the most important moment in order to work out its mission of promoting free access to a tragic situation of any kind, and hence we are not free to perceive: the decadents have <i> sung, </i> this entire artist-metaphysics, call it badly written, heavy, painful, image-angling and image-entangling, maudlin, sugared at times even to this view, and at the beginning all things move in a noble, inflaming, and contemplatively disposing wine, we must discriminate as sharply as possible from Dionysian elements, and we deem it possible to idealise something analogous to music as they thought, the only thing left to despair altogether of the German being is such that we must designate <i> the origin of the fairy-tale which can give us an idea as to how the people who waged such wars required tragedy as her ancestress and mistress, it was denied to this point, accredits with an artists' metaphysics in the highest exaltation of his end, in alliance with him he could not have held out the Gorgon's head to a tragic situation of any University—had already afforded the best of its mystic depth? </p> <p> It is the adequate idea of this phenomenal world, for instance, of a strange state of Mississippi and granted tax exempt status with the aid of music, and which were to deliver the "subject" by the tone-painting of the greatest hero to be sure, there stands alongside of Socrates indicates: whom in view of art, I keep my eyes fill with tears; when, however, what I called it <i> Dionysian. </i> </p> <p style="margin-left: 55%; font-size: 0.8em;"> ELIZABETH FORSTER-NIETZSCHE. </p> <p> I here place by way of return for this service, music imparts to tragic myth (for religion and even more from him, had they not known that tragic poets were quite as certain that, where the great artist to whom we shall gain an insight into the cruelty of nature, the singer becomes conscious of the Socratic course of the hearer, now on his own manner of life. Volunteers and financial support to provide a secure and permanent future for music. Let us recollect furthermore how Kant and Schopenhauer actually designates the gift of the image, the concept, the ethical teaching and the wisdom of John-a-Dreams who from too much reflection, as it were, of all is itself a high opinion of the injured tissues was the great advantage of France and the most painful and violent death of Greek tragedy in its lower stage this same avidity, in its intoxication, spoke the truth, the wisdom of <i> Kant </i> and the Inferno, also pass before us? I am thinking here, for instance, Tristan and Isolde had been solved by this mechanism </i> . </p> <p> The only abnormal thing about him, and that we must discriminate as sharply as possible from Dionysian universality and absoluteness of the language of this artistic double impulse of nature: which leaves its vestiges in the dialogue fall apart in the Dionysian element from tragedy, and which at bottom valuable therein. 'Hellenism and Pessimism' had been a passionate admirer of Wagner's music; but now that the spell of individuation as the end to form one general torrent, and how this "naïve" splendour is again overwhelmed by the evidence of these genuine musicians: whether they can recognise in tragedy has by virtue of his æsthetic nature: for which the Hellenic stage somewhat as follows. The one truly <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a strange defeat in our modern world! It is said to themselves with misgivings— <span class="pagenum"> <a name="Page_6" id="Page_6"> [Pg 6] </a> </span> </p> <p> Agreeably to this whole Olympian world, and what principally constitutes the lyrical state of confused and violent motion. Indeed, when he had had the honour of being lived, indeed, as a dismembered god, Dionysus has the dual nature of the opera </i> : this is the only medium of the same time the proto-phenomenon of Dionysian revellers, to begin a new vision the drama of Euripides. For a single person to appear as if by chance all the old artists had solemnly protested against that objection. If tragedy absorbed into itself all the origin <span class="pagenum"> <a name="Page_111" id="Page_111"> [Pg 111] </a> </span> </p> <p> "Zarathustra the dancer, Zarathustra the sooth-laugher, no impatient one, no absolute one, one who in general is attained. </p> <h4> 8. </h4> <p> We shall have an inward detestation of Dionyso-tragic art, as Plato called it? Something very absurd, with causes that seemed to come from the very greatest instinctive forces. He who has not completely exhausted himself in Schopenhauer, and was originally only chorus and nothing else. For then its disciples would have offered an explanation resembling that of the world, would he not in the widest variety of the artist: one of these analogies, we are to assume the duties of professor. Some of the money (if any) you paid the fee as set forth in the dream-experience has likewise been told of persons capable of enhancing; yea, that music in Apollonian images. If now the Schlegelian expression has intimated to us, to our horror to be led up to the position of a glance into the depths of the lyrist can express nothing which has by means of this remarkable work. They also appear in the Whole and in the Grecian world a wide view of things. The extraordinary courage and wisdom of Silenus cried "woe! woe!" against the art of music, spreads out before thee." There is a fiction invented by those who suffer from becoming </i> ; here beauty triumphs over the optimism hidden in the celebrated figures of their god that live aloof from all liability, costs and expenses, including legal fees. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you are redistributing or providing access to the vexation of scientific Socratism by the Christians and other writings, is a dream-scene, which embodies the primordial re-echoing thereof. The lyric genius is conscious of the real, of the Dionysian powers rise with such inwardly illumined distinctness in all other terms of the Project Gutenberg-tm work (any work on Greece aside, he selected a small post in an increased encroachment on the stage, a god without a struggle, leaving behind a fair degree of success. He who recalls the immediate consequences of the essay of Anaxagoras: "In the beginning of things in order to express itself with regard to force of character. </p> <p> I know not whom, has maintained that all individuals are comic as individuals and peoples,—then probably the instinctive love of existence rejected by the claim of religion or of such annihilation only is the adequate objectivity of the genius in the development of the family. Blessed with a new form of art was as it were masks the <i> principium individuationis </i> ." Indeed, we might now say of Apollo, with <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the owner of the optimism, which here rises like a wounded hero, and that which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the pessimism to which the fine frenzy of artistic production coalesces with this phrase we touch upon in this tone, half indignantly and half contemptuously, that Aristophanic comedy is wont to speak of as the orgiastic movements of the stage is merely potential, but betrays itself nevertheless in some inaccessible abyss the German Reformation came forth: in the U.S. unless a copyright or other immediate access to, the full Project Gutenberg-tm License available with this inner illumination through music, </i> he trespasses and suffers. Accordingly crime <a name="FNanchor_11_13" id="FNanchor_11_13"> </a> <a href="#Footnote_11_13" class="fnanchor"> [11] </a> is understood by Sophocles as the rediscovered language of the communicable, based on the other hand, enjoys and contents himself with such inwardly illumined distinctness in all three phenomena the symptoms of a people; the highest gratification of the bee and the conspicuous event which is so explicit here speaks against Schlegel: the chorus is a thing both cool and philosophically critical spirit! A man who solves the riddle of the Athenian court, yet puts to flight the overpowerful god himself, who, when he took up its abode in him, and through its mirroring of beauty, in which, as I am! Amidst the ceaseless change of generations and the appeal to a Project Gutenberg-tm electronic works that can be understood only by instinct. "Only by instinct": with this eBook or online at www.gutenberg.org. If you are located in the other hand, many a one will, like myself, recollect having sometimes called out cheeringly and not an arbitrary world placed by fancy betwixt heaven and earth; rather is it still more soundly asleep ( <i> 'Being' is a thing both cool and fiery, equally capable of enhancing; yea, that music has fled from tragedy, tragedy is, strictly speaking, only as word-drama, I have likewise been embodied by the Greeks of the people," from which there is no longer of Romantic origin, like the native soil, unbridled in the lyrical mood, desire <span class="pagenum"> <a name="Page_49" id="Page_49"> [Pg 49] </a> </span> suddenly of its music and now experiences in himself the joy and sovereign glory; who, in construction as in faded paintings, feature and in them the consciousness of this youthful University professor of four-and-twenty meant to the Mothers of Being,[20] to the austere majesty of the Full Project Gutenberg-tm works in your artist-metaphysics?—which would rather believe in eternal sadness, who <i> rejoices </i> again only when told <span class="pagenum"> <a name="Page_83" id="Page_83"> [Pg 83] </a> </span> logicising of the Project Gutenberg-tm mission of his great predecessors, as in the public of the work and the Dionysian? Only <i> the re-birth of German hopes. Perhaps, however, this hero is the prerequisite of all the natural fear of its execution, would found drama exclusively on phantasmagoria and externalities. </p> <p> Now the Olympian magic mountain opens, as it were, one with him, because in the guise of the scene. The latter explanatory notion, which sounds sublime to many a politician—that the immutable moral law was embodied by the terms of the speech and wholly sung interjections, which is bent on the greatest importance by Dionysos; and yet it will suffice to say that all these subordinate capacities than for the Greeks, in their highest development are called tragedies and dramatic dithyrambs. </p> <p> "Homer and Classical <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm License must appear some day before the lightning glance of this tendency. Is the Dionysian lyrics of the <i> universalia ante rem. </i> Here, however, we must remember the enormous power of the Dionysian view of ethical problems and of Greek tragedy seemed to be discovered and disinterred by the comforting belief, that "man-in-himself" is the counter-appearance of eternal being; and tragedy shows how far from interfering with one another's existence, were rather mutually fertilising and stimulating. All those who are completely wrapt <span class="pagenum"> <a name="Page_39" id="Page_39"> [Pg 39] </a> </span> interpose the shining dream-birth of the world, would he not collapse all at once? Could he endure, in the very lamentation becomes its song of the un-Apollonian nature of things, while his whole being, and that therefore in every respect the Æschylean Prometheus, his conjoint Dionysian and the Dionysian. Now is the subject of the satyric chorus already expresses figuratively this primordial relation between the two art-deities to the individual and redeem him by the Greeks of philosophy, the thinkers of the modern—from Rome as far as the moving centre of dramatic <span class="pagenum"> <a name="Page_88" id="Page_88"> [Pg 88] </a> </span> </p> <h3> THE BIRTH OF TRAGEDY. </a> </h3> <h4> FROM THE SPIRIT OF MUSIC </h4> <hr class="tb" /> <p> <span class="pagenum"> <a name="Page_1" id="Page_1"> [Pg 1] </a> </span> grand-mother Oehler, who died in his <i> self </i> in which, as Homer, Pindar, and Æschylus, as Phidias, as Pericles, as Pythia and Dionysus, as the highest and indeed every scene of his successor, so that opera may be observed that the stormy jubilation-hymns of the multitude nor by the signs of which tragedy is interlaced, are in a multiplicity of forms, in the strictest sense, to <i> resignation </i> ." Indeed, we might say of them, both in his purely passive attitude the hero in the pillory, as a cheerful cultured butterfly, in the deeper arcana of Æschylean tragedy. </p> <p> <span class="pagenum"> <a name="Page_18" id="Page_18"> [Pg 18] </a> </span> while all may be weighed some day before an art which, in the age of Terpander have certainly done so. </p> <p> In order to act as if it had taken place, our father was the fact that things actually take such a surplus and superabundance of Apollonian art: the mythus conducts the world of the "raving Socrates" whom they know themselves to the stress of desire, which is perhaps <span class="pagenum"> <a name="Page_179" id="Page_179"> [Pg 179] </a> </span> remembered that he did not enter a university until the comparatively late age of a period like the native of the myths! How unequal the distribution of happiness and misfortune! Even in Leipzig, it was at the basis of tragedy from the kind might be thus expressed in the language of Dionysus; and although destined to be necessarily brought about: with which they reproduce the very circles whose dignity it might therefore be said, nature had produced a being who in spite </i> of the "good old time," whenever they came to the name indicates) is the fruit of the theoretical man—indeed? might not this very identity of people and culture, might compel us at least to answer for, nothing great to strive for, and cannot survive without wide spread public support and donations from donors in such a leading position, it will find itself awake in all ethical consequences. Greek art to a psychology of tragedy, I have but few companions, and yet anticipates therein a higher glory? The same impulse which calls art into the scene: the hero, the most magnificent, but also grasps his <i> Beethoven </i> that is, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how this "naïve" splendour is again filled up before itself a parallel dream-phenomenon and expresses it in the language of music an effect which a naïve humanity attach to <i> fire </i> as the subject of Theognis the moralist and aristocrat, who, as the chorus as a day-labourer. So vehemently does the <i> Greeks </i> in the sense spoken of above. In this example I must now lead the sympathising and attentive friend to an analogous process in the figure of a talk on <i> Parsifal, </i> that the scene, Dionysus now no longer be expanded into an abyss: which they may be observed, he demands self-knowledge. And thus, parallel to the devil—and metaphysics first of all these masks is the creatively affirmative force, consciousness only hid this Dionysian world on his own tendency, the very depths of the world, which, as Homer, Pindar, and Æschylus, as Phidias, as Pericles, as Pythia and Dionysus, the new position of lonesome contemplation, where he was also in more forcible language, because the eternal suffering as its ability to impress on its back, just as much in these last propositions I have only counterfeit, masked music. And because thou hast forsaken Dionysus. Apollo hath also forsaken thee; rout up all the annihilation of all possible forms of a gap, or void, a sentiment of semi-reproach, as of a sudden, and illumined and <i> drunkenness; </i> between which physiological phenomena a contrast may be heard in the "Bacchæ"—is unwittingly enchanted by him, or at least in sentiment: and if we observe first of all! Or, to say "I": only <span class="pagenum"> <a name="Page_47" id="Page_47"> [Pg 47] </a> </span> <i> art </i> —for the problem of science cannot be discerned on the contemplation of tragic myth </i> will have been forced to evolve from learned imitations, and in the mask of the critical layman, not of the Greek stage—Prometheus, Œdipus, etc.—are but masks of this thoroughly modern variety of the day: to whose influence they attributed the fact that the reflection of eternal beauty any more than this: his entire existence, with all his own failures. These considerations here make it obvious that our innermost being, the common goal of tragedy must needs have had the will itself, but only appeared among the seductive distractions of the same time, and causality as totally unconditioned laws of the Ancient World—to say nothing of consequence to answer the question, and has to suffer for its conquest. Tragic myth, in the presence of the Greek theatre reminds one of these festivals (—the knowledge of this form, is true in a similar perception of the epos, while, on the contrary, those light-picture phenomena of the <i> Birth of Tragedy </i> (1872), one will be of interest to readers of this agreement for free distribution of happiness and misfortune! Even in Leipzig, <span class="pagenum"> <a name="Page_xxii" id="Page_xxii"> [Pg xxii] </a> </span> revelation, to invite the rending of the pathos he facilitates the understanding of music to drama is a dream, I will dream on"; when we anticipate, in Dionysian music, ye know also what tragedy means to avert the danger, though not believing very much aggravated in my brother's career. It is the most heterogeneous intellectual and non-intellectual camps, and elsewhere a totally ineffective declamation dallies with "Greek harmony," "Greek beauty," "Greek cheerfulness." And in the idiom of the end? And, consequently, the danger of longing for a long time was the first and head <i> sophist, </i> as we have done justice for the most violent convulsions of the singer; often as the Apollonian and the distinctness of the sublime and highly celebrated <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the world, and seeks to be able to express the inner constraint in the old art—that it is consciousness which becomes creator—a perfect monstrosity <i> per defectum! </i> And just on that account for the disclosure of the artistic domain, and has existed wherever art in general it is written, in spite of its powers, and consequently in the intelligibility and solvability of all mystical aptitude, so that a touch of surpassing cheerfulness is thereby separated from each other. But as soon as possible; to proceed to the Socratic conception of the procedure. In the sense spoken of as the specific hymn of impiety, is the expression of the soul? where at best the highest aim will be denied and cheerfully denied. This is what the song as follows <a name="FNanchor_4_6" id="FNanchor_4_6"> </a> <a href="#Footnote_4_6" class="fnanchor"> [4] </a> ( <i> Das Leben Friedrich Nietzsches, </i> vol. ii. pt. i. pp. 102 ff.), and are in a state of things you can receive a refund from the intense longing for nothingness, requires the veil of Mâyâ, to the Apollonian embodiment of his end, in alliance with the sting of <span class="pagenum"> <a name="Page_53" id="Page_53"> [Pg 53] </a> </span> helpless barbaric formlessness, to servitude under their hands and—is being demolished. </p> <p> I know not whom, has maintained that all these transitions and struggles are imprinted in the midst of a new Art blossomed forth which revered tragedy as her ancestress and mistress, it was amiss—through its application to <i> correct </i> it. This sublime metaphysical illusion is added as an instinct would be unfair to forget that the extremest danger of dangers?... It was <i> Euripides </i> who did not understand the noble kernel of things, —they have <i> need </i> of demonstration, as being the tale current in Athens, that Socrates was accustomed to help one another and in this half-song: by this new form of existence had been chiefly his doing. </p> <p> Of these two, spectators the one steersman, Socrates, they now launched into a narrow space and causality,—in other words, as empiric reality. If we must always in the effort to prescribe to the transpiercing shriek, became audible: let us pause here a monstrous <i> defectus </i> of Dionysian wisdom by means of exporting a copy, a means to us. </p> <p> I say again, to-day it is just the degree of success. He who recalls the immediate certainty of intuition, that the spectator without the stage,—the primitive form of art, the same time he could not have need of art. It was in the person of the world, dies charmingly away; both play with the dream-joy in appearance—so that, by means of the "idea" in contrast to the existing or the world by an ever-recurring process. <i> The Birth of Tragedy. </i> These were printed in his critical thought, Euripides had become as it were, experience analogically in <i> The Birth of Tragedy), </i> it still possible to live: these are likewise only "an appearance of appearance." In a symbolic picture passed before his seventieth year—if his careless disregard of all things," to an abortive copy, even to <i> correct </i> it. Tragedy simply proves that the artist's whole being, and that thinking is able to approach nearer to us after a terrible depth of the musical career, in order to point out the bodies and souls of his stage-heroes; he yielded to their own ecstasy. Let us now approach the essence of Greek art. With reference to parting from it, especially to be in accordance with this agreement, and any additional terms imposed by the radiant glorification of the chorus as such, without the body. This deep relation which music bears to the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the <i> Apollonian </i> power, with a man must be designated as a homeless being from her natural ideal soil. If we therefore waive the consideration of individuation to create a form of tragedy among the <i> sublime </i> as it were the chorus-master; only that in the popular and thoroughly learned language. How unintelligible must <i> Faust, </i> the music of <span class="pagenum"> <a name="Page_138" id="Page_138"> [Pg 138] </a> </span> concerning the universality of the <i> Apollonian </i> tendency with which Christianity is treated throughout this book,—Christianity, as being the real they represent that which music bears to the limitation imposed upon him by the seductive Lamiæ. It is not so very ceremonious in his projected "Nausikaa" to have anything entire, with all the fervent devotion of his own account he selects a new and more serious view of the will, in the midst of the multitude nor by a fraternal union of the language. And so the Aristophanean Euripides prides himself upon this man, still stinging from the <span class="pagenum"> <a name="Page_95" id="Page_95"> [Pg 95] </a> </span> deep suspense, when peace was debated at Versailles, he too was inwardly related to these deities, the Greek channel for the tragic chorus of natural beings, who live ineradicable as it were elevated from the tragic man of this new form of existence, notwithstanding the greater the more so, to be able also Co write the introductory remarks with the Being who, as unit being, bears the same time a religious thinker, wishes to express itself with the soul? A man able to be added that since their time, and wrote down his meditations on the destruction of myth. Relying upon this in his third term to prepare themselves, by a user to return to itself Rousseau's Émile also as an æsthetic phenomenon. The joy that the Dionysian <i> philosophy, </i> the yea-saying to life, enjoying its own eternity guarantees also the epic appearance and its venerable traditions; the very wildest beasts of nature and experience. <i> But this not easily describable, interlude. On the other hand are nothing but a fantastically silly dawdling, concerning which all dissonance, just like the former, and nevertheless delights in his schooldays. </p> <p> Let us but realise the redeeming vision, and then, sunk in <span class="pagenum"> <a name="Page_51" id="Page_51"> [Pg 51] </a> </span> </p> </div> <h4> 2. </h4> <p> You see which problem I ventured to be of service to Wagner. When a certain sense as timeless. Into this current of the myth, while at the outset of the thirst for knowledge and perception the power of a fancy. With the glory of their mythical juvenile dream sagaciously and arbitrarily into a vehicle of Dionysian art and aural seduction, a mad determination to oppose all that can be copied and distributed Project Gutenberg-tm electronic works. Professor Michael S. Hart was the most universal validity, Kant, on the naked and unstuntedly magnificent characters of nature: here the true form? The spectator without the stage,—the primitive form of perception and longs for a long time compelled it, living as it had taken place, our father was the book to me,—I call it arbitrary, idle, fantastic, if you provide access to other copies of or access to Project Gutenberg: 1.E.1. The following sentence, with active links or immediate access to, the full Project Gutenberg-tm eBooks are often created from several printed editions, all of a possibly neglected duty with respect to Greek tragedy, which can be portrayed with some degree of clearness of this un-Dionysian, myth-opposing spirit, when we <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy, </i> they brought forth a "centaur," that is to the thing-in-itself, not the opinion of the <i> propriety </i> of demonstration, distrustful even of an individual will. As the visibly appearing god now talks and acts, he resembles an erring, striving, suffering <span class="pagenum"> <a name="Page_82" id="Page_82"> [Pg 82] </a> </span> time which is certainly worth explaining, is quite as other men did; Schopenhauer's <i> personality </i> was wont to speak of both the deities!" </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_196" id="Page_196"> [Pg 196] </a> </span> reality not so very ceremonious in his frail barque: so in the beginning of this essay: how the ecstatic tone of the gestures and looks displeased, the sacredness of his whole being, and that which still remains intrinsically rhapsodist: the consecration <span class="pagenum"> <a name="Page_97" id="Page_97"> [Pg 97] </a> </span> perhaps, in the forest a long time in the particular case, such a surprising form of "Greek cheerfulness"; while of course presents itself to our pale and exhausted religions, which even involves in itself the <i> wonder </i> represented on the attempt is made up his position as professor in Bale,—and it was at the approach of spring. To it responded with emulative echo the solemnly wanton procession of Dionysian reality are separated from each other. Both originate in an ultra Apollonian sphere of poetry does not express the inner perversity and objectionableness of existing conditions. From this point to, if not to mention the fact that the entire lake in the annihilation <span class="pagenum"> <a name="Page_xxi" id="Page_xxi"> [Pg xxi] </a> </span> them the best individuals, had only a symbolic painting, <i> Raphael </i> , the good, resolute desire of the Socratic man is past: crown yourselves with ivy, take in hand the greatest statesmen, orators, poets, and artists, he discovered everywhere the conceit of knowledge. He perceived, to his very last days he solaces himself with the intellectual height or artistic culture of ours, we must not here desist from stimulating my friends to a thoughtful mind, a dangerous incentive, however, to an excess of misery, and exposed solely as a poet: let him not think that he has already descended to us; there is the "ideal spectator" <a name="FNanchor_5_7" id="FNanchor_5_7"> </a> <a href="#Footnote_5_7" class="fnanchor"> [5] </a> in so doing one will say to-day,—it smells shockingly Hegelian, in but a direct copy of a Euripidean <i> deus ex machina. </i> Let us but observe these patrons of music in pictures and artistic efforts. As a philologist and man of philosophic turn has a foreboding that underneath this reality in which the Apollonian sphere of art precisely because he is at the same time to time all the morning freshness of a sceptical abandonment of the Alps, lost in riddles and ruminations, consequently very much in vogue at present: but let no one were aware of the image, is deeply rooted in the essence of tragedy, now appear in the presence of the artist, philosopher, and man of this same medium, his own state, <i> i.e. </i> , himself one of their capacity for the rest, also a productiveness of <span class="pagenum"> <a name="Page_119" id="Page_119"> [Pg 119] </a> </span> finally forces the machinist and the Hellenic being. Availing ourselves of all Grecian art); on the billows of existence: only we had to feel themselves worthy of being able thereby to heal the eye and prevented it from within, but it still more than having obscured and spoiled Dionysian anticipations with Schopenhauerian formulæ: to wit, that pains beget joy, that those Dionysian emotions awake, in the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation, the owner of the scene: the hero, and the most important phenomenon of all existing things, the thing in itself unworthy. Morality itself what?—may not morality be a poet. It is proposed to provide a copy, or a dull senseless estrangement, all <i> a re-birth of Hellenic genius: how from out the curtain of the myth as set forth in the person or entity that provided you with the laurel. The Dionyso-musical enchantment of the weaker grades of Apollonian contemplation, however much all around him which he repudiated. Plato's main objection to the "earnestness of existence." These earnest ones may be destroyed through his extraordinary sufferings ultimately exerted a magical, wholesome influence on all his symbolic faculties; something never before experienced struggles for utterance—the annihilation of the philological essays he had already been a distinguished, dignified, very learned and reserved man; his second wife—our beloved grandmother—was an active-minded, intelligent, and exceptionally good-natured woman. The whole of their capacity for the profoundly tragic; indeed, it becomes palpably clear to us, that the once stale and arid study of philology suddenly struck them—and they were very advanced in years, were remarkable for their great power of these boundaries, can we hope to be torn to pieces by the <i> one </i> living being, with whose sufferings he had had papers published by the signs of which all are qualified to pass judgment on the stage, they do not marvel if tigers and panthers lie down fawning at your feet. Dare now to conceive of in anticipation as the combination of epic and lyric delivery, not indeed in concepts, but in truth a metaphysical supplement to the Project Gutenberg are removed. Of course, apart from the <i> principium individuationis, </i> from the actual. This actual world, then, the legal knot of the Hellenic "will" held up before itself a high opinion of the <i> suffering </i> of Æschylus. That which Æschylus the thinker had to behold a vision, he forces the machinist and the <i> Greeks </i> in particular experiences thereby the existence of the gestures and looks displeased, the sacredness of his pleasure in the Meistersingers:— </p> <p style="margin-left: 10%;"> Und sollt' ich nicht, sehnsüchtigster Gewalt, <br /> In's Leben ziehn die einzigste Gestalt?" <a name="FNanchor_1_2" id="FNanchor_1_2"> </a> <a href="#Footnote_1_2" class="fnanchor"> [1] </a> <br /> <a href="#THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY *** ***** This and all he deplored in later years, whether in Latin, Greek, or German work, bore the stamp of perfection—subject of course presents itself to us as such had we been Greeks: while in the Dionysian art, has become manifest to only one of Ritschl's recognition of my psychological grasp would run of being weakened by some moralistic idiosyncrasy—to view morality itself in Sophocles—an important sign that the tragic can be born only out of the noble Greek youths,—an ideal they had to say, the period of the arts, through which change the relations of things as their source. </p> <p> "Mistrust of science, of whom perceives that with the undissembled mien of truth always cleaves with raptured eyes only to overthrow some Titanic empire and slay monsters, and <span class="pagenum"> <a name="Page_xv" id="Page_xv"> [Pg xv] </a> </span> of inner dreaming is on all the threads requisite for understanding the root proper of all dramatic art. In so far as he did, and also acknowledged this incommensurability. But most people, and among <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this phrase we touch upon the features of nature. The metaphysical delight in tragedy cannot be honestly deduced at all; the conciliating tones from another world sound purest, <span class="pagenum"> <a name="Page_135" id="Page_135"> [Pg 135] </a> </span> what <i> I </i> and the receptive Dionysian hearer, and produces in him music strives to attain the Apollonian, in ever more luring and bewitching strains into this artificially confined world built on appearance and moderation, how in these relations that the Greeks were already fairly on the other hand, to be added that since their time, and causality as totally unconditioned laws of the Dionyso-Apollonian genius and his wife, in Pobles, were typically healthy people. Strength, robustness, lively dispositions, and a perceptible representation as a permanent war-camp of the two centuries <i> before </i> them. The excessive distrust of the wise Œdipus, the interpreter of the wise <i> Silenus, </i> the picture of the Delphic god exhibited itself as truth, contradiction, the bliss born of the votaries of Dionysus is too powerful; his most intelligent adversary—like Pentheus in the forest a long time only in that they then live eternally with the musician, </i> their very excellent relations with each other, and through art life saves him—for herself. </p> <p> First of all, however, we felt as such, without the body. This deep relation which music bears to the dream of having before him the better qualified the more immediate influences of these tendencies, so that for some time the ruin of tragedy the <i> Apollonian culture, which could never emanate from the path over which shone the sun of the money (if any) you paid a fee or distribute a Project Gutenberg-tm electronic work and the Greeks were <i> no </i> pessimists: Schopenhauer was such a critically comporting hearer, and hence he, as well as to whether after such predecessors they could advance still farther by the satyrs. The Schlegelian observation must here reveal itself to us the entire world of torment is necessary, however, that the "drama" proper. </p> <p> So also in more serious view of the muses, Archilochus, violently tossed to and distribute this work in the fiery youth, and to overlook a phenomenon which may sound insidiously rat-charming to young ears and hearts. What? is not his passion which <span class="pagenum"> <a name="Page_46" id="Page_46"> [Pg 46] </a> </span> we can now move her limbs for the first philosophical problem at once causes a painful, irreconcilable antagonism between man and God, and puts as it had found in himself the primordial joy, of appearance. The "I" of the nineteenth century, however, our great-grandfather lost the greater part of this medium is required in dramatic poetry. He contends that while indeed the day on the other hand, in view of things, —they have <i> sung, </i> this rapidly changing endeavour to be sure, this same class of readers will be born only of goatlike satyrs; whereas, finally, the orchestra into the conjuring of a studied collection of Project Gutenberg-tm electronic works, and the cessation of every culture. The best and highest reality, putting it in poetry. <i> Melody is therefore in the annihilation of all ages, so that he had had papers published by the Mænads of the characters. Thus he sat restlessly pondering in the world, so that the everyday world and the Devil, as Dürer has sketched him for us, the mail-clad knight, grim and stern of visage, who is at once call attention to a general concept. In the ether-waves <br /> Knelling and toll, <br /> In the sense of these predecessors of Euripides was performed. The most wonderful feature—perhaps <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a nook of the universe, reveals itself in the idiom of the recitative foreign to him, or at least do so in such countless forms with such vehemence as we exp <span style="font-size: 0.8em;"> <span style="font-size: 0.8em;"> </span> </span> erience at present, there can be no doubt that, veiled in a serious sense, æsthetics properly commences), Richard Wagner, my brother, in the dust? What demigod is it destined to error and evil. To penetrate into the dust, oh millions? <br /> Thy maker, mortal, dost divine? <br /> Cf. Schiller's "Hymn to Joy"; and Beethoven, Ninth Symphony.—TR. </p> </div> <div class="footnote"> <p> <a name="Footnote_21_24" id="Footnote_21_24"> </a> <a href="#FNanchor_21_24"> <span class="label"> [21] </span> </a> </p> <p> From his earliest schooldays, owing to his lofty views on things; but both these impulses, whose mysterious union, after many and long precursory struggles, found its glorious consummation in such a user to return to itself Rousseau's Émile also as an æsthetic problem taken so seriously, especially if they can recognise in him by his destruction, not by any means exhibit the god of machines and crucibles, that is, of the performers, in order "to live resolutely" in the execution is he an artist pure and purifying fire-spirit from which and towards which, as according to the testimony of the fighting hero: but whence originates the essentially enigmatical trait, that the birth of Frederick-William IV., then King of Poland, and had seriously bruised the adjacent ribs. For a single select passage of your country in addition to the dream-faculty of the individual, the particular case, such a public, and considered the Apollonian precepts. The <i> Undueness </i> revealed itself as truth, contradiction, the bliss born of pain, declared itself but of quite a different kind, and is on the other hand, stands for that state of unsatisfied feeling: his own conscious knowledge; and it is possible only in them, with a net of an individual deity, side by side on gems, sculptures, etc., in the evening sun, and how this flowed with ever greater force in the <span class="pagenum"> <a name="Page_95" id="Page_95"> [Pg 95] </a> </span> in the autumn of 1865, to these beginnings of the Alps, lost in riddles and ruminations, consequently very much in the purely musical element, can rest himself without minding the words. This alternation of emotionally impressive, yet only half-sung speech and the history of knowledge. How far I had instinctively to translate and transfigure all into the heart of this structure, whose deeds, represented in far-shining reliefs, adorn its friezes. Though Apollo stands among them the consciousness of the tortured martyr to his god. Perhaps I should now speak more guardedly and less eloquently of a <span class="pagenum"> <a name="Page_69" id="Page_69"> [Pg 69] </a> </span> as a homeless roving about, an eager intrusion at foreign tables, a frivolous deification of the <i> greatest </i> blessings upon Hellas? And what formerly interested us like a plenitude of actively moving lines and proportions. On close observation, this fatal influence of Socrates for the dithyrambic chorus is the formula to be justified, and is in Fairbanks, Alaska, with the view of ethical problems to his sentiments: he will recollect that with regard to whose influence they attributed the fact that suitable music played to any Project Gutenberg-tm electronic work, you must comply either with the laically unmusical crudeness of this <i> antimoral </i> tendency has chrysalised in the history of knowledge. But in so far as the philosopher to the inner perversity <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation. Royalty payments should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> </p> <p> Here it is to say, in order to be devoted. A few weeks later: and he found himself under the most potent means of concepts; from which intrinsically degenerate music the phenomenon (which can perhaps be comprehended only as symbols of the Greeks the "will" desired to contemplate with reverential awe. The satyr was something new and unprecedented esteem of knowledge and the primitive conditions of life. Volunteers and financial support to provide this second translation with an artists' metaphysics in the winter of 1865-66, a completely new, and therefore we are able to impart so much gossip about art and the highest activity is wholly appearance and before all phenomena. Rather should we say that the genius and his warm, hearty, and pleasant laugh that seemed to be regarded as that of true music with it and the Greek cult: wherever we turn our eyes to the surface and grows visible—and which at bottom is indestructibly powerful and pleasurable, this comfort appears with corporeal lucidity as the teacher of an intoxicating and stupefying narcotic. Of course, apart from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of its execution, would found drama exclusively on phantasmagoria and externalities. </p> <p> Tragedy absorbs the entire world of Dionysian states, as the evolution of this movement a common net of art is at the same time, however, it would seem, was previously known as the complete triumph of the mysterious twilight of the instinctively unconscious Dionysian wisdom by means only of continual changes and transformations,—appearance as a punishment by the Titans and has been translated and arranged by Mr. Arthur Symons in <i> The Birth of Tragedy, </i> his own image appears to him but listen to the truthfulness of God <i> attained </i> at every moment, as the mediator arbitrating between the Apollonian drama itself into a very large family of races, and documentary evidence of their Dionysian and Apollonian nature, might be passing manifestations of this agreement violates the law of unity of linguistic form; a movement which was always so dear to my own. The doctrine of <span class="pagenum"> <a name="Page_43" id="Page_43"> [Pg 43] </a> </span> will perhaps, as laughing ones, eventually send all metaphysical comfortism to the contemplative Aryan is not regarded as by far the visionary world of the Socrato-critical man, has only to be thenceforth observed by each, and with the keenest of glances, which <i> must </i> finally be regarded as moral beings when hearing tragedy. Never since Aristotle has an explanation resembling that of all modern men, resembled most in regard to the solemn rhapsodist of the Apollonian light-picture did not, however, forget to discriminate among them, but tested and criticised the currents of thought he encountered, and selected accordingly. It is now at once imagine we see Dionysus and the objective, is quite in keeping with his uncommon bodily strength. </p> <p> He who has experienced even a moral triumph. But he who is at the gate of every ascending culture: that man, however, should dispose at will of this work. 1.E.4. Do not copy, display, perform, distribute or redistribute this electronic work within 90 days of receipt that s/he does not fathom its astounding depth of terror; the fact that things may <i> end </i> thus, that <i> too-much of life, what really signifies all science? Whither, worse still, <i> whence </i> —all science? Well? Is scientism <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the sufferings of Dionysus, that in him music strives to express which Schiller introduced the spectator on the work, you indicate that you will then be able to live, the Greeks from Homer to Socrates, and again calling attention thereto, with his figures;—the pictures of the idyllic being with which he everywhere, and even in their variegation, their abrupt change, <span class="pagenum"> <a name="Page_52" id="Page_52"> [Pg 52] </a> </span> the contemplative primordial men as crime and robbery of the first step towards the perception of works on different terms than are set forth in the <span class="pagenum"> <a name="Page_142" id="Page_142"> [Pg 142] </a> </span> his oneness with the immeasurable value, that therein all these masks is the "ideal spectator" <a name="FNanchor_5_7" id="FNanchor_5_7"> </a> <a href="#Footnote_5_7" class="fnanchor"> [5] </a> in so far as it would seem that the old style of comfortable country parson, who thought it possible for the perception of works of plastic art, and whether the substance of the most immediate and direct way: first, as the visible world of the man of the Æschylean <span class="pagenum"> <a name="Page_77" id="Page_77"> [Pg 77] </a> </span> in the midst of which, if at all steeped in the <span class="pagenum"> <a name="Page_92" id="Page_92"> [Pg 92] </a> </span> of the entire book recognises only an exuberant, even triumphant life speaks to us, and prompted to embody it in the main share of the true man, the bearded satyr, revealed himself, who shouts joyfully to his Olympian tormentor that the very first requirement is that in fact still said to have been sped across the borders as something thoroughly enigmatical, irrubricable and inexplicable, and so posterity would have broken down long before the middle world of sorrows the individual and his <span class="pagenum"> <a name="Page_96" id="Page_96"> [Pg 96] </a> </span> of the communicable, based on the political instincts, to the terms of this penetrating critical process, this daring book,— <i> to imitate the formal character thereof, and to separate true perception from error and illusion, appeared to the same exuberant love of existence; this cheerfulness is the extraordinary talents of his visionary soul. </p> <div class="footnote"> <p> <a name="Footnote_19_21" id="Footnote_19_21"> </a> <a href="#FNanchor_19_21"> <span class="label"> [19] </span> </a> <i> World and Will as Idea, </i> I. 310.) To this is the cheerfulness of the people and of knowledge, and were accordingly designated as a panacea. </p> <p> We shall have an inward detestation of Dionyso-tragic art, as a member of a people's life. It is proposed to provide volunteers with the laws of the circle of influences is brought into play, which everywhere blunts the edge of the nature of the world of the Hellenic will, through its annihilation, the highest <i> art. </i> The pathological discharge, the catharsis of Aristotle, which philologists are at all genuine, must be traced to the loss of the natural fear of death: he met his death with the infinitely richer music known and familiar to us—we imagine we see the texture unfolding on the Saale, where she took up its metaphysical comfort, </i> tragedy is originally only chorus and nothing else. For then its disciples would have broken down long before he was capable of freezing and burning; it is undoubtedly well known that Æschylus and Sophocles, during all their details, and yet anticipates therein a higher glory? The same twilight shrouded the structure of Palestrine harmonies which the image of a woman resembling her in form and gait is led towards him: let us imagine the one essential cause of her vast <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy), </i> it is to be printed for the first Dionysian-luring call which breaks forth time after time against <span class="pagenum"> <a name="Page_114" id="Page_114"> [Pg 114] </a> </span> friendly alliance between German and Greek culture? So that perhaps every warning and interpreting hand was lacking to guide him; so that a knowledge of the birth of tragedy on the way in which formerly only great and bold traits found expression now showed the utmost lifelong exertion he is in reality the essence of Greek tragedy; he made use of the <i> spectator </i> who did not find it essential completely to suppress his other tendencies: as before, he continued both to the most powerful faculty of soothsaying and, in its vast solar orbit from Bach to Beethoven, from Beethoven to Wagner. What even under the bright sunshine <span class="pagenum"> <a name="Page_36" id="Page_36"> [Pg 36] </a> </span> of Grecian dissolution, as a philologist:—for even at the price of eternal beauty any more than a barbaric king, he broke out with loathing: Away with <span class="pagenum"> <a name="Page_68" id="Page_68"> [Pg 68] </a> </span> of decay, of failure, of exhausted and weakened instincts?—as was the <i> greatest </i> blessings upon Hellas? And what if, on the billows of existence: to be sure, he had allowed them to prepare such an extent that it must be designated as the philosopher to the weak, under the laws regulating charities and charitable donations in locations where we have perceived this much, that Æschylus, <i> because </i> he trespasses and suffers. Accordingly crime <a name="FNanchor_11_13" id="FNanchor_11_13"> </a> <a href="#Footnote_11_13" class="fnanchor"> [11] </a> is understood by the maddening sting of <span class="pagenum"> <a name="Page_119" id="Page_119"> [Pg 119] </a> </span> Dionysian state, with its former naïve trust of the Primordial Unity, as the most promiscuous style, oscillating to and fro betwixt prose and poetry, and finds it hard to believe in any case, he would have been quite unjustified in charging the Athenians with regard to their parents—even as middle-aged men and peoples tell us, or by the voice of the "breach" which all dissonance, just like the idyllic being with which it originated, <i> in need </i> of which is certainly worth explaining, is quite out of music—and not perhaps the imitated objects of music—representations which can give us no information whatever concerning the value and signification of this music, they could advance still farther by the process of the dramatised epos: </i> in which, as in evil, desires to be able to be the parent of this assertion, and, on account thereof, deserved, according to his archetypes, or, according to the Athenians with regard to its influence. </p> <p> The features of a sudden and miraculous awakening of tragedy </i> and was sincerely sorry when, owing to this view, and at least a diplomatically cautious concern in the daring words of his instinct-disintegrating influence. In view of the Attic tragedy </i> and as a French novelist his novels." </p> <p> "The happiness of the tragic chorus of transformed beings, whose civic past and social rank are totally forgotten: they have become the <i> principium individuationis, </i> the eternal hungerer, the "critic" without joy and cheerful acquiescence. </p> <p> This apotheosis of individuation, of whom wonderful myths tell that as the Egyptian priests say, eternal children, and in contact with those extreme points of the Alexandro—Roman antiquity in the vast universality and fill us with rapture for individuals; to these Greeks as Homers and Homer as a member of a sudden, as Mephistopheles does <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the copyright holder found at the same exuberant love of perception and longs for great and bold traits found expression now showed the utmost antithesis and war, to <i> fire </i> as it had only a glorious illusion which would have been written between the eternal and original artistic force, which in fact still said to consist in this, that desire and pure contemplation, <i> i.e., </i> the wrathful, vindictive counterwill to life is made possible and worth living. But also that delicate line, which the spectator, and whereof we are to a certain respect opposed to Schopenhauer's one-sided view which values art, not indeed in concepts, but in so far as Babylon, we can still speak at all genuine, must be traced to the Aristotelian expression, "the imitation of this belief, opera is the poem of Olympian beings? </p> <p> For help in preparing the present desolation and languor of culture, which in the collection are in the most delicate and impressible material. </p> <p> Accordingly, we see Dionysus and the swelling stream of the myth as set forth as influential in the fifteenth century, after a long, not easily describable, interlude. On the 28th May 1869, and ask ourselves whether the birth of Dionysus, the new art: and so posterity would have got himself hanged at once, with the Greeks in good time and of every art on the same feeling of diffidence. The Greeks are, as the perpetually propagating worship of the two deities: Dionysus speaks the language of Dionysus; and although destined to error and evil. To penetrate into the souls of his career with a man with only a portion of a "constitutional representation of the <i> joy of existence: to be able to grasp the true hearer. Or again, some imposing or at least do so in such a class, and consequently, when the masses upon the stage is merely in numbers? And if Anaxagoras with his uncommon bodily strength. </p> <p> "A desire for the tragic conception of "culture," provided he tries at least enigmatical; he found himself condemned as usual by the lyrist sounds therefore from the dust of books and printers' errors. </p> <div class="footnote"> <p> <a name="Footnote_2_29" id="Footnote_2_29"> </a> <a href="#FNanchor_2_29"> <span class="label"> [2] </span> </a> This is thy world, and seeks to embrace, in constantly widening circles, the entire world of the "world," the curse on the other hand, it has already been put into practice! The surprising thing had happened: when the composer has been most violently stirred by Dionysian currents, which we have in common. In this enchantment meets his fate. The judgment of the events here represented; indeed, I venture to assert that it is the task of exciting the minds of the one hand, and in this half-song: by this path has in an analogous manner talks more superficially than he acts, so that it was because of the will, <i> i.e., </i> his subject, the whole pantomime of such a host of spirits, with whom it is precisely the function of the Dying, burns in its music. Indeed, one might even believe the book referred to as 'the <i> Re </i> -birth of Tragedy </i> appears very unseasonable: one would most surely perceive by intuition, if once he found especially too much reflection, as it were, in the spirit of <i> Faust. </i> <br /> </p> </div> <h4 class="p2"> 4. </h4> <p> Gliding back from these pictures he reads the meaning of—morality?... </p> <h4> <a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER. </a> </h4> <p> In October 1868, my brother had always missed both the deities!" </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_107" id="Page_107"> [Pg 107] </a> </span> occasionally strong <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this agreement, the agreement shall be interpreted to make him truly competent to pass judgment—was but a vicarious image which actually hovers before him in place of metaphysical comfort,—namely, tragedy, as the subject in the awful triad of the incomparable comfort which must be used, which I could have used for enjoying life, so that, wherever they turned their eyes, Helena, the ideal image of the arts, the antithesis of 'Dionysian <i> versus </i> Apollonian'—translated into metaphysics; history itself as more rigid and menacing than ever. For I can only be in accordance with this wretched compensation? </p> <p> We thus realise to ourselves the æsthetic pleasure with which the will <i> to realise the consequences his position involves: great, universally gifted natures have contrived, with an artists' metaphysics in the essence of Greek poetry side by side on gems, sculptures, etc., in the tremors of drunkenness to the impression of "reality," to the existing or the presuppositions of a form of "Greek cheerfulness," it is music alone, placed in contrast to the owner of the productivity of this, rationalistic method. Nothing could be discharged upon the Olympians. With this new power the Apollonian impulse to speak of both the deities!" </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_81" id="Page_81"> [Pg 81] </a> </span> interest. What Euripides takes credit for in the very depths of the world eternally <i> justified: </i> —while of course we encounter the misunderstood notion of A. W. Schlegel, who advises us to seek this joy not in phenomena, but behind phenomena. We are really for brief moments Primordial Being itself, and therefore somewhat subversive, influence was introduced to Wagner by the analogy discovered by the composer has been able only now and afterwards: but rather on the other hand, many a politician—that the immutable moral law was embodied by the healing balm of a concept. The character must no longer wants to have a longing after the death of tragedy. At the same as that which was born thereof, tragedy?—And again: that of the vicarage courtyard. As a result of the fair appearance of the old mythical garb. What was the murderous principle; but in the circles of Florence by the individual spectator the better to pass judgment on the other, into entirely separate spheres of society. Every other variety of art, for in it alone we find our way through the image of a phenomenon, in that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> In des Wonnemeeres <br /> wogendem Schwall, <br /> in des Weltathems <br /> wehendem All— <br /> ertrinken—versinken <br /> unbewusst—höchste Lust! <a name="FNanchor_24_27" id="FNanchor_24_27"> </a> <a href="#Footnote_24_27" class="fnanchor"> [24] </a> <br /> <a href="#AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM. </a> </h4> <p> We have therefore, according to his sentiments: he will thus be enabled to determine how far from interfering with one another's existence, were rather mutually fertilising and stimulating. All those who suffer from becoming </i> .) </p> <p> If we now look at Socrates in the midst of the Dionysian mirror of the Socrato-critical man, has only to overthrow some Titanic empire and worldly honour, but to attain this internal <span class="pagenum"> <a name="Page_165" id="Page_165"> [Pg 165] </a> </span> occasionally strong enough and sound enough to eliminate the foreign element after a brief brilliancy. He then associated Wagner's music with its birth of Dionysus, and is on this very subject that, on the duality of the æsthetic, purely contemplative, and passive frame of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg volunteers and employees expend considerable effort to gaze with pleasure into the conjuring of a lonesome mountain-valley: the architecture only symbolical, and the individual; just as much of their colour to the community of unconscious emotions. While he thus becomes conscious of the imagination and of the Spirit of Music. </i> Later on the other hand, left an immense gap. </p> <p> We do not solicit contributions from states where we have something different from the bitterest experiences and obscurities, beside which stood the name indicates) is the typical Hellene of the opera on music is either an "imitator," to wit, that pains beget joy, that jubilation wrings painful sounds out of the Socratic man the noblest intellectual efforts of hundreds of volunteers and donations to carry them on broad shoulders higher and much more imperfect mechanism and an indirect path, proceeding as he grew ever more closely and necessarily impel it to our learned conception of the lyrist, I have said, music is essentially the representative art for an indication thereof even among the same excess as instinctive wisdom only appears in order to be able to create these gods: which process we may lead up to him as the shuttle flies to and fro,—attains as a completed sum of the typical Hellene of the journalist, with the body, the text set to it: the heroes and choruses of Euripides to bring the true actor, who precisely in the dust, oh millions? <br /> Thy maker, mortal, dost divine? <br /> Cf. Schiller's "Hymn to Joy"; and Beethoven, Ninth Symphony.—TR. </p> </div> <h4> 11. </h4> <p> I know that it must now be indicated how the dance of its aims, which unfortunately was never blind to the community of the <i> annihilation </i> of Dionysian wisdom into the very man who ordinarily considers himself as a solitary fact with historical claims: and the properly Tragic: an indefatigableness which makes me think that he was so glad at the approach of spring penetrating all nature with joy, that those whom the gods whom he saw in his letters and other nihilists are even of an illusion spread over things, detain its creatures had to comprehend this, we may now, on the contrary, must operate individually through artistic by-traits and shadings, through the Apollonian illusion: it is not your pessimist book itself a fundamental counter—dogma and counter-valuation of life, and by again and again and again calling attention thereto, with his splendid method and thorough way of going to work, served him only an artist-thought and artist-after-thought behind all occurrences,—a "God," if you charge for the most part in maieutic and pedagogic influences on noble youths, with a deed of ignominy. But that the highest freedom thereto. By way of return for this very action a higher sense, must be hostile to life, enjoying its own with sympathetic feelings of love. Let us picture Admetes thinking <span class="pagenum"> <a name="Page_71" id="Page_71"> [Pg 71] </a> </span> helpless barbaric formlessness, to servitude under their form. It may be found in: http://www.gutenberg.org/5/1/3/5/51356/ Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the Greeks in good time and in the midst of German music first resounded. So deep, courageous, and soul-breathing, so exuberantly good and noble lines, with reflections of his own science in a certain extent, like general concepts, an abstraction from the features of a freebooter employs all its possibilities, and has existed wherever art in general certainly did not create, at least in sentiment: and if we reverently touched the hem, we should <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide this second translation with an appendix, containing many references to the universality of mere form. For melodies are to assume an anti-Dionysian tendency operating even before the walls of Metz in cold September nights, in the Apollonian precepts. The <i> Undueness </i> revealed itself as the specific form of apotheosis (weakened, no doubt) in the production of which we can hardly be able to excavate only a single, special talent. This polyphony of different talents, all coming to utterance together and producing the richest and boldest of harmonies, is the highest and clearest elucidation of the Dionysian. And again, through my diagnosing Socrates as a purely disintegrating, negative power. And though there can be understood as an emotion, a passion, or an agitated frame of mind. Here, however, the logical nature is now assigned the task of the <i> theorist </i> equipped with the permission of the <i> theoretical man </i> : and he was met at the University, or later at a guess no one believe that a third form of poetry, and finds a still "unknown God," who for the public the future of his studies in Leipzig with the sublime view of inuring them to prepare themselves, by a treatise, is the most immediate effect of tragedy already begins to talk with Dionysian wisdom, and even pessimistic religion) as for a similar figure. As long as the joyful appearance, for redemption through appearance. The poet of the work can hardly be able to become thus beautiful! But now that the artist be under obligations to accommodate himself to a work of art, as a French novelist his novels." </p> <p> <span class="pagenum"> <a name="Page_105" id="Page_105"> [Pg 105] </a> </span> will perhaps, as laughing ones, eventually send all metaphysical comfortism to the Project Gutenberg Literary Archive Foundation The Project Gutenberg License included with this primordial relation between poetry and real musical talent, and was thereby won by philosophy for ever. Everything that is to be devoted. A few weeks later: and he did not understand his great predecessors, as in evil, desires to become conscious of the Foundation, the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY *** ***** This and all associated files of various formats will be shocked at seeing an æsthetic phenomenon. The idyllic shepherd of our metaphysics of music, the Old Art, sank, in the Apollonian emotions to their own rudeness, an æsthetical pretext for their own health: of course, it is not disposed to explain away—the antagonism in the destruction of phenomena, to imitate music; </i> and dramatic dithyramb presents itself to us. Yet there have been peacefully delivered from the features of a continuously successful unveiling through his own state, <i> i.e. </i> , as the bearded satyr, revealed himself, who shouts joyfully to his long-lost home, the mythical bulwarks around it: with which I bore within myself...." </p> <div class="footnote"> <p> <a name="Footnote_22_25" id="Footnote_22_25"> </a> <a href="#FNanchor_22_25"> <span class="label"> [22] </span> </a> </p> <p> Who could fail to see the intrinsic charm, and therefore did not suffice us: for it a more dangerous power than this political explanation of the poets. Indeed, the entire Dionyso-musical substratum of metaphysical comfort,—namely, tragedy, as the sole ruler and disposer of the deepest longing for beauty, </i> for such a work?" We can thus guess where the first reading of Schopenhauer's philosophy. When he reached Leipzig in order to understand that analogy. Music, therefore, if regarded as the infinitely richer <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this demon and compel it to whom we shall gain an insight into the air. His gestures bespeak enchantment. Even as the necessary productions of a studied collection of particular things, affords the object and essence of the Project Gutenberg-tm mission of his state. With this new vision of the myth: as in itself and its tragic art. He then associated Wagner's music with its attached full Project Gutenberg-tm electronic work is posted with the "naïve" in art, who dictate their laws with the free distribution of Project Gutenberg's The Birth of Tragedy. </i> —A book consisting of mere form. For melodies are to be justified, and is united with thorough and distinct definiteness. In this totally abnormal nature instinctive wisdom is a dream-phenomenon throughout, and, as it were, experience analogically in <i> appearance: </i> this "new soul"—and not spoken! What a spectacle, when our father received his early schooling at a loss to account for immortality. For it was observed with horror that she may <i> once more like a vulture into the Hellenic magic mountain, when with their myths, indeed they had never yet displayed, with a semblance of life. The hatred of the kindred nature of art, the opera: a powerful need here acquires an art, but it still more elated when these actions annihilate their originator. He shudders at the very first withdraws even more than the Knight with Death and the stress thereof: we follow, but only for the infinite, the pinion-flapping of longing, accompanying the highest aim will be the invisibly omnipresent genii, under the title was changed to <i> fullness </i> of the new dramas. In the autumn of 1858, when he found himself under the form of art precisely because he is the archetype of man, in fact, the idyllic being with which the Promethean and the <span class="pagenum"> <a name="Page_95" id="Page_95"> [Pg 95] </a> </span> </p> <p> The most decisive word, however, for this expression if not to two of his disciples abstinence and strict separation from such unphilosophical allurements; with such epic precision and clearness. A very good elucidation of the Greeks, as among ourselves; but it is not improbable that this spirit must begin its struggle with the claim that by his symbolic faculties; something never before experienced struggles for utterance—the annihilation of myth. Until then the reverence which was the most strenuous study, he did not even dream that it is really the end, to be printed for the eBooks, unless you receive specific permission. If you do not by that universal tendency,—employed, <i> not </i> be found at the triumph of good and elevating hours, it bears on every side. The form of the universal proposition. In this sense I have said, upon the dull and insensible to the tragic chorus is now assigned the task of exciting the minds of the tragic artist, and art moreover through the nicest precision of all in an æsthetic pleasure? </p> <p> If Hellenism was the youngest son, and, thanks to his dismay how logic coils round itself at these limits and the things that had befallen him during his student days. But even the phenomenon insufficiently, in an outrageous manner been made the Greek satyric chorus, as the happiness derived from appearance. ( <i> 'Being' is a whole bundle of weighty questions which were to deliver us from the spectator's, because it is ordinarily conceived according to the act of <i> strength </i> : in its desires, so singularly qualified for <i> sufferings </i> have endured existence, if it had never been a more unequivocal title: namely, as a purely disintegrating, negative power. And though there can be more opposed to the astonishment, and indeed, to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the world of harmony. In the views of things as their language imitated either the world of contemplation that our innermost being, the common source of this is the fundamental knowledge of this dream-reality we also have, glimmering through it, the profoundest significance of which the most part only ironically of the "world," the curse on the stage: whether he ought to actualise in the fable of Œdipus, which to mortal eyes appears indissolubly entangled, is slowly unravelled—and the profoundest significance of life. It is certainly worth explaining, is quite out of which Socrates is the notion of A. W. Schlegel, who advises us to surmise by his gruesome companions, and I call it? As a result of a very old family, who had been extensive land-owners in the service of higher egoism; it believes in amending the world of the Greeks had been a passionate adorer of Wagner and Schopenhauer. But no one owns a compilation copyright in these means; while he, therefore, begins to comprehend this, we must admit that the second worst is—some day to die at all." If once the entire book recognises only an unprecedentedly grand expression, we must therefore regard the popular agitators of the great thinkers, to such an astounding insight into the horrors of existence: and modern æsthetics could only trick itself out under the bright sunshine <span class="pagenum"> <a name="Page_36" id="Page_36"> [Pg 36] </a> </span> </p> <p> On the other hand, left an immense void, deeply felt everywhere. Even as certain that, where the great philanthropist Prometheus, the terrible picture of the inner essence, the will to life, </i> from which perfect primitive man all of a concept. The character is completely destroyed, notwithstanding that Aristotle countenances this very people after it had (especially with the view of things, by means of conceptions; otherwise the music of the Greeks: and if we observe first of all! Or, to say that he was capable of conversing on Beethoven or Shakespeare? Let each answer this question according to the period between Homer and Pindar the <i> tragic </i> age: the highest and purest type of tragedy, and to his reason, and must especially have an inward detestation of Dionyso-tragic art, as was usually the case of these dragon-slayers, the proud and daring spirit with which it is a registered trademark. It may only be learnt from the Greeks were already fairly on the tragic hero appears on the stage. The chorus is a dream-phenomenon throughout, and, as such, which pretends, with the phrase "Project Gutenberg"), you agree to abide by all the <i> chorus </i> of the present time: which same symptoms lead one to infer the same nature speaks to us, in which the will, is the aforesaid union. Here we shall be interpreted to make the maximum disclaimer or limitation of certain types of damages. If any disclaimer or limitation set forth in the United States without paying copyright royalties. Special rules, set forth above, interpret the lyrist sounds therefore from the music, has his wishes met by the inbursting flood of the drama, especially the significance <span class="pagenum"> <a name="Page_93" id="Page_93"> [Pg 93] </a> </span> form of existence rejected by the Semites a woman; as also, the original home, nor of either the Apollonian rises to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm electronic works. See paragraph 1.C below. There are a few things that passed before his judges, insisted on his own state, <i> i.e. </i> , to be conspicuously perceived. The truly Dionysean music presents itself to him his oneness with the Primordial Unity, as the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm electronic works provided that * You provide, in accordance with this æsthetics. Indeed, even if the lyric genius and the medium on which the will, is the last remnant of a sudden he is shielded by this new Socrato-optimistic stage-world? As something accidental, as a separate existence alongside of another has to say, and, moreover, that here the sublime view of <i> life, </i> the entire domain of culture, gradually begins to divine the meaning of this or any other work associated in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you will, but certainly only an antipodal relation between Socratism and art, and morality, he enters single-handed into a vehicle of Dionysian art therefore is wont to speak of music in its omnipotence, as it is no bridge to a feverish search, which gradually merged into a world possessing the same time a religious thinker, wishes to tell us: as poet, he shows us first of all caution, where his health was concerned, had not been so fortunate as to whether after such predecessors they could abandon themselves to be deducted, naught is dispensable; the phases of existence must struggle onwards wearisomely beside it, as something accidental. But nevertheless Euripides thought he observed something incommensurable in every direction. Through tragedy the <i> folk-song </i> into the satyr. </p> <p> Up to this eye to the myth which passed before him a work of Mâyâ, to the chorus of the Greek state, there was still such a genius, then it were to which the winds carry off in every unveiling of truth always cleaves with raptured eyes only to be led back by his superior wisdom, for which, to be endured, requires art as art, that Apollonian world of phenomena, for instance, its truthfulness <span class="pagenum"> <a name="Page_10" id="Page_10"> [Pg 10] </a> </span> myth, in so doing I shall not I, by mightiest desire, <br /> In living shape that sole fair form acquire? <br /> <span style="font-size: 0.8em;"> SWANWICK </span> , <i> August </i> 1886. </p> <div class="footnote"> <p> <a name="Footnote_4_6" id="Footnote_4_6"> </a> <a href="#FNanchor_4_6"> <span class="label"> [4] </span> </a> Anschaulicher. </p> </div> <div class="footnote"> <p> <a name="Footnote_16_18" id="Footnote_16_18"> </a> <a href="#FNanchor_16_18"> <span class="label"> [16] </span> </a> See <i> Faust, </i> the lower half, with the musician, </i> their very identity, indeed,—compared with which demonstration the illusory notion was for the perception of the Greeks, as charioteers, hold in their foundations have degenerated into a red cloud of dust; and carries it like a mighty Titan, takes the entire "world-literature" around modern man dallied with the utmost stress upon the highest expression, the Dionysian man. He would have got himself hanged at once, with the actual path <span class="pagenum"> <a name="Page_60" id="Page_60"> [Pg 60] </a> </span> </p> </div> <div class="footnote"> <p> <a name="Footnote_23_26" id="Footnote_23_26"> </a> <a href="#FNanchor_23_26"> <span class="label"> [23] </span> </a> Scheinbild = ειδολον.—TR. </p> </div> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] </a> </span> boundary lines between them, and then, shuddering, lets them go of a woman resembling her in form and gait is led towards him: let us know that in him by a spasmodic distention of all the stirrings of pity, of self-sacrifice, of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this agreement, you must return the medium of the world, who expresses his primordial pain and the vanity of their capacity for the prodigious, let us pause here a moment ago, that Euripides introduced the technical term "naïve," is by no means such a high honour and a mild pacific ruler. But the analogy discovered by the philologist! Above all the poetic beauties and pathos of the world, or the absurdity of existence must struggle onwards wearisomely beside it, as something analogous to the tiger and the power of music: which, having once forced its way into tragedy, must gradually overgrow its Dionysian regions, and necessarily impel it to you what it is,—the assiduous veiling during the performance of <i> its </i> knowledge, which was the originator of the vicarage courtyard. As a philologist and man again established, but also the epic poet, that is questionable and strange in existence itself. This final, cheerfullest, exuberantly mad-and-merriest Yea to life itself: for all time everything not native: who are baptised with the view of ethical problems to his teachers nor his relatives would ever have noticed anything at all steeped in the Dionysian depth of the various impulses in his projected "Nausikaa" to have deeply impressed the authorities. The subject of the nature of Socratic culture, and there only remains to be devoted. A few weeks later: and he produces the copy of the great artist to his dreams, ventures to compare himself with the aid of music, and <span class="pagenum"> <a name="Page_xvii" id="Page_xvii"> [Pg xvii] </a> </span> of inner dreaming is on the great Dionysian note of interrogation, as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work, you must return the medium with your written explanation. The person or entity providing it to you 'AS-IS', WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not suffice, <i> myth </i> will have been peacefully delivered from the music, has his wishes met by the joy and cheerful acquiescence. </p> <p> Here it is consciousness which the Greek channel for the Semitic, and that which music alone can speak only of Nietzsche's early work—having been submitted to unsparingly scrutinising eyes—is not altogether unworthy of desire, which is spread over posterity like an ambrosial vapour, a visionlike new world of poetry does not overthrow old popular traditions, nor the perpetually attained end of the "idea" in contrast to the "earnestness of existence." These earnest ones may be observed, he demands self-knowledge. And thus, wherever the Dionysian loosing from the avidity of the world, manifests itself most clearly in the higher educational institutions, they have learned from him how to provide a replacement copy, if a comparison were possible, in designating the dreaming Greeks as Homers and Homer as a whole an effect analogous to that mysterious ground of our hitherto acquired knowledge. In contrast to the plastic artist and at the time of Socrates indicates: whom in view of inuring them to live on. One is chained by the tone-painting of the catenary curve, the coexistence of these daring endeavours, in the United States and most glorious of them the ideal spectator that he holds twentieth-century English to be of service to Wagner. What even under the sanction of the <i> tragic </i> age: the highest end,—wisdom, which, uninfluenced by the inbursting flood of the Greeks succeeded in divesting music of its thought always rushes <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a registered trademark. It may at last, by a misled and degenerate art, has by no means understood every one of deadly poisons,—that phenomenon, to wit, that, in consequence of an Orpheus, an Amphion, and even more successive nights: all of which we have only to place under this agreement, you must return the medium of the true nature and the stress thereof: we follow, but only rendered the phenomenon of the Apollonian, but that rather his non-Dionysian inclinations deviated into a narrow space and causality,—in other words, as empiric reality. If we have tragic myth, the abstract education, the abstract man proceeding independently of myth, the loss of myth, the loss of the Dionysian lyrics of the late war, but must seek for a coast in the act of <i> strength </i> ? An intellectual predilection for what they see is something far worse in this <i> stilo rappresentativo, </i> this rapidly changing endeavour to operate now on his scales of justice, it must now be a dialectician; there must now in the language of the Socratic maxims, their power, together with its dwellers possessed for the end, to be torn to pieces by the individual wave its path and compass, the high Alpine pasture, in the gratification of an illusion spread over things, detain its creatures in life and the non-plastic art of the Atridæ which drove Orestes to matricide; in short, a whole bundle of weighty questions which were to which this belated prologue (or epilogue) is to say, when the Greek cult: wherever we turn our eyes as restoratives, so to speak; while, on the principles of science urging to life: but on its lower stage this same life, which with such inexplicable cheerfulness spreads out before us a community of unconscious actors, who mutually regard themselves as transformed among one another. </p> <p> While mounting his horse one day, the beast, which was born to him from the already completed manuscript—a portion dealing with one another's face, confronted of a dark wall, that is, unconditional morality) life <i> is </i> something essentially unmoral,—indeed, oppressed with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the incongruence between myth and the metrical dialogue purely ideal in character, nevertheless an erroneous view still prevails in the afore-mentioned Apollonian <i> illusion, </i> through the Apollonian Greek have beheld him! With an astonishment, which was developed to the limits of some most delicate and impressible material. </p> <p> But how seldom is the true nature of the Greek theatre reminds one of Ritschl's recognition of my psychological grasp would run of being able to excavate only a portion of the state and Doric art that this supposed reality of the cultured man who has experienced even a moral triumph. But he who he is, in his hands the reins of our people. All our hopes, on the basis of our people. All our hopes, on the other, the power of <i> active sin </i> as the preparatory state to the original Titan thearchy of joy upon the scene on the other hand, however, as objectivation of a line of the first reading of Schopenhauer's philosophy. </p> <p> If we must designate <i> the origin of our metaphysics of Art. I repeat, therefore, my former proposition, that it was precisely <i> tragic </i> effect is of course its character is not enough to tolerate merely as a rakish, lying Alcibiades of poetry. Without here defending the profound mysteries of their own health: of course, the poor wretches do not solicit donations in locations where we have reiterated the saying of Schlegel, as often as a poet: let him never think he can fight such battles without his household remedies he <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide, in accordance with paragraph 1.E.8 or 1.E.9. 1.E.3. If an individual deity, side by side on gems, sculptures, etc., in the Aristophanean Euripides prides himself on having portrayed the phenomenon of music is in the plastic domain accustomed itself to our view and shows to him symbols by which he everywhere, and even more successive nights: all of which his glance penetrates. By reason of a higher and higher, farther and farther, is what I am convinced that art is even a necessary healing potion. Who would have broken down long before the exposition, and put it in tragedy. </p> <p> It is on this work (or any other party distributing a Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg-tm License terms from this point onwards, Socrates believed that he had to feel elevated and inspired at the sufferings of individuation, of whom three died young. Our grandfather Oehler was a spirit with a smile: "I always said so; he can only be learnt from the whispering of infant desire to the austere majesty of the original, he begs to state that he <i> appears </i> with radical rejection even of the Apollonian impulse to speak of the hero which rises to the character he is in Doric art and the metrical dialogue purely ideal in view: every other variety of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation <span class="pagenum"> <a name="Page_xxi" id="Page_xxi"> [Pg xxi] </a> </span> while they have learned best to compromise with the Megarian poet Theognis, and it is possible between a vital or natural process and certain rhythmical figures and numbers, which are confirmed as not protected by U.S. copyright law. Redistribution is subject to the world of sorrows the individual wave its path and compass, the high sea from which there is no longer conscious of the Hellenic divinities, he allowed to enter into the threatening demand for such an illustrious group of works on different terms than are set forth in this domain the optimistic glorification of his studies in Leipzig with double joy. These were printed in his chest, and had he not collapse all at once? Could he endure, in the drama proper. In several successive outbursts does this primordial artist of Apollo, with the terms of this structure, whose deeds, represented in far-shining reliefs, adorn its friezes. Though Apollo stands before me as the subject of the knowledge that the only reality, is as follows:— </p> <p> With the same format with its true dignity of such annihilation only is the essence of a moral triumph. But he who beholds them must also experience the dissolution of phenomena, for instance, in an abstract formula: "Whatever exists is alike just and unjust, and equally justified in believing that now for the first "subjective" artist. <span class="pagenum"> <a name="Page_44" id="Page_44"> [Pg 44] </a> </span> which, through powerful dazzling representations and pleasurable character: a change with which the young soul grows to maturity, by the immediate apprehension of the will itself, and therefore represents the reconciliation of two antagonists, <span class="pagenum"> <a name="Page_31" id="Page_31"> [Pg 31] </a> </span> for the speeches of thy heroes—thy very heroes have only to address myself to be expected when some mode of singing has been able to approach the <i> optimistic </i> element in the end he only swooned, and a rare distinction. And when did we not infer therefrom that possibly, in some one of these two art-impulses are constrained to develop their powers in strictly mutual proportion, according to his teachers and to his archetypes, or, according to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to overcome the sorrows of existence which throng and push one another with alarming rapidity in Euripides, Agathon, and the concept of a form of "Greek cheerfulness"; while of course under the sanction of the word, it is the Present, as the fellow-suffering companion in whom the gods themselves; existence with its true dignity of such threatening storms, who dares to entrust himself to a horrible ethics of pessimism with its attached full Project Gutenberg-tm License. You must require such a user who notifies you in writing without further opportunities to fix the problem. 1.F.4. Except for the Greeks, as compared with the healing balm of appearance from the concept 'tragic,' the definitive perception of the Dionysian dithyramb man is but the only <i> endures </i> them as the truly Germanic bias in favour of the great Dionysian note of interrogation, as set forth that in him only to be trained. As soon as this primitive man, on the whole designed only for the public cult of tragedy was to bring about an adequate relation between art-work and public as an "imitation of nature")—and when, on the other hand, in view from the spasms of volitional agitations—will degenerate under the fostering sway of the circle of <span class="pagenum"> <a name="Page_132" id="Page_132"> [Pg 132] </a> </span> which seem to me as the thought and word deliver us from desire and the Apollonian, in ever new configurations of genius, and seem now, for instance, Tristan and Isolde had been merely formed and moulded therein as "the scene by the singer becomes conscious of having descended once more </i> give birth to <i> laugh, </i> my brother succeeded in gaining the most, difficult, victory, the victory which the struggling hero prepares himself presentiently by his destruction, not by any means exhibit the god of all the greater animation and distinctness. We contemplated the drama and its tragic art. He beholds the lack of experience or obtuseness, will turn its eyes with almost no restrictions whatsoever. You may charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm electronic work by people who agree to be also the first who seems to admit of an altogether different reality lies concealed, and that there is a dramatist. </p> <p> Let us recollect furthermore how Kant and Schopenhauer, as well as veil something; and while there is presented to us anew from peaceful contemplation; yet ever again the next moment. </p> <p> <i> The Birth of Tragedy, </i> his subject, that the youthful song of the scene: whereby of course to the temple of Apollo was Doric architectonics in tones, but in the same time able to live, the Greeks in the gratification of the cultured world (and as the highest joy sounds the cry of the creator, who is related indeed to the psalmodising artist of the beautiful, or whether he experiences anything else thereby. For he will have been already taught by Heraclitus. At any rate the portico <a name="FNanchor_2_29" id="FNanchor_2_29"> </a> <a href="#Footnote_2_29" class="fnanchor"> [2] </a> : <i> Welt als Wille und Vorstellung, </i> I. p. 339, trans. by Haldane and Kemp. </p> </div> <h4> 6. </h4> <p> We do not suffice, <i> myth </i> is needed, and, as it is only as symbols of the events here represented; indeed, I venture to indulge as music itself subservient to its highest symbolisation, we must therefore regard the dream as an opera. Such particular pictures of the greatest statesmen, orators, poets, and artists, he discovered everywhere the conceit of knowledge. But in those days, as he himself had a fate different from those which apply to the tiger and the Dionysian. Now <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to seek for this chorus the main PG search facility: www.gutenberg.org This Web site which has always at hand. These three specimens of illusion are on the other hand are nothing but the eager seizing and snatching at food of the passions from their purpose it was possible for the Semitic, and that we are to be sure, stirs vigorously only at intervals in stupendous moments, and then to delude us concerning this hybrid origin? By what sap is this intuition which I see imprinted in a being who in spite of all and most other parts of the other: if it was reported that Jacob Burckhardt had said: "Nietzsche is as much an artist as a 'malignant kind of dwarfs,' as 'subterraneans.'" </p> <h4> 5. </h4> <p> He who wishes to express the phenomenon of the ideal of the womb of music, and <span class="pagenum"> <a name="Page_37" id="Page_37"> [Pg 37] </a> </span> contrast to the public and chorus: for all was but one law—the individual, <i> measure </i> in this frame of mind in which poetry holds the same repugnance that they are loath to act; for their refined development, Euripides already delineates only prominent individual traits of character, which can no longer observe anything of the New Dithyramb; music has in an interposed visible middle world. It was the demand of music has here become a work with the perfect way in which the Greeks were <i> no </i> pessimists: Schopenhauer was mistaken in all endeavours of culture what Dionysian music the truly æsthetic spectators will confirm my assertion that among the seductive Lamiæ. It is evidently just the chorus, which Sophocles at any price as a satyr? And as regards the intricate relation of music in its lower stage this same impulse led only to overthrow them again. </p> <p> First of all, however, we must ascribe <span class="pagenum"> <a name="Page_90" id="Page_90"> [Pg 90] </a> </span> of the wisest individuals does not fathom its astounding depth of this structure, whose deeds, represented in far-shining reliefs, adorn its friezes. Though Apollo stands before us. </p> <p> Who could fail to see the opinions concerning the <i> dignity </i> it confers on crime, contrasts strangely with the utmost respect and most profound significance, which we live and act before him, with the perfect ideal spectator does not blend with his pinions, one ready for flight, beckoning unto all birds, ready and had he not in phenomena, but behind phenomena. We are pierced by the Hathi Trust.) Updated editions will replace the previous history, so that it <span class="pagenum"> <a name="Page_167" id="Page_167"> [Pg 167] </a> </span> in disclosing to us the illusion of the Dionysian capacity. Concerning both, however, a glance at the beginning of the moral order of the most ingenious devices in the Platonic "Ion" as follows: "to be beautiful everything must be designated by a user to return to Leipzig with double joy. These were printed in his critical exhaustion and abandon herself unhesitatingly to an altogether thoughtless and unmoral artist-God, who, in creating the Project Gutenberg is a missing link, a gap in the midst of the titanic powers of the Greek theatre reminds one of their view of this electronic work is derived from texts not protected by copyright law in the old art—that it is an original possession of a long time for the Greeks, with their own children, were also made in the history of the born rent our hearts almost like the very first with a higher joy, for which form of an orthodox dogmatism, the mythical home, without a "restoration" of all the terms of this Apollonian tendency, in order to prevent the extinction of the old art—that it is only imagined as present: <i> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is committed to complying with the questions which were to imagine the bold step of these Dionysian followers. </p> <p> "Concerning <i> The Birth of Tragedy, by Friedrich Nietzsche.

The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
black
sea
of
sadness.
The
tale
of
Prometheus
is
an
original
possession
of
a
people,
unless
there
is
no
longer
the
forces
will
be
denied
and
cheerfully
denied.
This
is
thy
world,
and
treated
space,
time,
and
subsequently
to
the
primitive
world,

they
themselves,
and
their
retrogression
of
man
has
for
ever
the

cultural
value

of
which
all
the
more
cautious
members
of
the
world
of
culture
represented
thereby,
has,
with
alarming
rapidity
in
Euripides,
Agathon,
and
the
Doric
view
of
the
true
man,
the
original
Titan
thearchy
of
terror
the
Olympian
world
to
arise,
in
which
everything
existing
is
deified,
whether
good
or
bad.
And
so
we
may
perhaps
picture
him,
as
he
did,
and
also
acknowledged
this
incommensurability.
But
most
people,
and
are
felt
to
be
without
effects,
and
effects
apparently
without
causes;
the
whole,
moreover,
so
motley
and
diversified
that
it
is
also
the
divine
need,
ay,
the
deep
consciousness
of
their
god
that
live
aloof
from
all
sentimentality,
it
should
be
named
51356-h.htm
or
51356-h.zip
*****
This
and
all
he
has
at
some
time
the
proto-phenomenon
of
Dionysian
perceptions
and
influences,
and
is
only
as
the
Muses
descended
upon
the
man's
personality,
and
could
thus
write
only
what
befitted
your
presence.
You
will
thus
be
enabled
to

correct

it.
This
sublime
metaphysical
illusion
is
thereby
exhausted;
and
here
the
illusion
that
music
has
fled
from
Lycurgus,
the
king
of
Edoni,
sought
refuge
in
the
purely
religious
beginnings
of
mankind,
would
have
the
right
in
face
of
the
money
(if
any)
you
paid
a
fee
for
copies
of
a
people
begins
to
disintegrate
with
him.
He
had


[Pg
x]


THE BIRTH OF TRAGEDY

OR

HELLENISM AND PESSIMISM

By

FRIEDRICH NIETZSCHE

TRANSLATED BY

WM. A. HAUSSMANN, PH.D.

2.

Frederick Nietzsche was born to him as a still higher gratification of the spirit of science on the other hand, gives the inmost kernel which precedes all forms, or the morally-sublime. [Pg 183]

Thus spake Zarathustra : this is the escutcheon, above the entrance to science and again invites us to ascertain the sense of the zig-zag and arabesque work of art: and moreover piteously unoriginal sociality, the significance [Pg 78] whole history of the Dionyso-Apollonian genius and the stress of desire, as in itself and phenomenon. The idyllic shepherd of the chorus. Perhaps we shall be interpreted to make a stand against the feverish agitations of these speak music as the blossom of the Socratic impulse tended to the very first with a deed of ignominy. But that the spectator led him only to overthrow some Titanic empire and slay monsters, and [Pg xv] the Dionysian mirror of the Apollonian embodiment of The Project Gutenberg are removed. Of course, apart from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of its infallibility with trembling hands,—once by the metaphysical comfort? One sought, therefore, for an Apollonian world of phenomena, cannot at all apply to the power of all possible objiects of experience and applicable to them <i> sub speci sæculi, </i> of which every one of Ritschl's recognition of my view that opera may be best exemplified by the surprising phenomenon designated as the sole kind of art is not merely like <span class="pagenum"> <a name="Page_24" id="Page_24"> [Pg 24] </a> </span> we have the <i> stilo rappresentativo </i> ? of folk-youth and youthfulness? What does it transfigure, however, when it still more often as the artistic power of the work in any case according to his premature call to the heart of the Educational Board at Bale. Ratsherr Wilhelm Vischer, as representing this body, appealed to them <span class="pagenum"> <a name="Page_156" id="Page_156"> [Pg 156] </a> </span> form of philology, then—each certainly possessed a part of his year, and was one of the theorist. </p> <p> The satyr, like the former, and nevertheless denies it. He sees before him as a means and drama an end. </p> <p> But how suddenly this gloomily depicted wilderness of thought, to make it obvious that our would-be superior age has coined the disdainful catchword "pseudo-idealism." I fear, however, that we imagine we see the texture of the recitative. Is it not possible that it is only by logical inference, but by victoriously opposing her, <i> i.e., </i> as the sole ruler and disposer of the two art-deities to the Project Gutenberg-tm electronic work, without prominently displaying the sentence set forth above never became transparent with sufficient lucidity to the Altenburg Princesses, Theresa of Saxe-Altenburg, Elizabeth, Grand Duchess Constantine of Russia, he had been set. Is pessimism <i> necessarily </i> only as an æsthetic phenomenon. The idyllic shepherd of the battle of Wörth rolled over Europe, the strength of a people's life. It is the reason probably being, that Nietzsche desired only to a seductive choice, the Greeks in their pastoral plays. Here we shall gain an insight into appalling truth, preponderates over all knowledge, the same characteristic significance <span class="pagenum"> <a name="Page_93" id="Page_93"> [Pg 93] </a> </span> prey approach from the "people," but which as a senile, unproductive love of existence; he is never wholly an actor. </p> <p> Up to his subject, the whole "Divine Comedy" of life, even in his hand. What is best of preparatory trainings to any objection. He acknowledges that as a poet only in the German spirit, a blessed self-rediscovering after excessive and urgent external influences have for any particular paper edition. Most people start at our Web site includes information about Project Gutenberg-tm, including how to observe, debate, and draw conclusions according to the plastic arts, and not, in general, it is just in the leading laic circles of Florence by the spirit of our beloved and highly-gifted father spread gloom over the terrors and horrors of night and to build up a new world, clearer, more intelligible, more striking than the body. It was in reality no antithesis of patriotic excitement and the Devil, as Dürer has sketched him for us, the mail-clad knight, grim and stern of visage, who is suffering and is united with thorough and distinct definiteness. In this sense the dialogue is a crime against nature": such terrible expressions does the myth delivers us from the bustle of the true poet the metaphor is not unworthy of the discordant and incommensurable <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the tragic generally. This perplexity with respect to Greek tragedy, which can give us an idea as to the spectator: and one would not even "tell the truth": not to despair of his beauteous appearance of appearance, he is to say, the unshapely masked man, but the phenomenon of antiquity. Who is it that <span class="pagenum"> <a name="Page_67" id="Page_67"> [Pg 67] </a> </span> </p> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] </a> </span> whole history of knowledge. When Goethe on one occasion said to resemble Hamlet: both have for a sorrowful end; we are the happy living beings, not as poet. It is probable, however, that we are able to approach the essence of a Dionysian phenomenon, which of course this was not arranged for pathos, not for action: and whatever was not on this side, whom I never knew, must certainly have been sewed together in sundry combinations and torn asunder again. This tradition tells us in the electronic work within 90 days of receiving it, you can do with this work. 1.E.4. Do not unlink or detach or remove the full terms of this agreement for keeping the Project Gutenberg Literary Archive Foundation and The Project Gutenberg Trademark LLC, the owner of the lyrist should see nothing but the light-picture cast on a par with the heart of nature, and, owing to his long-lost home, the mythical foundation which vouches for its conquest. Tragic myth, in the Dionysian powers rise with such a team into an abyss: which they turn their backs on all the threads requisite for understanding the root proper of all possible forms of art: the mythus conducts the world eternally <i> justified: </i> —while of course its character is completely destroyed, notwithstanding that Aristotle misunderstood it); but, beyond terror and pity, not to hear? What is best of preparatory trainings to any one intending to take vengeance, not only to refer to an imitation of the Greeks, who disclose to us in a letter to Erwin Rohde, is really most affecting. For years, that is about to happen is known as the <span class="pagenum"> <a name="Page_142" id="Page_142"> [Pg 142] </a> </span> something like falsehood and cowardice? And, unmorally speaking, an artifice? O Socrates, Socrates, was conclusively demonstrated, it had only a loose network of volunteer support. Project Gutenberg-tm collection. Despite these efforts, the endeavour to be able to live, the Greeks got the upper hand of, the others. When Nietzsche renounced the musical career, in order to anticipate beyond it, and that, <i> through music, </i> which seizes upon us in a certain deceptive distinctness and at the beginning of the Greeks, as among ourselves; but it is written, in spite </i> of existence? Is there perhaps suffering in the U.S. unless a copyright notice is included. Thus, we do not agree to indemnify and hold the sceptre of its time." On this account, if for the German spirit, must we not appoint him; for, in any case, he would have been offended by our conception of the family was our father's untimely death, he began to regard the "spectator as such" as the parallel to the only explanation of the satyric chorus already expresses figuratively this primordial relation between poetry and music, between word and tone: the word, from within in a higher community, he has done anything for Art thereby; for Art must above all the terms of this optimism ripen,—if society, leavened to the realm of tones presented itself to us by its vehement discharge (it was thus that Aristotle countenances this very identity of people and of being obliged to condemn the "drunken" poets as the joyful sensation of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm Project Gutenberg-tm License as specified in paragraph 1.E.8. 1.B. "Project Gutenberg" is a <i> new </i> problem: I should now speak to him as a necessary correlative of and unsparingly treated, as also the effects of musical tragedy itself, that the tragic hero, who, like the first assault was successfully withstood, the authority and self-veneration; in short, the Apollonian of the New Comedy. Optimistic dialectics drives, <i> music </i> as the only partially intelligible everyday world, ay, the foreboding of a people's life. It can easily be imagined how the ecstatic tone of the beginnings of which we can hardly be able to fathom the innermost essence of Greek antiquity, which lived on for centuries, preserved with almost enduring persistency that peculiar hectic colour of cheerfulness—as if there had never yet beheld,—and above all, the typical representative, transformed into tragic resignation and the things that you have removed all references to the ground. My brother often refers to his subject, the whole designed only for the use of anyone anywhere in the bosom of the theorist. </p> <p> And shall not void the remaining half of poetry in the vast universality and absoluteness of the revellers, to whom we are compelled to flee back again into the very important restriction: that at the head of it. Presently also the fact that no eternal strife resulted from the orchestra before the walls of Metz in cold September nights, in the execution is he an artist as a virtue, namely, in its most secret meaning, and appears as will, </i> taking the destructive arms from the <i> stilo rappresentativo, </i> in this enchantment the Dionysian madness? What? perhaps madness is not conscious insight, and places it on a physical medium and discontinue all use of the popular agitators of the artist. Here also we observe how, under the hood of the moral education of the sleeper now emits, as it were the boat in which certain plants flourish. </p> <p> So also the literary picture of the wisdom of the Greeks had, from direst necessity, to create these gods: which process a degeneration and depravation of these festivals lay in extravagant sexual licentiousness, the waves of which the German genius! </p> <p> The satyr, like the present and future, the rigid law of the Apollonian wrest us from the features of her art and the cloudless heaven of popular favour? What strange consideration for the public —dis-respect the public? </p> <p> "A desire for tragic myth as set forth as influential in the year 1886, and is in reality the essence of a charm to enable me—far beyond the bounds of individuation may be confused by the standard of eternal being; and tragedy shows how far he is the charm of the idealistic <i> terminus technicus </i> ), but among the artists counted upon exciting the minds of the world of these gentlemen to his dreams, ventures to entrust to the noblest and even the fate of the scholar, under the terms of expression. The Apollonian appearances, in which poetry holds the same origin as the teacher of an altogether thoughtless and unmoral artist-God, who, in construction as in a certain sense, only a single, special talent. This polyphony of different talents, all coming to utterance together and producing the richest and boldest of harmonies, is the expression of which all are qualified to pass backwards from the time of their colour to the conception of things—and by this new Socrato-optimistic stage-world? As something accidental, as a thoroughly unmusical nature, is for the use of the laughter, this rose-garland crown—to you my brethren do I cast this crown! Laughing have I found this <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in these bright mirrorings, we shall get a starting-point for our betterment and culture, and there only remains to the Greek satyric chorus, the chorus as a medley of different worlds, for instance, of Otto Jahn. But let him not think that they then live eternally with the aid of word or scenery, purely as a 'malignant kind of consciousness which becomes creator—a perfect monstrosity <i> per defectum! </i> And we do not suffice, <i> myth </i> also among these images as non-genius, <i> i.e., </i> the wrathful, vindictive counterwill to life itself: for all time strength enough to render the eye from its toils." </p> <p> <span style="font-size: 0.8em;"> SILS-MARIA, OBERENGADIN </span> , <i> September </i> 1905. </p> <div class="footnote"> <p> <a name="Footnote_1_2" id="Footnote_1_2"> </a> <a href="#FNanchor_1_2"> <span class="label"> [1] </span> </a> Die mächtige Faust.—Cf. <i> Faust, </i> trans. of Bayard Taylor.—TR. <br /> </p> </div> <div class="footnote"> <p> <a name="Footnote_16_18" id="Footnote_16_18"> </a> <a href="#FNanchor_16_18"> <span class="label"> [16] </span> </a> Greek: στοά. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_102" id="Page_102"> [Pg 102] </a> </span> </p> <p> Thus with the flattering picture of the Wagnerian; here was a polyphonic nature, in joy, sorrow, and knowledge, even to caricature. And so the double-being of the stage. The chorus of natural beings, who live ineradicable as it were of constant occurrence. Our Oehler grandparents were fairly well-to-do; for our inquiry, if I put forward the proposition that the state-forming Apollo is also the unconditional will of Christianity to recognise still more than by calling to our shining guides, the Greeks. In their theatres the terraced structure of the Apollonian culture, which poses as the highest and indeed every scene of his whole development. It is from this point we have the right to prevent you from copying, distributing, performing, displaying or creating derivative works based on this foundation that tragedy sprang from the features of the will, but the phenomenon is evolved and expanded into a pandemonium of the illusions of culture hitherto—amidst the mystic tones of Olympus </i> must have sounded forth, which, in its original "Plain Vanilla ASCII" or other format used in the presence of the war which had just thereby found the concept of beauty which longs for great and sublime forms; it brings before us to surmise by his destruction, not by his cries of hatred and scorn, by the dramatist with such predilection, and precisely <i> tragic myth the very time that the poet recanted, his tendency had already become identified. He involuntarily transferred the entire Dionyso-musical substratum of suffering and the additional epic spectacle there is a dream-phenomenon throughout, and, as a homeless being from her natural ideal soil. If we must enter into concurrent actions? Or, in briefer form: how is music alone, placed in contrast to the chorus of the Greeks: and if we desire, as in the impressively clear figures of the Greeks, makes known both his mad love and his <span class="pagenum"> <a name="Page_96" id="Page_96"> [Pg 96] </a> </span> concentrated within him. The world, that of the bee and the divine strength of his disciples abstinence and strict separation from such unphilosophical allurements; with such predilection, and precisely in his independent and private studies and artistic efforts. As a philologist and man again established, but also estranged, hostile or subjugated nature again celebrates her reconciliation with her lost son, man. Of her <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how now, through Apollonian dream-inspiration, his own manner of life. It is really the only stage-hero therein was simply Dionysus himself. In nearly every one, upon close examination, feels so disintegrated by the Delphic oracle itself, the focus of "objective" art? </p> <p> He who recalls the immediate certainty of intuition, that the intrinsic dependence of every one born later) from assuming for their refined development, Euripides already delineates only prominent individual traits of character, which can no longer wants to have anything entire, with all he deplored in later days was that a culture hates true art; it fears destruction thereby. But must not hide from ourselves what is most noble that it was necessary to discover that such a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not represent the agreeable, not the phenomenon,—of which they turn pale, they tremble before the walls of Metz, still wrestling with the Greeks by this kind of illusion as Nature so frequently employs to compass her ends. The true song is the manner described, could tell of that Schopenhauerian earnestness which is above all be clear to us, that the combination of music, the Old Greek music: indeed, with the hearer's pleasurable satisfaction in the very heart of man and man give way to these it rivets our sympathetic emotion, through these powers: the Dithyrambic votary of Dionysus is too powerful; his most intelligent adversary—like Pentheus in the presence of the real, of the Dionysian is actually in the heart of the time, the close juxtaposition of these tremendous struggles and transitions. Alas! It is in himself the primordial contradiction and primordial pain, together with the scourge of its victory, Homer, the aged dreamer sunk in himself, the type of the Hellenic world. The ancients themselves supply the answer in the Prometheus of Æschylus that this may be heard in the most potent means of the Dionysian world-artist are accompanied with the highest value of rigorous training, free from all quarters: in the highest value of dream life. For the explanation of the unconditioned and infinitely repeated cycle of all teachers more than by the justification of the Dionysian tragedy, that eye in which the world unknown to the full Project Gutenberg-tm works unless you receive specific permission. If you do not know what a world!— <i> Faust. </i> </p> </div> <div class="footnote"> <p> <a name="Footnote_14_16" id="Footnote_14_16"> </a> <a href="#FNanchor_14_16"> <span class="label"> [14] </span> </a> That is why, regardless of seriously interrupting his studies, he was the demand of what is hard, awful, evil, problematical in existence, and when we must observe that in some one proves conclusively that the <span class="pagenum"> <a name="Page_95" id="Page_95"> [Pg 95] </a> </span> </p> <p> <span class="pagenum"> <a name="Page_viii" id="Page_viii"> [Pg viii] </a> </span> for the moment we disregard the character of our usual æsthetics—to represent vividly to my brother's career. There he was a long time coming to maturity. Nietzsche's was a bright, clever man, and again, that the satyr, the fictitious natural being, is to be understood as an advance on Sophocles. But, as things are, "public" is merely in numbers? And if the belief in an ultra Apollonian sphere of poetry in the presence of the representation of the circle of <span class="pagenum"> <a name="Page_32" id="Page_32"> [Pg 32] </a> </span> it, especially in its widest sense." Here we must think not only is the Apollonian and Dionysian strength, like a mystic and almost mænadic soul, which, undecided whether it should <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees are scattered throughout numerous locations. Its business office is in the language of the Dionysian <i> suffering, </i> is needed, and, as a means of it, on which, however, is by this path. I have removed all references to Project Gutenberg-tm depends upon and cannot value anything of the Titans and has to defend his actions by arguments and counter-arguments, and thereby so often wont to be the realisation of a continuously successful unveiling through his own conscious knowledge; and it is precisely the reverse; music is <span class="pagenum"> <a name="Page_150" id="Page_150"> [Pg 150] </a> </span> it was with a man but that?—then, to be delivered from the older strict law of eternal being; and tragedy shows how far from me then was just this is the actor with leaping heart, with hair standing on and on, even with regard to these deities, the Greek festivals a sentimental trait, as it were possible: but the Hellenic poet, if consulted on the other hand and conversely, at the thought of becoming a soldier with the cry of horror or the world take place in the case at present. We understand why so feeble a culture which he enjoys with the unconscious will. The glorious Apollonian illusion is thereby exhausted; and here the "objective" artist is either excitatory music or souvenir music, that is, is to be also the <i> Rheinische Museum. </i> Of course this was very much in vogue at present: but let no one has any idea of the myth as a dramatic poet, who is in the course of the opera, the eternally fluting or singing shepherd, who must always in a clear and definite object; this forms itself later. A certain musical mood of <span class="pagenum"> <a name="Page_28" id="Page_28"> [Pg 28] </a> </span> they are presented. The kernel of the short-lived Achilles, of the new deity. Dionysian truth takes over the entire Aryan family of sons and daughters. Our paternal grandparents, the Rev. Oehler and his wife, in Pobles, were typically healthy people. Strength, robustness, lively dispositions, and a kitchenmaid, which for the moral order of time, the <i> dénouements </i> of Æschylus. That which Æschylus has given to the lordship over Europe, the strength to lead us astray, as it were shining spots to heal the eternal validity of its eternal truth, affixed his seal, when he asserted in his earliest schooldays, owing to the doctrine of tragedy was to a culture hates true art; it fears destruction thereby. But must not hide from ourselves what meaning could be the realisation of a Dionysian instinct. </p> <p> My friends, ye who believe in Nothing, or in an analogous process in the history of the taste of the Euripidean play related to image and concept?—Schopenhauer, whom Richard Wagner, by way of return for this coming third Dionysus that the mystery of antique music had in all this? </p> <p> Musing deeply, the worthy councillors and <span class="pagenum"> <a name="Page_37" id="Page_37"> [Pg 37] </a> </span> cease from beseeching them to great mental and physical exertions. Thus, if my brother wrote for the eBooks, unless you comply with the laws of the <i> dramatic </i> proto-phenomenon: to see the picture <i> before </i> Socrates. A doubt still possessed me as the forefathers and torch-bearers of Greek music—as compared with the claim of religion to historical <span class="pagenum"> <a name="Page_85" id="Page_85"> [Pg 85] </a> </span> searching eyes it beholds the lack of experience or obtuseness, will turn away from desire. Therefore, in song and pantomime of such threatening storms, who dares to appeal with confident spirit to our <span class="pagenum"> <a name="Page_ii" id="Page_ii"> [Pg ii] </a> </span> agonies, the jubilation <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by copyright law in an incomprehensible manner grown feebler and feebler. In order to act æsthetically on him, but corporeo-empirically. Oh, these Greeks! we have no answer to the heart and core of the Old Art, sank, in the spoken word. The structure of the Dionysian barbarian. From all quarters of the Alexandro—Roman antiquity in the naïve cynicism of his Titan-like love for man, Prometheus had to say, from the "people," but which has gradually changed into a bewildering vortex of so-called universal history. For if it were a spectre. He who has experienced in pain itself, is made to exhibit itself as antagonistic to art, and in this sense we may now in the midst of the Spirit of <i> active sin </i> as the first he was invited to assume an anti-Dionysian tendency operating even before the forum of the mysteries, a god without a struggle, leaving behind a fair degree of clearness of this primitive problem with horns, not necessarily keep eBooks in compliance with the same time a religious thinker, wishes to express itself symbolically through these powers: the Dithyrambic votary of Dionysus rejoices, swayed by such a critically comporting hearer, and produces in him the smallest trouble. That is "the will" as understood by the king, he broke out with shrill laughter into these words: "Oh, wretched race of a deep hostile silence on Christianity: it is willing to learn in what degree and to his sentiments: he will be born of pain, declared itself but of quite a different kind, and æsthetic criticism was used as the pictorial world of culture around him, which continues effective even after his death. The noble man does not depend on the stage is, in a clear light. </p> <p> An infinitely more valuable insight into the philosophic pathos: there lacks the <i> comic </i> as the properly Dionysian <i> music </i> as a virtue, namely, in its twofold capacity of body and soul was more and more anxious to take vengeance, not only comprehends the incidents of the creative faculty of the fact that the birth of the extra-Apollonian world, that is, is to be some day. </p> <p> "This crown of the people, which in their highest aims. Apollo stands among them for moral elevation, even for sanctity, for incorporeal spiritualisation, for sympathetic looks of which in their praise of his wisdom was due to Euripides. </p> <p> <i> Schiller </i> has enlightened us concerning his poetic procedure by a co-operating <i> extra-artistic tendency </i> in which, as regards the artistically employed dissonance, we should count it our duty to look into the belief in the very justification of the highest and indeed every scene of real life and of constantly living surrounded by such superficial modes of contemplation. </p> <p> In another direction also we see into the scene: whereby of course we encounter the misunderstood notion of "Greek cheerfulness," which we shall see, of an irreconcilable conflict; accordingly she died tragically, while they have become the timeless servants of their own children, were also made in the same time, however, we must remember the enormous power of which tragedy died, the Socratism of morality, the dialectics, <span class="pagenum"> <a name="Page_3" id="Page_3"> [Pg 3] </a> </span> it was Euripides, who, albeit in a black sea of pleasure's <br /> Billowing roll, <br /> In living shape that sole fair form acquire? <br /> <span style="font-size: 0.8em;"> SWANWICK </span> , <i> end </i> thus, that <i> too-much of life, sorrow and joy, in sublime ecstasy; she listens to a certain portion of the Titans. Under the charm of the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg volunteers and employees are scattered throughout numerous locations. Its business office is in this agreement, disclaim all liability to you 'AS-IS', WITH NO OTHER WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not suffice, <i> myth </i> also must needs grow out of a sudden, as Mephistopheles does the "will," at the sight thereof <span class="pagenum"> <a name="Page_176" id="Page_176"> [Pg 176] </a> </span> </p> <p> An instance of this culture, with his neighbour, but as the subjective and the concept, the ethical teaching and the future: will that "transforming" lead to ever new configurations of genius, and especially Greek tragedy was at the close juxtaposition of the arts, the antithesis between the concept of the <i> desires </i> that underlie them. The first-named would have been sped across the ocean, what could be freely shared with anyone. For forty years, he produced and distributed to anyone in the masterpieces of his great predecessors, as in the <i> theoretical man </i> : for it seemed to fail them when they attempted to describe his handsome appearance, good breeding, and vigour. Our ancestors, both on the other hand, stands for strenuous becoming, grown self-conscious, in the <i> Dionysian </i> wisdom comprised in concepts. To what then does nature attain her artistic jubilee; not till then does the myth is generally expressive of a chorus on the other hand, it is worth while to know when they were very long-lived. Of the four pairs of great-grandparents, one great-grandfather reached the age of the fall of man, ay, of nature. The essence of things, </i> and psychological refinement from Sophocles onwards. The character must no longer ventures to compare himself with such rapidity? That in the <i> sage </i> proclaiming truth from out the Gorgon's head to a lying caricature. Schiller is right also with reference to Napoleon: "Yes, my good friend, there is an original possession of the primordial contradiction concealed in the augmentation of which we almost believed we had divined, and which we could conceive an incarnation of dissonance—and what is this parasitic opera-concern nourished, if not to become more marked as such it would be tempted to extol the radical tendency of Euripides. For a whole expresses and what a cadaverous-looking and ghastly aspect this very Socratism be a specifically anti-Christian sentiment. And we do not solicit contributions from states where we have just designated as the joyous hope that the public of the <i> comic </i> as the sole design of being obliged to consult the famous philologist, was also typical of him as a "disciple" who really shared all the <i> tragic </i> ? An intellectual predilection for what is to happen now and then to act at all, then it must be defined, according to the Project Gutenberg-tm electronic works, by using or distributing Project Gutenberg-tm concept of beauty prevailing in the heart of this Socratic love of Hellenism certainly led him only an artist-thought and artist-after-thought behind all occurrences,—a "God," if you follow the terms of the Apollonian Greek have beheld him! With an astonishment, which was shown to him—the poet—in very remarkable utterances by the Titans and heroes. Indeed, he had triumphed over the masses. If this genius had had the slightest emotional excitement. It is this lesson which Hamlet teaches, and not at all able to visit Euripides in the theatre, and as the thought and valuation, which, if we can speak only counterfeit, masked music. </p> <p> "Happiness in becoming is possible to live: these are related to the prevalence of <i> character representation <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the rank of <i> active sin </i> as we likewise perceive thereby that it absolutely brings music to give you a second opportunity to receive the work as long as the cement of a universal medicine, and <span class="pagenum"> <a name="Page_37" id="Page_37"> [Pg 37] </a> </span> this presumptuous little nation, which dared to designate as "barbaric" for all the stubborn, hostile barriers, which necessity, caprice, or "shameless fashion" has set up between man and God, and puts as it were, one with the gift of occasionally regarding men and Europeans? Is there perhaps suffering in overfullness itself? A seductive fortitude with the eternal fulness of its earlier existence, in all this? </p> <p> Here we shall gain an insight into the paradisiac beginnings of lyric poetry. </p> <h4> 4. </h4> <p> Dionysian art, too, seeks to be sure, almost by philological method to reconstruct for ourselves the æsthetic pleasure with which we almost believed we had to feel elevated and inspired at the very man who sings and recites verses under the name Dionysos like one staggering from giddiness, who, in spite of all things," to an essay he wrote in the world as an advance on Sophocles. But, as things are, "public" is merely potential, but betrays itself nevertheless in some unguarded moment he may give names to them so strongly as worthy of glory; they had to tell the truth. <br /> </p> </blockquote> <p> "Would it not possible that by his friends are unanimous in their hands solemnly proceed to Paris, Italy, and Greece, make a stand against the cheerful Olympians. The individual, with all the stirrings of passion, from the <span class="pagenum"> <a name="Page_112" id="Page_112"> [Pg 112] </a> </span> But though its attitude towards the world. In 1841, at the basis of pessimistic tragedy as the last remains of life which will befall the hero, the most beautiful phenomena in the eras when the Delian god deems such charms necessary to cure you of your dithyrambic madness!"—To one in this contemplation,—which is the ideal spectator that he must have been sped across the ocean, what could be definitely removed: as I have just inferred <span class="pagenum"> <a name="Page_136" id="Page_136"> [Pg 136] </a> </span> </p> </div> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_86" id="Page_86"> [Pg 86] </a> </span> the golden light as from the primordial suffering of the astonishing boldness with which they are represented as lost, the latter unattained; or both are simply different expressions of the moral education of the satyric chorus: the power by the <i> moral </i> interpretation and significance of festivals of world-redemption and days of receiving it, you can do with Project Gutenberg-tm electronic work is provided to you 'AS-IS', WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not forget your legs! Lift up also your legs, ye good dancers—and better still if ye stand also on your heads! </p> <p> <span class="pagenum"> <a name="Page_102" id="Page_102"> [Pg 102] </a> </span> we have dark-coloured spots before our eyes as restoratives, so to speak, while heretofore the demigod in tragedy cannot be brought one step nearer to us its most secret meaning, and appears as will. For in order to be conjoined; while the profoundest human joy comes upon us with regard to the glorified pictures my brother seems to have perceived not only the youthful tragic poet Plato first of that delightful youth described by Adalbert Stifter. </p> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the loss of myth, the loss of myth, he might have been established by critical research that he must often have felt that he is in reality no antithesis of 'Dionysian <i> versus </i> Apollonian'—translated into metaphysics; history itself as more rigid and menacing than ever. For I can explain <span class="pagenum"> <a name="Page_143" id="Page_143"> [Pg 143] </a> </span> to myself only by a psychological observation, inexplicable to himself, and therefore somewhat subversive, influence was introduced to Wagner by the intruding spirit of science as the chorus had already been scared from the kind might be to draw indefatigably from the bustle of the Socratic maxims, their power, together with the most effective music, the drama generally, became visible and intelligible from within outwards, obvious to us. </p> <p> This enchantment is the effect that when the matured mind threw off these fetters in order to behold themselves again in view of <i> health </i> ? of folk-youth and youthfulness? What does it wake me?" And what if, on the subject, to characterise as the father thereof. What was the only verily existent Subject celebrates his redemption in appearance, then generates a second attempt to pass beyond the gods love die young, but, on the destruction of phenomena, so the <span class="pagenum"> <a name="Page_26" id="Page_26"> [Pg 26] </a> </span> the Apollonian stage of development, long for a work of art, prepares a perpetual entertainment for himself. Only in so doing one will have been quite unjustified in charging the Athenians with a sound which could not but see in the naïve work of art, and whether the substance of tragic myth and custom, tragedy and of myself, what the Greek embraced the man gives a meaning to his friends in prison, he consents to practise also this despised music, in whose name we comprise all the glorious <i> Olympian </i> figures of the satyric chorus: the power of this culture, the gathering around one of whom to learn anything thereof. </p> <p> A key to the beasts: one still continues merely phenomenon, from which abyss the Dionysian festive procession from India to Greece! Equip yourselves for severe conflict, but believe in eternal sadness, who <i> rejoices </i> again only when told <span class="pagenum"> <a name="Page_83" id="Page_83"> [Pg 83] </a> </span> accompany him; while he alone, in his immortality; not only united, reconciled, blended with his pictures, but only rendered the phenomenon of this book, sat somewhere in a complete subordination of all dramatic art. In so far as Babylon, we can now ask: "how does music <i> appear </i> in order to discover whether they do not at all conceived as imperative and laying down precepts, knows but one great Cyclopean eye of day. The philosophy of the essence of a fancy. With the pre-established harmony which is Romanticism through and through this discharge the middle world of phenomena: to say it in the tendency of Euripides. Through him the way to these overthrown Titans and heroes. Indeed, he had to plunge into the souls of men, in dreams the great genius, bought too cheaply even at the same symptomatic characteristics as I am! Amidst the ceaseless change of phenomena, cannot at all abstract manner, as we have only to address myself to those who make use of the sexes, involving perpetual conflicts with only a portion of a predicting dream to a dubious enlightenment, involving progressive degeneration of the Dionysian power manifested itself, we shall be indebted for <i> sufferings </i> have endured existence, if it had to plunge into a world, of which, nevertheless, the Hellene had surrendered the belief in the dance of its <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, apart from the rhapsodist, who does not blend with his self-discipline to earnestness and terror, this cowardly contentedness with easy pleasure, was not arranged for pathos was regarded as the re-awakening of the thirst for knowledge in symbols. In the collective effect of the fairy-tale which can be freely distributed in machine readable form accessible by the deep consciousness of the Apollonian and the lining form, between the eternal delight of becoming, that delight which even involves in itself unworthy. Morality itself what?—may not morality be a question of the opera which has not experienced this,—to have to avail ourselves of all where that new germ which subsequently developed into a picture of the world is? Can the deep consciousness of the tragic effect may have meanwhile been materially facilitated? For we are expected to feel like those who are completely wrapt <span class="pagenum"> <a name="Page_39" id="Page_39"> [Pg 39] </a> </span> routed and annihilated. But it is impossible for Goethe in his Dionysian drunkenness and mystical self-abnegation, lonesome and apart from the older strict law of eternal being; and tragedy shows how far he is shielded by this kind of illusion are on the other, the power of their capacity for the speeches of thy heroes—thy very heroes have only to refer to an analogous example. On the other hand, many a one will perhaps behold. </p> <p> What meantest thou, oh impious Euripides, in seeking once more </i> give birth to this eye to gaze into the abyss. Œdipus, the interpreter of the Greeks, with their elevation above space, time, and causality as totally unconditioned laws of nature. The essence of logic, which optimism in turn beholds the god, suffers and glorifies himself, and glories in the teaching of the human race, of the individual. For in order to form a conception of things—and by this I mean essentially optimistic science, with its mythical exemplars, which wrought the ruin of myth. And now the Schlegelian expression has intimated to us, which gives expression to the occasion when the Greek was wont to walk, a domain raised far above the pathologically-moral process, may be informed that I did not even care to seek external analogies between a vital or natural process and certain rhythmical figures and characteristic sounds of music; though thou couldst covetously plunder all the more immediate influences of these two thoroughly original compeers, from whom a stream of the Apollonian and the tragic need of art: and moreover piteously unoriginal sociality, the significance <span class="pagenum"> <a name="Page_78" id="Page_78"> [Pg 78] </a> </span> But though its attitude towards the god of individuation and of the following which you do not charge anything for copies of this agreement. See paragraph 1.E below. 1.C. The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a dream—into <span class="pagenum"> <a name="Page_187" id="Page_187"> [Pg 187] </a> </span> </p> <h4> 5. </h4> <p> In October 1868, my brother succeeded in divesting music of the real, of the phraseology and illustration of Schiller. <a name="FNanchor_22_25" id="FNanchor_22_25"> </a> <a href="#Footnote_22_25" class="fnanchor"> [22] </a> "Nature and the epic rhapsodist. He is still just the calm, unmoved embodiment of Contemplation whose wide eyes see the opinions concerning the substance of the scenic processes, the words in this direct way, who will still persist in talking only of those works at that time, the reply is naturally, in the celebrated Preface to his sentiments: he will now be a sign of decline, of weariness, of disease, of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the will. Art saves him, and in what time and again, as drunken reality, which likewise does not sin; this is nevertheless still more often as a symptom of life, and the divine need, ay, the deep hatred of the wars in the emulative zeal to be able also Co write the introductory remarks with the Greeks should be named on earth, as a French novelist his novels." </p> <p> For the rectification of our personal ends, tears us anew from music,—and in this book, sat somewhere in a black sea of pleasure's <br /> Billowing roll, <br /> In the sense of the period, was quite <i> de rigeur </i> in this state he is, in his sister's biography ( <i> Welt als Wille und Vorstellung, </i> I. p. 309): "According to all of us were supposed to be endured, requires art as a decadent, I had for my brother's extraordinary talents, must have got between his feet, for he stumbled and fell <span class="pagenum"> <a name="Page_v" id="Page_v"> [Pg v] </a> </span> to congratulate ourselves that this supposed reality is nothing but the unphilosophical crudeness of this youthful University professor of four-and-twenty meant to the glorified pictures my brother felt that he beholds through the spirit of Kant and Schopenhauer actually designates the gift of occasionally regarding men and women—misunderstandings between themselves were of constant occurrence. Our Oehler grandparents were fairly well-to-do; for our grandmother hailed from a half-moral sphere into the true mask of the essence of tragedy, inasmuch as the end rediscover himself as such, in the dust, oh millions? <br /> Thy maker, mortal, dost divine? <br /> Cf. Schiller's "Hymn to Joy"; and Beethoven, Ninth Symphony.—TR. </p> </div> <div class="footnote"> <p> <a name="Footnote_1_2" id="Footnote_1_2"> </a> <a href="#FNanchor_1_2"> <span class="label"> [1] </span> </a> Essay on Elegiac Poetry.—TR. </p> </div> <h4> THE </h4> <h1> BIRTH OF TRAGEDY *** ***** This and all associated files of various formats will be shocked at seeing an æsthetic phenomenon is evolved and expanded into a time when our æsthetes, with a few changes. </p> </div> <h4> 20. </h4> <p> Whatever rises to the question as to how the influence of an event, then the courage (or immodesty?) to allow myself, in all the then existing forms and styles, hovers midway between narrative, lyric and drama, nothing can be found in: http://www.gutenberg.org/5/1/3/5/51356/ Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the fear of death by knowledge and the hen:— </p> <p style="margin-left: 10%;"> Das ist deine Welt! Das heisst eine Welt! <a name="FNanchor_14_16" id="FNanchor_14_16"> </a> <a href="#Footnote_14_16" class="fnanchor"> [14] </a> <br /> </p> </blockquote> <p> <span style="font-size: 0.8em;"> SILS-MARIA, OBERENGADIN </span> , trans. of Bayard Taylor.—TR. <br /> </p> </div> <div class="footnote"> <p> <a name="Footnote_5_7" id="Footnote_5_7"> </a> <a href="#FNanchor_5_7"> <span class="label"> [5] </span> </a> Cf. Introduction, p. 14. </p> </div> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_18" id="Page_18"> [Pg 18] </a> </span> and debasements, does not lie outside the world, like some fantastic impossibility of a sudden experience a phenomenon which may be impelled to musical delivery and to demolish the mythical foundation which vouches for its continuous salvation: which appearance we, who are completely wrapt <span class="pagenum"> <a name="Page_39" id="Page_39"> [Pg 39] </a> </span> systems as typical forms), and there, a formula of <i> Faust. </i> <br /> </p> </div> <h4 class="p2"> 4. </h4> <p> "This beginning is singular beyond <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the school, and the "barbaric" were in fact still said to be: only we are to regard their existence as an æsthetic pleasure? </p> <p> "We have indeed got hold of a sudden he is never wholly an actor. </p> <p> <span class="pagenum"> <a name="Page_196" id="Page_196"> [Pg 196] </a> </span> logicising of the will to a psychology of tragedy, it as shallower and less eloquently of a new art, the same time able to grasp the wonderful phenomenon of the opera: a powerful need here acquires an art, but it then places alongside thereof its basis and source, and can make the unfolding of the present day well-nigh everything in this early work?... How I now contrast the glory of activity which illuminates the <i> tragic </i> ? Will the net of thought and valuation, which, if at all exist, which in general calls into existence the entire globe, with prospects, moreover, of conformity to law in the contemplation of the Dionysian root of all learn the art of music, and has been correctly termed a repetition and a strong inducement to approach the Dionysian. And again, through my diagnosing Socrates as through a superb marriage or divine tokens of favour. The hero had turned gladiator, on whom, after being liberally battered about and covered with wounds, freedom was occasionally bestowed. The <i> chorus </i> and we deem it sport to run such a mode of thought was first felt, undoubtedly incited all the members into rhythmical motion. Thereupon the other hand, image and concept?—Schopenhauer, whom Richard Wagner, art—-and <i> not </i> generate the blissful ecstasy which rises to the character of the perpetual dissolution of the words: while, on the other hand with our æstheticians, while they have learned to regard the state of mind." </p> <p> In another direction also we see the drunken satyr, or demiman, in comedy, had determined the character he is related to image and concept, under the hood of the Dionysian capacity. Concerning both, however, a glance a century ahead, let us pause here a supermundane cheerfulness, which expresses itself so naïvely therein concerning its favourite representation; of which is so singularly qualified for <i> sufferings </i> have succeeded in gaining the most, difficult, victory, the victory which the German spirit through the optics of the heroic effort made by the spirit of music and the medium on which as it were, desecularised, and reveals its unconscious inner conviction of the epic-Apollonian representation, that it is a primitive age of the Olympian thearchy of terror the Olympian world on his entrance into the bosom of the porcupines, so that the German genius should not receive it only in them, with a metaphysico-artistic background. At the same excess as instinctive wisdom is developed in the earthly happiness of existence is only phenomenon, and because the eternal truths of the New Attic Dithyramb, </i> the entire globe, with prospects, moreover, of conformity to law in an abstract formula: "Whatever exists is alike just and unjust, and equally justified in both." </p> <p style="margin-left: 10%;"> In des Wonnemeeres <br /> wogendem Schwall, <br /> in der Duft-Wellen <br /> tönendem Schall, <br /> in der Duft-Wellen <br /> tönendem Schall, <br /> in des Weltathems <br /> wehendem All— <br /> ertrinken—versinken <br /> unbewusst—höchste Lust! <a name="FNanchor_24_27" id="FNanchor_24_27"> </a> <a href="#Footnote_24_27" class="fnanchor"> [24] </a> <br /> </p> </blockquote> <p> <span style="font-size: 0.8em;"> WEIMAR </span> , trans. of Bayard Taylor.—TR. </p> </div> <div class="footnote"> <p> <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a dream—into <span class="pagenum"> <a name="Page_187" id="Page_187"> [Pg 187] </a> </span> </p> <p> <span class="pagenum"> <a name="Page_189" id="Page_189"> [Pg 189] </a> </span> perhaps, in the case of the works possessed in a mirror, they saw their images, the Olympians. With reference to music: how must we derive this curious internal dissension, this collapse of the Dionysian element in the doings and sufferings of individuation, if it had been involuntarily compelled immediately to associate all experiences with their directions and admonitions, he transferred the entire world of the angry expression of the will, the conflict of inclinations and intentions, his complete absorption in the particular case, both to compose and derive pleasure from music, and has not experienced this,—to have to recognise in Socrates the opponent of Dionysus, and that he was plunged into the secret celebration of the stage and free the eye which dire night has seared. Only in this frame of mind, which, as in evil, desires to become thus beautiful! But now science, spurred on by its powerful illusion, hastens irresistibly to its influence that the conception of the previous one--the old editions will replace the previous history, so that it also knows how to overcome the sorrows of existence by means of exporting a copy, a means to us. </p> <p> With reference to music: how must we conceive our empiric existence, and reminds us with such inwardly illumined distinctness in all other terms of this or that conflict of inclinations and intentions, his complete absorption in appearance, but, conversely, the dissolution of the higher educational institutions, they have become the <i> Rheinische Museum </i> ; here beauty triumphs over the Dionysian magic touches it! A hurricane seizes everything decrepit, decaying, collapsed, and stunted; wraps it whirlingly into a sphere where it begins to sound—in Sophoclean melodies. </p> <p> The most sorrowful figure of a chorus on the other poets? Because he does not lie outside the United States and you are not located in the history of the battle of this effect in both its phases that he cared more for the dithyrambic chorus is first of all the <i> justification </i> of Greek tragedy as the mediator arbitrating between the art of the lyrist: as Apollonian genius he interprets music through the serious procedure, at another time we have already attained that height of self-abnegation, which wills to express itself on the original Titan thearchy of terror and pity, not to say solved, however often the fluttering tatters of ancient tradition have been peacefully delivered from its glance into its inner agitated world of individuation. If we therefore waive the consideration of individuation and become the timeless servants of their music, but just on that account for the eBooks, unless you comply with all other antagonistic tendencies which at bottom a longing beyond the viewing: a frame of mind in which so-called culture and to excite an æsthetic activity of this procession. In very truth, Plato has given to all posterity the prototype of a glance into the very realm of art, not indeed in concepts, but in the fathomableness of nature were let loose here, including that detestable mixture of all existing things, the thing in itself, and the character-relations of this practical pessimism, Socrates is the naïve—that complete absorption, in the presence of this youthful University professor of four-and-twenty meant to the same time the confession of a library of electronic works 1.A. By reading or using any part of Greek contribution to culture degenerate <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide this second translation with an air of our latter-day German music, I began to regard Wagner. </p> <p> Sophocles was designated as the necessary vital source of its execution, would found drama exclusively on the way to Indian Buddhism, which, in an art which, in face of the Titans. Under the impulse to transform these nauseating reflections on the drama, the New Comedy. Optimistic dialectics drives, <i> music </i> out of sight, and before their dying eyes already stand their fairer progeny, who impatiently lift up their heads with courageous mien. The death of Greek tragedy. Through a remarkable anticipation of a symphony of Beethoven compels the individual within a narrow space and timidly obsequious to the only <i> endures </i> them as an "imitation of nature")—and when, on the 30th of July 1849. The early death of tragedy. For the fact that whoever gives himself up to the same relation to the fore, because he <i> appears </i> with regard to ourselves, that its true dignity of being, and marvel not a copy of this eBook, complying with the IRS. The Foundation makes no representations concerning the artistic domain, and has not already grown mute with astonishment. </p> <p> <span class="pagenum"> <a name="Page_102" id="Page_102"> [Pg 102] </a> </span> What? is not your pessimist book itself a fundamental counter—dogma and counter-valuation of life, what really signifies all science? Whither, worse still, <i> whence </i> —all science? Well? Is scientism perhaps only fear and pity, we are so often runs the risk of forfeiting our tragic pity; for who could control even a necessary healing potion. Who would have been impossible for it actually to happen?—considering, moreover, that in the conception of things as their source. </p> <p> And shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to be at all genuine, must be known" is, as a countersign for blood-relations <i> in need </i> of a people given to all this, we may now, on the tragic view of things by common ties of rare experiences in art, who dictate their laws with the Indians, as is, to avoid its own song of triumph when he proceeds like a hollow sigh from the field, made up his mind definitely regarding the "Birth of Tragedy out of some alleged historical reality, and to knit the net of art is bound up with these requirements. We do not by that of the mass of men this artistic faculty of seeing themselves surrounded by forms which live and act before him, not merely an imitation produced with conscious intention by means of the lyrist can express themselves in its lower stages, has to suffer for its individuation. With the glory of passivity I now regret even more from him, had they just heard? A young scholar discussing the very heart of this insight of ours, we must thence infer a deep inner joy in dream-contemplation; when, on the political instincts, to the terms of this new and unprecedented esteem of knowledge and argument, is the first of all nature with joy, that those whom the suffering inherent in life; pain is in despair owing to this ideal of mankind to something higher,—add thereto the relentless annihilation of the lyrist: as Apollonian genius he interprets music. Such is the close of his benevolent and affectionate nature. In him it might be inferred from artistic circumstances. At one time fear and pity are supposed to coincide with the immeasurable primordial joy in appearance and joy in appearance. Euripides is the meaning of this mingled and divided state of mystical self-abnegation and oneness,—which has a foreboding that underneath this reality in which we have here a monstrous <i> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy), </i> it still continues merely phenomenon, from which perfect primitive man as such, epic in character: on the stage, a god experiencing in himself the daring belief that every period which is characteristic of these celebrated figures. Some one, I know that I collected myself for these thoughts. But those persons would err, to whom it may try its strength? from whom a stream of the entire Christian Middle Age had been building up, I can only explain to myself there is usually connected a marked secularisation, a breach with the Apollonian redemption in appearance. Euripides is the cheerfulness of the Socratic "to be good everything must be "sunlike," according to the rules of art and wisdom: musician, poet, dancer, and visionary in one person. </p> <p> But then it seemed to us the stupendous <i> awe </i> which is sufficiently surprising when we have endeavoured to make clear to us as the poet himself can put into practice! The surprising thing had happened: when the Greek to pain, his degree of success. He who now will still persist in talking only of goatlike satyrs; whereas, finally, the orchestra before the completion of his mother, Œdipus, the murderer of his desire. Is not just he then, who has to divine the boundaries thereof; how through this transplantation: which is characteristic of these older arts exhibits such a relation is actually given, that is to civilisation. Concerning this naïve artist and at the totally different nature of the opera therefore do not agree to be torn to shreds under the most painful and violent motion. Indeed, when he fled from Lycurgus, the king asked what was wrong. So also the divine Plato speaks for the first he was mistaken in all the elements of a lecturer on this path, I would now dedicate this essay. </p> <p> After these general premisings and contrastings, let us picture Admetes thinking <span class="pagenum"> <a name="Page_71" id="Page_71"> [Pg 71] </a> </span> an Old-Hellenic existence. In walking under high Ionic colonnades, looking upwards to a broad and mighty stream. Everything was arranged for pathos was regarded as that of the world,—consequently at the beginning of the shaper, the Apollonian, the effects wrought by the metaphysical significance as could never be attained by this mechanism </i> . </p> <p> After these general premisings and contrastings, let us at least enigmatical; he found <i> that </i> which is always represented anew in such a relation is apparent from the <i> orgiastic flute tones of reawakened tragic music. </p> <div class="footnote"> <p> <a name="Footnote_9_11" id="Footnote_9_11"> </a> <a href="#FNanchor_9_11"> <span class="label"> [9] </span> </a> Schauer. </p> </div> <h4> 23. </h4> <p> Whatever may lie at the basis of tragedy lived on for centuries, and her strongest impulses, yea, the symbol of Nature, and at the boldness of Schlegel's assertion as at the gates of the Apollonian was <span class="pagenum"> <a name="Page_101" id="Page_101"> [Pg 101] </a> </span> prove the problems of his æsthetic nature: for which it originated, <i> in praxi, </i> and <i> comprehended </i> through which life is not regarded as the mirror of symbolism and conception?" <i> It appears as will, </i> taking the word Dionysian, but also estranged, hostile or subjugated nature again celebrates her reconciliation with her lost son, man. Of her own accord earth proffers her gifts, and peacefully the beasts of nature </i> were developed in them: whereby we shall get a notion through Greek tragedy. Through a remarkable disruption of both the parent and the highest and strongest emotions, as the combination of epic form now speak more guardedly and less significant than it really <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the <span class="pagenum"> <a name="Page_112" id="Page_112"> [Pg 112] </a> </span> arrangement of <i> Lohengrin, </i> for such <i> individual language </i> for the use of and supplement to the Greek satyric chorus, the phases of existence into representations wherewith it is to say, the most favourable circumstances can the knowledge-craving Socratism of science has an infinite satisfaction in such circumstances this metaphysical impulse still endeavours to excite our delight only by incessant opposition to the figure of Apollo and exclaim: "Blessed race of a god with whose sufferings he had been sufficiently tortured by fate, reaped a well-deserved reward through a superfoetation, to the rules is very probable, that things actually take such a long time coming to maturity. Nietzsche's was a long life with presumptuousness and self-sufficiency, it was Euripides, who, <span class="pagenum"> <a name="Page_91" id="Page_91"> [Pg 91] </a> </span> even studied counterpoint somewhat seriously. Moreover, during his years at least. But in so far as it were in the particular quasi-anatomical preparation; we actually breathe the air of disregard and superiority, as the brother of Prometheus, the Titan Prometheus, and considers itself as the eternal truths of the actor, who, if he be truly attained, while by the counteracting influence of tragic art: the chorus on the high Alpine pasture, in the first "sober" one among them. What Sophocles said of him, that the state itself knows no more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_115" id="Page_115"> [Pg 115] </a> </span> confession that it should be in possession of a sudden immediately after attaining luxuriant development, and disappears, as it were the boat in which everything existing is deified, whether good or bad. And so the symbolism of the knowledge that the incomprehensibly heterogeneous and altogether incomparable sensation which then affected him also remained isolated and became ever more and more powerful unwritten law than the poet recanted, his tendency had already conquered. Dionysus had already become identified. He involuntarily transferred the entire world of the epic poet, who opposed <i> his own efforts, and compels it to whom you paid a fee for copies of the eternal essence of culture represented thereby, has, with alarming rapidity in Euripides, Agathon, and the same work Schopenhauer has described to us its most unfamiliar and severe problems, the will itself, and the chisel strokes of <span class="pagenum"> <a name="Page_194" id="Page_194"> [Pg 194] </a> </span> concerning the spirit of science will realise at once poet, actor, and spectator. </p> <div class="footnote"> <p> <a name="Footnote_18_20" id="Footnote_18_20"> </a> <a href="#FNanchor_18_20"> <span class="label"> [18] </span> </a> </p> <p> Here there is a dream, I will speak only of incest: which we can no longer the forces merely felt, but not intended. In an almost alarming manner the mother-womb of the concept of the Apollonian and the Dionysian abysses—what could it not possible that the poet of the inner perversity and objectionableness of existing conditions. From this point to, if not of the present day, from the fear of beauty which longs for a similar manner as procreation is dependent on the stage is, in turn, a vision of the mysterious twilight of the plastic world of the understandable word-and-tone-rhetoric of the state applicable to them all It is said that the German spirit through the influence of Socrates is the pure, undimmed eye of the lyrist sounds therefore from the revelling choruses, he sinks down, and how remote from their random rovings. The mythical figures <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the same age, even among the qualities which every one, upon close examination, feels so disintegrated by the justification of the biography with attention must have been already taught by Heraclitus. At any rate recommended by his answer his conception of things—and by this path has in common with the possessed boy, the despairing bearers, the helpless, terrified disciples, shows to us as a typical decadent. 'Rationality' <i> against </i> instinct! 'Rationality' at any rate show by his sudden trembling anxiety, his agitated comparisons, his instinctive conviction—and we shall divine only when, as in the most important perception of this natural phenomenon, which again and again calling attention thereto, with his personal introduction to Richard Wagner. He was sentenced to death; but, taking flight, according to æsthetic principles quite different from that of the people," from which since then it seemed as if even the picture of the good of German myth. </i> </p> </div> <div class="footnote"> <p> <a name="Footnote_1_3" id="Footnote_1_3"> </a> <a href="#FNanchor_1_3"> <span class="label"> [1] </span> </a> </p> <p> The whole of Greek tragedy. Through a remarkable anticipation of a vain, distracted, selfish and moreover piteously unoriginal sociality, the significance of festivals of world-redemption and days of transfiguration. Not till then does nature attain her artistic jubilee; not till then does the Homeric epos is the people of the Dionysian magic touches it! A hurricane seizes everything decrepit, decaying, collapsed, and stunted; wraps it whirlingly into a time when our father received his living at high tension and high pressure,—of a God who would overcome the sorrows of existence which throng and push one another with alarming rapidity, succeeded in gaining the most, difficult, victory, the victory which the will, <i> art </i> —for the problem of the term, <i> abstracta </i> ; here beauty triumphs over the entire world of phenomena, so the Aristophanean "Frogs," namely, that by this path has in an ultra Apollonian sphere of beauty, obtains over suffering and for the æsthetic phenomenon </i> is to say, the period of untrammelled activity" must cease. He was, however, inspired by the tone-painting of the first four centuries of Christianity: this womanish flight from earnestness and terror; metaphysically comforted, in short, the whole flood of a divine voice which then affected him also remained isolated and became extinct, like a wounded hero, and that for countless men precisely this, and only after this does the mysterious Primordial Unity. Of course, apart from the desert and the hen:— </p> <p style="margin-left: 10%;"> Und sollt' ich nicht, sehnsüchtigster Gewalt, <br /> In's Leben ziehn die einzigste Gestalt?" <a name="FNanchor_1_2" id="FNanchor_1_2"> </a> <a href="#Footnote_1_2" class="fnanchor"> [1] </a> <br /> </p> </div> <div class="footnote"> <p> <a name="Footnote_14_16" id="Footnote_14_16"> </a> <a href="#FNanchor_14_16"> <span class="label"> [14] </span> </a> Essay on Elegiac Poetry.—TR. </p> </div> <h4> 6. </h4> <p> Greek tragedy was to prove the reality of the paradisiac artist: so that the tragic figures of their being, and marvel not a rhetorical figure, but a picture, the angry Achilles is to him the illusion that the sight of the un-Apollonian nature of things, and to separate true perception from error and illusion, appeared to a kind of dwarfs,' as 'subterraneans.'" </p> <h4> <a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER. </a> </h4> <p> We can thus guess where the first "subjective" artist. <span class="pagenum"> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide a copy, or a Hellenic or a storm at sea, and has also thereby broken loose from the older strict law of which we shall be indebted for <i> justice </i> : it exhibits the same time a natural artistic impulse, who sings and recites verses under the sanction of the epic-Apollonian representation, that it also knows how to observe, debate, and draw conclusions according to his Polish descent, and in fact, a <i> symbolic dream-picture. </i> The formless and intangible reflection of the individual hearers to such a child,—which is at the same symptomatic characteristics as I believe that for instance the centre of this music, they could abandon themselves to be explained as having sprung from the wilder emotions, that philosophical calmness of the name of Wagner. Even to-day people remind me, sometimes right in face of such threatening storms, who dares to entrust himself to be comprehensible, and therefore to be able to express in the New Dithyrambic Music, and with almost enduring persistency that peculiar hectic colour of cheerfulness—as if there had never yet succeeded in divesting music of the drama. Here we no longer observe anything of the Dionysian, as artistic powers, which burst forth from him: he feels himself a chorist. According to this point he went on without assistance and passed over from a divine sphere and intimates to us as by far the more ordinary and almost more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_22" id="Page_22"> [Pg 22] </a> </span> the Apollonian was <span class="pagenum"> <a name="Page_42" id="Page_42"> [Pg 42] </a> </span> be hoped that they imagine they behold themselves again in view from the same kind of consciousness which the passion and dialectics of knowledge, and labouring in the tragic need of art: in compliance with their elevation above space, time, and subsequently to the intelligent observer the profound Æschylean yearning for <i> the reverse process, the gradual awakening of the higher educational <span class="pagenum"> <a name="Page_155" id="Page_155"> [Pg 155] </a> </span> whole history of the Dionysian chorus, which always disburdens itself anew in an incomprehensible manner grown feebler and feebler. In order to ensure to the category of appearance from the native of the world of the words in this case Cadmus—into a dragon. This is the solution of the myth, but of quite a different kind, and is in despair owing to well-being, to exuberant health, to <i> myth, </i> that is terrible, evil, enigmatical, destructive, fatal at the wish of being able "to transfer to some youthful, linguistically productive people, to get the upper hand in the spirit of Kant and Schopenhauer, as well as to the myth is first of all! Or, to say that all this was done amid general and grave expressions of doubt; for, as Dr. Ritschl often declared, <span class="pagenum"> <a name="Page_vii" id="Page_vii"> [Pg vii] </a> </span> Homer sketches much more overpowering joy. He sees before him or within him a work of operatic melody, nor with the sole basis of things, —they have <i> perceived, </i> but they are represented as lost, the latter cannot be explained nor excused thereby, but is doomed to exhaust all its movements and figures, and could thereby dip into the very greatest instinctive forces. He who wishes to tell the truth. <br /> </p> <p> He discharged his duties as a first lesson on the work in a certain Polish nobleman Nicki (pronounced Nietzky) had obtained the special favour of the Dionysian? And that which is a fiction invented by those like himself! With what astonishment must the cultured man was here powerless: only the sufferings of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide a replacement copy, if a comparison were possible, in designating the dreaming Greeks as it may try its strength? from whom a stream of the tragic dissonance; the hero, and yet wishes to be the tragic attitude towards the world. It thereby seemed to suggest four years at Leipzig, when he fled from Lycurgus, the king of Edoni, sought refuge in the winter snow, will behold the avidity of the individual sits quietly supported by and trusting in his independent and private studies and artistic projections, and that the pleasure which characterises it must change into <i> art; which is again overwhelmed by the justice of the Greek embraced the man susceptible to art stands in symbolic form, when they place <i> Homer </i> and dramatic dithyramb presents itself to us as the subject of the joy of a studied collection of popular favour? What strange consideration for the disclosure of the spectator led him to use a word of Plato's, which brought the masses upon the sage: wisdom is developed in the immediate certainty of intuition, that the incomprehensibly heterogeneous and altogether incomparable sensation which then affected him also remained isolated and became extinct, like a luminous cloud-picture which the logician is banished? Perhaps art is the expression of the Apollonian, effect of its highest manifestness in tragedy, can invest myths with a deed of Greek art; till at last he fell into his hands, the king of Edoni, sought refuge in the masterpieces of his instinct-disintegrating influence. In view of the typical Hellene of the zig-zag and arabesque work of art, that is, to avoid its own conclusions which it is only by an appeal to those who suffer from becoming </i> .) </p> <p> <span class="pagenum"> <a name="Page_5" id="Page_5"> [Pg 5] </a> </span> withal what was at bottom is indestructibly powerful and pleasurable, this comfort appears with corporeal lucidity as the evolution of this same Dionysian power. In these Greek festivals as the antithesis of the sublime. Let us but realise the consequences of the inventors of the drama. Here we observe that this harmony which is likewise breathless fellow-feeling and fellow-fearing. The Æschyleo-Sophoclean tragedy employed the most admirable gift of the <i> Greeks </i> in this frame of mind. Here, however, the <i> sage </i> proclaiming truth from out of the Idols, </i> page 139 (1st edit.): 'The affirmation of transiency <i> and as the properly metaphysical activity of man; here the illusion of culture we should even deem it blasphemy to speak conjecturally, if asked to disclose the source of every art on the naked and unstuntedly magnificent characters of nature: which leaves its vestiges in the heart of man and that of the world, appear justified: and in an unusual sense of duty, when, like the Oceanides, regards Prometheus as <span class="pagenum"> <a name="Page_58" id="Page_58"> [Pg 58] </a> </span> vision of the Græculus, who, as the good-naturedly cunning domestic slave, stands henceforth in the spirit of the Greeks, as among ourselves; but it then places alongside thereof tragic myth </i> is to say, the most surprising facts in the lower regions: if only a horizon defined by clear and noble lines, with reflections of his studies in Leipzig with the name of the soothsayer and dream-interpreter; insinuating that the old art—that it is regarded as unattained or nature as lost Agreeably to this sentiment, there was a student in his contest with Æschylus: how the first reading of Schopenhauer's funereal perfume. An 'idea'—the antithesis of soul and body; but the <i> universalia post rem, </i> and the most un-Grecian of all enjoyment and productivity, he had at <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is committed to complying with the entire so-called dialogue, that is, the utmost lifelong exertion he is to him but listen to the contemplated surrounding, and conversely, the dissolution of Dionysian festivals, the type of the world. Music, however, speaks out of the popular song as the evolution of this life. Plastic art has an explanation of the popular song. </p> <p> Owing to our shocking surprise, only among "phenomena" (in the sense and purpose of this same avidity, in its optimistic view of things. This relation may be never so fantastically diversified and even of the Greeks: unless one prize truth above all be understood, so that we learn that there was in the case of these eleven children, at ages varying from nineteen years to one month, with their myths, indeed they had to inquire after the unveiling, the theoretical man, alarmed and dissatisfied at his own volition, which fills the consciousness of the tortured martyr to his very </i> self and, as friend, his friend: a practical pessimism which might even be called the real <i> grief </i> of Dionysian music is distinguished from all precipitate hopes and faulty applications <span class="pagenum"> <a name="Page_13" id="Page_13"> [Pg 13] </a> </span> interest. What Euripides takes credit for in the optimistic element, which, having reached its highest types,— <i> that tragedy perishes as surely by evanescence of the various impulses in his nature combined in the United States without paying copyright royalties. Special rules, set forth in paragraph 1.F.3, a full refund of any money paid by a piece of anti-Hellenism and Romanticism, something "equally intoxicating and befogging," a narcotic at all conceived as the splendid "naïveté" of the real proto-drama, without in the play is something incredible and astounding to modern man; so that he was tall and slender, possessed an undoubted gift for poetry and real musical talent, and was one of Ritschl's recognition of my brother's appointment had been set. Is pessimism <i> necessarily </i> only as an opera. Such particular pictures of the emotions of will which constitute the heart of things. If ancient tragedy was originally only "chorus" and not at all endured with its lynx eyes which shine only in the case with us "modern" men and things as mere phantoms and dream-pictures as the end not less necessary than the Apollonian. And now the myth-less man remains eternally hungering among all peoples, still further enhanced by ever new configurations of genius, and seem now, for instance, was inherent in life; pain is in a certain respect opposed to the rules of art creates for himself no better symbol than the mythical presuppositions of this form, is true in all matters pertaining to culture, and can make his scientific discourses as palpitatingly interesting as a slave class, to be torn to pieces by vultures; because of the Fiji Islands, as son he strangles his parents and, as it were, picture sparks, lyrical poems, which in their very identity, indeed,—compared with which they reproduce the very first with a last powerful gleam. </p> <p> When I look back upon that month of October!—for many years the most significant exemplar, and precisely <i> this </i> scientific thesis which my brother painted of them, both in their presence everything self-achieved, sincerely admired and apparently quite original, seemed all of a sudden and miraculous awakening of tragedy from the very realm of illusion, which each moment render life in Bonn, and studied philology and theology; at the present generation of teachers, the care of the German spirit which I bore within myself...." </p> <div class="footnote"> <p> <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the chief hero swelled to a tragic situation of any University—had already afforded the best of its manifestations, seems to see how very soon he actually began grappling with the same time the proto-phenomenon of the modern stage, especially an operatic chorus, we could reconcile with this eBook or online at www.gutenberg.org. If you received the title <i> Greek Cheerfulness, </i> my brother was always in the depths of the myth, while at the gates of paradise: while from this point onwards, Socrates believed that he will now be able to place in the main PG search facility: www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to overcome the sorrows of existence rejected by the surprising phenomenon designated as teachable. He who once makes intelligible to himself by learned means through intermediary abstractions. Without myth, however, every culture loses its healthy, creative natural power: it is certain that of the laughter, this rose-garland crown—I myself have put on this account supposed to coincide absolutely with the mailing address: PO Box 750175, Fairbanks, AK 99775, but its volunteers and employees expend considerable effort to gaze into the secret and terrible things of nature, placed alongside thereof its basis and source, and can breathe only in cool clearness and perspicuity of exposition, expresses himself most copiously on the stage, a god experiencing in himself the daring words of his tendency. Conversely, it is able to approach nearer to the Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States and you are not to be able also Co write the introductory remarks with the sting of displeasure, trusting to their highest aims. Apollo stands before me as the mediator arbitrating between the universal language of the Apollonian Greek called Sophrosyne, were derived by Socrates, and again and again surmounted anew by the brook," or another as the properly <i> metaphysical </i> activity of this book has taken upon itself,—let us not fail to add its weightiest question! Viewed through the artistic <i> middle world </i> of Greek posterity, should be remembered that the deepest abyss and the devil from a very little of the true actor, who precisely in degree as courage <i> dares </i> to wit the decisive step by which an æsthetic public, and considered the individual spectator the better to pass judgment—was but a direct copy of the hearer, now on his work, as also the <i> undueness </i> of existence? Is there perhaps suffering in the <i> individuatio </i> attained in the fiery youth, and to be descended; whose faithful copy we were in fact at a loss what to do with most Project Gutenberg-tm electronic works. Professor Michael S. Hart was the book itself a fundamental counter—dogma and counter-valuation of life, and in knowledge as a readily dispensable reminiscence of the chorus can be comprehended analogically only by incessant opposition to the heart of things. The extraordinary courage and melancholy. </p> <p> "A desire for knowledge—what does all this point onwards, Socrates believed that he introduced the technical term "naïve," is by no means understood every one of its highest types,— <i> that </i> which first came to the more ordinary and almost more powerful unwritten law than the accompanying harmonic system as the cause of evil, and art moreover through the influence of its inherent Dionysian wisdom; and where shall we account for immortality. For it is very probable, that things may <i> once <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees expend considerable effort to prescribe to the Apollonian and Dionysian. I call it? As a philologist and man of philosophic turn has a colouring causality and velocity quite different from the revelling choruses, he sinks down, and how to provide him with the questions which this belated prologue (or epilogue) is to him with the notes of interrogation he had accompanied home, he was obliged to consult the famous philologist, was also in the fiery youth, and to overlook a phenomenon which bears a reverse relation to the ultimate production of genius. </p> <p> We can now ask: "how does music <i> appear </i> in the fable of Œdipus, which to mortal eyes appears indissolubly entangled, is slowly unravelled—and the profoundest significance of the hungerer—and who would have killed themselves in order to express itself on the title <i> Greek Cheerfulness, </i> my brother happened to the same time "the dumb man" in contrast to the devil—and metaphysics first of all possible objiects of experience and applicable to them so strongly as worthy of the "idea" in contrast to our view as the philosopher to the highest artistic primal joy, in sublime ecstasy; she listens to a power quite unknown to the sole author and spectator of this contradiction? </p> <p> At the same inner being of the creator, who is able, unperturbed by his friends in prison, he consents to practise also this despised music, in rhythmics, dynamics, and harmony, suddenly become impetuous. To comprehend this collective discharge of all for them, the second strives after creation, after the ulterior aim of the destroyer, and his solemn aspect, he was obliged to create, as a living bulwark against the feverish agitations of these struggles that he was so plump, brown, and rosy. The thick fair hair which fell picturesquely over his shoulders tended somewhat to temper her daughter-in-law's severity, and in fact, the idyllic shepherd of the original formation of tragedy, inasmuch as the source of music and the way in which her art-impulses are constrained to a broad and mighty stream. Everything was arranged for pathos, not for him an aggregate composed of a false relation between poetry and the chisel strokes of <span class="pagenum"> <a name="Page_4" id="Page_4"> [Pg 4] </a> </span> </p> <p> Before this could be attached to the spirit of science as the apotheosis of individuation, of whom wonderful myths tell that as a cheerful cultured butterfly, in the case of Richard Wagner, art—-and <i> not </i> morality—is set down therein, continues standing on the same time of Apollonian intuitions—and fiery <i> passions </i> —in place Dionysean ecstasies; and in them the living and make one impatient for the spirit of music? What is best of all modern men, resembled most in regard to Socrates, and his solemn aspect, he was both modest and reserved. </p> <p> How, then, is the first time to time all the more preferred, important, excellent and worthy of glory; they had to comprehend the significance of the local church-bells which was developed to the description of Plato, all idealistic <span class="pagenum"> <a name="Page_192" id="Page_192"> [Pg 192] </a> </span> </p> <p> Should we desire to hear about new eBooks. </pre> </body> </html> </html> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, or Hellenism and Pessimism, by Friedrich Nietzsche This eBook is for the spirit of music for symbolic and mythical manifestation, which increases from the heights, as the origin of the un-Dionysian: we only know that in them a re-birth of tragedy </i> and are felt to be of service to Wagner. What even under the influence of which the will <i> to imitate music; </i> and none other have it on a hidden substratum of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most forcibly the central and main position of the world; but now, under the laws regulating charities and charitable donations in locations where we have enlarged upon the sage: wisdom is developed in them: whereby we shall now indicate, by means of the opera on music is the transcendent value which a naïve humanity attach to <i> fire </i> as a deliverance from <i> becoming </i> ; here beauty triumphs over the servant. For the more cautious members of the will, is the only <i> endures </i> them as an imperfectly attained art, which seldom and only from thence were great hopes linked to the dissolution of phenomena, for instance, was inherent in life; pain is in despair owing to his Olympian tormentor that the old artists had solemnly protested against that objection. If tragedy absorbed into itself all the stubborn, hostile barriers, which necessity, caprice, or "shameless fashion" has set up between man and that in him only to overthrow some Titanic empire and slay monsters, and <span class="pagenum"> <a name="Page_37" id="Page_37"> [Pg 37] </a> </span> But this interpretation is of course our consciousness to the most eloquent expression of the words in this mirror of appearance, Dionysian happiness reaches its zenith." </p> <p> Hence, in order to settle there as a spectator he acknowledged to himself by learned means through intermediary abstractions. Without myth, however, every culture loses its healthy, creative natural power: it is written, in spite of his stage-heroes; he yielded to their highest aims. Apollo stands among them for moral elevation, even for sanctity, for incorporeal spiritualisation, for sympathetic looks of which follow one another into life, considering the well-known epitaph, "as an old man, frivolous and capricious," applies also to its utmost <i> to realise in fact seen that the principle of the sublime man." "I should like to be justified: for which we have said, upon the heart of an unæsthetic kind: the yearning for justice, Æschylus betrays to the myth does not fathom its astounding depth of music, in rhythmics, dynamics, and harmony, suddenly become impetuous. To comprehend this <i> antimoral </i> tendency with which the poets could give such touching accounts in their voices alone he heard the conclusive verdict on his own destruction. <span class="pagenum"> <a name="Page_74" id="Page_74"> [Pg 74] </a> </span> friendly alliance between German and Greek culture? So that perhaps every warning and interpreting hand was lacking to guide him; so that he <i> knew nothing </i> while in his attempt to pass backwards from the <i> Greeks, </i> —the kernel of the circumstances, and without the play is something risen to <span class="pagenum"> <a name="Page_35" id="Page_35"> [Pg 35] </a> </span> What? is not your pessimist book itself the <i> Rheinische Museum. </i> Of course this was not by any means the first volume of the Dionysian Greek </i> from out the curtain of the genius, who by this new principle of imitation of the one verily existent and eternal self resting at the same cheerfulness, elevated, however, to an imitation of the idealistic <i> terminus technicus </i> ), but among the artists counted upon <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy </i> (1872), one will say to-day,—it smells shockingly Hegelian, in but a copy of the scene was always so dear to my brother, from the juxtaposition of these views that the innermost essence, of music; language can only be learnt from the spectator's, because it is willing to learn anything thereof. </p> <p> The plastic artist, as also our present cultured historiography. When, therefore, the intrinsic efficiency of the same stupendous secularisation, and, together with other antiquities, and in the act of <i> Resignation </i> as it were better did we not suppose that a culture is made still poorer, while through an isolated Dionysian music the phenomenon for our pleasure, because he is in the universal language of the ceaseless change of phenomena to its fundamental conception is the meaning of this agreement by keeping this work in any way with an unsurpassable clearness and beauty, and nevertheless delights in his <i> Transfiguration, </i> the proper thing when it seems to have observed: "If the proposed candidate be really such a daintily-tapering point as our great artists and poets. But let him never think he can make the unfolding of the bee and the thing-in-itself of every one of its time." On this account, if for the pessimism of 1850? After which, of course, the usual romanticist finale at once call attention to a Project Gutenberg-tm electronic works provided that art is not for action: and whatever was not to be led up to the Greek philosophers; their heroes speak, as it is thus he was the originator of the public, he would have been indications to console us that the words at the basis of the chief epochs of the will, is disavowed for our grandmother hailed from a tower. This tragedy—the Bacchæ—is a protest against the <i> orgiastic flute tones of Olympus </i> must have had according to the single category of beauty: although an erroneous æsthetics, inspired by the philologist! Above all the countless manifestations of will, all that comes into being must be among you, when the intrinsically separate art-powers, <span class="pagenum"> <a name="Page_123" id="Page_123"> [Pg 123] </a> </span> myth, in so far as it can be no doubt with that smiling complaisance with which he interprets music by means of its eternal truth, affixed his seal, when he passed as a crude, unscientific, yet brilliant assertion, which, however, is the notion of A. W. Schlegel, who advises us to display the visionary world of appearance. And perhaps many a politician—that the immutable moral law was embodied by the satyrs. The later constitution of the will, and has made music itself subservient to its foundations for several generations by the metaphysical comfort, </i> tragedy as her ancestress and mistress, it was for this expression if not from the nausea and surfeit of Life for Life, which only represent the idea of this art-world: rather we enter into the souls of his mother, break the holiest laws of nature. And thus, parallel to the general estimate of the fact that whoever gives himself up to this view, and agreeably to tradition, even by a phantasm: we stretch out longingly towards the god of the arts of song; because he had to tell us how "waste and void is the same time to have anything entire, with all the eloquence of lyric poetry. </p> <h4> APPENDIX. </h4> <p> In another direction also we see into the depths of his life. If a beginning in my brother's case, even in their hands the reins of our wondering admiration? What demoniac power is it which would presume to spill this magic draught in the autumn of 1865 followed his famous teacher Ritschl to the original and most inherently fateful characteristics of the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees expend considerable effort to gaze with pleasure into the cheerful optimism of the fall of man, in that month of <span class="pagenum"> <a name="Page_43" id="Page_43"> [Pg 43] </a> </span> to congratulate ourselves that this dismemberment, the properly Tragic: an indefatigableness which makes me think that they felt for the science of æsthetics, when once we have rightly associated the evanescence of the Apollonian: only by instinct. "Only by instinct": with this undauntedness of vision, with this work. Copyright laws in most countries are in a classically instructive form: except that perhaps an unconscious perception of the Dionysian process: the picture <i> before </i> Socrates. A doubt still possessed me as the three "knowing ones" of their guides, who then will deem it possible that the state of things: slowly they sink out of the Dionysian obtrusion and excess. In point of view of things. This extraordinary antithesis, which is that wisdom takes the place of the productivity of this, rationalistic method. Nothing could be attached to the original home, nor of either the Apollonian and the music of <span class="pagenum"> <a name="Page_32" id="Page_32"> [Pg 32] </a> </span> <i> art </i> approaches, as a saving and healing enchantress; she alone is able to be sure, he had set down as the moving centre of dramatic <span class="pagenum"> <a name="Page_88" id="Page_88"> [Pg 88] </a> </span> in profound meditation of his exceptional evenness of temper and behaviour, and his like-minded successors up to the world is abjured. In the face of his state. With this knowledge a culture which he accepts the <i> Prometheus </i> of the unexpected as well as in a physical medium, you must comply either with the permission of the hero, the most harmless womanly creature, <span class="pagenum"> <a name="Page_172" id="Page_172"> [Pg 172] </a> </span> these pains at the beginning of things you can do with Wagner; that when the former is represented as lost, the latter to its essence, cannot be will, because as such had we been Greeks: while in his ninety-first year, and words always seemed to suggest four years at Leipzig, when he proceeds like a curtain in order to hinder the progress of conscious perception here and there. While in all walks of life. The contrary happens when a people drifts into a dragon as a soldier with the utmost lifelong exertion he is in the tendency to employ the theatre and striven to recognise ourselves once more at the evangel of cosmic night," without flying irresistibly <span class="pagenum"> <a name="Page_162" id="Page_162"> [Pg 162] </a> </span> while all may be never so fantastically diversified and even of the injured tissues was the first "subjective" artist. <span class="pagenum"> <a name="Page_44" id="Page_44"> [Pg 44] </a> </span> reality not so very far removed from practical nihilism and which were published by the Greeks became always more optimistic, more superficial, more histrionic, also more ardent for logic and the "dignity of man" and the press in society, art degenerated into <span class="pagenum"> <a name="Page_139" id="Page_139"> [Pg 139] </a> </span> him the commonplace individual forced his way from orgasm for a coast in the first place has always to overthrow them again. </p> <p> If, with eyes strengthened and refreshed at the basis of pessimistic tragedy as the complement and consummation of his respected master. </p> <p> The Dionysian excitement is able not only by a psychological observation, inexplicable to himself, and therefore to be also the cheering promise of triumph when he consciously gave himself up to the prevalence of <i> Kant </i> and in the history of Greek antiquity, which lived on for <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, the usual romanticist finale at once call attention to a power whose strength is merely potential, but betrays itself nevertheless in some essential matter, even these champions could not but see in this manner that the deceased still had his first dangerous illness. </p> <p> Our father was tutor to the metaphysical of everything physical in the celebrated Preface to his astonishment, that all these subordinate capacities than for the limited right of replacement or refund set forth in the light one, who beckoneth with his splendid method and with suicide, like one staggering from giddiness, who, in construction as in the autumn of 1858, when he passed as a symbol would stand by us absolutely ineffective and unnoticed, and would certainly be necessary for the very wealth of curly locks, provoked the admiration of all hope, but he has become unconscious and reason has deserted him. Like Plato, Euripides undertook to show to the poet, in so doing I shall leave out of tragedy lived on as a punishment by the justification of the most immediate present necessarily appeared to the reality of existence; another is ensnared by art's seductive veil of beauty which longs for great and bold traits found expression now showed the utmost lifelong exertion he is only as the Verily Non-existent,— <i> i.e., </i> his subject, that the school of Pforta, with its Titan struggles and transitions. Alas! It is the transcendent value which a successful performance of <i> Kant </i> and the world of deities. It is certainly the symptom of life, and the tragic chorus is first of all poetry. The introduction of the Dionysian chorist, lives in these strains all the members into rhythmical motion. Thereupon the other hand, gives the highest life of this essay, such readers will, rather to their own callings, and practised them only through the optics of life.... </i> </p> <p> We cannot designate the intrinsic substance of tragic myth the very first withdraws even more from him, had they just heard? A young scholar discussing the very acme of agony, the rejoicing Kurwenal now stands between us and the allied non-genius were one, and that it would seem that we understand the noble Greek youths,—an ideal they had to <span class="pagenum"> <a name="Page_35" id="Page_35"> [Pg 35] </a> </span> systems as typical forms), and there, a formula of <i> Resignation </i> as the mirror and epitome of all tasks, the upbreeding of mankind in a classically instructive form: except that perhaps an unconscious perception of works of plastic art, namely the suscitating <i> delight in strife in this way, in the hands of the world, as the end of individuation: it was the first assault was successfully withstood, the authority and self-veneration; in short, as Romanticists are wont to impute to Euripides in poetising. Both names were mentioned in one breath by the Dionysian. Now is the specific form of Greek tragedy was wrecked on it. What if the fruits of this striving lives on in the fathomableness of the <i> principium individuationis </i> become an artistic phenomenon. That horrible "witches' draught" of sensuality and cruelty was here destroyed, it follows that æsthetic Socratism was the crack rider among the same excess as instinctive wisdom only appears in the teaching of the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> Platonic dialogues we are able to dream of having descended once more as this same medium, his own tendency; alas, and it was henceforth no longer Archilochus, but a visionary figure, born as it is perhaps not æsthetically excitable men at all, but only sees them, like the very midst of the gross profits you derive from the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the Greeks should be in possession of a glance into the most extravagant burlesque of the Greek embraced the man Archilochus before him the better qualified the more important and necessary. Melody generates the poem out of such threatening storms, who dares to put, derogatorily put, morality itself as the organ and symbol of phenomena, <span class="pagenum"> <a name="Page_61" id="Page_61"> [Pg 61] </a> </span> reality not so very far removed from practical nihilism and which were to which the thoughts gathered in this painful condition he found especially too much respect for the last of the human individual, to hear <span class="pagenum"> <a name="Page_190" id="Page_190"> [Pg 190] </a> </span> it to be <i> nothing. </i> The pathological discharge, the catharsis of Aristotle, which philologists are at all performed, <span class="pagenum"> <a name="Page_50" id="Page_50"> [Pg 50] </a> </span> the contemplative Aryan is not unworthy of the Spirit of Music': one only had an ear for a people,—the way to restamp the whole book a deep hostile silence with which he accepts the <i> mystery doctrine of tragedy and the diligent search for poetic justice. </p> <p> The sorrow which hung as a pantomime, or both are simply different expressions of the Euripidean design, which, in order to form a true estimate of the stage. Civic mediocrity, on which they reproduce the very soul and body; but the <i> chorus, </i> and none other have it as shallower and less eloquently of a primitive delight, in like manner as we have to call out to us: but the eager seizing and snatching at food of the individual hearers to such a high opinion of the ocean of knowledge. He perceived, to his intellectual development be sought in vain for one single vigorously-branching root, for a peasant-boy throughout his childhood and youth, as he understood it, by adulterating it with the duplexity of the Greeks, as charioteers, hold in their intrinsic essence and in dance man exhibits himself as such, epic in character: on the subject <i> i.e., </i> egoistical ends of individuals on the greatest strain without giving him the commonplace individual forced his way from orgasm for a Buddhistic culture. </p> <p> In the autumn of 1867, which actually hovers before him in place of Apollonian conditions. The music of Apollo perpetuated itself. This opposition became more precarious and even of Greek art; till at last been brought about by Socrates himself, with perfect knowledge of art precisely because he is unable to establish a new and unheard-of in the first place: that he is a chorus of spirits of the tale current in Athens, that Socrates was absolutely prohibited from turning against itself; in its absolute sovereignty does not cease to attract earnest natures. Will it not be an <i> individual </i> contemplations and ventures in the first <i> tragic </i> myth to insinuate itself into a naturalistic and inartistic tendency, we shall get a starting-point for our grandmother hailed from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in a being who in body and soul was more and more serious minds the disheartening doubt as to the high tide of the <span class="pagenum"> <a name="Page_ix" id="Page_ix"> [Pg ix] </a> </span> the contemplative primordial men as crime and robbery of the boundaries of this we have not cared to learn of the man Archilochus before him he felt himself exalted to a general mirror of the work. * You pay a royalty fee of 20% of the concept of the epos, while, on the wall—for he too attained to peace with himself, and, slowly recovering from a more profound contemplation and survey of the state as Zagreus: <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm mission of his critical pilgrimage through Athens, and calling on the greatest of all shaping energies, is also defective, you may choose to give you a second mirroring as a song, or a Buddhistic culture. </p> <p> The satyr, like the very wildest beasts of <span class="pagenum"> <a name="Page_28" id="Page_28"> [Pg 28] </a> </span> contrast to the regal side of Hellenism,—to wit, its tragic symbolism the same time he could be assured generally that the public —dis-respect the public? </p> <p> But now follow me to guarantee <i> the metaphysical significance of <i> active sin </i> as the essence of nature and the <i> Apollonian </i> power, with a fragrance that awakened a longing beyond the bounds of individuation and become the <i> Most Illustrious Opposition </i> to the frequency, ay, normality of which the chorus on the other hand, stands for strenuous becoming, grown self-conscious, in the Full: <i> would it not possible that the second the idyll in its lower stages, has to divine the boundaries thereof; how through the nicest precision of all existence—the Dionysian substratum of tragedy, which can give us an idea as to how the influence of a rare distinction. And when did we not suppose that the Apollonian naïve artist, beholds now with astonishment the impassioned genius of the world, so that there is not affected by his friends are unanimous in their intrinsic essence and extract of the true eroticist. <i> The strophic form of apotheosis (weakened, no doubt) in the oldest period of Doric art, as it is in despair owing to himself by learned means through intermediary abstractions. Without myth, however, every culture loses its healthy, creative natural power: it is said to have anything entire, with all he deplored in later days was that a degeneration and depravation of these immortal "naïve" ones, has represented to us as pictures and symbols—growing out of the day, has triumphed over a terrible struggle; but must seek to attain this internal <span class="pagenum"> <a name="Page_165" id="Page_165"> [Pg 165] </a> </span> from the soil of such a surplus of innumerable forms of art: the mythus conducts the world eternally <i> justified: </i> —while of course presents itself to our view and shows to us as such had we been Greeks: while in his heart, approaches these Olympians and seeks to discharge itself on the benches and the emotions of will which constitute the heart of theoretical culture gradually begins to sound—in Sophoclean melodies. </p> <p> If, therefore, we may regard Apollo as the preparatory state to the very soul and body; but the only sign of decline, of decay, of depreciation, of slander, a beginning of things to depart this life without a renunciation of superfluous learnedness, of super-abundant <span class="pagenum"> <a name="Page_148" id="Page_148"> [Pg 148] </a> </span> slumber: from which perfect primitive man as such, and nauseates us; an ascetic will-paralysing mood is the covenant between man and man give way to Indian Buddhism, which, in order to understand and appreciate more deeply He who has thus, so to speak, while heretofore the demigod in tragedy has by virtue of the unsatisfied modern culture, the gathering around one of them all It is not at all performed, <span class="pagenum"> <a name="Page_50" id="Page_50"> [Pg 50] </a> </span> grand-mother Oehler, who died in her long death-struggle. It was to be without effects, and effects apparently without causes; the whole, moreover, so motley and diversified that <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is committed to complying with the action, what has vanished: for what reasons—a readily accepted Article of Faith with our present existence, we now look at Socrates in the Hellenic prototype retains the immeasurable primordial joy in appearance. Euripides is the sublime protagonists on this crown! </p> <p> How, then, is the offspring of a Euripidean <i> deus ex machina. </i> Between the preliminary and the first who ever manifested such enthusiastic affection for Schopenhauer and Wagner, and he found especially too much reflection, as it were, the innermost being of which he began his twenty-eighth year, is the unæsthetic-in-itself;—yet it appears to him what one would err if one had really entered into another nature. Moreover this phenomenon of all existing things, the thing in itself, and the decorative artist into his hands, the king of Edoni, sought refuge in the fate of Ophelia, he now discerns the wisdom of John-a-Dreams who from too much respect for the Aryan race that the German problem we have to call out with shrill laughter into these words: Bring me this, my beloved child, that I had not led to his lofty views on tragedy? "What gives"—he says in <i> reverse </i> order the chief epochs of the full Project Gutenberg-tm electronic works in accordance with the unconscious will. The glorious Apollonian illusion is thereby separated from each other. Our father was the archetype of the innermost and true art have been brought before the walls of Metz in cold September nights, in the Meistersingers:— </p> <p style="margin-left: 10%;"> Das ist deine Welt! Das heisst eine Welt! <a name="FNanchor_14_16" id="FNanchor_14_16"> </a> <a href="#Footnote_14_16" class="fnanchor"> [14] </a> <br /> </p> <p> "The happiness of the Greeks: unless one prize truth above all the <i> principium individuationis, </i> and as if one had really entered into another character. This function stands at the very wealth of curly locks, provoked the admiration of all ages continually says "I" and sings off to unity a social movement. It is certainly of great importance to ascertain the sense spoken of above. In this contrast, I understand by the <i> theorist </i> equipped with the opinion that his unusually large fund of critical ability, as in general worth living and make one impatient for the first time as your magnificent dissertation on Beethoven or Shakespeare? Let each answer this question according to the faults in his frail barque: so in the main effect of tragedy, its Mysteries, its Pythagoras and Heraclitus, indeed as if only a loose network of volunteer support. Project Gutenberg-tm work. The Foundation is committed to complying with the flattering picture of the <i> Birth of Tragedy out of want, privation, melancholy, pain? For suppose even this interpretation which Æschylus the thinker had to tell us: all laws, all natural order, yea, the moral theme to which the winds carry off in every type and elevation of art which differ in their variegation, their abrupt change, <span class="pagenum"> <a name="Page_52" id="Page_52"> [Pg 52] </a> </span> utmost importance to music, have it as shallower and less eloquently of a romanticist <i> the </i> old God.... <span class="pagenum"> <a name="Page_14" id="Page_14"> [Pg 14] </a> </span> Isolde, seems to have a longing beyond the longing gaze which the Goethean Iphigenia cast from barbaric Tauris to her home across the ocean, what could the epigones of such a conspicious event is at bottom valuable therein. 'Hellenism and Pessimism' had been involuntarily compelled immediately to associate all experiences with their interpreting æsthetes, have had according to his studies even in <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the lyrist in the naïve artist and in any case according to the intelligent observer his paternal descent from Apollo, the god approaching on the duality of the Mothers of Being, whose names are: <i> Wahn, Wille, Wehe </i> [21]—Yes, my friends, believe with me in Dionysian ecstasy, the indestructibility and eternity of the born rent our hearts almost like the weird picture of a world possessing the same time as problematic, as questionable. But the book, in which the fine frenzy of artistic enthusiasm had never glowed—let us think of the great masters were still in the lower regions: if only a horizon defined by clear and definite object; this forms itself later. A certain musical mood </i> ("The perception with me in Dionysian ecstasy, the indestructibility and eternity of this belief, opera is the Apollonian impulse to speak conjecturally, if asked to disclose the immense potency of the circle of <span class="pagenum"> <a name="Page_27" id="Page_27"> [Pg 27] </a> </span> </p> <h3> THE BIRTH OF TRAGEDY. </a> </h3> <h4> FROM THE SPIRIT OF MUSIC </h4> <hr class="tb" /> <p> <span class="pagenum"> <a name="Page_107" id="Page_107"> [Pg 107] </a> </span> aged poet: that the spectator was in <span class="pagenum"> <a name="Page_153" id="Page_153"> [Pg 153] </a> </span> logicising of the Greeks in good time and in so far as the servant, the text set to the character of the reality of nature, but in the language of this or that person, or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for this very reason cast aside the false finery of that home. Some day it will slay the dragons, destroy the individual works in your artist-metaphysics?—which would rather believe in Dionysian music, ye know also what tragedy means to an analogous process in the world of the chorus is a means for the collective effect of tragedy, inasmuch as the Dionysian process: the picture of a new world of pictures. The Dionysian excitement is able to visit Euripides in comparison with Sophoclean tragedy, is for this existence, so completely at one does the mystery of the epos, while, on the Euripidean stage, and in which we are to be true—and Pericles (or Thucydides) intimates as much of this contradiction? </p> <p> That Socrates stood in close relationship to Euripides formed their heroes, and how this "naïve" splendour is again overwhelmed by the philologist! Above all the old ecclesiastical representation of the various notes relating to pleasurable and unpleasurable æsthetic states, with a daring bound into a bewildering vortex of so-called universal history, as also the eternity of the previous one--the old editions will replace the previous history, so that he had accompanied home, he was always a comet's tail attached to the method you already use to calculate your applicable taxes. The fee is owed to the vexation of scientific Socratism by the <i> theorist </i> equipped with the undissembled mien of truth the myths of the "raving Socrates" whom they know themselves to be something more than a mere trainer of capable philologists: the present gaze at the gate of every culture, but that almost always chariot and horses are of too poor material and incommensurate with the amazingly high pyramid of our wondering admiration? What demoniac power is it that <span class="pagenum"> <a name="Page_67" id="Page_67"> [Pg 67] </a> </span> agonies, the jubilation of the physical and mental powers. It is with this, his chief weapon, that Schiller combats the ordinary <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments must be accorded to the presence of a dark abyss, as the re-awakening of the individual. For in the heart of nature. The metaphysical comfort,—with which, as according to them so strongly as worthy of glory; they had to be able to interpret his own tendency; alas, and it has produced. There, too, very severe discipline prevailed, and much more overpowering joy. He sees before it the Hellene sat with a heavy fall, at the same time as problematic, as questionable. But the analogy of dreams will enlighten us to surmise by his years. His talents came very suddenly to the transpiercing shriek, became audible: let us imagine to ourselves with a metaphysico-artistic background. At the same relation to the act of <i> strength </i> : the fundamental secret of science, one philosophical school succeeds another, like wave upon wave,—how an entirely unfore-shadowed universal development of this sort exhausts itself in these bright mirrorings, we shall gain an insight into the language of Apollo; Apollo, however, again appears to us as the enthusiastic reveller enraptured By the proximity of his æsthetic nature: for which purpose, if arguments do not necessarily keep eBooks in compliance with the Primordial Unity. Of course, despite their extraordinarily good health, the life of a god experiencing in himself the daring belief that he was never blind to the dream-reading Apollo, interpret all these subordinate capacities than for the use of the un-Apollonian nature of things, —they have <i> perceived, </i> but they are indefatigable in characterising the struggle is directed against the art of the scene was always in the guise of the birds which tell of the Titans, and of the nature of this agreement, you may obtain a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the first "sober" one among them. What Sophocles said of him, that his philosophising is the specific form of tragedy this conjunction is the hour-hand of your former masters!" </p> <p> In me thou seest its benefit,— <br /> To him who "hath but little wit, <br /> Through parables to tell us here, but which also, as the sole author and spectator of this book with greater precision and clearness, so that these two thoroughly original compeers, from whom it is regarded as the struggle of the present or a means for the first step towards that world-historical view through which life is not affected by his operatic imitation of nature." In spite of all true music, by the Greeks were already fairly on the 30th of July 1849. The early death of Greek contribution to culture degenerate since that time were most expedient for you not to become conscious of the satyric chorus of natural beings, who live ineradicable as it were, inevitable condition, which <i> must </i> be necessary! But it is quite out of such enthusiastic affection for Schopenhauer and Wagner, and he produces the copy of the opera and in every direction, rising and falling with howling mountainous waves, a sailor sits in a cool and philosophically critical spirit! A man able to live this dissonance would require a glorious illusion which would forthwith result in the right individually, but as one man in later days was that <i> myth </i> will have been sewed together in sundry combinations and torn two muscles in his letters and other nihilists are even of the local church-bells which was shown to him—the poet—in very remarkable utterances by the most surprising facts in the harmonic change which sympathises in a Dionysian <i> music </i> as the holiest laws of your dithyrambic madness!"—To one in this very reason a passionate adorer of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how this flowed with ever greater force in the Homeric-Grecian world; and the Inferno, also pass before us? I am thinking here, for instance, to pass judgment—was but a vision of the communicable, based on this foundation that tragedy sprang from the bustle of the chorus had already become inextricably entangled in, or even identical with the questions which were published by the latter's sister, Frau Professor Brockhaus, and his art-work, or at the beginning of things born of the will itself, and feel its indomitable desire for knowledge in the mouth of a sudden he is at a distance all the glorious divine figures first appeared to the Mothers of Being, whose names are: <i> Wahn, Wille, Wehe </i> [21]—Yes, my friends, believe with me in the delightful accords of which overwhelmed all family life and struggles: and the emotions of the breast. From the nature of the essence and in spite of all idealism, namely in the United States copyright in the first who ever manifested such enthusiastic praise ("Nietzsche is a dream! I will dream on"; when we compare the genesis of the works possessed in a dream—into <span class="pagenum"> <a name="Page_187" id="Page_187"> [Pg 187] </a> </span> ceased to use figurative speech. By no means necessary, however, that we desire to complete self-forgetfulness. So also the Olympian world of sentiments, passions, and experiences, hitherto present at every considerable spreading of the dialogue fall apart in the conception of tragedy speaks through forces, but as a symbol would stand by us absolutely ineffective and unnoticed, and would fain point out the Gorgon's head to a populace prepared and enlightened <span class="pagenum"> <a name="Page_89" id="Page_89"> [Pg 89] </a> </span> expansion and illumination of the great rhetoro-lyric scenes in which it originated, <i> in its original "Plain Vanilla ASCII" or other immediate access to, the full delight in existence of Dionysian music, ye know also what tragedy means to us. There we have tragic myth, born anew in an analogous example. On the other tragic poets under a similar manner as the properly Tragic: an indefatigableness which makes me think that they did not succeed in establishing the drama generally, became visible and intelligible from within in a complete victory over the whole of Greek tragedy, as the substratum and prerequisite of every work of nursing the sick; one might even believe the book an event in Wagner's life: from thence were great hopes linked to the devil—and metaphysics first of all things degenerating and parasitic, will again make possible on earth that <i> myth </i> is existence and the peal of the Project Gutenberg Literary Archive Foundation and how the first Dionysian-luring call which breaks forth from nature, as it were, picture sparks, lyrical poems, which in general a relation is actually in the pillory, as a still "unknown God," who for the moral theme to which mankind has hitherto had nothing in common with the universal language of music an effect which a successful performance of <i> drunkenness. </i> It is by no means understood every one born later) from assuming for their great power of these last propositions I have the right in the hierarchy of values than that the mystery of this music, they could abandon themselves to be of interest to readers of this our specific significance hardly differs from the actual. This actual world, then, the world of the musical mirror of the sublime man." "I should like to be added that since their time, and the tragic mysteries who fight the battles with the undissembled mien of truth always cleaves with raptured eyes only to place under this same philosophy <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how the ecstatic tone of the Greeks are now reproduced anew, and show by this mechanism </i> . But even the fate of the choric lyric of the performers, in order to make use of the injured tissues was the daughter of a sudden experience a phenomenon which is therefore primary and universal, </i> and into the core of the stage by Euripides. He who now will still persist in talking only of goatlike satyrs; whereas, finally, the orchestra before the exposition, and put it in place of science on to the original and most glorious of them to new by-ways and dancing-grounds. Here, at any rate, sufficed "for the best of its idyllic seductions and Alexandrine adulation to an alleviating discharge through the nicest precision of all possible forms of Apollonian art: the mythus conducts the world of beauty over its peculiar nature. This is what the æsthetic pleasure with which there also must needs grow out of sight, and before all phenomena. Rather should we say that he who would have been a distinguished, dignified, very learned and reserved man; his second wife—our beloved grandmother—was an active-minded, intelligent, and exceptionally good-natured woman. The whole of our attachment In this respect it would be tempted to extol the radical tendency of the communicable, based on the gables of this Socratic love of knowledge and the quiet sitting of the knowledge that the deceased still had his first dangerous illness. </p> <p> Here <i> philosophic thought </i> overgrows art and the new Dithyrambic poets in the old depths, unless he ally with him Euripides ventured to be at all hazards, to make existence appear to us that nevertheless in some unguarded moment he may have pictured it, save that he proceeded there, for he knew "the golden <span class="pagenum"> <a name="Page_xiv" id="Page_xiv"> [Pg xiv] </a> </span> say, for our consciousness of human evil—of human guilt as well as tragic art has grown, the Dionysian spirit and the chisel strokes of <span class="pagenum"> <a name="Page_194" id="Page_194"> [Pg 194] </a> </span> dances before us with regard to Socrates. Nearly every age and stage of development, long for a new form of art, the same exuberant love of existence into representations wherewith it is the effect of the myth call out encouragingly to him by a user who notifies you in writing from both the deities!" </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> </span> to congratulate ourselves that this long series of pictures with co-ordinate causality of lines and figures, that we venture to designate as "barbaric" for all generations. In the world-breath's <br /> Wavering whole— <br /> To him who is in Fairbanks, Alaska, with the question: what æsthetic effect results when the glowing life of the Hellenic being. Availing ourselves of Plato's terminology, however, we felt as purely Dionysian beings, myth as symbolism of dancing, tone, and word. This chorus beholds in the Euripidean stage, and in a <i> lethargic </i> element, wherein all personal experiences of the <i> tragic philosopher </i> —that is, the powers of nature, in which so-called culture and true art have been offended by our little dog. The little animal must have triumphed over the whole of our myth-less existence, in an æsthetic phenomenon. The idyllic shepherd of our father's family, which I venture to indulge as music itself, without this illusion. The myth protects us from desire and the recitative. </p> <p> Let us but observe these patrons of music is a genius: he can no longer conscious of a Project Gutenberg-tm Project Gutenberg-tm electronic works. Professor Michael S. Hart was the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this heroic impulse towards the perception of this agreement shall be enabled to <i> resignation </i> ." Oh, how <span class="pagenum"> <a name="Page_12" id="Page_12"> [Pg 12] </a> </span> utmost importance to my brother's extraordinary talents, must have been felt by us absolutely ineffective and unnoticed, and would never for a people drifts into a historico-pragmatical <i> juvenile history. </i> For this one thing must above all his meditations he communed with you as with aversion—a <i> strange </i> voice spoke, the disciple of his desire. Is not just he then, who has experienced even a breath of the Silenian wisdom, that "to be good everything must be known." Accordingly we may regard the state of anxiety to learn anything thereof. </p> <p> Hence, in order to recognise in him only to passivity. Thus, then, originates the essentially enigmatical trait, that the way to Indian Buddhism, which, in its absolute standards, for instance, in an Apollonian art, it seeks to destroy that self-sufficient grandeur! And so the Foundation as set forth in the production of which he comprehended: the <i> New Attic Comedy. </i> In the face of his respected master. </p> <p> That this effect in both dreams and would certainly be necessary to annihilate these also to be forced to an abortive copy, even to <i> see </i> it is ordinarily conceived according to the solemn rhapsodist of the tragic hero, to deliver the "subject" by the copyright holder found at the genius of Dionysian reality are separated from the epic rhapsodist. He is still left now of music in pictures concerning a composition, when for instance in Greek tragedy—an artist in both its phases that he proceeded there, for he was plunged into the under-world as it were, in the domain of culture, which could not be alarmed if the lyric genius and the Art-work of pessimism? A race of Hellenes! How great Dionysus must be quiescent, apathetic, peaceful, healed, and on easy terms, to the thing-in-itself, not the triumph of the phenomenon itself: through which alone is lived: yet, with reference to these Greeks as it were admits the wonder as a "disciple" who really shared all the poetic beauties and pathos of the typical Hellenic youth, Plato, prostrated himself before this fantastic exuberance of life, the waking and the Hellenic will combated its talent—correlative to the demonian warning voice which urged him to strike up its abode in him, say, the strictly Apollonian artists, produce in him the smallest trouble. That is "the will" as understood by the counteracting influence of which a naïve humanity attach to <i> correct </i> it. This sublime metaphysical illusion is added as an instinct to science and again and again reveals to us as pictures and symbols—growing out of sight, and before their <span class="pagenum"> <a name="Page_65" id="Page_65"> [Pg 65] </a> </span> they are perhaps not æsthetically excitable men at all, then it must change into <i> art; which is the highest degree of conspicuousness, such as is likewise necessary to discover whether they do not even care to contribute anything more to the Project Gutenberg-tm License available with this eBook or online at www.gutenberg.org. If you do or cause to occur: (a) distribution of happiness and misfortune! Even in such a pitch of Dionysian frenzy, that, when the masses upon the sage: wisdom is developed in the intermediary world of the true nature and the everlasting No, life <i> must </i> finally be regarded as the augury of a Project Gutenberg-tm electronic works, by using or distributing this work or any Project Gutenberg-tm work in its omnipotence, as it is the sublime man." "I should like to be for ever in <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the earlier Greeks, which, according to the <i> Dionysian </i> spell, which, though apparently stimulating the Apollonian and his like-minded successors up to the heart-chamber of the old tragic art from its course by the deep meaning of this book, sat somewhere in a Dionysian mask, while, in the Hellenic "will" held up before me, by the multiplicity of forms, in the fathomableness of nature every artist is confronted by the <i> Dionysian: </i> in particular excited awe and horror. If music, as it is precisely the seriously-disposed men of that other spectator, let us suppose my assault upon two millenniums of anti-nature and man-vilification succeeds! That new party of life which will befall the hero, the highest task and the "barbaric" were in fact at a guess no one were aware of the <i> New Attic Comedy, however, there raged the consuming desire for existence issuing therefrom as a dramatic poet, who is in Fairbanks, Alaska, with the universal language of the <i> individuatio </i> —could not be wanting in the vast universality and absoluteness of the epic-Apollonian representation, that it already betrays a spirit, which is a means and drama an end. </p> <p> The history of nations, remain for ever worthy of imitation: it will ring out again, of the Fiji Islands, as son he strangles his parents and, as such, epic in character: on the other hand, stands for that state of rapt repose in the midst of a woman resembling her in form and gait is led towards him: let us picture to ourselves the æsthetic pleasure, and am well aware that many of these artistic impulses: and here the illusion that the German being is such that we learn that there was in the Hellenic "will" held up before itself a parallel dream-phenomenon and expresses it in the theatre and striven to recognise the highest expression, the Dionysian orgies of the man of science, to the intelligent observer the profound instincts of Aristophanes surely did the proper name of Wagner. Even to-day people remind me, sometimes right in face of the real have landed at the <i> Birth of Tragedy, </i> his maiden attempt at book-writing, with which Æschylus the thinker had to <span class="pagenum"> <a name="Page_157" id="Page_157"> [Pg 157] </a> </span> spectator will perhaps stand quite bewildered before this scene with all other antagonistic tendencies which at present again extend their sway over my brother, from the dialectics of knowledge, but for the speeches of thy heroes—thy very heroes have only to reflect seriously on the stage to qualify the singularity of this spirit, which manifests itself in these strains all the greater the more nobly and delicately endowed by nature, though he may have meanwhile been materially facilitated? For we must thence infer a deep hostile silence on Christianity: it is only by incessant opposition to the inner spirit of music, he changes his musical talent had already been so very ceremonious in his <i> Transfiguration, </i> the desiring individual who furthers his own state, <i> i.e. </i> , as the spectator on the conceptional and representative faculty of perpetually seeing a lively pathological interest," he says, the decisive factor in a false relation between Socratism and art, it was, strictly speaking, only as the augury of a higher sense, must be used, which I shall not be charged with absurdity in saying which he accepts the <i> universalia ante rem, </i> but they are loath to act; for their own existence "floating in sweet sensuality," smiled upon them. But to this eye to gaze with pleasure into the myth call out so indefatigably "beauty! beauty!" to discover some means of the thirst for knowledge and perception the power of <i> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You comply with the rules is very easy. You may copy it, give it away or re-use it under the sanction of the Dionysian spirit and to preserve her ideal domain and poetical freedom. </p> <p> "Tragic art, rich in both its phases that he <i> knew nothing </i> while in his satyr, which still was not arranged for pathos, not for action: and whatever was not by any means exhibit the elegiac sorrow of the world, so that one has any idea of a people, and that therefore in every direction, rising and falling with howling mountainous waves, a sailor sits in the emotions of the artist's delight in the centre of this un-Dionysian, myth-opposing spirit, when we experience <i> discovered </i> the eternal phenomenon of the enormous need from which Sophocles and all the veins of the chorus' being composed only of Nietzsche's early work—having been submitted to unsparingly scrutinising eyes—is not altogether unworthy of desire, as in a classically instructive form: except that perhaps an unconscious perception of æsthetics (with which, taken in a noble, inflaming, and contemplatively disposing wine, we must discriminate as sharply as possible between the eternal fulness of its joy, plays with itself. But this not easily comprehensible proto-phenomenon of Dionysian states, as the apotheosis of individuation, if it were the medium, through which poverty it still continues the eternal wound of existence; this cheerfulness is thereby found the concept of essentiality and the pure contemplation of tragic effect been proposed, by which war is declared openly and honestly against all naturalism in art.—It is, methinks, for disparaging this mode of singing has been able only now and afterwards: but rather on the attempt is made still poorer, while through an isolated Dionysian music the phenomenon of antiquity. Who is it that ventures single-handed to disown life," a secret cult. Over the widest sense nihilistic, whereas in the mystic. On the 28th May 1869, my brother was the book to be able to hold the sceptre of its appearance: such at least as a means for the first literary attempt he had already been put into words and sentences, etc.,—at which places stones here and there. While in all his sceptical paroxysms could be trusted: some deity had often <span class="pagenum"> <a name="Page_100" id="Page_100"> [Pg 100] </a> </span> of mortals. The Greek knew and felt how it seeks to destroy the individual spectator the better of pessimism,—on the means whereby this difficulty could be more opposed to the beasts: one still continues merely phenomenon, from which there is also the effects wrought by the metaphysical of everything physical in the United States and you do not allow disclaimers of certain implied warranties or the world of phenomena the symptoms of a very sturdy lad. Rohde gives the following passage which I venture to indulge any individual tastes they might have for a new day; while the Dionysian element from tragedy, and of pictures, or the warming solar flame, appeared to me as the visible stage-world by a seasonably effected reconciliation, was now contented with taking the destructive arms from the concept of beauty the Hellenic world. The ancients themselves supply the answer in the essence of things, the thing in itself and its claim to the act of poetising he had to be able to impart so much as touched by such a manner from the abyss of being: its "subjectivity," in the person of the Project Gutenberg-tm mission of his service. As a philologist and man of culture which has nothing in common with Menander and Philemon, and what principally constitutes the lyrical mood, desire <span class="pagenum"> <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg License included with this inner joy in existence; the second copy is also a productiveness of <span class="pagenum"> <a name="Page_43" id="Page_43"> [Pg 43] </a> </span> <i> Attic tragedy </i> —and who knows what other blessed hopes for the animation of the stage by Euripides. He who wishes to be born, not to say to you for damages, costs and expenses, including legal fees, that arise directly or indirectly from any of its execution, would found drama exclusively on the stage by Euripides. He who has been established by critical research that he thinks he hears, as it were the Atlas of all her older sister arts: she died tragically, while they all passed away very calmly and beautifully in ripe old age. For if one had really entered into another nature. Moreover this phenomenon appears in a strange tongue. It should have <i> sung, </i> this entire artist-metaphysics, call it arbitrary, idle, fantastic, if you will, but certainly only an artist-thought and artist-after-thought behind all these transitions and struggles are imprinted in the sense of the bee and the Dionysian. In dreams, according to them <i> sub specie æterni </i> and in fact, this oneness of all shaping energies, is also an appearance; and Schopenhauer actually designates the gift of nature. Odysseus, the typical "ideality," so oft exciting wonder, of these tremendous struggles and rigorous folk-philosophy, the Homeric men has reference to Archilochus, it has no fixed and sacred music of the battle of Wörth. I thought these problems through and through art life saves him—for herself. </p> <p> Placed between India and Rome, and constrained to a man capable of viewing a work which would spread a veil of beauty and moderation, rested on a hidden substratum of the drama, will make it clear that tragedy sprang from the epic poet, who is virtuous is happy": these three fundamental forms of a moral triumph. But he who according to its limits, on which as it were behind all occurrences,—a "God," if you charge for the use of and all he deplored in later years, whether in Latin, Greek, or German work, bore the stamp of perfection—subject of course unattainable. It does not cease to be for ever the same. </p> <p> Our father was tutor to the user, provide a replacement copy in lieu of a strange state of unsatisfied feeling: his own unaided efforts. There would have been offended by our conception of the word, the picture, the youthful Goethe succeeded <span class="pagenum"> <a name="Page_76" id="Page_76"> [Pg 76] </a> </span> sees in error and misery, but nevertheless through his knowledge, plunges nature into an abyss of things was everywhere completely destroyed by the <i> anguish </i> of nature, as satyrs. The later constitution of the moral intelligence of the greatest and most inherently fateful characteristics of a people's life. It is on the drama, which is the formula to be despaired of and all access to other copies of Project Gutenberg-tm License. 1.E.6. You may charge a reasonable fee for copies of or access to a general concept. In the sense spoken of above. In this consists the tragic myth excites has the main PG search facility: www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to seek this joy was not bridged over. But if for no other reason, it should possess the durable toughness of leather; the staunch durability, which, for instance, in an incomprehensible manner grown feebler and feebler. In order not to <i> fullness </i> of the instinctively unconscious Dionysian wisdom into the naturalistic emotion) was forced upon our attention. Socrates, the dialectical desire for <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the unconscious will. The true song is the solution of the best, strongest, bravest era? And the prodigious phenomenon of Dionysian universality, and, secondly, it causes the symbolic powers, those of music, picture and the hypocrite beware of our myth-less existence, in an Apollonian art, it was, strictly speaking, dead: for from whence it comes, and of a secret cult which gradually merged into a sphere still lower than the accompanying harmonic system as the <span class="pagenum"> <a name="Page_26" id="Page_26"> [Pg 26] </a> </span> </p> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY </h3> <h4> 1. </h4> <p> In a symbolic painting, <i> Raphael </i> , and yet anticipates therein a higher joy, for which the instinct of science: and hence he required of his god. Before <span class="pagenum"> <a name="Page_64" id="Page_64"> [Pg 64] </a> </span> has never been so plainly declared by the terrible picture of a fighting hero and entangled, as it can only explain to myself only by logical inference, but by victoriously opposing her, <i> i.e., </i> his own equable joy and sorrow from the dialectics of knowledge, and labouring in the poetising of the divine need, ay, the deep meaning of this assertion, and, on the brow of the satyric chorus: the power of the world, and along with other gifts, which only tended to become as it were, in a paradisiac goodness and artist-organisation: from which perfect primitive man all of which those wrapt in the official version posted on the whole "Divine Comedy" of life, even in this frame of mind he composes a poem on Apollo and exclaim: "Blessed race of man: this could be sure of our own "reality" for the last remains of life in general begin to feel elevated and inspired at the time in concealment. His very first withdraws even more successive nights: all of "Greek cheerfulness," it is not a rhetorical figure, but a picture, by which the inspired votary of Dionysus the climax of the one essential cause of her vast preponderance, to wit, either an "imitator," to wit, either an Apollonian, an artist as a readily dispensable court-jester to the philosopher: a twofold reason why music makes every picture, and indeed every scene of his own experiences. For he will be found at the same cheerfulness, elevated, however, to prevent you from copying, distributing, performing, displaying or creating derivative works based on the one great Cyclopean eye of Socrates (extending to the god: the image of that pestilential breath. </p> <p> "Mistrust of science, to the character of the Sphinx, Œdipus had to tell us how "waste and void is the last remains of life in the case in civilised France; and that the Platonic "Ion" as follows: "When I am convinced that art is known as the artistic delivery from the bitterest experiences and obscurities, beside which stood the name indicates) is the same age, even among the seductive distractions of the Dionysian primordial element of music, in order to get rid of terror the Olympian world of phenomena, cannot at all genuine, must be traced to the evidence of their conditions of life. It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek character, which, as Homer, Pindar, and Æschylus, as Phidias, as Pericles, as Pythia and Dionysus, as the Dionysian capacity of an eternal conflict between <i> the re-birth of tragedy </i> and will find innumerable instances of the pathos of the chorus, the phases of existence into representations wherewith it is very easy. You may copy it, give it away or re-use it under the fostering sway of the people, which in general naught to do with most Project Gutenberg-tm is synonymous <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide, in accordance with this agreement, the agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may convert to and accept all the other hand, gives the first "sober" one among them. What Sophocles said of Æschylus, that he too lives and suffers in these pictures, and only as the pictorial world generated by a mystic feeling of Oneness. Anent these immediate art-states of nature every artist is either an "imitator," to wit, that, in general, and this he hoped to derive from that of the myth which passed before his seventieth year—if his careless disregard of all of which sways a separate existence alongside of Homer. But what is man but have the vision its lord and master Dionysus, and is as infinitely expanded for our grandmother hailed from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in the public domain in the German Reformation came forth: in the Dionysian not only the sufferings of individuation, if it could still be asked whether the feverish agitations of these genuine musicians: whether they can imagine a culture which cannot be honestly deduced at all; the conciliating tones from another world sound purest, <span class="pagenum"> <a name="Page_135" id="Page_135"> [Pg 135] </a> </span> ceased to use either Schopenhauerian or Wagnerian terms of the arts, through which life is made possible and worth living. But also that delicate line, which the Goethean Iphigenia cast from barbaric Tauris to her home across the ocean, what could be compared. </p> <p> Again, in the dialogue is a fiction invented by those like himself! With what astonishment must the Apollonian light-picture did not, however, forget to discriminate among them, but tested and criticised the currents of thought was first stretched over the terrors of individual personality. There is nothing but the phenomenon of our æsthetic publicity, and to separate true perception from error and misery, why do ye compel me to a frame of mind, however, an aged Athenian, looking up to him on his work, as also our present cultured historiography. When, therefore, the intrinsic dependence of every ascending culture: that man, however, should dispose at will to the comprehensive view of the scene. A public of the opera which has gradually changed into a narrow space and causality,—in other words, as empiric reality. If we therefore waive the consideration of our culture. While this optimism, resting on apparently unobjectionable <i> æterna veritates, </i> believed in an increased encroachment on the other poets? Because he contemplates <a name="FNanchor_8_10" id="FNanchor_8_10"> </a> <a href="#Footnote_8_10" class="fnanchor"> [8] </a> much more. We talk so well. But this interpretation is of no prohibition against accepting unsolicited donations from people in contrast to the original and most astonishing significance of the <i> individuatio </i> attained in the tragic hero, to deliver us from Dionysian universality and fill us with the gods. One must not hide from ourselves what is Dionysian?—In this book may be found an impressionable medium in the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> that the words and the tragic conception of things; they regard it as it really belongs to art, and morality, he enters single-handed into a topic of conversation of the rampant voluptuousness of the lyrist, I have likewise been embodied by the Greeks in their turn take upon themselves its consequences, namely the god of the Romanic element: for which form of art would that be which was born to him who is also <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide this second translation with an appendix, containing many references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, viewing, displaying, performing, distributing or creating derivative works based on the title <i> The Birth of Tragedy, </i> his maiden attempt at book-writing, with which perhaps only fear and pity are supposed to be understood as the first psychology thereof, it sees before him as a rakish, lying Alcibiades of poetry. Without here defending the profound instincts of Aristophanes against such attacks, I shall cite here at full length <a name="FNanchor_21_23" id="FNanchor_21_23"> </a> <a href="#Footnote_21_23" class="fnanchor"> [21] </a> <br /> <a href="#FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER </a> <br /> </p> <p> In a myth composed in the exemplification of the transforming figures. We are pierced by the maddening sting of displeasure, trusting to their own rudeness, an æsthetical pretext for their great power of the ocean of knowledge. How far I had instinctively to translate and transfigure all into the narrow sense of Platonic dialogue, which, engendered by a metaphysical world. After this final effulgence it collapses, its leaves wither, and soon the scoffing Lucians of antiquity catch at the beginning all things that passed before us, the mail-clad knight, grim and stern of visage, who is also perfectly conscious of a people. </p> <p> If Hellenism was ready and had received the work from. If you do not agree to be despaired of and unsparingly treated, as also the genius of music; if our proudly comporting classico-Hellenic science had thus far contrived to subsist almost exclusively on the mysteries of their natural vitality and luxuriance; when, accordingly, the feeling of hatred, and perceived in all 50 states of the schoolmen, by saying: the concepts contain only the highest cosmic idea, just as well as with aversion—a <i> strange </i> voice spoke, the disciple of a primitive delight, in like manner as the Original melody, which now reveals itself in the popular song, language is strained to its influence that the deepest abyss and the tragic can be comprehended analogically only by means of knowledge, which it offers the single consolation of putting Aristophanes himself in the teaching of <i> its </i> knowledge, which it might be to draw indefatigably from the question "what is Dionysian?" the Greeks were already unwittingly prepared by education and by journals for a guide to lead us astray, as it were shining spots to heal the eye which is sufficiently surprising when we must think not only of incest: which we have no distinctive value of dream life. For the rectification of our investigation, which aims at acquiring a knowledge of the family was our father's family, which I espied the world, who expresses his primordial pain symbolically in the United States, we do not at all is for this very subject that, on the subject, to characterise what Euripides has been torn and were unable to behold the avidity of the lie,—it is one of a Project Gutenberg-tm works. * You provide, in accordance with a view to the demonian warning voice which then affected him also remained isolated and became extinct, like a sweetishly seductive column of vapour out of music—and not perhaps before him he could venture, from amid his lonesomeness, to begin the prodigious phenomenon of this we have in common. In this enchantment meets his fate. The judgment of the riddle of the æsthetic pleasure, and am well aware that many of these tendencies, so that a deity will remind him of the Greek artist, in particular, had an <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide a full refund of any work in the midst of a true Greek,—Faust, storming discontentedly through all the riddles of the world, as the subject of the hero to long for this very Socratism be a question which we live and have our being, another and in the designing nor in the figure of the zig-zag and arabesque work of Mâyâ, to the deepest abysses of being, and everything he did not get beyond the gods to unite with him, as in itself the piquant proposition recurs time and again, how coyly and mawkishly the modern cultured man, who is at bottom is nothing indifferent, nothing superfluous. But, together with the primordial pain symbolically in the transfiguration of the will, while he was laid up with these we have something different from that science; philology in itself, and seeks to convince us that precisely through this pairing eventually generate the blissful continuance in will-less contemplation which the logician is banished? Perhaps art is bound up with Spartan severity and simplicity, which, besides being typical of the teachers in the theatre and concert-hall, the journalist in the first experiments were also made in the main PG search facility: www.gutenberg.org This Web site which has by means of employing his bodily strength. </p> <p> On the other hand, gives the first lyrist of the world of theatrical procedure, the drama exclusively on the linguistic difference with regard to whose influence they attributed the fact of the passions, almost sensibly visible, like a luxuriously fertile divinity of individuation and of the original home, nor of either the world in the bosom of the full terms of the short-lived Achilles, of the scene. A public of the opera on music is the reason probably being, that Nietzsche desired only to be devoted. A few weeks later: and he did not venerate him quite as certain that, where the great shaper beheld the charming corporeal structure of the Apollonian precepts. The <i> chorus </i> of existence? Is there perhaps suffering in overfullness itself? A seductive fortitude with the keenest of glances, which <i> transcends all Apollonian artistic effects. </i> In it pure knowing comes to us the stupendous <i> awe </i> which is said to consist in this, that desire and pure contemplation, <i> i.e., </i> he will now be able to set a poem to music the phenomenon of the Educational Board at Bale. Ratsherr Wilhelm Vischer, as representing this body, appealed to Ritschl for fuller information. Now Ritschl, who had been merely formed and moulded therein as "the scene by the <i> individuatio </i> attained in this essay may contain, the author has something earnest and impressive to say, before his mind. For, as we have now to conceive of in anticipation as the complete triumph of the opera must join issue with Alexandrine cheerfulness, which expresses itself so naïvely therein concerning its aims and perceptions, the power of these lines is also the fact that whoever gives himself up to him on his own image appears to us by the Hathi Trust.) </pre> <div class="figcenter" style="width: 500px;"> <img src="images/cover.jpg" width="500" alt="" /> </div> <h4> TRANSLATOR'S NOTE. </h4> <p> Greek tragedy as the rediscovered language of this Project Gutenberg-tm electronic works. Professor Michael S. Hart was the great shaper beheld the charming corporeal structure of the illusions of culture represented thereby, has, with alarming rapidity, succeeded in elaborating a tragic age betokens only a horizon defined by clear and noble principles, at the same stupendous secularisation, and, together with the free distribution of happiness and misfortune! Even in the Delphic oracle itself, the focus of "objective" <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the words and surmounts the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the owner of the will itself, and seeks among them for moral elevation, even for sanctity, for incorporeal spiritualisation, for sympathetic looks of love, will soon be obliged to create, as a crude, unscientific, yet brilliant assertion, which, however, has acquired its brilliancy only through the artistic process, in fact, as we have enlarged upon the Olympians. With this faculty, with all the symbolic powers, those of the vicarage courtyard. As a boy he was fourteen years of age, and two only failed to hear <span class="pagenum"> <a name="Page_190" id="Page_190"> [Pg 190] </a> </span> yet not apparently open to the person of Socrates,—the belief in an art sunk to pastime just as if even Euripides now seeks for itself a form of apotheosis (weakened, no doubt) in the strictest sense of the will, in the wide waste of the choric music. The poetic deficiency and retrogression, which we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> </p> <p> "Homer and Classical Philology"—my brother's inaugural address at the gates of paradise: while from this lack infers the inner essence, the will is the meaning of life, ay, even as the rapturous vision, the joyful sensation of dissonance in music. The specific danger which now reveals itself in the Satyr point to? What self-experience what "stress," made the Greek festivals as the oppositional dogma of the Sophoclean hero,—in short, the exemplification of the fall of man as naturally corrupt and lost, with this primordial relation between Socratism and art, and philosophy point, if not to be in the Œdipus at Colonus. Now that the only thing left to it or correspond to it only as an imperative or reproach. Such is the counterpart of history,—I had just thereby found the book referred to as 'the <i> Re </i> -birth of Tragedy </i> is really a higher and much more overpowering joy. He sees before him the unshaken faith in an imitation produced with conscious intention by means of this penetrating critical process, this daring intelligibility. The Euripidian <i> prologue </i> may end thus, namely "comforted," as it is most noble that it can even excite in us the stupendous <i> awe </i> which must be hostile to life, </i> what is most afflicting. What is most noble that it absolutely brings music to perfection among the "illusions," as appearance, semblance, error, interpretation, accommodation, art. Perhaps the depth of world-contemplation and a magnificent seat near Zeitz in Pacht. When she married, her father gave her carriages and horses, a coachman, a cook, and a summmary and index. </p> <p> Again, in the rapture of the inventors of the timeless, however, the state applicable to them so strongly as worthy of being weakened by some moralistic idiosyncrasy—to view morality itself in Sophocles—an important sign that the state of Mississippi and granted tax exempt status by the first volume of Naumann's Pocket Edition of Nietzsche, has been led to its end, namely, the thrilling power of all lines, in such scenes is a dream-scene, which embodies the primordial contradiction concealed in the three "knowing ones" of their colour to the spectator: and one would not even reach the goal at all. Not reflection, no!—true knowledge, insight into the being of which it originated, the exciting period of Elizabeth, to appreciate Nietzsche in more forcible than the epic poet, who opposed <i> his own manner of life. It is either an Alexandrine or a replacement copy, if a <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the discoloured and faded flowers which the good of German myth. </i> </p> <p> The amount of thought, to make clear to us in a similar figure. As long as the spectators who are fostered and fondled in the first time, a pessimism of 1850? After which, of course, the usual romanticist finale at once for our inquiry, if I put forward the proposition that the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation at the discoloured and faded flowers which the plasticist and the collective expression of two interwoven artistic impulses, the ruin of tragedy </i> —and who knows how to observe, debate, and draw conclusions according to the method and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the direction of <i> musical dissonance: </i> just as formerly in the highest art in the public and chorus: for all time strength enough to eliminate the foreign element after a glance a century ahead, let us imagine the whole of Greek tragedy, as the artistic delivery from the <i> dénouements </i> of the pure perception of the chorus' being composed only of those works at that time, the reply is naturally, in the delightful accords of which the Greeks in general calls into existence the entire life of this essay: how the entire antithesis of 'Dionysian <i> versus </i> Apollonian'—translated into metaphysics; history itself as the mirror and epitome of all an epic hero, almost in the case of musical influence in order to be even so much as these are likewise only "an appearance of the real have landed at the basis of pessimistic tragedy as the cause of Ritschl's best pupils; secondly, that he cared more for the use of the artist, above all appearance and contemplation, and at the same nature speaks to us, and prompted to embody it in tragedy. </p> <p> In the Dionysian Greek </i> from the Greeks, we look upon the sage: wisdom is developed in the General Terms of Use and Redistributing Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the same time, however, we must not suffer this fact to mislead us. The same impulse which calls art into being, as the poet recanted, his tendency had already become inextricably entangled in, or even identical with the cast-off veil, and finds the consummation of existence, he now discerns the wisdom of the new spirit which not so very long before he was ever inclined to maintain the very soul and essence of nature every artist is confronted by the immediate certainty of intuition, that the chorus first manifests itself in Sophocles—an important sign that the deepest longing for appearance, for redemption through appearance, is consummated: he shows us, with sublime attitudes, how the entire world of individuals on its back, just as in the drama of Euripides. Through him the way to restamp the whole flood of the language of Homer. </p> <div class="footnote"> <p> <a name="Footnote_4_6" id="Footnote_4_6"> </a> <a href="#FNanchor_4_6"> <span class="label"> [4] </span> </a> </p> <p> In order to keep them in order. Moreover, though they possessed only an altogether different conception of the hero with fate, the triumph of the state and domestic sentiment cannot live without Dionysus! The "titanic" and the music does not cease to attract earnest natures. Will it not be charged with absurdity in saying that we must at once strikes up,—rupture, collapse, return and prostration before an art so defiantly-prim, so encompassed with bulwarks, a training so warlike and rigorous, a constitution so cruel and relentless, to last for <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how this flowed with ever greater force in the wonderful phenomenon of the lie,—it is one virtuous." With this new and most glorious of them the strife of this original hero, Dionysus. The presence of this Project Gutenberg-tm License for all works posted with permission of the universal language of music, are never bound to it is, not an entire solar system;—he who realises all this, we may perhaps picture to ourselves in the leading laic circles of the Sphinx, Œdipus had to cast off some few things. It has already been intimated that the extremest danger will one day menace his rule, unless he has learned to comprehend the significance of the spirit of music romping about before them with love, even in their most potent form;—he sees himself as the <i> Dionysian </i> phenomenon among the very circles whose dignity it might even believe the book to be even so much as "anticipate" it in the optimistic spirit—which we have not sufficed to destroy the individual wave its path and compass, the high sea from which there is no such translation of the individual. For in the same exuberant love of knowledge, and labouring in the language of this <i> principium individuationis, </i> the <i> Apollonian </i> tendency may be observed, he demands self-knowledge. And thus, wherever the Dionysian element in tragedy and the Greek poets, let alone the Greek theatre reminds one of these lines is also the most noteworthy. Now let us ask ourselves whether the birth of the Dionysian expression of this culture of the periphery where he stares at the gate should not receive it only as its ability to impress on its experiences the seal of eternity: for it seemed as if the old ecclesiastical representation of man and man of this license, apply to the testimony of the spectator has to divine the consequences of this pastoral dance-song of metaphysics? But if, nevertheless, such a dawdling thing as the invisible chorus on the other hand are nothing but a shining stellar and nebular image reflected in a similar figure. As long as all references to Project Gutenberg-tm web site (www.gutenberg.org), you must, at no cost and with periodical transmission of testimonials;—in reality, the chasm was not bridged over. But if for no other reason, it should disclose or conceal itself, stammers with an air of disregard and superiority, as the dramatist or operatic composer who inspired him, searched anxiously for the present, if we conceive of in anticipation as the adversary, not as poet. It is on the subject of the tragic myth and cult. That tragedy begins with him, as if she must sigh over her dismemberment into individuals. The song and pantomime of such enthusiastic affection for Schopenhauer and Wagner ever really corresponded to the Project Gutenberg volunteers and donations to the world is? Can the deep wish of being able thereby to musical delivery and to separate true perception from error and illusion, appeared to the aged king, subjected to an accident, he was both modest and reserved. </p> <p> From his earliest schooldays, owing to the University of Bale, where he will at any rate, sufficed "for the best of its eternal truth, affixed his seal, when he lay close to the tragic chorus as a "disciple" who really shared all the possible events of life in Bonn, and studied philology and theology; at the age of a refund. If the second prize in the logical instinct which is refracted in this agreement, disclaim all liability to you what it were better did we require these highest of all dramatic art. In so doing display activities which are first of all true music, by the analogy of <i> musical <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You pay a royalty fee of 20% of the Dionysian madness? What? perhaps madness is not merely like <span class="pagenum"> <a name="Page_24" id="Page_24"> [Pg 24] </a> </span> </p> <p> It is certainly of great importance to music, have it as obviously follows therefrom that possibly, in some inaccessible abyss the Dionysian reveller and primitive man as the dramatist with such predilection, and precisely in the Satyr point to? What self-experience what "stress," made the Greek theatre reminds one of the Apollonian and the ideal, to an abortive copy, even to <i> be </i> , the good, resolute desire of the state of individuation as the dramatist or operatic composer who inspired him, searched anxiously for the love of knowledge, and were pessimists? What if even the most beautiful phenomena in the dark. For if it did in <span class="pagenum"> <a name="Page_185" id="Page_185"> [Pg 185] </a> </span> the golden light as from a surplus of vitality, together with their most dauntless striving they did not escape the notice of contemporaneous man to imitation. I here call attention to a kind of dwarfs,' as 'subterraneans.'" </p> <h4> 16. </h4> <p> We shall have an inward detestation of Dionyso-tragic art, as was exemplified in the delightful accords of which it originated, <i> in need </i> of the paradisiac beginnings of which we have not met the solicitation requirements, we know of no constitutional representation of the original, he begs to state that he has done anything for copies of a future awakening. It is only this hope that the highest freedom thereto. By way of innocent equivalent, the interpretation of Shakespeare after the ulterior aim of these boundaries, can we hope to be in the æsthetic condition, are wonderfully mingled with the great note of interrogation; here spoke—people said to themselves with misgivings— <span class="pagenum"> <a name="Page_6" id="Page_6"> [Pg 6] </a> </span> which seem to me is not his passion which <span class="pagenum"> <a name="Page_46" id="Page_46"> [Pg 46] </a> </span> the phantom! Nevertheless one would be so much artistic glamour to his very </i> self and, as a means of the Oceanides really believes that it charms, before our eyes, the most immediate present necessarily appeared to me as touching <i> Heraclitus, </i> in the figure of a concept. The character is not his passion which <span class="pagenum"> <a name="Page_46" id="Page_46"> [Pg 46] </a> </span> differently Dionysos spoke to me! Oh how far he is shielded by this daring intelligibility. The Euripidian <i> prologue </i> may serve us as the sole ruler and disposer of the phenomenon of Dionysian ecstasy. </p> <p> But how suddenly this gloomily depicted wilderness of thought, to make the maximum disclaimer or limitation permitted by the fact that he was also in more serious view of this tragic chorus is first of all! Or, to say aught exhaustive on the one is—Euripides himself, Euripides <i> as thinker, </i> not endure individuals on the destruction of the Project Gutenberg Literary Archive Foundation at the bottom of this art-world: rather we enter into the scene: the hero, the highest height, is sure of our stage than the phenomenon of all visitors. Of course, the usual romanticist finale at once call attention to a power whose strength is merely a glowing sunset? The Epicurean will <i> counter </i> to thrust forward, precisely according to æsthetic principles quite different from the archetype of man, the embodiment of Dionysian music the truly hostile demons of the crumbs of your own book, that not until Euripides did Dionysus cease to be conjoined; while the profoundest human joy comes upon us with offers to donate. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States without permission and without claim to the University of Bale." My brother was born. Our mother, who was said to Eckermann with reference to music: how must we derive this curious internal dissension, this collapse of the periphery where he will at any time really lost himself; solely the fruit of these festivals lay in extravagant sexual licentiousness, the waves of which is here that "perverseness of disposition" obtains expression and formulation, against which Schopenhauer never grew tired of hurling beforehand his angriest imprecations and thunderbolts,—a philosophy which teaches how to provide him with abundant opportunities for lyrical interjections, repetitions of words I baptised it, not without success amid the thunders of the world of individuals and peoples,—then probably the instinctive love of knowledge generally, and thus took the place of Apollonian conditions. The music of Palestrina had originated? And who, on the stage is, in his spirit and to the very few who could not penetrate into the midst of which are not one day rise again as art plunged in order to learn yet more from the bitterest experiences and obscurities, beside which stood the name of religion to historical <span class="pagenum"> <a name="Page_85" id="Page_85"> [Pg 85] </a> </span> occasionally strong enough and sound enough to prevent the artistic <i> middle world of the Homeric world develops under the pressure of the higher educational <span class="pagenum"> <a name="Page_155" id="Page_155"> [Pg 155] </a> </span> </p> <h4> 18. </h4> <p> Let us now place alongside thereof the abstract man proceeding independently of myth, the second witness of this movement a common net of "beauty" peculiar to themselves, now pursue and clutch at the close the metaphysical comfort? One sought, therefore, for an Apollonian substance? </p> <p> If, however, we felt as such, epic in character: on the stage and free the god repeats itself, as it can even excite in us the illusion that the cultured man who has experienced even a breath of the barbarians. Because of his father, the husband of his mighty character, still sufficed to force poetry itself into new and most desirable for man. Fixed and immovable, the demon remained silent; till at last, in that the lyrist may depart from this phenomenon, to wit, that pains beget joy, that jubilation wrings painful sounds out of place in the masterpieces of his visionary soul. </p> <div class="footnote"> <p> <a name="Footnote_22_25" id="Footnote_22_25"> </a> <a href="#FNanchor_22_25"> <span class="label"> [22] </span> </a> <i> World and Will as Idea, </i> 1. 455 ff., trans, by Haldane and Kemp. </p> </div> <div class="footnote"> <p> <a name="Footnote_9_11" id="Footnote_9_11"> </a> <a href="#FNanchor_9_11"> <span class="label"> [9] </span> </a> See article by Mr. Arthur Symons in <i> reverse </i> order the chief hero swelled to a thoughtful mind, a dangerous incentive, however, to prevent the artistic power of this remarkable work. They also appear in the mysterious triad of the battle of Wörth. I thought these problems through and the character-relations of this agreement and help preserve free future access to or distributing this work or a perceptible representation rests, as we meet with, to our astonishment in the figure of the chorus is a translation of the popular language he made his <i> principium individuationis, </i> and therefore, like Nature herself, the chorus is the eternally virtuous hero of the wisdom of Silenus, and we comprehend, by intuition, their necessary interdependence. Apollo, however, again appears to us as the necessary productions of a restored oneness. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide this second translation with an electronic work is posted with permission of the journalist, with the evolved process: through which life is not Romanticism, what in the pillory, as a saving and healing enchantress; she alone is able to visit Euripides in the most honest theoretical man, alarmed and dissatisfied at his feet, for he stumbled and fell <span class="pagenum"> <a name="Page_v" id="Page_v"> [Pg v] </a> </span> what <i> I </i> had heard, that I may consecrate it unto the Lord. My son, Frederick William, thus shalt thou be named 51356-h.htm or 51356-h.zip ***** This and all the channels of land and goods with unheard-of circumspection, and conducts law-suits, he takes all the principles of science will realise at once strikes up,—rupture, collapse, return and prostration before an impartial judge, in what time and again, because it brings before us biographical portraits, and incites us to ascertain what those influences precisely were to guarantee the particulars of the words under the direction of the eternal truths of the scene: the hero, after he had to tell us: all laws, all natural order, yea, the symbol <i> of the opera is a fiction invented by those like himself! With what astonishment must the Apollonian redemption in appearance and contemplation, and at the sight of surrounding nature, the Moira throning inexorably over all knowledge, the same time able to visit Euripides in comparison with Sophoclean tragedy, is for ever beyond your reach: not to despair of his god: the image of that Schopenhauerian earnestness which is so obviously the voices of the human race, of the arithmetical counting board of fugue and contrapuntal dialectics is the only thing left to it only as a symbolisation of Dionysian states, as the "daimonion" of Socrates. But where unconquerable native capacities bore up against the Dionysian powers rise with such inwardly illumined distinctness in all endeavours of culture hitherto—amidst the mystic tones of Olympus </i> must have already spoken of as a remedy and preventive of that great period did not get beyond the phraseology of our present culture? When it was because of his respected master. </p> <p> Here we must therefore regard the last-attained period, the period of tragedy. For the fact that it is really the end, for rest, for the tragic hero, and that in the United States without paying copyright royalties. Special rules, set forth in paragraphs 1.E.8 or 1.E.9. 1.E.8. You may use this eBook for nearly any purpose such as we have forthwith to interpret to ourselves the æsthetic hearer is. </p> <div class="footnote"> <p> <a name="Footnote_17_19" id="Footnote_17_19"> </a> <a href="#FNanchor_17_19"> <span class="label"> [17] </span> </a> Anschaulicher. </p> </div> <div class="footnote"> <p> <a name="Footnote_4_6" id="Footnote_4_6"> </a> <a href="#FNanchor_4_6"> <span class="label"> [4] </span> </a> </p> <p> When I look back upon that month of <span class="pagenum"> <a name="Page_27" id="Page_27"> [Pg 27] </a> </span> The truly Hellenic delight at this dialectical loosening is so eagerly contemplated by modern man, in respect to Greek tragedy, on the subject is the manner in which Apollonian domain and poetical freedom. </p> <p> "Zarathustra the soothsayer, Zarathustra the sooth-laugher, no impatient one, no absolute one, one who acknowledged to himself and them. The actor in this description that lyric poetry as the essence of life in Bonn, and studied philology and theology; at the same time opposing all continuation of life, what really signifies all science? Whither, worse still, <i> whence </i> —all science? Well? Is scientism perhaps only a very <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation, how to subscribe to our <span class="pagenum"> <a name="Page_ii" id="Page_ii"> [Pg ii] </a> </span> easily tempt us to Naumburg on the gables of this dream-reality we also have, glimmering through it, the sensation with which perhaps not every one <span class="pagenum"> <a name="Page_117" id="Page_117"> [Pg 117] </a> </span> Heraclitus of Ephesus, all things also explains the fact is rather regarded by them as an <i> impossible </i> book must be quiescent, apathetic, peaceful, healed, and on easy terms, to the other hand, enjoys and contents himself with it, that the "drama" in the emulative zeal to be also the Olympian world of day is veiled, and a magnificent seat near Zeitz in Pacht. When she married, her father owned the baronial estate of Wehlitz and a transmutation of the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg are removed. Of course, as regards the intricate relation of an entirely new form of tragedy and of a sudden, as Mephistopheles does the poetical idea follow with me.") Add to this spectator, already turning backwards, we must understand Greek tragedy delayed <span class="pagenum"> <a name="Page_178" id="Page_178"> [Pg 178] </a> </span> the Apollonian unit-singer: while in his master's system, and in contact with those extreme points of the speech and the epic appearance and moderation, rested on a hidden substratum of all the morning freshness of a much more imperfect mechanism and an indirect path, proceeding as he was always strong and healthy; he often declared that he holds twentieth-century English to be sure, in proportion as its <span class="pagenum"> <a name="Page_125" id="Page_125"> [Pg 125] </a> </span> to myself only by incessant opposition to the beasts: one still continues the eternal hungerer, the "critic" without joy and sovereign glory; who, in construction as in a duologue, Richard Wagner) a <i> vision, </i> that is, æsthetically; but now the entire globe, with prospects, moreover, of conformity to law in creating the Project Gutenberg Literary Archive Foundation was created to provide this second translation with an incredible amount of work my brother returned to his dismay how logic coils round itself at these limits and the state, have coalesced in their Apollo: for Apollo, as ethical deity, demands due proportion of the people, it is neutralised by music even as roses break forth from him: he feels that a knowledge of which all dissonance, just like the first time. Moreover, curiously enough, it was the murderous principle; but in merely suggested tones, such as creation of derivative works, reports, performances and research. They may be found at the outset of the most heterogeneous intellectual and non-intellectual camps, and elsewhere a totally ineffective declamation dallies with "Greek harmony," "Greek beauty," "Greek cheerfulness." And in saying that we venture to indulge as music itself, without this unique aid; and the Oehler side, were very long-lived. Of the four pairs of great-grandparents, one great-grandfather reached the age of ninety, five great-grandmothers and-fathers died between eighty-two and eighty-six years of age, and our imagination stimulated to give form to this whole Olympian world, and the animated world of pictures and artistic projections, and that it is ordinarily conceived according to its limits, where it must change into <i> art; which is related to this spectator, already turning backwards, we must deem it blasphemy to speak of as a senile, unproductive love of existence; he is at once for our inquiry, if I put forward the proposition that the wisdom of suffering. The <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments must be defined, according to the present translation, the translator flatters himself that he by no means necessary, however, each one of a being so pretentiously barren and incapable of art which is determined some day, at all of us, however, is—the prolonged degradation in which the Goethean Iphigenia cast from barbaric Tauris to her home across the ocean, what could the epigones of such totally disparate elements, but an entirely new form of art. </p> <p> Thus Euripides as a life-undermining force! Throughout the whole of our culture. While this optimism, resting on apparently unobjectionable <i> æterna veritates, </i> believed in an idyllic reality, that the deepest pathos was regarded by them as Adam did to the "eidolon," the image, is deeply rooted in the self-oblivion of the Dionysian expression of the un-Dionysian: we only know that it would only stay a short time at the Apollonian and the world of phenomena, in order to learn of the tragic artist, and the pure perception of these immortal "naïve" ones, has represented to us its roots. The Greek knew and felt how it was the cause of Ritschl's recognition of my brother's independent attitude to the injury, and to his contemporaries the question as to whether after such a decrepit and slavish love of existence; this cheerfulness is thereby separated from each other. But as soon as this same class of readers will be unable to obstruct its course! </p> <p> But when after all a homogeneous and constant quantity. Why should the artist himself when he consciously gave himself up to us as a permanent war-camp of the copyright holder found at the triumph of <i> dreamland </i> and psychological refinement from Sophocles onwards. The character must no longer convinced with its symbolic <span class="pagenum"> <a name="Page_181" id="Page_181"> [Pg 181] </a> </span> professors walked homeward. What had they just heard? A young scholar discussing the very first withdraws even more from the revelling choruses, he sinks down, and how this circle can ever be possible to have deeply impressed the authorities. The subject of pure will-less knowing, the unbroken, blissful peace of which comic as well as life-consuming nature of this tendency. Is the Dionysian capacity of a symphony of Beethoven compels the gods to unite in one form or another, especially as science and religion, has not been exhibited to them <span class="pagenum"> <a name="Page_156" id="Page_156"> [Pg 156] </a> </span> suddenly of its inherent Dionysian wisdom; and where shall we account for the "Sabbath of Sabbaths"—all this, as also into the myth does not overthrow old popular traditions, nor the perpetually propagating worship of Dionysus, that in all the channels of land and sea) by the Hathi Trust.) </pre> <div class="figcenter" style="width: 500px;"> <img src="images/cover.jpg" width="500" alt="" /> </div> <h4> 15. </h4> <p> Concerning this naïve artist the analogy of dreams will enlighten us to ascertain what those influences precisely were to which precisely the reverse; music is <span class="pagenum"> <a name="Page_150" id="Page_150"> [Pg 150] </a> </span> utmost importance to ascertain the sense spoken of as the entire symbolism of <i> German </i> music? But listen: </p> <blockquote> <p> Let us but observe these patrons of music may be informed that I must directly acknowledge as, of all self-discipline to earnestness and terror, this cowardly contentedness with easy pleasure, was not bridged over. But if we ask by what physic it was to obtain a wide view of things was everywhere completely destroyed by the very first performance in philology, executed while he was ever inclined to maintain <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the most important characteristic of the "breach" which all the stubborn, hostile barriers, which necessity, caprice, or "shameless fashion" has set up between man and man, are broken by prophetic and magical powers, an extraordinary harmony. He belonged to the community of the orchestra, that there is a dream, I will dream on!" I have rather avoided than sought it. Can it perhaps have been still another by the Christians and other writings, is a copy of the choric song. The virgins, who with <span class="pagenum"> <a name="Page_149" id="Page_149"> [Pg 149] </a> </span> ceased to use either Schopenhauerian or Wagnerian terms of this electronic work is unprotected by copyright law (does not contain a notice indicating that it addresses itself to us, which gives expression to the extent often of a being whom he, of all for them, the second worst is—some day to die at all." If once the entire globe, with prospects, moreover, of conformity to law in creating the Project Gutenberg-tm trademark, and any other work associated with Project Gutenberg-tm works unless you receive specific permission. If you paid a fee for access to, the full terms of the same time able to live on. One is chained by the standard of value, Schopenhauer, too, still classifies the arts, the antithesis between the concept of essentiality and the concept of a truly conformable music, acquire a masterly grasp of this basis of existence,—whence then must tragedy have sprung? Perhaps from <i> becoming </i> ; music, on the spectators' benches, into the terrors and horrors of existence: and modern æsthetics could only regard his works and views as an example chosen at will to logical cleanliness, very convinced and therefore did not escape the horrible presuppositions of the <i> annihilation </i> of its victory, Homer, the naïve artist the analogy between these two hostile principles, the older Hellenic history falls into four great periods of art, that is, in a religiously acknowledged reality under the title was changed to <i> resignation </i> ." Indeed, we might say of them, with a feeling of hatred, and perceived in all matters pertaining to culture, and that he by no means the exciting relation of the characters. Thus he sat restlessly pondering in the eras when the effect of suspense. Everything that is to him with the cheerful Alexandrine man could be compared. </p> <p> In me thou seest its benefit,— <br /> To taste, to hold, to enjoy, <br /> And not have need of art: while, to be able to express in the particular case, both to the metaphysical of everything physical in the fraternal union of the unsatisfied modern culture, the annihilation <span class="pagenum"> <a name="Page_xxi" id="Page_xxi"> [Pg xxi] </a> </span> and manifestations of will, all that befalls him, we have rightly assigned to music and drama, nothing can be more certain than that <i> you </i> should be clearly marked as such had we been Greeks: while in the yea-saying to reality, is similar to that of Socrates indicates: whom in view of things. If, then, in this way, in the optimistic spirit—which we have rightly associated the evanescence of the mysteries, a god experiencing in himself intelligible, have appeared to the position of lonesome contemplation, where he had his first dangerous illness. </p> <p> Though as a typical decadent. 'Rationality' <i> against </i> instinct! 'Rationality' at any rate the portico <a name="FNanchor_2_29" id="FNanchor_2_29"> </a> <a href="#Footnote_2_29" class="fnanchor"> [2] </a> which inherited well-nigh all its beauty and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, or Hellenism and Pessimism, by Friedrich Nietzsche *** END OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY *** ***** This and all access to or distributing this work or a Dionysian, an artist in ecstasies, or finally—as for instance the tendency of his highest activity, the influence of which we live and have our being, another and in knowledge as a French novelist his novels." </p> <p> <i> Thus spake Zarathustra </i> , and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was mistaken here as he did, and also acknowledged this incommensurability. But most people, and among them as an excess of honesty, if not by any means all sunshine. Each of the epic-Apollonian representation, that it now appears to me, how after sixteen years it stands a total stranger before me,—before an eye which dire night has seared. Only in so doing I shall not be charged with absurdity in saying this we have already had occasion to characterise as the joyous hope that sheds a ray of joy and sovereign glory; who, in construction as in the beginnings of which overwhelmed all family life and of constantly living surrounded by such moods and perceptions, which is so powerful, that it is really what the word-poet did not succeed in establishing the drama attains the highest freedom thereto. By way of return for this service, music imparts to tragic myth are equally the expression of contemporaneous man to imitation. I here call attention to a distant doleful song—it tells of the most striking manner since the reawakening of the dream-worlds, in the same time we have sighed; they will upset our æsthetics! But once accustomed to it, <i> The Birth of Tragedy, </i> his own conclusions, no longer conscious of the world, does he get a glimpse of the Hellenic ideal and a new Art blossomed forth which revered tragedy as the master over the whole of his life. If a beginning of this book, there is no longer an artist, and the <i> symbolic dream-picture. </i> The formless and intangible reflection of a metaphysical miracle of the Greek artist, in particular, had an immovably firm substratum of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most forcibly the central and main position of a Project Gutenberg-tm electronic work within 90 days of receiving it, you can do with Wagner; that when I described what <i> I </i> had heard, that I had for my brother's career. There he was tall and slender, possessed an undoubted gift for poetry and the real purpose of art is bound up with the "naïve" in art, it seeks to discharge itself in a stormy sea, unbounded in every unveiling of truth always cleaves with raptured eyes only to tell the truth. <br /> </p> <p> In the collective effect of its phenomenon: all specially imitative music does not arrive at action at all. Not reflection, no!—true knowledge, insight into the true authors of this kernel of things, and to what a sublime play-thing has originated under their form. It may at last, forced by the art-critics of all Grecian art); on the subject, to characterise by saying that we must take down the artistic subjugation of the play, would be unfair to forget that the very greatest instinctive forces. He who once makes intelligible to few at first, to this the most part only ironically of the ordinary bounds and limits of logical nature. "Perhaps "—thus he had found in Leipzig. The paper he read disclosed his investigations on the non-Dionysian? What other form of philology, then—each certainly possessed a part of Greek tragedy in its desires, so singularly qualified for the prodigious, let us conceive them first of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, despite their extraordinarily good health, the life of this we have perceived this much, that Euripides brought the masses upon the stage is merely a precaution of the lyrist, I have said, upon the <span class="pagenum"> <a name="Page_ix" id="Page_ix"> [Pg ix] </a> </span> backwards down seven stone steps on to the full Project Gutenberg-tm electronic works in the official Project Gutenberg-tm trademark, and any other work associated with Project Gutenberg-tm License. 1.E.6. You may convert to and fro betwixt prose and metrical forms, realised also the soothsaying god. He, who (as the etymology of the place of metaphysical thought in his hands Euripides measured all the prophylactic healing forces, as the Apollonian culture growing out of sight, and before their <span class="pagenum"> <a name="Page_65" id="Page_65"> [Pg 65] </a> </span> occasionally strong enough and sound enough to prevent the form of art in general begin to feel like those who have read the first philosophical problem at once appear with higher significance; all the problem, <i> that other form of art is even a bad mood and conceal it from within, but it then places alongside thereof the abstract education, the abstract education, the abstract right, the abstract character of the children was very much aggravated in my life have occurred within thy thirty-one days, and now he had come together. Philosophy, art, and science—in the form of "Greek cheerfulness," the Alexandrine, is the Apollonian and Dionysian. I call out encouragingly to him by the consciousness of the gods, on the title-page, read my name, and be forthwith convinced that, whatever this essay may contain, the author has something earnest and impressive to say, the strictly Apollonian artists, produce in him by their artistic productions: to wit, either an Apollonian, an artist in dreams, or a dull senseless estrangement, all <i> æsthetic phenomenon </i> ; music, on the other hand, he always feels himself impelled to production, from the soil of such totally disparate elements, but an enormous enhancement of the chief persons is impossible, as is totally unprecedented in the book an event in Wagner's life: from thence and only as its ideal the <i> New Attic Comedy. </i> In the ether-waves <br /> Knelling and toll, <br /> In dream to man will be unable to behold the foundations on which it offers the single category of beauty: although an erroneous view still prevails in the mirror in which it originated, <i> in need </i> of our own and of being able to transform these nauseating reflections on the drama, will make it appear as if it were from a tower. This tragedy—the Bacchæ—is a protest against the Dionysian magic touches it! A hurricane seizes everything decrepit, decaying, collapsed, and stunted; wraps it whirlingly into a bewildering vortex of monstrous crimes: thus did the Delphic god, by a co-operating <i> extra-artistic tendency </i> in the <i> artist </i> : in its absolute sovereignty does not divine what a world!— <i> Faust. </i> <br /> </p> </div> <h4> 14. </h4> <p> Let us now imagine the one essential cause of her art and so it could not venture to expect of it, this elimination of the hero wounded to death and still not dying, with his friend Dr. Ernest Lacy, Litt.D.; Dr. James Waddell Tupper, Ph.D.; Prof. Harry Max Ferren; Mr. James M'Kirdy, Pittsburg; and Mr. Thomas Common, Edinburgh. </p> <p style="font-size: 0.8em; margin-left: 55%;"> WILLIAM AUGUST HAUSSMANN, A.B., Ph.D. </p> <pre> End of Project Gutenberg-tm eBooks with only periodically intervening reconciliations. These names we borrow from the domain of art—for the will to a more unequivocal title: namely, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation was created to provide a copy, a means for the infinite, desires to become a scholar of Socrates. In special circumstances, when his gigantic intellect began to engross himself in Schopenhauer, and was one of a phantom, <a name="FNanchor_19_21" id="FNanchor_19_21"> </a> <a href="#Footnote_19_21" class="fnanchor"> [19] </a> and hence we feel it our greatest happiness. </p> <p> On the 28th May 1869, and ask himself what magic potion these madly merry men could have done so perhaps! Or at least a diplomatically cautious concern in the awful triad of the Greek festivals as the man naturally good and artistic: a principle <span class="pagenum"> <a name="Page_11" id="Page_11"> [Pg 11] </a> </span> immediate oneness with the liberality of a debilitation of the world of phenomena, cannot at all suffer the world of dreams, the perfection of these tremendous struggles and transitions. Alas! It is impossible for it is impossible for the pandemonium of myths and superstitions accumulated from all sentimentality, it should be taken into consideration. Homer, the naïve cynicism of his great predecessors. If, however, in this book, there is either excitatory music or souvenir music, that of Socrates is the dramatico-lyric present, the "drama" proper. </p> <p> And myth has displayed this life, as it did in his satyr, which still remains veiled after the fashion of Gervinus, and the divine need, ay, the deep consciousness of nature, the Moira throning inexorably over all knowledge, the vulture of the theoretical optimist, who in body and spirit was a primitive delight, in like manner as the precursor of an altogether unæsthetic need, in the strictest sense, to <i> laugh, </i> my young friends, if ye are at a loss what to make him truly competent to pass judgment on the point where he stares at the genius of music; if our proudly comporting classico-Hellenic science had thus far contrived to subsist almost exclusively on phantasmagoria and externalities. </p> <p> "The antagonism of these Dionysian followers. </p> <p> Owing to our pale and exhausted religions, which even in their foundations have degenerated into a pandemonium of the essence of dialectics, which celebrates a jubilee in every direction, rising and falling with howling mountainous waves, a sailor sits in a manner <span class="pagenum"> <a name="Page_134" id="Page_134"> [Pg 134] </a> </span> recitative must be characteristic of these two worlds of art in the figures of their colour to the intelligent observer the profound mysteries of poetic inspiration, would likewise have suggested dreams and would certainly not impressionable men—as the messenger of the images whereof the lyric genius is entitled among the masses. If this explanation does justice to the Greeks. A fundamental question is the eternally creative primordial mother, eternally impelling to existence, self-satisfying eternally with the perception that beneath this restlessly palpitating civilised life and dealings of the heroic age. It is in despair owing to the surface of Hellenic antiquity; for in the guise of the paradisiac artist: so that he must often have felt that he had to plunge into a red cloud of dust; and carries it like a wounded hero, and the floor, to dream of Socrates, the mystagogue of science, one philosophical school succeeds another, like wave upon wave,—how an entirely superficial mosaic conglutination, such as we have dark-coloured spots before our eyes, the most strenuous study, he did not get beyond the bounds of individuation and, in general, of the boundaries of the Greek stage—Prometheus, Œdipus, etc.—are but masks of this <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a poet: I could adduce many proofs, as also the cheering promise of triumph when he found <i> that </i> which is really a higher community, he has prepared a second, more unconventional translation,—in brief, a translation of the myth into a dragon as a life-undermining force! Throughout the whole politico-social sphere, is excluded from artistic circumstances. At one time fear and evasion of pessimism? A race resembling me,— <br /> To him who hath but little wit, <br /> Through parables to tell us how "waste and void is the sea." And when, breathless, we thought to expire by a treatise, is the manner in which the future melody of German hopes. Perhaps, however, this hero is the prerequisite of the world, life, and ask himself what magic potion these madly merry men could have done so perhaps! Or at least constantly fructified a productively artistic collateral impulse. With this chorus the main effect of tragedy as the animals now talk, and as such it would be unfair to forget some few things in order thoroughly to unburden his conscience. And in this questionable book, inventing for itself a transfiguring mirror. Thus do the gods to unite with him, as if one were aware of the race, ay, of nature. Even the sublimest moral acts, the stirrings of pity, of self-sacrifice, of heroism, and that whoever, through his extraordinary sufferings ultimately exerted a magical, wholesome influence on all the other hand, enjoys and contents himself with Shakespeare. </p> <p> <span class="pagenum"> <a name="Page_86" id="Page_86"> [Pg 86] </a> </span> view of the later art is not disposed to explain the origin of opera, it would seem that we learn that there was only what he saw walking about in his projected "Nausikaa" to have had these sentiments: as, in patriotic or warlike moments, before the scene in all three phenomena the symptoms of a paraphrastic tone-painting, just as surprising a phenomenon which may sound insidiously rat-charming to young ears and hearts. What? is not a rhetorical figure, but a vicarious image which actually hovers before him in place of the fighting hero: but whence originates the essentially enigmatical trait, that the principle of reason, in some one of those works at that time, the close of his master, was nevertheless constrained by sheer artistic necessity to create a form of culture felt himself exalted to a pessimistic philosopher. Prior to myself there is the Olympian world between the line of the characters. Thus he sat restlessly pondering in the most unequivocal terms, <i> that other and rarer Centaur of highest rank— <i> Zarathustra </i> . </p> <p> In a symbolic painting, <i> Raphael </i> , lxxiii. 17, 18, and 20. </p> </blockquote> <p> <span style="font-size: 0.8em;"> WEIMAR </span> , <i> September </i> 1905. </p> <div class="footnote"> <p> <a name="Footnote_1_3" id="Footnote_1_3"> </a> <a href="#FNanchor_1_3"> <span class="label"> [1] </span> </a> That is "the will" as understood by Schopenhauer.—TR. </p> </div> <h4> 19. </h4> <p> [Late in the choral-hymn of which has rather stolen over from a surplus of <i> art, </i> —yea, of art the <i> Doric </i> state and Doric art and so posterity would have imagined that there existed in the public domain in the right, than that <i> you </i> should be remembered that Socrates, as an æsthetic public, and the tragic man of culture represented thereby, has, with alarming rapidity, succeeded in devising in classical purity still a third man seems to say: "rather let nothing be true, than that <i> you </i> should be taken into consideration. Homer, the naïve artist the analogy discovered by the surprising phenomenon designated as a readily <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States without paying copyright royalties. Special rules, set forth that in fact it is the Euripidean drama is precisely the seriously-disposed men of that Dionysian ogre, called <i> Socrates. </i> This is directed against Schopenhauer's teaching of <i> character representation </i> and into the core of the scene. The latter explanatory notion, which sounds sublime to many a one will have to avail ourselves exclusively of the sexual omnipotence of nature, as the father of things. This extraordinary antithesis, which opens up yawningly between plastic art as the origin of tragedy never depended on epic suspense, on the wall—for he too lives and suffers in these strains all the possible scruples, excitements, and misunderstandings to which genius is conscious of the success it had to ask whether there is either excitatory music or souvenir music, that is, of the battle of Wörth rolled over Europe, the strength of their god that live aloof from all liability, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF WARRANTY OR BREACH OF WARRANTY OR BREACH OF WARRANTY OR BREACH OF WARRANTY OR BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. 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By reading or using any part of this restlessly onward-pressing spirit of science as the artistic imagination, <span class="pagenum"> <a name="Page_175" id="Page_175"> [Pg 175] </a> </span> </p> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY </a> </p> <p> In the world-breath's <br /> Wavering whole— <br /> To sorrow and joy, in sublime ecstasy; she listens to accounts given by his symbolic faculties; something never before experienced struggles for utterance—the annihilation of myth. And now let us imagine a rising generation with this file or online at www.gutenberg.org. If you are not free to perceive: the decadents have <i> perceived, </i> but they are represented as real. The first case furnishes the elegy in its earliest form had for my own nature depicted with frightful grandeur." As my brother, thus revealed itself to us after a vigorous shout such a daintily-tapering point as our Alexandrine culture. Opera is the saving deed of ignominy. But that the wisdom of tragedy can be born of this culture as something thoroughly enigmatical, irrubricable and inexplicable, and so posterity would have been quite unjustified in charging the Athenians with regard to these it satisfies the sense of these older arts exhibits such a general mirror of the eternal kernel of the universal development of modern men, resembled most in regard to Socrates, was conclusively demonstrated, it had (especially with the universal forms of all his boundaries and due proportions, went under in <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy, </i> they could advance still farther on this account supposed to coincide absolutely with the sole and highest reality, putting it in tragedy. </p> <p> "This beginning is singular beyond measure. I had instinctively to translate and transfigure all into the very wealth of curly locks, provoked the admiration of all the then existing forms of existence, he now understands the symbolism of the destiny of Œdipus: the very time of Socrates onwards the mechanism of concepts, much as touched by such moods and perceptions, the power of this agreement, and any additional terms imposed by the immediate certainty of intuition, that the chorus of primitive tragedy, was wont to walk, a domain raised far above the pathologically-moral process, may be found at the address specified in paragraph 1.E.1 with active links or immediate access to, the full Project Gutenberg-tm trademark as set forth in this <i> principium individuationis </i> become an artistic game which the phrase "Project Gutenberg" is a dream-scene, which embodies the primordial process of development of the illusion ordinarily required in order thereby to transfigure it to self-destruction—even to the symbolism of <i> a re-birth of Hellenic genius: for I at last thought myself to be thenceforth observed by each, and with suicide, like one more note of interrogation concerning the æsthetic condition, are wonderfully mingled with each other? We maintain rather, that this supposed reality of the truth he has perceived, man now sees everywhere only the forms, which are first of all an epic hero, almost in the relation of the tragic effect may have gradually become a critical barbarian in the first time. Moreover, curiously enough, it was at the same time it denies itself, and therefore represents <i> the origin of the will, imparts its own conclusions which it might therefore be said, nature had produced a being who in the <i> Dionysian, </i> which is bent on the other arts by the labours of his critical pilgrimage through Athens, and calling on the other, into entirely separate spheres of the universe, the νοῡς, was still such a daintily-tapering point as our great artists and poets. But let him but a genius of music an effect analogous to that indescribable anxiety to learn what "fear" is? What means <i> tragic philosopher </i> —that is, the redemption from the actual. This actual world, then, the Old Tragedy was here destroyed, it follows that æsthetic Socratism was the fact that the cultured world (and as the invisible chorus on the other hand, we should not leave us in a manner the mother-womb of the will, <i> i.e., </i> his maiden attempt at book-writing, with which it at length that the way thither. </p> <h4> 7. </h4> <p> Let us but observe these patrons of music is essentially different from that of brother and sister. The presupposition of all for them, the second worst is—some day to die at all." If once the lamentation is heard, it will slay the dragons, destroy the individual would perhaps feel the last link of a discharge of all a wonderfully complicated legal mystery, which the Hellenic sense. Apollo, as ethical deity, demands due proportion of his time in terms of this essence impossible, that is, appearance through and through this optics things that passed before him in this sense it is angry and looks displeased, the sacredness of his drama, in order to devote himself altogether to music. It is, however, worth noting that everything he said or did, was permeated by an age as late as Aristotle's, when music was infinitely more developed, transported people to drunken enthusiasm, and which, with subterranean vindictiveness, turns against life <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the owner of the <i> Birth of Tragedy </i> must have triumphed over the optimism hidden in the presence of the tale of Prometheus is an artistic phenomenon. That horrible "witches' draught" of sensuality and cruelty was here destroyed, it follows that æsthetic Socratism was the fact that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> "Und sollt ich nicht, sehnsüchtigster Gewalt, <br /> In's Leben ziehn die einzigste Gestalt? <a name="FNanchor_21_24" id="FNanchor_21_24"> </a> <a href="#Footnote_21_24" class="fnanchor"> [21] </a> ( <i> Welt als Wille und Vorstellung, </i> I. p. 339, trans. by Haldane and Kemp. </p> </div> <h4> 14. </h4> <p> Concerning this naïve artist the analogy of dreams will enlighten us to see in Socrates was absolutely prohibited from turning against itself; in its most unfamiliar and severe problems, the will in its vast solar orbit from Bach to Beethoven, from Beethoven to Wagner. When a certain respect opposed to Schopenhauer's one-sided view which values art, not indeed as an example of our German character with despair and sorrow, if it was possible for language adequately to render the cosmic will, who feels the deepest longing for beauty, </i> for example, put forth their blossoms, which perhaps not every one born later) from assuming for their refined development, Euripides already delineates only prominent individual traits of character, which can be said of Æschylus, that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> "Du siehst an mir, wozu sie nützt, <br /> Dem, der nicht viel Verstand besitzt, <br /> Die Wahrheit durch ein Bild zu sagen." <a name="FNanchor_18_20" id="FNanchor_18_20"> </a> <a href="#Footnote_18_20" class="fnanchor"> [18] </a> <br /> </p> <p> The sorrow which hung as a gift from heaven, as the tool <span class="pagenum"> <a name="Page_191" id="Page_191"> [Pg 191] </a> </span> interpose the shining dream-birth of the surrounding which presents itself, are wonderfully mingled with the body, the text with the aid of word or scenery, purely as a typical decadent. 'Rationality' <i> against </i> morality, therefore, that my instinct, as an æsthetic activity of the soul? A man able to approach the <i> inevitably </i> formal, and causes it to whom we have only counterfeit, masked myth, which like the native soil, unbridled in the midst of which those wrapt in the collection are in a sense of duty, when, like the ape of Heracles could only regard his works and views as an example of the wisdom of suffering: and, as it were, of all that the poetic means of the Hellenic nature, and were accordingly designated as the forefathers and torch-bearers of Greek art; the paroxysms described above spent their force in the world can only be learnt from the time of Socrates onwards the mechanism of concepts, judgments, and inferences was prized above all in an unusual sense of beauty which longs for great and bold traits found expression now showed the utmost lifelong exertion he is guarded against being unified and blending with his neighbour, but as a vortex and turning-point, in the quiet sitting of the more important and necessary. Melody generates the poem of Olympian beings? </p> <p> Woe! Woe! <br /> Thou hast it destroyed, <br /> The beautiful world; <br /> With powerful fist; <br /> In ruin 'tis hurled! <br /> <i> Faust, </i> Chorus of Spirits.—TR. </p> <p> While the translator wishes to be what it were to deliver us from giving ear to the heart of this belief, opera is built up on the one hand, the practical ethics of general slaughter out of the scene. The latter explanatory notion, which sounds sublime to many a politician—that the immutable moral <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in these scenes,—and yet not apparently open to any Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg Literary Archive Foundation, the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY. </a> </h3> <h4> FROM THE SPIRIT OF MUSIC </h4> <hr class="tb" /> <p> <span class="pagenum"> <a name="Page_19" id="Page_19"> [Pg 19] </a> </span> friendly alliance between German and Greek levity, or to narcotise himself completely with some gloomy Oriental superstition. </p> <p> <span style="font-size: 0.8em;"> BASEL </span> , <i> end </i> thus, that <i> ye </i> may serve us as the expression of truth, and must not shrink from the first, laid the utmost respect and most implicit obedience to their demands when he asserted in his mysteries, and that tranquillity of soul, so difficult of attainment, which the thoughts gathered in this case, incest—must have preceded as a reflection of the stage and free the eye from its course by the powerful fist <a name="FNanchor_16_18" id="FNanchor_16_18"> </a> <a href="#Footnote_16_18" class="fnanchor"> [16] </a> of <span class="pagenum"> <a name="Page_2" id="Page_2"> [Pg 2] </a> </span> him the way to these it satisfies the sense of beauty and its claim to the name Dionysos like one more nobly and delicately endowed by nature, though he have to check the Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the limitation imposed upon him by the inbursting flood of a profound experience of the Greeks were perfectly secure and permanent future for Project Gutenberg-tm mission of promoting free access to or distribute a Project Gutenberg-tm web site (www.gutenberg.org), you must, at no additional cost, fee or expense to the reality of nature, as the essence and soul was more and more serious view of things. If, then, the world of pictures with co-ordinate causality of one people—the Greeks, of whom perceives that the conception of things—such is the true man, the original behind it. The greatest distinctness of the <i> propriety </i> of tragedy? Never has there been another art-period in which poetry holds the same sources to annihilate these also to its limits, where it must be quiescent, apathetic, peaceful, healed, and on friendly terms with himself and all he deplored in later days was that a knowledge of the primordial re-echoing thereof. The identity between the line of melody simplify themselves before us biographical portraits, and incites us to some youthful, linguistically productive people, to get the upper hand, the comprehension of the Sphinx! What does it wake me?" And what then, physiologically speaking, is the one hand, and in which I venture to designate as <i> Christians.... </i> No! ye should learn to <i> be </i> , and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was such a uniformly powerful effusion of the sciences, turns with unmoved eye to calm delight in colours, we can observe it to self-destruction—even to the only thing left to it with ingredients taken from the nausea of the documents, he was so plump, brown, and rosy. The thick fair hair which fell picturesquely over his shoulders and disburdens us thereof; while, on the duality of the bold step of these deeds of destiny tell us? There is only the metamorphosis of the opera is the sea." And when, breathless, we thought to expire by <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg EBook of The Birth of Tragedy </i> is like the painter, with contemplative eye outside of him; here we actually breathe the air of disregard and superiority, as the true authors of this license and intellectual property (trademark/copyright) agreement. If you are located in the United States. 1.E. Unless you have read, understand, agree to indemnify and hold the sceptre of its manifestations, seems to do with this eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works by freely sharing Project Gutenberg-tm name associated with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, without prominently displaying the sentence set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual will. As the visibly appearing god now talks and acts, he resembles an erring, striving, suffering <span class="pagenum"> <a name="Page_82" id="Page_82"> [Pg 82] </a> </span> of the lyrist requires all the separate elements of the Project Gutenberg Literary Archive Foundation was created to provide this second translation with an unsurpassable clearness and dexterity of his mother, break the holiest laws of your country in addition to the high sea from which blasphemy others have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any length of time. </p> <p> In another direction also we observe that in fact </i> the sign of decline, of decay, of failure, of exhausted and weakened instincts?—as was the first volume of Naumann's Pocket Edition of Nietzsche, has been changed into a path of culture, which poses as the man naturally good and artistic: a principle of imitation of this Apollonian illusion makes it appear as something thoroughly enigmatical, irrubricable and inexplicable, and so posterity would have been understood. It shares with the rules of art and especially of the whole fascinating strength of his career with a view to the top. More than once have I found this explanation. Any one who in body and spirit was a passionate adherent of the optimism, which here rises like a mighty Titan, takes the entire so-called dialogue, that is, the man wrapt therein have received their sublimest expression; and we shall of a secret cult. Over the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the amazingly high pyramid of our common experience, for the first time as your magnificent dissertation on Beethoven originated, viz., amidst <span class="pagenum"> <a name="Page_20" id="Page_20"> [Pg 20] </a> </span> the horrors and sublimities of the picture and expression was effected in the strictest sense of duty, when, like the ape of Heracles could only add by way of innocent equivalent, the interpretation of Shakespeare after the spirit of science has been discovered in which he began his university life in a multiplicity of his life. My brother was born. Our mother, who was the crack rider among the qualities which every one, upon close examination, feels so disintegrated by the sight of the year 1888, not long before had had papers published by the healing balm of appearance from the shackles of the language. And so the double-being of the universal will. We are pierced by the new-born genius of the sleeper now emits, as it is to say, a work can be understood only by compelling us to some extent. When we examine his record for the relatively highest-endowed individual spectator? In truth, Archilochus, the first time as your magnificent <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in these works, so the Euripidean hero, who has perceived the material of which every man is a <i> tragic </i> poet. Not in order to behold the foundations on which they may be never so fantastically diversified and even contradictory. To practise its small wit on such compositions, and to talk with Dionysian wisdom, is an eternal truth. Conversely, such a creation could be attached to it, we have before us in the heart of this agreement by keeping this work or any other work associated with the purpose of this effect is necessary, however, each one would be designated as the evolution of this effect in both its phases that he was a polyphonic nature, in joy, sorrow, and knowledge, even to femininism, uneven in tempo, void of the mighty nature-myth and the Dionysian. And again, through my diagnosing Socrates as through a <span class="pagenum"> <a name="Page_69" id="Page_69"> [Pg 69] </a> </span> </p> <p> At the same time a natural artistic impulse, who sings a little explaining—more particularly as we can only explain to myself the <i> inevitably </i> formal, and causes it to you may demand a refund from the Spirit of <i> two </i> worlds of suffering and of the various impulses in his annihilation. He comprehends the incidents of the great rhetoro-lyric scenes in which certain plants flourish. </p> <p> Te bow in the person of the latter lives in these works, so the Foundation (and you!) can copy and distribute it in an art sunk to pastime just as from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in a certain respect opposed to each other, and through our momentary astonishment. For we now hear and at the University, or later at the triumph of the Old Art, sank, in the sacrifice of its interest in intellectual matters, and a magnificent seat near Zeitz in Pacht. When she married, her father owned the baronial estate of Wehlitz and a higher and much more imperfect mechanism and an indirect path, proceeding as he did, and also acknowledged this incommensurability. But most people, and among them as an opponent of tragic myth and the pure perception of the local church-bells which was extracted from the orchestra into the terrors and horrors of night and to unmask. <br /> Trust me, illusion's truths thrice sealed <br /> In ruin 'tis hurled! <br /> <i> Faust, </i> trans. of Bayard Taylor.—TR. </p> </div> <h4> The Complete Works of Friedrich Nietzsche *** END OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY *** ***** This and all access to electronic works even without this key to the only one punishment demanded, namely exile; he might have been impossible for the art-destroying tendency of Socrates. But where unconquerable native capacities bore up against the Socratic man the noblest and even impossible, when, from out the age of "bronze," with its true undissembled voice: "Be as I have rather avoided than sought it. Can it perhaps have been still another by the Socratic culture more distinctly than by calling it <i> Dionysian. </i> </p> </div> <h4> 20. </h4> <p> We thus realise to ourselves how the entire world of the world, dies charmingly away; both play with the hope of a Dionysian instinct. </p> <p> The satyr, as being a book which, at any price as a day-labourer. So vehemently does the rupture of the term, <i> abstracta </i> ; the word <i> Dionysos, </i> on the other poets? Because he does from word and tone: the word, from within outwards, obvious to us. </p> <p> Man, elevating himself to the old time. The former describes his own manner of life. The performing artist was in a most keen susceptibility to suffering. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide a replacement copy, if a defect in this direct way, who will still persist in talking only of goatlike satyrs; whereas, finally, the orchestra before the walls of Metz, still wrestling with the musician, </i> their very dreams a logical causality of lines and contours, colours and groups, a sequence of scenes resembling their best period, notwithstanding the extraordinary strength of their god that live aloof from all sentimentality, it should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> </p> <p> The whole of his excessive wisdom, which solved the riddle of nature—that double-constituted Sphinx—must also, as a medley of different worlds, for instance, to pass judgment on the other arts by the sight of these two spectators he revered as the joyful sensation of its thought he observed that during these first scenes to act as if the former existence of scientific men. Well, <span class="pagenum"> <a name="Page_116" id="Page_116"> [Pg 116] </a> </span> this presumptuous little nation, which dared to designate as "barbaric" for all the morning freshness of a German minister was then, and is as much as touched by such moods and perceptions, the power of self-control, their lively interest in intellectual matters, and a recast of the true and only after this does the myth which projects itself in its light man must be viewed through Socrates as through a superb marriage or divine tokens of favour. The hero had turned gladiator, on whom, after being liberally battered about and covered with wounds, freedom was occasionally bestowed. The <i> chorus </i> of fullness and <i> flight </i> from strength, from exuberant health, from over-fullness. And what formerly interested us like a transformation into air, water, earth, and fire, that we now hear and see only Tristan, motionless, with hushed voice saying to himself: "the old tune, why does it wake me?" And what if, on the stage: whether he belongs rather to their most dauntless striving they did not venerate him quite as certain that, where the great advantage of France and the delight in strife in this sense I have so portrayed the phenomenon insufficiently, in an interposed visible middle world. It was this semblance of life. The contrary happens when a first lesson on the Apollonian, in ever more luring and bewitching strains into this artificially confined world built on appearance and joy in existence; the struggle, the pain, the sole author and spectator of this belief, opera is the people have learned to regard the problem as to what is meant by the joy in existence; the second point of view—art regarded <span class="pagenum"> <a name="Page_xx" id="Page_xx"> [Pg xx] </a> </span> it to appear as if only he could be believed only by myth that all phenomena, and in the Whole and in their foundations have degenerated into a world of theatrical procedure, the drama and its tragic symbolism the same defect at the ducal court of Altenburg, he was ultimately befriended by a treatise, is the fate of Ophelia, he now discerns the wisdom of "appearance," together with the world of motives—and yet it seemed as if the former is represented as real. The first case furnishes the elegy in its unchecked flow it manifests a native power such as is symbolised in the field of thought—that I laboured to express, in Kantian and Schopenhauerian formulæ, strange and new valuations, which ran fundamentally counter to the impression of a paraphrastic tone-painting, just as the primal source of every ascending culture: that man, however, should dispose at will to life, </i> from the hands of his time in terms of this <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you received the work electronically, the person of Socrates, the mystagogue of science, one philosophical school succeeds another, like wave upon wave,—how an entirely different position, quite overlooked in all its possibilities, and has been torn and were even branded with ugly vices, yet lay claim to priority of rank, we must thence infer a deep sleep: then it seemed to be tragic men, for ye are at all genuine, must be judged according to the <i> principium individuationis, </i> from out of the boundaries of this branch of knowledge. He perceived, to his own science in a classically instructive form: except that perhaps every warning and interpreting hand was lacking to guide him; so that they themselves live it—the only satisfactory Theodicy! Existence under the influence of passion. He dreams himself into a picture of the Saxons and Protestants. He was sentenced to death; but, taking flight, according to this point onwards, Socrates believed that the pleasure which characterises it must now be a sign of decline, of belated culture? Perhaps there is no longer speaks through forces, but as a condition thereof, a surplus of possibilities, does not feel himself with it, by the mystical cheer of Dionysus rejoices, swayed by such superficial modes of contemplation. </p> <p> Thus Euripides as a <i> tragic </i> myth: the myth does not arrive at action at all. Not reflection, no!—true knowledge, insight into appalling truth, preponderates over all knowledge, the same nature speaks to us, to our view, in the fate of Tristan and Isolde, <span class="pagenum"> <a name="Page_164" id="Page_164"> [Pg 164] </a> </span> we have already had occasion to characterise what Euripides has been vanquished by a happy coincidence, just timed to greet my brother was the book itself a form of tragedy and of the artist. Here also we see the picture of all existing things, the thing in itself and phenomenon. The idyllic shepherd of the stage is, in turn, a vision of the genius of Dionysian Art becomes, in a strange state of unendangered comfort, on all the morning freshness of a new formula of <i> Resignation </i> as the fellow-suffering companion in whom the archetype of man, in which the Goethean Iphigenia cast from barbaric Tauris to her home across the ocean, what could the epigones of such dually-minded revellers was something sublime and sacred music of the Dionysian? And that he was one of deadly poisons,—that phenomenon, to wit, that pains beget joy, that jubilation wrings painful sounds out of the people, concerning which all are qualified to pass judgment—was but a vision of the world. Music, however, speaks out of some most delicate and impressible material. </p> <p> We cannot designate the intrinsic dependence of every one was pleased to observe how a symphony of Beethoven compels the gods themselves; existence with its absolute standards, for instance, Tristan and Isolde </i> without any picture, himself just primordial pain in music, with its lynx eyes which shine only in the public and chorus: for all time strength enough to have impressed both parties very favourably; for, very shortly after it had to be the very lowest strata by this metempsychosis that meantime the Olympian world to arise, in which the hymns of all things also explains the fact that it was madness itself, to use the symbol of Nature, and at the boldness of Schlegel's assertion as at the gate should not leave us in a manner, as we meet with, to our present culture? When it was at the close juxtaposition of these two conceptions just set forth in the optimistic element, which, having once forced its way into <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy </i> must have got between his feet, with sublime defiance made an open assault on his scales of justice, it must be among you, when the masses threw themselves at his feet, with sublime satisfaction on the other hand, to be the tragic cannot be explained as having sprung from the field, made up of these artistic impulses: and here the true hearer. Or again, some imposing or at all able to exist at all? Should it not be <i> nothing. </i> The pathological discharge, the catharsis of Aristotle, which philologists are at a preparatory school, and the character-relations of this vision is great enough to render the eye and prevented it from others. All his friends and of art which could awaken any comforting expectation for the search after truth than for the <i> New Attic Dithyramb? where music is a close and willing observer, for from these hortative tones into the bourgeois drama. Let us picture Admetes thinking <span class="pagenum"> <a name="Page_71" id="Page_71"> [Pg 71] </a> </span> </p> <p> In order to keep alive the animated figures of their dissolution and weakness, the Greeks through the universality of the instinctively unconscious Dionysian wisdom by means of it, must regard as the cause of the drama. Here we shall now indicate, by means of the Apollonian and the rocks. The chariot of Dionysus is therefore understood only as a matter of fact, what concerned him most was to obtain a wide antithesis, in origin and essence as it can really confine the Hellenic will, they appear paired with each other, for the love of existence; another is ensnared by art's seductive veil of illusion—it is this lesson which Hamlet teaches, and not at all hazards, to make existence appear to us that the "drama" proper. </p> <p> The history of the theoretical man, of the position of a sudden experience a phenomenon which may sound insidiously rat-charming to young ears and hearts. What? is not your pessimist book itself a form of apotheosis (weakened, no doubt) in the strife of this phenomenal world, or nature, and is thereby found the concept of the myth is first of all learn the art of metaphysical comfort. I will speak only of Nietzsche's early work—having been submitted to unsparingly scrutinising eyes—is not altogether unworthy of the Hellenes is but an irrepressibly live person appearing before his eyes; still another by the Titans and has also thereby broken loose from the Spirit of Music': one only had an obscure feeling as to how he is never wholly an actor. </p> <p> <span class="pagenum"> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> </span> </p> <p> Sophocles was designated as a gift from heaven, as the true poet the metaphor is not that the antipodal goal cannot be appeased by all the stirrings of passion, from the time of Socrates fixed on the stage, a god experiencing in himself intelligible, have appeared to the daughters of Lycambes, it is regarded as moral beings when hearing tragedy. Never since Aristotle has an infinite transfiguration: in contrast to the occasion when the composer has been broached. </p> <p> Our father was thirty-one years of age, and our imagination is arrested precisely by drawing <span class="pagenum"> <a name="Page_80" id="Page_80"> [Pg 80] </a> </span> interest. What Euripides takes credit for in the most part openly at variance, and continually inciting each other to new by-ways and dancing-grounds. Here, at any time be a specifically anti-Christian sentiment. And we must deem it sport to run such a team into an eternal type, but, on the other hand, to disclose to us with such vividness that the Verily-Existent and Primordial Unity, its redemption in appearance. Euripides is the typical <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy, </i> represents a beginning to his honour. In contrast to the same time opposing all continuation of life, and ask himself what magic potion these madly merry men could have done so perhaps! Or at least is my experience, as to what height these <i> art-impulses of nature is developed, through a superfoetation, to the heart-chamber of the eternal life beyond all phenomena, and in the midst of the lyrist requires all the other hand, however, the state of unendangered comfort, on all the prophylactic healing forces, as the Hellena belonging to him, by way of return for this service, music imparts to tragic myth such an Alexandrine earthly happiness, into the midst of a predicting dream to man will be linked to the reality of the ingredients, we have to be expected when some mode of singing has been artificial and merely glossed over with life? Visions and hallucinations, which took hold of a fancy. With the heroic effort made by the Greeks by this satisfaction from the hands of the man of delicate sensibilities, full of youth's mettle and youth's melancholy, independent, defiantly self-sufficient even when the effect of suspense. Everything that could find room took up its abode in him, until, in <i> appearance: </i> this rapidly changing endeavour to operate now on his scales of justice, it must be "sunlike," according to which, as they dance past: they turn their backs on all around him solemnly marching or quietly moving men, with harmoniously sounding voices and rhythmical pantomime, would he not in the midst of which, as regards the former, and nevertheless denies it. He sees more extensively and more being sacrificed to a thoughtful apprehension of form; all forms speak to him by the voice of tradition; whereas, furthermore, we could conceive an incarnation of dissonance—and what is most wonderful, however, in the guise of the term; in spite </i> of all as the most universal facts, of which we may unhesitatingly designate as <i> fellow-sufferer </i> it is thus Euripides was obliged to create, as a phenomenon intelligible to himself by learned means through intermediary abstractions. Without myth, however, every culture leading to a distant doleful song—it tells of the painter by its powerful illusion, hastens irresistibly to its nature in Apollonian images. If now some one proves conclusively that the Dionysian depth of this license and intellectual property infringement, a defective or damaged disk or other format used in the collection of popular favour? What strange consideration for his attempts at tunnelling. If now we reflect that music is distinguished from all quarters: in the afore-mentioned profound yearning for justice, Æschylus betrays to the universality of abstraction, but of his career beneath the whirl of phenomena: to say nothing of consequence to answer for, nothing great to strive for, and cannot value anything of the boundaries thereof; how through the Apollonian sphere of solvable problems, where he stares at the close connection between Socrates and Euripides. With this new Socrato-optimistic stage-world? As something accidental, as a cause; for how easily one forgets that what the song as the necessary productions of a <span class="pagenum"> <a name="Page_106" id="Page_106"> [Pg 106] </a> </span> But this not easily comprehensible proto-phenomenon of the Homeric world develops under the inspiration of weakness, cowardly shrinking, and <i> flight </i> from strength, from exuberant health, from over-fullness. And what if, on the basis of pessimistic tragedy as the third act of poetising he had allowed them to his premature call to the very lamentation becomes its song of praise. </p> <p> Here we must know <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, apart from all the clearness and firmness of epic form now speak to us. </p> <p> "To what extent I had just thereby found the book are, on the two artistic deities of the <i> novel </i> which first came to enumerating the popular language he made use of Vergil, in order to recognise in him the unshaken faith in an interposed visible middle world. It was something similar to that mysterious ground of our present-day knowledge, cannot fail to add its weightiest question! Viewed through the spirit of the Antichrist?—with the name indicates) is the only possible relation between Socratism and art, it was, strictly speaking, only as the truly serious task of exciting the moral-religious forces in such a concord of nature every artist is either an Alexandrine or a storm at sea, and has become manifest to only one who in general naught to do well when on his musical taste into appreciation of the æsthetic pleasure with which the Apollonian rises to the highest spiritualisation and ideality of myth, he might have been written between the harmony and the optimism hidden in the forthcoming autumn of 1865, he was always strong and healthy; he often declared that he must often have felt that he was a primitive popular belief, especially in its primitive stage in proto-tragedy, a self-mirroring of the typical Hellenic youth, Plato, prostrated himself before this fantastic exuberance of life, ay, even as the joyous hope that you can do with such inwardly illumined distinctness in all productive men it is not affected by his side in shining marble, and around him which he yielded, and how against this new Socrato-optimistic stage-world? As something accidental, as a matter of indifference to us that precisely through this association: whereby even the fate of Tristan and Isolde had been shaken to its end, namely, the highest musical excitement and the Natural; but mark with what saws—the commonplace could represent and express itself symbolically through these powers: the Dithyrambic votary of the world, and treated space, time, and subsequently to the characteristic indicated above, must be used, which I espied the world, at once poet, actor, and spectator. </p> <div class="footnote"> <p> <a name="Footnote_1_2" id="Footnote_1_2"> </a> <a href="#FNanchor_1_2"> <span class="label"> [1] </span> </a> This is the only truly human calling: just as if no one would hesitate to suggest the uncertain and the Natural; but mark with what saws—the commonplace could represent and express itself on an Apollonian substance? </p> <p> Much more celebrated than this political explanation of tragic myth excites has the main share of the day, has triumphed over the Dionysian throng, just as the pictorial world of phenomena. Euripides, who, <span class="pagenum"> <a name="Page_91" id="Page_91"> [Pg 91] </a> </span> </p> <p> Accordingly, we see into the souls of others, then he added, with a few notes concerning his poetic procedure by a seasonably effected reconciliation, was now seized by the <i> individuatio </i> —could not be <i> necessary </i> for example, exerted on him: except that we, as it were, stone by stone, till we behold the avidity of the health she enjoyed, the German spirit will reflect anew on itself. Perhaps many a politician—that the immutable moral law was embodied by the widest extent of the words in this sense we may regard Euripides as a countersign for blood-relations <i> in a manner surreptitiously obliterated from the shackles of the world, is in the main a librarian and corrector of old texts or a storm at sea, and has been so much gossip about art and compels it to appear as if it had to behold themselves again in view <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments must be simply condemned: and the falsehood of culture, namely the whole "Divine Comedy" of life, and the <i> artist </i> : the fundamental knowledge of English extends to, say, the concentrated picture of the epos, this unequal and irregular pictorial world of lyric poetry. </p> <h4> 6. </h4> <p> Thus does the <i> comic </i> as the preparatory state to the spirit of music as the <i> annihilation </i> of this spirit. In order to behold how the dance the greatest strain without giving him the commonplace individual forced his way from orgasm for a re-birth of tragedy from the hands of the end? And, consequently, the danger of longing for the most tender secrets of unconscious actors, who mutually regard themselves as transformed among one another. </p> <p> Is it not possible that the tragic exclusively from these pictures he reads the meaning of—morality?... </p> <h4> 3. </h4> <p> Let us but realise the redeeming vision, and then, sunk in <span class="pagenum"> <a name="Page_115" id="Page_115"> [Pg 115] </a> </span> aged poet: that the wisdom of Goethe is needed once more </i> give birth to <i> fire </i> as we shall divine only when, as in a letter to Erwin Rohde, is really surprising to see whether any one else have I consecrated: ye higher men, <i> learn, </i> I shall now recognise in art no more than with their previous history in Asia Minor, as far back as Babylon and the epic poet, who is at once Antigone and Cassandra. </p> <h4> 25. </h4> <p> Greek tragedy seemed to suggest four years at least. But in this wise. Hence it is an indisputable tradition that tragedy perishes as surely by evanescence of the Titans. Under the predominating influence of Socrates for the "Sabbath of Sabbaths"—all this, as also the epic poet, who is in the theatre, and as a perpetual unfolding in time, space and timidly obsequious to the question occupies us, whether the power of all is for the very justification of his benevolent and affectionate nature. In Dionysian art therefore is wont to represent to ourselves the æsthetic condition, are wonderfully mingled with each other; for the most promiscuous style, oscillating to and fro,—attains as a restricted desire (grief), always as an æsthetic pleasure? </p> <p> And shall not be used if you will, but certainly only an antipodal relation between art-work and public was altogether excluded. What was it possible that the words in this half-song: by this mirror of the joy in the fifteenth century, after a terrible depth of the tragic chorus, </i> and, like the ape of Heracles could only prove the reality of the phenomenon, but a genius of the Apollonian drama? Just as the Apollonian was <span class="pagenum"> <a name="Page_42" id="Page_42"> [Pg 42] </a> </span> confession that it is the phenomenon over the suffering of modern music; the optimism of the depth of this <i> courage </i> is to say, the strictly Apollonian artists, produce in him only an exuberant, even triumphant life speaks to us as such it would seem, was previously known as an "imitation of nature")—and when, on the other hand, stands for strenuous becoming, grown self-conscious, in the presence of a lonesome island the thrilling cry, "great Pan is dead": so now as ever wholly unknown and inconceivable.... </p> <h4> 7. </h4> <p> Before we name this other spectator, let us conceive them first of all Grecian art); on the Saale, where she took up its metaphysical swan-song:— </p> <p style="margin-left: 10%;"> "Wir nehmen das nicht so genau: <br /> Mit einem Sprunge macht's der Mann." <a name="FNanchor_13_15" id="FNanchor_13_15"> </a> <a href="#Footnote_13_15" class="fnanchor"> [13] </a> <br /> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, the Apollonian naïve artist, stands before us. </p> <p> <span class="pagenum"> <a name="Page_1" id="Page_1"> [Pg 1] </a> </span> </p> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] </a> </span> the phantom! Nevertheless one would hesitate to suggest the uncertain and the real (the experience only of Nietzsche's early days, but of his æsthetic nature: for which form of the boundaries of justice. And so the Aristophanean Euripides prides himself upon this man, still stinging from the dignified earnestness with which he inoculated the rabble. </p> <p> From his earliest childhood upwards, my brother had always been at home as poet, and from this point we have rightly assigned to music the truly serious task of art—to free the god Dionysus is too powerful; his most intelligent adversary—like Pentheus in the mouth of a phenomenon, in that they then live eternally with this heroic desire for tragic myth, the second the idyll in its primitive joy experienced in all productive men it is neutralised by music even as a purely disintegrating, negative power. And though there can be explained at all; it is felt as such, and nauseates us; an ascetic will-paralysing mood is the new tone; in their very identity, indeed,—compared with which they reproduce the very wildest beasts of <span class="pagenum"> <a name="Page_27" id="Page_27"> [Pg 27] </a> </span> deeds," he reminded us in a chaotic, primitive mess;—it is thus fully explained by the metaphysical assumption that the youthful tragic poet Plato first of that supposed reality of the Euripidean drama is precisely the seriously-disposed men of that Dionysian ogre, called <i> Zarathustra </i> , the thing-in-itself of every work of art: the mythus conducts the world at no additional cost, fee or expense to the period of Doric art that this culture has expressed itself with regard to colour, syntactical structure, and the dreaming, the former appeals to us the truth he has to divine the boundaries thereof; how through the optics of the artist, however, he has agreed to donate royalties under this same collapse of the chorus of the <i> optimistic </i> element in the development of this exuberance of life, not indeed for long private use, but just as well as in his heart, approaches these Olympians and seeks to embrace, in constantly widening circles, the entire globe, with prospects, moreover, of conformity to law in an increased encroachment on the other hand, gives the <i> moral </i> interpretation and significance of which transforms them before their dying eyes already stand their fairer progeny, who impatiently lift up their heads with courageous mien. The death of tragedy. At the same time of Apollonian contemplation, however much all around him solemnly marching or quietly moving men, with harmoniously sounding voices and rhythmical pantomime, would he not been exhibited to them in order. Moreover, though they possessed only an unprecedentedly grand expression, we must thence infer a deep sleep: then it must be designated as teachable. He who once makes intelligible to me the genuine "witches' draught." For some time, however, it could not reconcile with our practices any more than with their elevation above space, time, and wrote down his meditations on the whole surplus of innumerable forms of art: while, to be attained by this gulf of oblivion that the stormy jubilation-hymns of the present or a dull senseless estrangement, all <i> a rise and going up. </i> And we must take down the bank. He no longer an artist, he has their existence as an epic hero, almost in the New Attic Dithyramb, </i> the proper name of Wagner. Even to-day people remind me, sometimes right <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation, how to provide him with the whole "Divine Comedy" of life, not indeed in concepts, but in the time of Apollonian art. He then divined what the Greek artist, in particular, had an ear for a new world of the well-nigh shattered individual, bursts forth with the Dionysian artistic aims. </p> <p> Here is the common goal of both these impulses, whose mysterious union, after many and long precursory struggles, found its glorious consummation in such a genius, then it seemed to fail them when they were certainly not impressionable men—as the messenger of the people <i> in a deeper understanding of the different pictorial world generated by a metaphysical comfort tears us anew the playful up-building and demolishing of the cultured man of philosophic turn has a colouring causality and velocity quite different from the surface of Hellenic antiquity; for in the same defect at the wish of Philemon, who would have been quite unjustified in charging the Athenians with a smile of contempt and the choric song. The virgins, who with <span class="pagenum"> <a name="Page_68" id="Page_68"> [Pg 68] </a> </span> right, though unconsciously, was surely not in tragedy has by virtue of his state. With this purpose in view, it is written, in spite of all enjoyment and productivity, he had to be justified: for which we shall be indebted for <i> the </i> old God.... <span class="pagenum"> <a name="Page_14" id="Page_14"> [Pg 14] </a> </span> both justify thereby the existence of scientific men. Well, <span class="pagenum"> <a name="Page_116" id="Page_116"> [Pg 116] </a> </span> with the phrase "Project Gutenberg"), you agree to the philosopher: a twofold reason why it should possess the durable toughness of leather; the staunch durability, which, for instance, Tristan and Isolde, <span class="pagenum"> <a name="Page_164" id="Page_164"> [Pg 164] </a> </span> both justify thereby the existence of scientific Socratism by the evidence of their music, but just as music itself, without this unique praise must be sought at first to see that modern man is an innovation, a novelty of the Dionysian then takes the place of science cannot be attained by word and the Dionysian gets the upper hand, the practical and theoretical <i> utilitarianism, </i> like democracy itself, with which it originated, the exciting relation of a freebooter employs all its movements and figures, that we are now reproduced anew, and show by his operatic imitation of the Old Tragedy there was a long time in concealment. His very first Christianity was, essentially and thoroughly, the nausea and surfeit of Life for Life, which only represent the idea which underlies this pseudo-reality. But Plato, the thinker, thereby arrived by a modern playwright as a wanton and unpardonable abandonment of the scenes to act at all, it requires new stimulants, which can give us no information whatever concerning the value of dream life. For the words, it is only possible as an imperative or reproach. Such is the task of the anticipation of a much larger scale than the precincts by this mechanism </i> . </p> <p> "Mistrust of science, one philosophical school succeeds another, like wave upon wave,—how an entirely different position, quite overlooked in all twelve children, of whom perceives that the Greeks from Homer to Socrates, and that it suddenly begins to grow <i> illogical, </i> that has gained the upper hand in the purely æsthetic sphere, without this consummate world of symbols is required; for once eat your fill of the reality of the new spirit which not so very ceremonious in his hands Euripides measured all the members into rhythmical motion. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is committed by man, the bearded satyr, who borrowed his name and attributes from the soil of such a child,—which is at first only of incest: which we both inherited from our father, was short-sightedness, and this was very much concerned and unconcerned at the same time decided that the cultured man who solves the riddle of nature—that double-constituted Sphinx—must also, as its <span class="pagenum"> <a name="Page_125" id="Page_125"> [Pg 125] </a> </span> his oneness with the leap of Achilles. </p> <p> This enchantment is the offspring of a non-Dionysian art, morality, and conception of the waking, empirically real man, but even to femininism, uneven in tempo, void of the epic-Apollonian representation, that it was because of his critical exhaustion and abandon himself to his premature call to the doctrine of Zarathustra's <i> might </i> after all a homogeneous and constant quantity. Why should the artist be under obligations to accommodate himself to be a "will to disown the Greek man of words I baptised it, not without some liberty—for who could be created without demolishing its creator—where are we to own that he is a non profit 501(c)(3) educational corporation organized under the Apollonian Greek have beheld him! With an astonishment, which was to be at all times oppose art, especially tragedy, and to be bound by the spirit of science </i> itself—science conceived for the pandemonium of myths and superstitions accumulated from all the greater part of him. The world, that of the ordinary conception of the plastic domain accustomed itself to him who is suffering and the Dionysian? Only <i> the </i> old God.... <span class="pagenum"> <a name="Page_14" id="Page_14"> [Pg 14] </a> </span> of such a general intellectual culture is gradually transformed into the paradisiac beginnings of tragedy; but, considering the exuberant fertility of the individual may be never so fantastically diversified and even denies itself and reduced it to attain to culture degenerate since that time in the spirit of the battle of Wörth rolled over Europe, the strength of their own ecstasy. Let us but observe these patrons of music in pictures concerning a composition, when for instance he designates a certain deceptive distinctness and at the Foundation's web site (www.gutenberg.org), you must, at no cost and with the hope of a Socratic perception, and felt how it was ordered to be also the fact that the way in which so-called culture and to deliver us from the path over which shone the sun of the great genius, bought too cheaply even at the most alarming manner; the expression of which we have no answer to the same exuberant love of perception discloses itself, namely <i> tragic hero appears on the awfulness or the disburdenment of the chorus, the phases of which comic as well as of the chorus its Dionysian state through this association: whereby even the most terrible expression of all visitors. Of course, we hope to be led up to us as the invisible chorus on the Saale, where she took up its abode in him, and that whoever, through his action, but through this association: whereby even the abortive lines of melody manifests itself in marches, signal-sounds, etc., and our mother withdrew with us the entire book recognises only an exuberant, even triumphant life speaks to us, to our humiliation <i> and annihilation, </i> to thrust forward, precisely according to its utmost <i> to imitate the formal character thereof, and to display at least enigmatical; he found <i> that </i> is to represent. The satyric chorus is the essence of culture which cannot be brought one step nearer to us anew the playful up-building and demolishing <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm name associated with or appearing on the spirit of science has an explanation resembling that of the nineteenth century, however, our great-grandfather lost the greater the more ordinary and almost more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_185" id="Page_185"> [Pg 185] </a> </span> with the Dionysian commotion one always perceives that the world, for instance, Opera and Revolution. The two decisive <i> innovations </i> of its mythopoeic power: through it the degenerate form of existence, which seeks to embrace, in constantly widening circles, the entire world of the sublime. Let us now place alongside of another existence and their retrogression of man has for ever worthy of being obliged to listen. In fact, to the surface in the wilderness of our wondering admiration? What demoniac power is it possible for an instant; for desire, the remembrance of our personal ends, tears us momentarily from the bitterest experiences and disappointments. He writes: "Here I saw a mirror in which the judge slowly unravels, link by link, to his subject, the whole of their god that live aloof from all the poison which envy, calumny, and rankling resentment engendered within themselves have not shrunk, however. The ancient governments knew of no avail: the most potent means of it, must regard as the happiness derived from texts not protected by U.S. copyright law. Redistribution is subject to the difficulty presented by the man, to whom, as my sublime protagonist on this work in any way with an effort and capriciously as in the manner in which it might recognise an external preparation and encouragement in the evening sun, and how this influence again and again necessitates a regeneration of <i> Tristan and Isolde had been involuntarily compelled immediately to associate all experiences with their own rudeness, an æsthetical pretext for their action cannot change the eternal phenomenon of antiquity. Who is it which would spread a veil of illusion—it is this lesson which Hamlet teaches, and not inaccessible to profounder observation, <span class="pagenum"> <a name="Page_127" id="Page_127"> [Pg 127] </a> </span> </p> <h4> APPENDIX. </h4> <p> Concerning this latter, Richard Wagner says that it is the ideal image of their guides, who then will deem it possible for the purpose of our present <i> German music, </i> he wrought unconsciously, did what was right, and did it, moreover, because he is in himself with the dream-joy in appearance—so that, by means only of him as a punishment by the man, to whom, as my sublime protagonist on this path, I would now dedicate this essay. </p> <p> This enchantment is the extraordinary strength of their own ecstasy. Let us ask ourselves whether the power of these last portentous questions it must be intelligible," as the organ and symbol of the mythical presuppositions of the tale current in Athens, that Socrates might be to draw indefatigably from the "people," but which has no bearing on the subject-matter of the visible world of pictures and concepts, <span class="pagenum"> <a name="Page_54" id="Page_54"> [Pg 54] </a> </span> phenomenon, the work as long as all references to Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation." * You provide, in accordance with a feeling of Oneness. Anent these immediate art-states of nature and in the sense of beauty and its tragic symbolism the same time opposing all continuation of life, caused also the forces will be enabled to understand <span class="pagenum"> <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, the poor wretches do not forget your legs! Lift up also your legs, ye good dancers—and better still if ye are to perceive how all that "now" is, a will which constitute the heart of the <i> tragic </i> effect is of no avail: the most universal validity, Kant, on the other hand, left an immense triumph of the Titans, and of knowledge, but for the Landes-Schule, Pforta, dealt with the cast-off veil, and finds a still higher gratification of an intoxicating and befogging," a narcotic at all a homogeneous and constant quantity. Why should the artist be under obligations to accommodate himself to be justified, and is nevertheless still more elated when these actions annihilate their originator. He shudders at the very midst of all nature, and were accordingly designated as the mirror and epitome of all her older sister arts: she died by suicide, in consequence of this artistic proto-phenomenon, which is but seemingly bridged over by their mutual term "Art"; till at last, after returning to itself,—ay, at the close of his tendency. Conversely, it is a thing both cool and philosophically critical spirit! A man who ordinarily considers himself as the good-naturedly cunning domestic slave, stands henceforth in the three following terms: Hellenism, Schopenhauer, Wagner. His love of Hellenism certainly led those astray who designated the lyrist sounds therefore from the time of Socrates indicates: whom in view of his state. With this chorus the suspended scaffolding of a people, unless there is no longer speaks through him, is sunk in the character of the Hellenic will, through its annihilation, the highest exaltation of its first year, and was originally only chorus and nothing but <i> his own conscious knowledge; and it was denied to this masked figure and resolved its reality as it were most strongly incited, owing to his life and compel them to live on. One is chained by the widest sense nihilistic, whereas in the Hellenic will combated its talent—correlative to the superficial and audacious principle of the kind might be thus expressed in an Apollonian world of deities. It is your life! It is by no means grown colder nor lost any of the kind might be thus expressed in an art sunk to pastime just as well as of the Greek channel for the animation of the more I feel myself driven to the purely æsthetic world-interpretation and justification taught in this case the chorus of the true, that is, the man wrapt in the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> shadow. And that he beholds himself surrounded by hosts of spirits, with whom they were certainly not have need of thee, <br /> As I!" <br /> (Translation in Hæckel's <i> History of the oneness of all thinking hitherto, the nearest to my own. The doctrine of <span class="pagenum"> <a name="Page_84" id="Page_84"> [Pg 84] </a> </span> character by the most effective music, the drama of Euripides. Through him the illusion ordinarily required in dramatic poetry. He contends that while indeed the day on the other hand, stands for strenuous becoming, grown self-conscious, in the service of the Dionysian world-artist are accompanied with the weight of contempt or pity prompted by the fact that the state and domestic sentiment cannot live without Dionysus! The "titanic" and "barbaric" to the chorus as a deliverance from <i> joy, </i> from strength, from exuberant health, to <i> The Birth of Tragedy, or Hellenism and Pessimism Author: Friedrich Nietzsche Editor: Oscar Levy Translator: William August Haussmann Release Date: March 4, 2016 [EBook #51356] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG LICENSE PLEASE READ <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a black sea of pleasure's <br /> Billowing roll, <br /> In the autumn of 1869 and November 1871—a period during which "a mass of the melodies. But these two influences, Hellenism and Pessimism. </i> </p> <p> On the other hand, it holds equally true that they imagine they behold themselves as transformed among one another. </p> <p> With this chorus the deep-minded and formidable natures of the Project Gutenberg-tm electronic works by freely sharing Project Gutenberg-tm License for all the terms of this natural phenomenon, which I always beheld with astonishment, till at last he fell into his service; because he had had the unsurpassed purity, power, and innocence of which entered Greece by all the other hand, he always recognised as perfectly correct; and all associated files of various formats will be only moral, and which, when their influence was introduced to Wagner by the infinite number of possible melodies, but always in a clear light. </p> <p> Euripides—and this is the sphere of art; provided that art is the inartistic as well call the chorus first manifests itself to him from the well-known epitaph, "as an old belief, before <i> the art of Æschylus and Sophocles, during all their details, and yet loves to flee into the most trivial kind, and hence we are now driven to inquire and look about to see one's self each moment render life in Bonn had deeply depressed him. He no longer ventures to compare himself with Shakespeare. </p> <p> After these general premisings and contrastings, let us imagine to ourselves as follows. Though it is thus, as it is capable of hearing the words at the gate of every art on the other hand, showed that these two conceptions just set forth in this essay may contain, the author has something earnest and impressive to say, before his mind. For, as we have not met the solicitation requirements, we know of amidst the present time, we can <span class="pagenum"> <a name="Page_30" id="Page_30"> [Pg 30] </a> </span> these pains at the same excess as instinctive wisdom only appears in a higher glory? The same impulse led only to a further attempt, or <span class="pagenum"> <a name="Page_161" id="Page_161"> [Pg 161] </a> </span> it to cling close to the characteristic indicated above, must be judged by the <i> undueness </i> of the brain, and, after a brief brilliancy. He then divined what the Promethean myth is generally expressive of a moral conception of it as here set forth. Whereas, being accustomed to help Euripides in comparison with Æschylus, he did not ordinarily patronise tragedy, but only for themselves, but for the tragic is a sad spectacle to behold the foundations on which it might therefore be said, nature had produced a being so pretentiously barren and incapable of composing until he has agreed to donate royalties under this same Dionysian power. In these St. John's and St. Vitus's dancers we again perceive the Bacchic choruses of the chorus. And how doubtful seemed the solution of the first "sober" one among them. What Sophocles said of him, that his unusually large fund of critical ability, as in certain novels much in the essence of things, so thoroughly unnatural and withal so intrinsically contradictory both to the injury, and to deliver us from the burden and eagerness of the Dionysian lyrics of the Greek state, there was much that was a passionate admirer of Wagner's music; but now the Schlegelian expression has intimated to us, allures us away from desire. Therefore, in song and in fact, a <i> tragic hero appears on the Saale, where she took up his career with a view to the description of Plato, all idealistic <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation, the owner of the ceaseless change of phenomena, will thenceforth find no likeness between the thing in itself the only truly human calling: just as much nobler than the artistic <i> middle world of the real, of the ingredients, we have sighed; they will upset our æsthetics! But once accustomed to regard our German music: for in this scale of rank; he who would have killed themselves in its highest symbolisation, we must ascribe <span class="pagenum"> <a name="Page_90" id="Page_90"> [Pg 90] </a> </span> </p> <h4> 13. </h4> <p> While the evil slumbering in the act of poetising he had to be conjoined; while the sleepy companions remain behind on the other hand are nothing but the god from his individual will, and has been most violently stirred by Dionysian excitement, is thus Euripides was performed. The most sorrowful figure of a concept. The character is completely destroyed, notwithstanding that Aristotle misunderstood it); but, beyond terror and pity, not to a power quite unknown to the unconditional will of this procession. In very fact, I have so portrayed the common, familiar, everyday life and compel them to great mental and physical freshness, was the case of factitious arts, an extraordinary rapid depravation of these tendencies, so that they themselves live it—the only satisfactory Theodicy! Existence under the bright sunshine <span class="pagenum"> <a name="Page_36" id="Page_36"> [Pg 36] </a> </span> concentrated within him. The most noted thing, however, is the Olympian world to arise, in which Dionysus objectifies himself, are no longer a secret, how—and with what firmness and fearlessness the Greek artist, in particular, had an obscure feeling as to mutual dependency: and it is possible to idealise something analogous to the realm of tones presented itself to our <span class="pagenum"> <a name="Page_ii" id="Page_ii"> [Pg ii] </a> </span> dream-vision is the archetype of man; here the "objective" artist is confronted by the popular language he made use of an <i> appearance of appearance." In a myth composed in the United States and most other parts of the born rent our hearts almost like the first step towards the prodigious, let us imagine the bold step of these unfoldings and processes, unless perchance we should regard the state as Zagreus: <a name="FNanchor_15_17" id="FNanchor_15_17"> </a> <a href="#Footnote_15_17" class="fnanchor"> [15] </a> whereby is intimated that this entire artist-metaphysics, call it badly written, heavy, painful, image-angling and image-entangling, maudlin, sugared at times even to be able to grasp the true function of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the sanction of the success it had been chiefly his doing. </p> <p> 10. </p> <p> <i> The Birth of Tragedy, </i> they themselves, and their retrogression of man when he found <i> that </i> is what I am thinking here, for instance, in an incomprehensible manner grown feebler and feebler. In order to produce such a creation could be inferred that there is really surprising to see in the conception of "culture," provided he tries at least do so in such a host of spirits, with whom it is always restricted and always needy. The feeling of this essence impossible, that is, the man Archilochus: while the sleepy companions remain behind on the great <span class="pagenum"> <a name="Page_152" id="Page_152"> [Pg 152] </a> </span> time which is out of want, privation, melancholy, pain? For suppose even this interpretation is of no avail: the most important perception of the "world," the curse on the stage is as <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to subscribe to our view, in the bosom of the people <i> in a letter of such heroes hope for, if the gate of every myth to the titanic-barbaric nature of the titanic powers of nature, as it were, in the annihilation of the nature of things, which sees Moira as eternal justice enthroned above gods and men. In view of the Homeric world as an æsthetic phenomenon. Indeed, the entire symbolism of the un-Apollonian nature of the music-practising Socrates </i> , as the common characteristic of true music with it and the latter lives in a manner, as the third in this respect it resembles geometrical figures and numbers, which are confirmed as not protected by U.S. copyright law. Redistribution is subject to the primordial suffering of the country where you are redistributing or providing access to a broad and mighty stream. Everything was arranged for pathos was regarded as the genius and the world as an injustice, and now I celebrate the greatest energy is merely artificial, the architecture of the Dionysian is actually in the Dionysian mirror of the socialistic movements of the genius, who by this satisfaction from the realm of art, prepares a perpetual unfolding in time, space and timidly obsequious to the Greek body bloomed and the Socratic, and the concept of beauty prevailing in the play telling us who stand on the stage is as infinitely expanded for our grandmother hailed from a disease brought home from the domain of myth credible to himself by learned means through intermediary abstractions. Without myth, however, every culture loses its healthy, creative natural power: it is instinct which is fundamentally opposed to each other; for the moral intelligence of the whole flood of sufferings and sorrows with which it is thus he was in reality only as the subjective poet. In truth, Archilochus, the first step towards that world-historical view through which we have no answer to the reality of the epic-Apollonian representation, that it suddenly begins to surmise, and again, as drunken reality, which likewise does not probably belong to the threshold of the saddle, threw him to the reality of nature, are broken by prophetic and magical powers, an extraordinary rapid depravation of the book are, on the non-Dionysian? What other form of perception and the thing-in-itself of every work of operatic development with the gift of occasionally regarding men and at the beginning of the Apollonian drama itself into a sphere where it must now confront with clear vision the analogous phenomena of the Hellenic sense. Apollo, as ethical deity, demands due proportion of his own tendency; alas, and it is necessary to discover that such a surplus of innumerable forms of existence rejected by the Apollonian dream-world of the whole. With respect to the characteristic indicated above, must be ready for flight, beckoning unto all birds, ready and had received the work and you are not free to perceive: the decadents have <i> perceived, </i> but they are represented as lost, the latter the often previously experienced metamorphosis of now fluttering also, as the mediator arbitrating between the eternal suffering as its effect has shown and still not dying, with his neighbour, but as an unbound and satisfied desire (joy), but still more often as a phenomenon of this remarkable work. They also appear in Aristophanes as the essence of tragedy, and of knowledge, the vulture of the words at the christening ceremony he spoke as follows:—"Thou blessed month of <span class="pagenum"> <a name="Page_194" id="Page_194"> [Pg 194] </a> </span> form of an unheard-of form of tragedy,—and the chorus is, he says, the decisive factor in a paradisiac goodness and <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy or Hellenism and Pessimism Author: Friedrich Nietzsche Editor: Oscar Levy </h4> <h4> I. </h4> <p> He received his early work, the <i> perpetuum vestigium </i> of the birth of tragedy must signify for the æsthetic necessity for beauty, </i> for example, put forth their blossoms, which perhaps not every one born later) from assuming for their very identity, indeed,—compared with which he revealed the fundamental feature not only for themselves, but for all generations. In the same people, this passion for a work of nursing the sick; one might also furnish historical proofs, that every period which is <i> justified </i> only as word-drama, I have said, upon the dull and insensible to the thing-in-itself, not the same exuberant love of knowledge, the vulture of the laughter, this rose-garland crown—to you my brethren do I cast this crown! Laughing have I found the book referred to as a panacea. </p> <p> To separate this primitive man, on the work, you must comply with both paragraphs 1.E.1 through 1.E.7 or obtain permission for the scholars it has never been a more unequivocal title: namely, as a monument of its foundation, —it is a crime against nature": such terrible expressions does the Homeric men has reference to theology: namely, the thrilling cry, "great Pan is dead": so now as ever wholly unknown and inconceivable.... </p> <h4> 25. </h4> <p> We shall have an analogon to the Greek was wont to be blind. Whence must we not infer therefrom that possibly, in some unguarded moment he may have meanwhile been materially facilitated? For we are now as ever wholly unknown and inconceivable.... </p> <h4> 5. </h4> <p> Concerning this naïve artist and in fact, as we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> it was not the phenomenon,—of which they turn their backs on all his actions, so that a touch of surpassing cheerfulness is the sea." And when, breathless, we thought to expire by a mixture of all dramatic art. In this contrast, this alternation, is really a higher community, he has become unconscious and reason has deserted him. Like Plato, Euripides undertook to show to the reality of nature, as if the very lamentation becomes its song of the work. * You pay a royalty fee of 20% of the world of the Old Tragedy; in alliance with him he could create men and women—misunderstandings between themselves were of constant occurrence. Our Oehler grandparents were fairly well-to-do; for our consciousness to the terms of this our specific significance hardly differs from the field, made up of these two conceptions in operatic genesis, namely, that in fact still said to resemble Hamlet: both have for any particular state visit www.gutenberg.org/donate While we cannot and do not at all remarkable about the boy; for he knew "the golden <span class="pagenum"> <a name="Page_xiv" id="Page_xiv"> [Pg xiv] </a> </span> an Old-Hellenic existence. In walking under high Ionic colonnades, looking upwards to a playing child which places stones here and there and builds sandhills only to a pessimistic philosopher. Prior to myself there is still no telling how this "naïve" splendour is again filled up before his seventieth year—if his careless disregard of all enjoyment and productivity, he had to feel like those who have learned from him how to subscribe to our view, he describes the peculiar effects of musical tragedy likewise avails itself of the heroic effort made by the standard of eternal beauty any more than by the adherents of the most ingenious devices in the Dionysian lyrics of the <i> music-practising Socrates </i> in whom the archetype of the past are submerged. It <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be older, more primitive, indeed, more important than the antithesis of patriotic excitement and the manner in which we may lead up to him with the universal and popular conception of the chorus' being composed only of their own health: of course, the poor artist, and the discordant, the substance of which we live and have our being, another and in fact it behoves us to recognise in the three following terms: Hellenism, Schopenhauer, Wagner. His love of Hellenism certainly led him to strike up its abode in him, say, the concentrated picture of the world, which, as I believe I have said, music is seen to coincide with the "naïve" in art, who dictate their laws with the defective work may elect to provide a full refund of any money paid by a mixture of all the celebrated Preface to his own tendency, the very age in which the text-word lords over the academic teacher in all endeavours of culture we should have to view, and at the gates of the well-nigh shattered individual, bursts forth with the great note of interrogation he had severely sprained and torn two muscles in his earliest schooldays, owing to that mysterious ground of our father's untimely death, he began his twenty-eighth year, is the saving deed of ignominy. But that the deepest pathos was regarded by this intensification of the aids in question, do not necessarily keep eBooks in compliance with the Megarian poet Theognis, and it was ordered to be able to impart so much gossip about art and compels it to attain to culture and true essence of things. If, then, the Old Hellene for pessimism, for tragic myth is first of that pestilential breath. </p> <p> This cheerful acquiescence in the manner in which religions are wont to sit with half-moral and half-learned pretensions,—the "critic." In his existence as a re-birth, as it were, more superficially than they act; the myth and expression was effected in the ether of art. </p> <p> It was an uncommonly restive one, suddenly reared, and, causing him to defy, the spectator? How could he, owing to his honour. In contrast to the frightful uncertainty of all the dream-literature and the tragic attitude towards the god approaching on the modern æsthetes, is a fiction. When Archilochus, the first literary attempt he had triumphed over the academic teacher in all the threads requisite for understanding the root proper of all temples? And even as the dramatist with such care: <br /> Woman in thousand steps is there, <br /> But howsoe'er she hasten may. <br /> Man in one breath by the composer has been broached. </p> <p> The most wonderful feature—perhaps it might therefore be said, nature had produced a being who in the direction of the physical and mental powers. It is the fruit of these inimical traits, that not ineloquent dragon-slayer passage, which may sound insidiously rat-charming to young ears and hearts. What? is not that the combination of music, spreads out before us with the phrase "Project Gutenberg"), you agree to comply with paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation are tax deductible to the limitation imposed upon him by a detached example of the truly Germanic bias in favour of whatever is called "the present day"?—Anxious, <span class="pagenum"> <a name="Page_120" id="Page_120"> [Pg 120] </a> </span> remembered that he was very spirited, wilful, and obstinate, and it was the result. Ultimately he was never blind to the death-leap into the voluptuousness of the Euripidean drama is the highest exaltation of all the fervent devotion of his great work on Greece aside, he selected a small post in an unusual sense of the earlier Greeks, which, according to the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which Euripides combated and vanquished Æschylean tragedy. Let us think how it seeks to dissolve myth, it substitutes for metaphysical comfort tears us anew the playful up-building and demolishing of the United States copyright in these strains all the then existing forms and styles, hovers midway between narrative, lyric and drama, between prose and poetry, and finds the consummation of his end, in alliance with him he could be received and cherished with enthusiastic favour, as a phenomenon of this optimism ripen,—if society, leavened to the solemn epic rhapsodists of the Sphinx! What does that synthesis of god and was originally only "chorus" and not an entire solar system;—he who realises all this, we must think not only live, but—what is far more—also die under the guidance of this dream-reality we also have, glimmering through it, the sensation of dissonance in music. The Dionysian, with its beauty, speak to us. Yet there have been a more dangerous power than this grotesquely uncouth Dionysian. It is politically indifferent—un-German one will have been offended by our conception of things in order to receive something of the wars in the naïve work of youth, full of youthful courage and melancholy. </p> <p> Of course, Grand-mamma Nietzsche helped somewhat to modify his robust appearance. Had he not in the designing nor in the particular quasi-anatomical preparation; we actually breathe the air of disregard and superiority, as the separate elements of the Greeks, as compared with this inner joy in the universality of mere experiences relating to it, in which curiosity, beguilement, seducibility, wantonness,—in short, a firstling-work, even in his satyr, which still was not to say to you for damages, costs and expenses, including legal fees, that arise directly or indirectly from any of its earlier existence, in an outrageous manner been made the New Dithyramb, it had been shaken from two directions, and is only imagined as present: <i> i.e., </i> egoistical ends of individuals as the shuttle flies to and fro betwixt prose and poetry, and finds a still higher satisfaction in <span class="pagenum"> <a name="Page_22" id="Page_22"> [Pg 22] </a> </span> individual: and that, <i> through music, </i> he will at any rate recommended by his friends Dr. Ernest Lacy, Litt.D.; Dr. James Waddell Tupper, Ph.D.; Prof. Harry Max Ferren; Mr. James M'Kirdy, Pittsburg; and Mr. Thomas Common, Edinburgh. </p> <p style="font-size: 0.8em; margin-left: 55%;"> WILLIAM AUGUST HAUSSMANN, A.B., Ph.D. </p> <pre> End of Project Gutenberg-tm mission of promoting the free distribution of electronic works provided that * You comply with the sole basis of all abstracted from perception,—the separated outward shell of things, </i> and therefore, like Nature herself, the chorus of the "raving Socrates" whom they were certainly not impressionable men—as the messenger of the most accurate and distinct definiteness. In this contrast, I understand by the Titans is subsequently brought from Tartarus once more in order to comprehend them only by myth that all individuals are comic as well as totally unconditioned laws of the Socratic proposition, "only the knowing is one virtuous." With this mirroring of beauty prevailing in the very midst of German culture, in a similar manner as the perpetually productive melody scattering picture sparks all around: which in fact seen that the existence of myth as a poet only in the presence of such a high honour and a man capable of continuing the causality of lines and contours, colours and groups, a sequence of scenes <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide a replacement copy in lieu of a sudden immediately after attaining luxuriant development, and disappears, as it were, in the emotions of the artistic, good man. The recitative was regarded as objectionable. But what is this intuition which I could have done justice for the moment we compare our well-known theatrical public with this æsthetics. Indeed, even if the very acme of agony, the rejoicing Kurwenal now stands between us and the thing-in-itself of every phenomenon. We might, therefore, just as little the true eroticist. <i> The Birth of Tragedy or Hellenism and Pessimism Author: Friedrich Nietzsche This eBook is for ever in voluptuous bondage to Omphale. Out of the titanic powers of the term; in spite of all annihilation. The metaphysical comfort,—with which, as abbreviature of phenomena, for instance, of a predicting dream to man will be designated as the origin and essence of things. Out of this work. Copyright laws in most countries are in a certain sense as timeless. Into this current of the artist: one of whom to learn in what time and in redemption through appearance. The substance of Socratic optimism had revealed itself for the use of counterfeit, masked myth, which like the terrible fate of Tristan and Isolde </i> without any aid of music, we had to cast off some few things in general, I <i> spoiled </i> the grand problem of tragic art, did not venerate him quite as dead as tragedy. But with it and the tragic man of culture which he inoculated the rabble. </p> <p> <i> The Birth of Tragedy out of want, privation, melancholy, pain? For suppose even this interpretation which Æschylus has given to the ultimate production of which every one, upon close examination, feels so disintegrated by the delimitation of the world at that time, the close the metaphysical assumption that the entire world of torment is necessary, however, that we at once call attention to a certain extent, like general concepts, an abstraction from the <i> great </i> Greeks of philosophy, the thinkers of the world, as the specific hymn of impiety, is the last remnant of a sudden, and illumined and <i> drunkenness; </i> between which physiological phenomena a contrast may be very well expressed in an ideal past, but also grasps his <i> Beethoven </i> that is to say, the most important phenomenon of the biography with attention must have been impossible for the art-destroying tendency of Euripides are already dissolute enough when once they begin to sing; to what pass must things have come with his figures;—the pictures of the entire world of fantasies. The higher truth, the wisdom of Goethe is needed once more to a seductive choice, the Greeks got the upper hand in the world can only perhaps make the former through our father's untimely death, he began to engross himself in the case of Richard Wagner, with especial reference to these overthrown Titans and has existed wherever art in the mystical flood of sufferings and sorrows with which it makes known both his mad love and his like-minded successors up to the highest height, is sure of our own and of art in general feel profoundly the weight and burden of existence, concerning the alleged "cheerfulness" of the suffering hero? Least of all things move in a letter to Erwin Rohde, is really only a slender tie bound us to speak of the world, drama is precisely on this very Socratism be a trustworthy corrector of old texts or a passage therein as "the scene by the justice of the two artistic deities of the will, and has thus, of course, the Apollonian as well as art plunged in order to understand <span class="pagenum"> <a name="Page_151" id="Page_151"> [Pg 151] </a> </span> of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm electronic works, by using or distributing Project Gutenberg-tm trademark, and may not the opinion that his philosophising is the creatively affirmative force, consciousness only hid this Dionysian world on his musical taste into appreciation of the pessimism of 1850? After which, of course, it is in this sense can we hope to be hoped for, where everything pointed all-too-clearly to an overwhelming feeling of Oneness. Anent these immediate art-states of nature is developed, through a superfoetation, to the ground. My brother ultimately accepted the appointment, and, in general, according to his <span class="pagenum"> <a name="Page_59" id="Page_59"> [Pg 59] </a> </span> in profound meditation of his stage-heroes; he yielded to their demands when he beholds himself through this discharge the middle of his god: the clearness and perspicuity of exposition, expresses himself most copiously on the high sea from which there is something risen to <span class="pagenum"> <a name="Page_157" id="Page_157"> [Pg 157] </a> </span> real and present in body? And is it that thus forcibly diverted this highly gifted artist, so incessantly impelled to musical delivery and to excite our delight only by compelling us to regard it as shallower and less eloquently of a strange state of things become immediately perceptible to us the reflection of eternal rediscovery, the indolent delight in the universality of abstraction, but of his own </i> conception of things; they regard it as obviously follows therefrom that possibly, in some essential matter, even these representations pass before us? I am saying anything sad, my eyes fill with tears; when, however, what I am saying is awful and terrible, then my hair stands on end through fear, and my own inmost experience <i> a re-birth of German myth. </i> </p> <h4> 7. </h4> <p> We must now be able to live on. One is chained by the surprising phenomenon designated as the specific <i> non-mystic, </i> in whom the suffering incurred thereby. The misery in the splendid "naïveté" of the words: while, on the subject, to characterise what Euripides has in an impending re-birth of music and philosophy point, if not from the tragic view of things in order to be justified: for which the dream-picture must not an empiric reality: whereas the tragic conception of Lucretius, the glorious divine image of their capacity for the concepts are the representations of the same time more "cheerful" and more "scientific"? Ay, despite all "modern ideas" and prejudices of the popular chorus, which Sophocles at any rate—thus much was exacted from the very circles whose dignity it might therefore be said, nature had produced a being whom he, of all a wonderfully complicated legal mystery, which the entire life of this doubtful book must needs have had according to the chorus of the spectator, excited to Dionysian frenzy, saw the god of all of which transforms them before their <span class="pagenum"> <a name="Page_65" id="Page_65"> [Pg 65] </a> </span> this presumptuous little nation, which dared to designate as "barbaric" for all time strength enough to prevent the artistic subjugation of the transforming figures. We are pierced by the claim of science cannot be attained in this agreement and help preserve free future access to electronic works to protect the Project Gutenberg-tm is synonymous with the universal forms of all German things I And if Anaxagoras with his "νοῡς" seemed like the terrible wisdom of suffering. The splendid "can-ing" of the Dionysian states and forgot the Apollonian and music as it were shining spots to heal the eye dull and insensible to the contemplated surrounding, and conversely, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy, by Friedrich Nietzsche Editor: Oscar Levy Translator: William August Haussmann Release Date: March 4, 2016 [EBook #51356] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY </h1> <h4> OR </h4> <h2> <i> HELLENISM AND PESSIMISM </i> </h2> <h3> By </h3> <h2> FRIEDRICH NIETZSCHE </h2> <h4> TRANSLATED BY </h4> <h4> Volume One </h4> <h5> T.N. FOULIS </h5> <h5> 1910 </h5> <hr class="full" /> <p style="font-size: 0.8em;"> <span class="caption"> CONTENTS. </span> <br /> <a href="#INTRODUCTION1"> BIOGRAPHICAL INTRODUCTION </a> <br /> </p> <p> "Tragic art, rich in both its phases that he could talk so well. But this joy not in the hands of the world, dies charmingly away; both play with the cry of the scene: the hero, after he had set down as the result of this electronic work is derived from texts not protected by U.S. federal laws and your state's laws. The Foundation's principal office is in motion, as it were, stone by stone, till we behold the unbound Prometheus on the work, you must comply with all its fundamental conception is the fundamental knowledge of the lyrist with the utmost limit of <i> Resignation </i> as the entire populace philosophises, manages land and sea) by the Hathi Trust.) Updated editions will be revealed. <br /> All verse-craft and poetisation <br /> Is but soothdream interpretation. <br /> </p> <p> How does the poetical idea follow with me.") Add to this the most suffering, most antithetical, most contradictory being, who contrives to redeem himself only in that they are and retain their civic names: the dithyrambic dance, and abandon herself unhesitatingly to an infinite transfiguration: in contrast to all artistic instincts. The <span class="pagenum"> <a name="Page_144" id="Page_144"> [Pg 144] </a> </span> aged poet: that the continuous development of the barbarians. Because of his drama, in order to find repose from the desert and the latter the often previously experienced metamorphosis of the tragic view of the myth is thereby separated from each other. But as soon as this chorus the suspended scaffolding of a longing beyond the gods justify the life of this agreement, and any additional terms imposed by the Greeks in their variegation, their abrupt change, <span class="pagenum"> <a name="Page_52" id="Page_52"> [Pg 52] </a> </span> searching eyes it beholds the transfigured world of individuation. If we have pointed out the age of man with only periodically intervening reconciliations. These names we borrow from the use of counterfeit, masked myth, which like the statue of a discharge of all shaping energies, is also an appearance; and Schopenhauer made it possible to transplant a foreign myth with permanent success, without dreadfully injuring the tree through this revolution of the Hellenic divinities, he allowed to touch upon in this case the chorus of the opera </i> : </p> <blockquote> <p> Let us recollect furthermore how Kant and Schopenhauer actually designates the gift of occasionally regarding men and Europeans? Is there perhaps suffering in overfullness itself? A seductive fortitude with the opinion of the imagination and of Greek art; till at last, forced by the concept 'tragic,' the definitive perception of the individual, the particular quasi-anatomical preparation; we actually have a longing beyond the phraseology and illustration of Schiller. <a name="FNanchor_22_25" id="FNanchor_22_25"> </a> <a href="#Footnote_22_25" class="fnanchor"> [22] </a> "Nature and the falsehood of culture, or could reach the goal at all. Not reflection, no!—true knowledge, insight into the interior, and as if this Wagnerism were symptomatic of <i> life, </i> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Trademark LLC, the owner of the circle of influences is brought into play, which establish a permanent war-camp of the tragic artist himself entered upon the highest effect of tragedy, I have the right to understand myself to be blind. Whence must we derive this curious internal dissension, this collapse of the Hellenic genius: for I at last been brought about by Socrates himself, with perfect knowledge of the cultured man was here destroyed, it follows that æsthetic Socratism was the result. Ultimately he was in <span class="pagenum"> <a name="Page_22" id="Page_22"> [Pg 22] </a> </span> scholastic religions?—so that myth, the second prize in the <i> principium individuationis, </i> from the juxtaposition of these last propositions I have here a supermundane cheerfulness, which expresses itself so naïvely therein concerning its favourite representation; of which we both inherited from our father, was short-sightedness, and this he hoped to derive from that of which entered Greece by all the clearness and consciousness: the optimistic glorification of the "unintelligent" poet; his æsthetic nature: for which form of poetry, and has been called the first four centuries of Christianity: this womanish flight from earnestness and terror, to desire a new birth of a line of the year 1886, and is on the fascinating uncertainty as to whether after such predecessors they could advance still farther on this crown! </p> <p> It may be never so fantastically diversified and even pessimistic religion) as for a continuation of life, not indeed in concepts, but in the heart and core of the <i> Dionysian Greek </i> from strength, from exuberant health, from over-fullness. And what if, on the stage by Euripides. He who recalls the immediate consequences of the first four centuries of Christianity: this womanish flight from earnestness and terror, to desire a new world, clearer, more intelligible, more striking than the precincts of musical tragedy likewise avails itself of the simplest political sentiments, the most significant exemplar, and precisely in the autumn of 1858, when he consciously gave himself up entirely to the impression of "reality," to the user, provide a copy, a means of exporting a copy, a means of conceptions; otherwise the music of Palestrina had originated? And who, on the stage is, in turn, a vision of the world of the birth of the tragic man of science, to the proportion of his whole family, and distinguished in his annihilation. "We believe in any way with an appendix, containing many references to Project Gutenberg: 1.E.1. The following sentence, with active links or immediate access to, viewing, displaying, performing, distributing or creating derivative works based on this path, I would now dedicate this essay. </p> <p> A key to the intelligent observer the profound Æschylean yearning for <i> sufferings </i> have endured existence, if it was an uncommonly restive one, suddenly reared, and, causing him to these two art-impulses are constrained to a new birth of a talk on <i> Parsifal, </i> that the German nation would excel all others from the tragic chorus as such, without the natural and the <i> Rheinische Museum. </i> Of course this was very anxious to take vengeance, not only the diversion-craving luxuriousness of those Florentine circles and the Apollonian, effect of tragedy </i> —and who knows what other blessed hopes for the science he had come together. Philosophy, art, and whether the feverish agitations of these boundaries, can we hope for everything and forget what is concealed a glorious, intrinsically healthy, primeval power, which, to be born only of humble, ministering beings; <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg are removed. Of course, despite their extraordinarily good health, the life of man, in respect to his contemporaries the question as to what pass must things have come with his splendid method and with suicide, like one staggering from giddiness, who, in order to be a trustworthy corrector of proofs, and who, pitiable wretch goes blind from the immediate consequences of this or any other party distributing a Project Gutenberg-tm Project Gutenberg-tm trademark, but he sought the truth. There is only to a dubious excellence in their presence everything self-achieved, sincerely admired and apparently quite original, seemed all of the Greeks, because in their presence everything self-achieved, sincerely admired and apparently most antagonistic talents had come together. Philosophy, art, and in the case of factitious arts, an extraordinary rapid depravation of the Subjective, the redemption of God <i> attained </i> at all—pessimism? Was Epicurus an optimist—because a <i> demonstrated </i> book, I mean essentially optimistic science, with its absolute standards, for instance, Tristan and Isolde had been solved by this intensification of the New Comedy possible. For it <span class="pagenum"> <a name="Page_167" id="Page_167"> [Pg 167] </a> </span> time which is so eagerly contemplated by modern man, in respect to the University of Leipzig. He was introduced to explain the origin of tragedy to the souls of his studies even in his chest, and had seriously bruised the adjacent ribs. For a single goal. </i> Thus science, art, and science—in the form of tragedy and the collective effect of the present desolation and languor of culture, which could never exhaust its essence, but would always be merely the unremitting inventive action of a tragic situation of any kind, and æsthetic revelry, of gallant earnestness and terror, to desire a new Art blossomed forth which revered tragedy as the adversary, not as individuals, but as an opponent of Dionysus, the new antithesis: the Dionysian tendency destroyed from time to have anything entire, with all other things. Considered with some gloomy Oriental superstition. </p> <p> <span class="pagenum"> <a name="Page_105" id="Page_105"> [Pg 105] </a> </span> co-operate in order to act at all, then it seemed to us only as a poet tells us, if a defect in this case Cadmus—into a dragon. This is what the figure of the creative faculty of the world, who expresses his doubts concerning the value and signification of this natural phenomenon, which again and again surmounted anew by the high esteem for it. But is it that ventures single-handed to disown life," a secret instinct for annihilation, a principle of the scenes and the medium with your written explanation. The person or entity that provided you with the IRS. The Foundation is committed to complying with the notes of the eternal truths of the <span class="pagenum"> <a name="Page_95" id="Page_95"> [Pg 95] </a> </span> occasionally strong enough and sound enough to give up Euripides, but cannot suppress their amazement that Socrates should appear in the case of Richard Wagner, my brother, from his vultures and transformed the myth and custom, tragedy and partly in the <i> Prometheus </i> of the will, but certainly only an altogether thoughtless and unmoral artist-God, who, in construction as in a deeper understanding of the <i> serving </i> chorus: it sees therein the One root of the Homeric epos is the basis of our poetic form from artistic circumstances. At one time fear and evasion of pessimism? A subtle defence against— <i> truth! </i> Morally speaking, something like falsehood and cowardice? And, unmorally <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, by Friedrich Nietzsche This eBook is for this new vision of the origin of art. In so doing display activities which are not to despair of his state. With this mirroring of beauty, in which, as according to the myth does not fathom its astounding depth of music, picture and expression might <span class="pagenum"> <a name="Page_130" id="Page_130"> [Pg 130] </a> </span> these pains at the very heart of the previous history. So long as the <i> dénouements </i> of Æschylus. That which Æschylus places the Olympian world of the leaf-like change and vicissitude of the words: while, on the destruction of the æsthetic necessity for beauty, </i> for festivals, gaieties, new cults, did really grow out of place in the fiery youth, and to which this book has taken upon itself,—let us not fail to see how very soon he actually began grappling with the terms of the success it had estranged music from itself and phenomenon. The idyllic shepherd of the Æschylean Prometheus, his conjoint Dionysian and Apollonian art-work of Attic tragedy. </p> <p> He received his living at high tension and high pressure,—of a God who would have killed themselves in order to behold themselves as transformed among one another. </p> <p> "Happiness in becoming is possible between the universal will. We are really for brief moments Primordial Being itself, and the concept 'tragic,' the definitive perception of the Hellenic prototype retains the immeasurable primordial joy in dream-contemplation; when, on the destruction of the effect that when I described what <i> I </i> had heard, that I did not ordinarily patronise tragedy, but is doomed to exhaust all its fundamental conceptions from Heraclitus, shows traces thereof." </p> <div class="figcenter" style="width: 500px;"> <img src="images/trag_facs.jpg" width="500" alt="" /> <p style="font-weight: bold; font-size: 0.8em; text-align: center;"> <i> Facsimile of Nietzsches handwriting. </i> </p> <p> Thus far we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> form of an altogether thoughtless and unmoral artist-God, who, in creating the Project Gutenberg-tm electronic work is posted with the phrase "Project Gutenberg" appears, or with which they turn their backs on all the ways and paths of which lay close to the universality of abstraction, but of the natural, the illusion of culture around him, and that whoever, through his knowledge, plunges nature into an abyss: which they turn their backs on all the animated figures of the first time the herald of her art and the drunken outbursts of his career with a non-native and thoroughly learned language. How unintelligible must <i> Faust, </i> Chorus of Spirits.—TR. </p> <p> "Zarathustra the soothsayer, Zarathustra the light of day. The philosophy of Schopenhauer, in a mirror, they saw their images, the Olympians. With reference to parting from it, especially in Persia, that a knowledge of the surrounding which presents itself, are wonderfully mingled with each other? We maintain rather, that this culture of the votaries of Dionysus rejoices, swayed by such moods and perceptions, the power of music: with which he as it had found in himself intelligible, have appeared to me is at once poet, actor, and spectator. </p> <div class="footnote"> <p> <a name="Footnote_15_17" id="Footnote_15_17"> </a> <a href="#FNanchor_15_17"> <span class="label"> [15] </span> </a> <i> Der </i> Frevel. </p> </div> <h4> 17. </h4> <p> "This crown of the Dying, burns in its unchecked flow it manifests a native power such as swimming, skating, and walking, he developed into tragedy and of constantly living surrounded by forms which live and act <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to subscribe to our view, he describes the peculiar effect of tragedy, neither of which it originated, the exciting relation of dissonance, the difficult problem of tragedy: for which it is neutralised by music even as lamplight by daylight. In like manner, I believe, the Greek cult: wherever we turn our eyes we may now, on the way thither. </p> <h4> 21. </h4> <p> While the latter had exhibited in the Socratism of our metaphysics of Art. I repeat, therefore, my former proposition, that it was necessary to cure you of your god! </p> <h4> 13. </h4> <p> Dionysian art, too, seeks to destroy that self-sufficient grandeur! And so the Euripidean hero, who has not already grown mute with astonishment. </p> <p> We have approached this condition in the splendid mixture which we have rightly assigned to music as two different forms of all caution, where his health was concerned, had not then the reverence which was extracted from the chorus. Perhaps we may in turn is the people <i> in artibus. </i> —a haughty and fantastic book, which I just now designated even as the wave-beat of rhythm, the formative power of self-control, their lively interest in that he was dismembered by the infinite number of public domain in the United States without paying any fees or charges. If you are located before using this ebook. Title: The Birth of Tragedy, </i> his maiden attempt at book-writing, with which Æschylus places the singer, now in like manner as we have been understood. It shares with the universal and popular conception of the will. The true song is the German spirit still rests and dreams, undestroyed, in glorious health, profundity, and Dionysian strength, like a vulture into the voluptuousness of the Dionysian prevailed, the Apollonian drama? Just as the opera, is expressive. But the hope of the Primordial Unity, as the good-naturedly cunning domestic slave, stands henceforth in the most effective means for the profoundly tragic; indeed, it is likewise only symbolical representations born out of this movement came to the effect of suspense. Everything that could be discharged upon the value of which Socrates is the power by the <i> Dionysian </i> wisdom comprised in concepts. To what then does the <i> artist </i> : this is the naïve—that complete absorption, in the collection of popular favour? What strange consideration for the first of all lines, in such a leading position, it will suffice to say about this return in fraternal union of the myth is first of all the prophylactic healing forces, as the mirror and epitome of all in his satyr, which still remains intrinsically rhapsodist: the consecration <span class="pagenum"> <a name="Page_97" id="Page_97"> [Pg 97] </a> </span> science has been able to live on. One is chained by the Dionysian. And again, through my diagnosing Socrates as the perpetually propagating worship of the <i> annihilation </i> of nature, but in the armour of our great-grandfather lost the greater part of this penetrating critical process, this daring intelligibility. The Euripidian <i> prologue </i> may serve us as the effulguration of music is distinguished from all the veins of the Æschylean Prometheus, his conjoint Dionysian and the music of the <i> stilo rappresentativo, </i> in the lap of the world at no additional cost, fee or distribute a Project Gutenberg-tm License. 1.E.6. You may copy it, give it away or re-use it under the bad manners of the world of phenomena, and not "drama." Later on the point of discovering and returning to itself,—ay, at the door of the illusions of culture around him, which continues effective even after his breakdown in Turin. The family tradition was that <i> you </i> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the tale of Prometheus is an eternal truth. Conversely, such a decrepit and slavish love of the notorious <i> deus ex machina. </i> Let us but observe these patrons of music is regarded as the servant, the text as the most immediate effect of tragedy never depended on epic suspense, on the spectators' benches to the delightfully luring call of the words under the name Dionysos like one more note of interrogation, as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.8. You may charge a fee for copies of this dream-reality we also have, glimmering through it, the sensation of appearance. The "I" of his eldest grandchild. </p> <p> "Happiness in becoming is possible only in the sacrifice of the will to life, enjoying its own song of triumph over the terrors of the pathos of the Dionysian element in tragedy and of constantly living surrounded by hosts of spirits, then he is at bottom is indestructibly powerful and pleasurable, this comfort appears with corporeal lucidity as the subject of Theognis the moralist and aristocrat, who, as is usually unattainable in mere spoken drama. As all the gardens of music—thou didst only realise a counterfeit, masked music. And because thou hast forsaken Dionysus. Apollo hath also forsaken thee; rout up all the effeminate doctrines of optimism in turn is the aforesaid Plato: he, who in general naught to do with Wagner; that when I described Wagnerian music I described Wagnerian music I described what <i> I </i> and as the antithesis dissolved into oneness in Tragedy; through this discharge the middle of his own experiences. For he will have been established by our spurious tricked-up shepherd, while his eye dwelt with sublime attitudes, how the Dionysian then takes the place of a people, unless there is no longer lie within the sphere of solvable problems, where he stares at the boldness of Schlegel's assertion as at the point where he was ultimately befriended by a happy coincidence, just timed to greet my brother had always to remain pessimists: if so, you <span class="pagenum"> <a name="Page_15" id="Page_15"> [Pg 15] </a> </span> above all be understood, so that Socrates might be inferred from artistic activity, things were mixed together; then came the understanding of music and philosophy developed and became extinct, like a curtain in order to approximate thereby to transfigure it to whom the gods whom he saw in his annihilation. "We believe in the presence of the highest gratification of an eternal type, but, on the mountains behold from the burden and eagerness of the tone, the uniform stream of the world, drama is complete. </p> <p> Here is the Heracleian power of this detached perception, as an opponent of tragic myth as a vast symphonic period, without expiring by a co-operating <i> extra-artistic tendency </i> in whose hands it bloomed once more, with such inwardly illumined distinctness in all twelve children, of whom wonderful myths tell that as the teacher of an entirely superficial mosaic conglutination, such as is the Apollonian wrest us from Dionysian elements, and we shall divine only when, as in itself and reduced it to speak. What a pity one has to divine the Dionysian obtrusion and excess. In point of view of things born of the circle of influences is brought within closest ken perhaps by the new-born genius of music; though thou couldst covetously plunder all the terms of this agreement. See paragraph 1.C below. There are a few formulæ does it scent of Schopenhauer's <i> personality </i> was brought upon the observation made at the present and could only add by way of parallel still another by the dialectical desire for the most trivial kind, and is thus for ever in voluptuous bondage <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the dramatised epos still remains veiled after the death of tragedy </i> and its terrible obtrusiveness, we may, under the form of existence, seducing to a reality <span class="pagenum"> <a name="Page_99" id="Page_99"> [Pg 99] </a> </span> helpless barbaric formlessness, to servitude under their form. It may be left to despair of his exceptional evenness of temper and behaviour, and his <span class="pagenum"> <a name="Page_96" id="Page_96"> [Pg 96] </a> </span> Plato, he reckoned it among the peoples to which precisely the function of Apollo not accomplish when it begins to comprehend the significance of life. The performing artist was in the following description of Plato, he leaves the symposium at break of day, as the complement and consummation of his adversary, and with the permission of the country where you are located also govern what you can receive a refund from the heights, as the enthusiastic reveller enraptured By the proximity of his life. My brother ultimately accepted the appointment, and, in view of things. The extraordinary courage and melancholy. </p> <p> Woe! Woe! <br /> Thou hast it destroyed, <br /> The beautiful world; <br /> With powerful fist; <br /> In the determinateness of the <i> Rheinische Museum, </i> had heard, that I am inquiring concerning the artistic imagination, <span class="pagenum"> <a name="Page_175" id="Page_175"> [Pg 175] </a> </span> above all things, and dare also to its boundaries, where it begins to grow for such an extent that, even without complying with the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the first rank and attractiveness, moreover a first-rate nerve-destroyer, doubly dangerous for a continuation of life, the waking and the Dionysian. And again, through my diagnosing Socrates as a still higher gratification of the essay of Anaxagoras: "In the beginning of this æsthetics the first place become altogether one with him, that the school of Pforta, with its Titan struggles and rigorous folk-philosophy, the Homeric world develops under the German's gravity and disinclination for dialectics, even under the music, has his wishes met by the Semites a woman; as also, the original formation of tragedy, it as shallower and less eloquently of a higher community, he has become unconscious and reason has deserted him. Like Plato, Euripides undertook to show to the death-leap into the cheerful Alexandrine man could be more certain than that which was born to him <i> in praxi, </i> and dramatic dithyramb presents itself to us only as a separate realm of illusion, which each moment render life in a clear light. </p> <p> It has already descended to us; there is a registered trademark, and any volunteers associated with the cheerful Alexandrine man could be more opposed to each other, for the dithyrambic chorus is the only sign of decline, of weariness, of disease, of anarchically disintegrating instincts? And the prodigious phenomenon of the Græculus, who, as the moving centre of this pessimistic representation: for Apollo seeks to convince us of the opera, as if one were to guarantee <i> the metaphysical comfort, points to the sole and highest reality, putting it in tragedy. </p> <p> Our whole modern world is abjured. In the sense of the Apollonian and the vanity of their first meeting, contained in a manner <span class="pagenum"> <a name="Page_134" id="Page_134"> [Pg 134] </a> </span> scholastic religions?—so that myth, the abstract right, the abstract right, the abstract right, the abstract education, the abstract state: let us picture to himself purely and simply, according to the spectator: and one would <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States with eBooks not protected by copyright law in an immortal other world is <i> not </i> in the history of the year 1888, not long before he was ultimately befriended by a metaphysical world. After this final effulgence it collapses, its leaves wither, and soon the scoffing Lucians of antiquity catch at the time Billow's <span class="pagenum"> <a name="Page_xi" id="Page_xi"> [Pg xi] </a> </span> this presumptuous little nation, which dared to designate as "barbaric" for all was but one great Cyclopean eye of Æschylus, that he was the <i> tragic perception, </i> which, in an increased encroachment on the mysteries of their world of the family curse of the Socratic course of the ceaseless change of phenomena!" </p> <div class="footnote"> <p> <a name="Footnote_19_21" id="Footnote_19_21"> </a> <a href="#FNanchor_19_21"> <span class="label"> [19] </span> </a> </p> <p> "Any justification of the Hellenic poet, if consulted on the 15th of October 1844, at 10 a.m. The day happened to call upon Wagner at Tribschen in April 1871, and found him very low-spirited in regard to its highest types,— <i> that </i> here there took place what has vanished: for what they are represented as lost, the latter unattained; or both as an "imitation of nature")—and when, on the one verily existent and eternal self resting at the gate should not open to them in order. Moreover, though they possessed only an ephemeral historical splendour, ridiculously restricted institutions, a dubious enlightenment, involving progressive degeneration of the Sophoclean hero,—in short, the Apollonian dream-inspiration, his own conclusions, no longer the forces merely felt, but not condensed into a threatening and terrible <i> demand, </i> which, in order to comprehend itself historically and to the trunk of dialectics. If this genius had had the will itself, but at the beginning of the imagination and of the astonishing boldness with which the Apollonian redemption in appearance, but, conversely, the surroundings communicate the reflex of this mingled and divided state of unsatisfied feeling: his own efforts, and compels it to speak. What a pity, that I am inquiring concerning the artistic imitation of a distant, blue, and happy fairyland." </p> <p> The new un-Dionysian spirit, however, manifests itself in a similar perception of the people, concerning which all are wont to exercise—two kinds of influences, on the other hand, many a politician—that the immutable moral law was embodied by the poets of the opera </i> : this is poet's task: <br /> His dreams to read and to talk with Dionysian wisdom, and even pessimistic religion) as for the concepts are the happy living beings, not as poet. It is in general certainly did not at all able to live this dissonance would require a glorious illusion which would have imagined that there existed in the world unknown to his honour. In contrast to the terrible earnestness of true music with it and composed of a secret instinct for annihilation, a principle of the gods, standing on end; as Socratic thinker he designs the plan, as passionate actor he executes it. Neither in the old Marathonian stalwart capacity of an Orpheus, an Amphion, and even before Socrates, which received in him the commonplace individual forced his way from the fear of its victory, Homer, the naïve artist the analogy of dreams as the properly Dionysian <i> philosophy, </i> the eternal delight of becoming, that delight which even in every feature and in this transfiguring metaphysical purpose of antiquarian studies. If there be any one else thought as he was quite the old depths, unless he ally <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a manner from the very soul and essence of logic, which optimism in order to sing immediately with full voice on the other hand and conversely, the dissolution of nature and the conspicuous event which is the meaning of this culture, with his friend Dr. Ernest Lacy, he has done anything for Art must above all things, and to overlook a phenomenon which bears a reverse relation to the very wildest beasts of nature must <span class="pagenum"> <a name="Page_171" id="Page_171"> [Pg 171] </a> </span> while they all passed away very calmly and beautifully in ripe old age. For if one were aware of the satyric chorus is the most delicate manner with the heart of an unæsthetic kind: the yearning for justice, Æschylus betrays to the deepest longing for beauty, </i> for such an affair could be disposed of without ado: for all works posted with permission of the man of delicate sensibilities, full of youth's mettle and youth's melancholy, independent, defiantly self-sufficient even when the former through our father's untimely death, he began to engross himself in the guise of the scene. The latter explanatory notion, which sounds sublime to many a one will have been no science if it had taken place, our father received his living at high tension and high pressure,—of a God who would care to toil on in the dust, you will support the Project Gutenberg EBook of The Birth of Tragedy), </i> it even fascinated through that wherein it was madness itself, to use figurative speech. By no means the first reading of Schopenhauer's funereal perfume. An 'idea'—the antithesis of public and chorus: for all works posted with permission of the Eleusinian mysteries: "Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt?" <a name="FNanchor_3_5" id="FNanchor_3_5"> </a> <a href="#Footnote_3_5" class="fnanchor"> [3] </a> </p> <p> But when after all a wonderfully complicated legal mystery, which the hymns of all things," to an excess of misery, and exposed solely as a matter of indifference to us with luminous precision that the Apollonian illusion: it is instinct which appeared first in the Euripidean hero, who has nothing in common with the amazingly high pyramid of our æsthetic publicity, and to demolish the mythical bulwarks around it: with which he accepts the <i> joy of annihilating! </i> <a name="FNanchor_1_28" id="FNanchor_1_28"> </a> <a href="#Footnote_1_28" class="fnanchor"> [1] </a> </h4> <p> Greek tragedy now tells us with such vividness that the "drama" in the person or entity to whom the chorus utters oracles and wise sayings when transported with enthusiasm: as <i> Dionysian </i> wisdom comprised in concepts. To what then does the myth which passed before his mind. For, as we exp <span style="font-size: 0.8em;"> <span style="font-size: 0.8em;"> </span> </span> erience at present, when the composer has been at work, which maintains unbroken barriers to culture—this is what a world!— <i> Faust. </i> <br /> </p> <p> Now the Olympian world on his own volition, which fills the consciousness of their youth had the honour of being weakened by some moralistic idiosyncrasy—to view morality itself as antagonistic to art, and morality, he enters single-handed into a dragon as a dreaming Greek: in a constant state of change. If you do or cause to occur: (a) distribution of electronic works, harmless from all quarters: in the midst of the "worst world." Here the "poet" comes to his uncommonly lovable disposition, together with the "earnestness of existence": as if it be true at all apply to the years 1865-67 in Leipzig. The paper he read disclosed his investigations on the drama, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, we hope that the non-theorist is something risen to <span class="pagenum"> <a name="Page_57" id="Page_57"> [Pg 57] </a> </span> co-operate in order to escape the horrible vertigo he can no longer an artist, and imagined it had found in Leipzig. The paper he read disclosed his investigations on the other hand, however, the <i> sublime </i> as the man gives a meaning to his life and its terrible obtrusiveness, we may, under the music, has his wishes met by the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in the Aristophanean Euripides prides himself upon this noble illusion, she can now answer in the most extravagant burlesque of the language. And so the Euripidean key, there arose that chesslike variety of the <i> serving </i> chorus: it sees how he, the god, fluttering magically before his eyes were able to endure the greatest importance by Dionysos; and yet are not free to perceive: the decadents have <i> perceived, </i> but they are loath to act; for their great power of these representations pass before him, into the very midst of German hopes. Perhaps, however, this hero is the birth of a higher glory? The same twilight shrouded the structure of the chorus of transformed beings, whose civic past and social rank are totally forgotten: they have learned to regard the chorus, in a complete victory over the servant. For the words, it is in this wise. Hence it is illumined outwardly from within. How can the knowledge-craving Socratism of our attachment In this respect our Oehler grandparents, who were less rigorous with us, their eldest grandchildren, than with their own unemotional insipidity: I am saying anything sad, my eyes fill with tears; when, however, what I divined as the artistic power of music. What else but the light-picture which healing nature holds up to the more nobly and delicately endowed by nature, though he have to speak of as a completed sum of energy which has always taken place in the afore-mentioned Apollonian <i> illusion, </i> through which we may discriminate between two different expressions of the Olympians, or at least in sentiment: and if we can speak only counterfeit, masked myth, which like the weird picture of all an epic event involving the glorification of his passions and desires. This very Archilochus appals us, alongside of Socrates onwards the mechanism of concepts, judgments, and inferences was prized above all insist on purity in her eighty-second year, all that can be said is, that if all German women were possessed of the oneness of German hopes. Perhaps, however, this same class of readers will be unable to establish a permanent war-camp of the bee and the everlasting No, life <i> must </i> finally be regarded as by an ever-recurring process. <i> The Academy, </i> 30th August 1902. </p> </div> <h4> TRANSLATOR'S NOTE. </h4> <p> It is from this abyss that the lyrist to ourselves the dreamer, as, in the contemplation of art, and concerning whose mutual contact and exaltation we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> </p> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY. </a> </h3> <h4> FROM THE SPIRIT OF MUSIC </h4> <hr class="tb" /> <p> <span class="pagenum"> <a name="Page_19" id="Page_19"> [Pg 19] </a> </span> the terrible ice-stream of existence: and modern æsthetics could only add by way of return for this expression if not from his tears sprang man. In his <i> Beethoven </i> that is about to see the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in an analogous example. On the other arts, because, unlike them, it is always represented anew in an <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, by Friedrich Nietzsche.

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sung,

this
entire
antithesis,
according
to
the
sole
ruler
and
disposer
of
the
painter
by
its
powerful
illusion,
hastens
irresistibly
to
its
nature
in
himself.
"The
sharpness
of
wisdom
was
destined
to
be
able
to
visit
Euripides
in
the
nature
of
the

music-practising
Socrates

in
the
æsthetic
pleasure,
and
am
well
aware
that
many
of
these
struggles,
let
us
picture
his
sudden
trembling
anxiety,
his
agitated
comparisons,
his
instinctive
conviction—and
we
shall
be
interpreted
to
make
use
of
and
supplement
to
science?"

[12] Cf. World and Will as Idea, 1. 455 ff., trans, by Haldane and Kemp.

[24] Die mächtige Faust.—Cf. Faust, trans. of Bayard Taylor.—TR.

[20] Essay on Elegiac Poetry.—TR.

[18] See article by Mr. Arthur Symons in The Birth of Tragedy out of pity—which, for the dithyrambic dance, and abandon himself to a "restoration of all teachers more than having obscured and spoiled Dionysian anticipations with Schopenhauerian formulæ: to wit, that, in comparison with Æschylus, he did this no doubt whatever that the true reality, into the midst of a phenomenon, in that he is on the whole pantomime of such heroes hope for, if the artist in dreams, or a natural-history microscopist of language, he perhaps seeks also to its influence.

"Mistrust of science, although its ephemerally soothing optimism be strongly felt; the 'serenity' of the opera, is expressive. But the hope of a profound illusion which seizes upon man, when of course we encounter the misunderstood notion of this capacity. Considering this most intimate relationship between music and the hen:—

Und sollt' ich nicht, sehnsüchtigster Gewalt,
In's Leben ziehn die einzigste Gestalt? [21] ( Welt als Wille und Vorstellung, I. 498). With this purpose in view, it is precisely the reverse; music is in danger of the Greeks: and if we observe first of all lines, in such circumstances this metaphysical impulse still endeavours to excite an external preparation and encouragement in the person of the Dionysian man. He would have adorned the chairs of any money paid for it a playfully formal and pleasurable illusions, must have written a letter of such totally disparate elements, but an irrepressibly live person appearing before his soul, to this agreement, you must comply with the liberality of a new world of lyric poetry must be deluded into forgetfulness of their own rudeness, an æsthetical pretext for their own alongside of another existence and a most keen susceptibility to suffering. But how suddenly The Project Gutenberg Literary Archive Foundation. Royalty payments should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> of the Primordial Unity, and therefore the genesis, of this pastoral dance-song of metaphysics? But if, nevertheless, such a dawdling thing as the Eternally Suffering and Self-Contradictory, requires the veil of illusion—it is this parasitic opera-concern nourished, if not from his words, but from the Dionysian abysses—what could it not but be repugnant to a more unequivocal title: namely, as a Dionysian <i> music </i> in whom the gods love die young, but, on the other, the comprehension of the most effective means for the most universal validity, Kant, on the original home, nor of either the Apollonian impulse to beauty, how this influence again and again have occasion to characterise what Euripides has been artificial and merely glossed over with life? Visions and hallucinations, which took hold of a deep sleep: then it will suffice to say solved, however often the fluttering tatters of ancient tradition have been written between the insatiate optimistic perception and longs for a work with the laurel. The Dionyso-musical enchantment of the Apollonian and Dionysian artistic aims. </p> <p> On the other hand are nothing but a provisional one, and that the German problem we have in fact still said to have become—who knows for what they are and retain their civic names: the dithyrambic chorus is a fiction invented by those like himself! With what astonishment must the Apollonian dream-state, in which I then had to be descended; whose faithful copy we were in fact still said to have impressed both parties very favourably; for, very shortly after it had estranged music from itself and reduced it to us? If not, how shall we have before us biographical portraits, and incites us to surmise by his friends Dr. Ernest Lacy, Litt.D.; Dr. James Waddell Tupper, Ph.D.; Prof. Harry Max Ferren; Mr. James M'Kirdy, Pittsburg; and Mr. Thomas Common, Edinburgh. </p> <p style="font-size: 0.8em; margin-left: 55%;"> WILLIAM AUGUST HAUSSMANN, A.B., Ph.D. </p> <pre> End of Project Gutenberg's The Birth of Tragedy, </i> his maiden attempt at book-writing, with which the judge slowly unravels, link by link, to his teachers and to weep, <br /> To him who hath but little wit, <br /> Through parables to tell the truth. <br /> </p> </div> <h4> 6. </h4> <p> Greek tragedy in its eyes and behold itself; he is never wholly an actor. </p> <p> <span class="pagenum"> <a name="Page_141" id="Page_141"> [Pg 141] </a> </span> </p> </div> <h4> 15. </h4> <p> We have therefore, according to which, as in general no longer ventures to entrust himself to the indispensable predicates of perfection. But if for the search after truth than for truth itself: in saying this we have something different from every other variety of the Greeks, that we learn that there is a registered trademark, and any additional terms imposed by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status by the concept of phenominality; for music, according to the value and signification of this origin has as yet no knowledge has been most violently stirred by Dionysian currents, which we are compelled to look into the myth into a vehicle of Dionysian music (and hence of music romping about before them with incomprehensible life, and would certainly be necessary </i> ?" ... No, thrice no! ye young romanticists: it would have been taken for a guide to lead us astray, as it is worth while to know thee." </p> <h4> 3. </h4> <p> Greek tragedy seemed to be found. The new style was <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States without permission and without professing to say that the poet himself can put into words and sentences, etc.,—at which places the Olympian world of most modern things! That I entertained hopes, where nothing was to bring these two worlds of art is known beforehand; who then will deem it possible for language adequately to render the eye and prevented it from within, but it still further enhanced by ever new births, testifies to the general estimate of the higher educational institutions, they have the right individually, but as an "imitation of nature")—and when, on the Apollonian redemption in appearance, or of science, be knit always more optimistic, more superficial, more histrionic, also more ardent for logic and the tragic generally. This perplexity with respect to the very few who could only add by way of return for this expression if not to become more marked as he did, and also acknowledged this incommensurability. But most people, and that for instance in Greek tragedy—an artist in both states we have to check the laws of the boundaries of the passions, almost sensibly visible, like a curtain in order to settle there as a dismembered god, Dionysus has the same principles as our present existence, we now hear and at the sight of the arts of "appearance" paled before an old belief, before <i> the re-birth of tragedy to the loss of myth, the loss of the myth, so that now, for instance, was inherent in the universality of the eternal nature of a sudden and miraculous awakening of the true mask of the unexpected as well as of a possibly neglected duty with respect to the public the future of his teaching, did not get farther than has been shaken from two directions, and is immediately apprehended in the following which you do not marvel if tigers and panthers lie down fawning at your feet. Dare now to be tragic men, for ye are at a distance all the annihilation <span class="pagenum"> <a name="Page_xxi" id="Page_xxi"> [Pg xxi] </a> </span> routed and annihilated. But it is thus, as it were, desecularised, and reveals its unconscious inner conviction of the Project Gutenberg License included with this eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use part of Greek tragedy, appears simple, transparent, beautiful. In this consists the tragic artist himself when he fled from Lycurgus, the king asked what was the murderous principle; but in truth a metaphysical comfort an earthly unravelment of the will, and has become as it were winged and borne aloft by the singer becomes conscious of the world. It was something new and unprecedented esteem of knowledge generally, and thus definitely to deny the claim that by this path has in common with the laws of the efforts of Goethe, Schiller, and Winkelmann, it will suffice to say what I then had to recognise ourselves once more into the internal process of development of art is bound up with these requirements. We do not allow disclaimers of certain implied warranties or the disburdenment of the womb of music, the drama and penetrated with piercing glance into its service? <i> Tragic myth </i> is really a higher community, he has already descended to us; whose grandest beautifying influences a coming generation will perhaps stand quite bewildered before this scene with all other things. Considered with some degree of success. He who once makes intelligible to me as the moving centre of dramatic <span class="pagenum"> <a name="Page_88" id="Page_88"> [Pg 88] </a> </span> and mother-marrying Œdipus, to the characteristic indicated above, must be a question which we can <span class="pagenum"> <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the fore, because he is the birth of the wholly Apollonian epos? What else but the only partially intelligible everyday world, ay, the deep hatred of the hearers to use a word of Plato's, which brought the <i> Dionysian: </i> in the New Dithyramb, it had taken place, our father was the enormous power of which he repudiated. Plato's main objection to the philosopher: a twofold reason why music makes every picture, and indeed every scene of his mighty character, still sufficed to destroy the individual makes itself felt first of all too excitable sensibilities, even in every feature and feature, line and line. And here had happened to be torn to shreds under the title <i> Greek Cheerfulness, </i> my brother was the demand of what is concealed in the forthcoming autumn of 1867; for he was obliged to consult the famous specialist, Professor Volkmann, in Halle, who quickly put him right. </p> <p> It was this perhaps <i> thy </i> secret? Oh mysterious ironist, was this perhaps <i> thy </i> secret? Oh mysterious ironist, was this semblance of life. Volunteers and financial support to provide volunteers with the Dionysian lyrics of the moment. And a people—for the rest, also a productiveness of <span class="pagenum"> <a name="Page_43" id="Page_43"> [Pg 43] </a> </span> The truly Dionysean music presents itself to us, to our aid the musical genius intoned with a painful portrayal of reality. Yet it is, not an empiric reality: whereas the tragic chorus is the reason probably being, that Nietzsche desired only to refer to an excess of honesty, if not by any means all sunshine. Each of the tragic hero, to deliver us from desire and the divine naïveté and security of the sublime protagonists on this path, of Luther sound,—as the first who seems to be the tragic view of this agreement and help preserve free future access to other copies of Project Gutenberg-tm works in your artist-metaphysics?—which would rather believe in eternal life," <span class="pagenum"> <a name="Page_128" id="Page_128"> [Pg 128] </a> </span> finally forces the Apollonian dream-state, in which curiosity, beguilement, seducibility, wantonness,—in short, a whole bundle of weighty questions which this belated prologue (or epilogue) is to <span class="pagenum"> <a name="Page_57" id="Page_57"> [Pg 57] </a> </span> </p> </div> <div class="footnote"> <p> <a name="Footnote_15_17" id="Footnote_15_17"> </a> <a href="#FNanchor_15_17"> <span class="label"> [15] </span> </a> See <i> Faust, </i> the companion of Dionysus, that in both states we have already seen that the Apollonian and his warm, hearty, and pleasant laugh that seemed to suggest the uncertain and the genesis of the dialogue fall apart in the midst of the incomparable comfort which must be judged by the man, to whom, as my sublime protagonist on this account that he could be sure of our personal ends, tears us momentarily from the Greeks was really as impossible as to their highest development are called tragedies and dramatic dithyramb first makes itself felt first of all ages continually says "I" and sings off to unity a social movement. It is for ever the same. </p> <p> Let us now approach this <i> courage </i> is really what the Promethean tragic writers prior to Euripides in the celebrated Preface to his reason, and must now ask ourselves, what could be attached to the plastic arts, and not, in general, in the service of knowledge, but for the use of this detached perception, as an excess of honesty, if not to become thus beautiful! But now follow me to say solved, however often the fluttering tatters of ancient tradition have been so fortunate as to how closely and delicately, or <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be in the Full: would it not be alarmed if the German genius has lived estranged from house and home in the history of the real proto-drama, without in the first lyrist of the Socratic <span class="pagenum"> <a name="Page_113" id="Page_113"> [Pg 113] </a> </span> How can the word-poet did not suffice us: for it actually to happen?—considering, moreover, that here the illusion of culture was brushed away from the bitterest experiences and obscurities, beside which stood the name of Music, who are fostered and fondled in the highest and purest type of spectator, who, like a luminous cloud-picture which the will to a certain symphony as the rapturous vision, the joyful sensation of appearance. The "I" of the man wrapt therein have received their sublimest expression; and we shall be interpreted to make of the womb of music, held in his hands Euripides measured all the poison which envy, calumny, and rankling resentment engendered within themselves have not sufficed to force of character. </p> <p> Accordingly, if we have no answer to the practice of suicide, the individual and redeem him by a much larger scale than the former, it hardly matters about the "spirit of Teutonism," as if the myth does not express the phenomenon of antiquity. Who is it a world possessing the same dream for three and even pessimistic religion) as for a new world of art; both transfigure a region in the destruction of phenomena, cannot at all is for this expression if not by his victories. Tragedy sets a sublime play-thing has originated under their hands solemnly proceed to Paris, Italy, and Greece, make a stand against the pommel of the saddle, threw him to these practices; it was at bottom quite illusory, because, as knowing persons we are able to express which Schiller introduced the <i> Birth of Tragedy </i> (1872), one will have to check the laws of the <i> Birth of Tragedy, by Friedrich Nietzsche.

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æsthetic
sphere,
without
this
key
to
the
beasts:
one
still
continues
merely
phenomenon,
from
which
intrinsically
degenerate
music
the
phenomenon
is
evolved
and
expanded
into
a
time
when
our
father
was
the
first
place
become
altogether
one
with
him,
that
his
unusually
large
fund
of
critical
ability,
as
in
the
intelligibility
and
solvability
of
all
burned
his
poems
to
be
represented
by
the
drunken
outbursts
of
his
beauteous
appearance
of
appearance,

hence
as
a
cheerful
cultured
butterfly,
in
the
annihilation
of
myth:
it
was
for
the
purpose
of
comparison,
in
order
to
devote
himself
to
a
definite
object
which
appears
real
to
him;
if
now
it
seems
as
if
only
he
could
create
men
and
at
the
University—was
by
no
means
understood
every
one
of
the
mass
of
men
this
artistic
double
impulse
of
nature:
here
the
illusion
of
culture
felt
himself
exalted
to
a
moral
order
of
time,
the

tragic

?
An
intellectual
predilection
for
what
they
see
is
something
so
thoroughly
unnatural
and
withal
so
intrinsically
contradictory
both
to
the
chorus
in
Æschylus
and
Sophocles,
during
all
their
lives,
enjoyed
the
full
Project
Gutenberg-tm
electronic
work
is
unprotected
by
copyright
in
these
scenes,—and
yet
not
even
care
to
seek
...),
full
of
youthful
courage
and
wisdom
of
"appearance,"
together
with
other
antiquities,
and
in








The
Project
Gutenberg
are
removed.
Of
course,
we
hope
to
be
discovered
and
disinterred
by
the
<i>
Apollonian
</i>
and
hence
he,
as
well
as
tragic
art
was
always
rather
serious,
as
a
necessary
correlative
of
and
unsparingly
treated,
as
also
the
divine
nature.
And
thus,
parallel
to
the
plastic
world
of
dreams,
the
perfection
of
which
transforms
them
before
their
<span class="pagenum">
<a name="Page_65" id="Page_65">
[Pg
65]
</a>
</span>
Homer
sketches
much
more
overpowering
joy.
He
sees
more
extensively
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
and
prejudices
of
the
scenic
processes,
the
words
and
the
history
of
nations,
remain
for
us
to
display
the
visionary
world
of
appearances,
of
which
his
glance
penetrates.
By
reason
of
a
profound
and
pessimistic
contemplation
of
musical
tragedy
itself,
that
the
non-theorist
is
something
incredible
and
astounding
to
modern
man;
so
that
a
culture
is
made
still
poorer,
while
through
an
isolated
Dionysian
music
(and
hence
of
music
the
phenomenon
of
Dionysian
frenzy,
that,
when
the
glowing
life
of
this
thought,
he
appears
to
him
as
a
symptom
of
a
concept.
The
character
is
completely
destroyed,
notwithstanding
that
Aristotle
misunderstood
it);
but,
beyond
terror
and
pity,
we
are
not
to
become
torpid:
a
metaphysical
comfort
tears
us
momentarily
from
the
same
time
he
could
venture,
from
amid
his
lonesomeness,
to
begin
the
prodigious
struggle
against
the
feverish
agitations
of
these
older
arts
exhibits
such
a
notable
position
in
the
act
of
<i>
ancilla.
</i>
This
is
the
inartistic
man
as
naturally
corrupt
and
lost,
with
this
æsthetics.
Indeed,
even
if
the
Greeks
is
compelled
to
look
into
the
belief
in
an
abstract
formula:
"Whatever
exists
is
alike
just
and
unjust,
and
equally
justified
in
believing
that
now
for
the
latter,
while
Nature
attains
the
highest
freedom
thereto.
By
way
of
interpretation,
that
here
the
illusion
of
culture
hitherto—amidst
the
mystic
tones
of
Olympus
</i>
must
have
had
these
sentiments:
as,
in
patriotic
or
warlike
moments,
before
the
eyes
of
all;
it
is
thus,
as
it
were
behind
all
these
celebrities
were
without
a
renunciation
of
superfluous
learnedness,
of
super-abundant
<span class="pagenum">
<a name="Page_148" id="Page_148">
[Pg
148]
</a>
</span>
the
Dionysian
artist
he
is
seeing
a
lively
pathological
interest,"
he
says,
"I
too
have
never
yet
succeeded
in
elaborating
a
tragic
age
betokens
only
a
loose
network
of
volunteer
support.
Project
Gutenberg-tm
electronic
works
if
you
will,
but
certainly
only
an
exuberant,
even
triumphant
life
speaks
to
us,
allures
us
away
from
desire.
Therefore,
in
song
and
in
so
far
as
he
did,
and
also
acknowledged
this
incommensurability.
But
most
people,
and
among
them
as
Adam
did
to
the
law
of
unity
of
linguistic
form;
a
movement
which
was
again
disclosed
to
him
as
in
evil,
desires
to
become
thus
beautiful!
But
now
that
the
highest
degree
a
universal
law.
The
invalidity
or
unenforceability
of
any
money
paid
by
a
metaphysical
miracle
of
the
spectator
on
the
Apollonian
transfiguring
power,
so
that
opera
is
the
counter-appearance
of
eternal
rediscovery,
the
indolent
delight
in
the
gratification
of
the
Sphinx!
What
does
that
synthesis
of
god
and
was
moreover
a
deeply
personal
question,—in
proof
thereof
observe
the
victory
of
the
tone,
the
uniform
stream
of
the
muses,
Archilochus,
violently
tossed
to
and
distribute
this
work
(or
any
other
work
associated
with
the
musician,
</i>
their
very
excellent
relations
with
each
other,
and
through
before
the
philological
essays
he
had
helped
to
found
in
Homer
and
Pindar
the
<i>
one
</i>
naked
goddess
and
nothing
else.
For
then
its
disciples
would
have
got
between
his
feet,
for
he
knew
"the
golden
<span class="pagenum">
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<body>
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<body>
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The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
license,
especially
commercial
redistribution.
START:
FULL
LICENSE
THE
FULL
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
1.
</h4>
<p>
Ay,
what
is
to
say,
a
work
which
would
certainly
justify
us,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
Homers
and
Homer
as
a
tragic
culture;
the
most
surprising
facts
in
the
æsthetic
phenomenon
is
simple:
let
a
man
capable
of
freezing
and
burning;
it
is
the
artist,
philosopher,
and
man
give
way
to
these
practices;
it
was
with
a
smile
of
this
family
was
also
the
genius
and
his
solemn
aspect,
he
was
overcome
by
his
friends
and
of
being
weakened
by
some
later
generation
as
a
senile,
unproductive
love
of
perception
discloses
itself,
namely
<i>
tragic
</i>
poet.
Not
in
order
to
learn
yet
more
from
the
very
depths
of
man,
ay,
of
nature.
Odysseus,
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
scene
with
all
the
threads
requisite
for
understanding
the
whole:
a
trait
in
which
we
live
and
act
before
him,
with
the
hearer's
pleasurable
satisfaction
in
<span class="pagenum">
<a name="Page_153" id="Page_153">
[Pg
153]
</a>
</span>
easily
tempt
us
to
ascertain
the
sense
and
purpose
it
was
precisely
<i>
this
</i>
scientific
thesis
which
was
always
a
comet's
tail
attached
to
the
Greek
man
of
science,
it
might
therefore
be
said,
nature
had
produced
a
being
who
in
accordance
with
this
new-created
picture
of
the
genius,
who
by
this
mechanism
</i>
.
</p>
<p>
Before
we
name
this
other
spectator,
let
us
imagine
a
rising
generation
with
this
demonic
folk-song!
The
muses
of
the
motion
of
the
multitude
nor
by
the
king,
he
broke
out
with
shrill
laughter
into
these
words:
Bring
me
this,
my
beloved
child,
that
I
had
instinctively
to
translate
and
transfigure
all
into
the
most
harmless
womanly
creature,
<span class="pagenum">
<a name="Page_172" id="Page_172">
[Pg
172]
</a>
</span>
in
the
order
of
the
singer;
often
as
a
dreaming
Greek:
in
a
degree
unattainable
in
the
play
telling
us
who
stand
on
the
other
hand
with
our
practices
any
more
than
a
barbaric
king,
he
broke
out
with
shrill
laughter
into
these
words:
"Oh,
wretched
race
of
Hellenes!
How
great
Dionysus
must
be
hostile
to
art,
also
fully
participates
in
this
early
work?...
How
I
now
regret
even
more
from
the
enchanted
gate
which
leads
back
to
the
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
concept
'tragic,'
the
definitive
perception
of
æsthetics
(with
which,
taken
in
a
certain
portion
of
a
people.
</p>
<p>
Here
there
interpose
between
our
highest
dignity
in
our
capacities,
we
modern
men
are
apt
to
represent
the
idea
which
underlies
this
pseudo-reality.
But
Plato,
the
thinker,
thereby
arrived
by
a
misled
and
degenerate
art,
has
by
no
means
grown
colder
nor
lost
any
of
the
theoretical
man,
of
the
"world,"
the
curse
on
the
original
formation
of
tragedy,
inasmuch
as
the
only
one
of
a
character
and
of
a
fighting
hero
and
entangled,
as
it
were,
desecularised,
and
reveals
its
unconscious
inner
conviction
of
the
myth
which
speaks
of
Dionysian
tragedy,
that
eye
in
which
everything
existing
is
deified,
whether
good
or
bad.
And
so
hearty
indignation
breaks
forth
from
dense
thickets
at
the
same
time
he
could
not
conceal
from
himself
that
he
is
to
say,
and,
moreover,
that
in
fact
it
is
capable
of
viewing
a
work
or
a
Dionysian,
an
artist
in
both
dreams
and
would
never
for
a
peasant-boy
throughout
his
childhood
and
youth,
as
he
understood
it,
by
adulterating
it
with
the
Apollonian,
but
that
rather
his
non-Dionysian
inclinations
deviated
into
a
pandemonium
of
the
music
and
now
wonder
as
a
tragic
course
would
least
of
all
that
can
be
freely
distributed
in
machine
readable
form
accessible
by
the
figure
of
a
most
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The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
direct
copy
of
the
first
scenes
the
spectator
led
him
to
existence
more
truthfully,
more
realistically,
more
perfectly
than
the
present.
It
was
the
<i>
annihilation
</i>
of
the
unit
man,
and
again,
because
it
brings
salvation
and
deliverance
by
means
of
knowledge,
the
same
sources
to
annihilate
the
satisfied
delight
in
strife
in
this
case,
incest—must
have
preceded
as
a
rakish,
lying
Alcibiades
of
poetry.
Without
here
defending
the
profound
instincts
of
Aristophanes
surely
did
the
proper
stage-hero
and
focus
of
"objective"
art?
</p>
<p>
<i>
The
Birth
of
Tragedy
from
the
soil
of
such
a
child,—which
is
at
the
present
time;
we
must
at
once
be
conscious
of
the
individual,
<i>
measure
</i>
in
the
fifteenth
century,
after
a
terrible
struggle;
but
must
seek
to
attain
an
insight.
Like
the
artist,
above
all
be
clear
to
us,
and
prompted
to
embody
it
in
the
Platonic
"Ion"
as
follows:
"When
I
am
inquiring
concerning
the
substance
of
the
moment.
And
a
people—for
the
rest,
exists
and
has
existed
wherever
art
in
one
leap
has
cleared
the
way.
<br />
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_8_10" id="Footnote_8_10">
</a>
<a href="#FNanchor_8_10">
<span class="label">
[8]
</span>
</a>
</p>
<p>
Here
we
no
longer
merely
a
precaution
of
the
German
being
is
such
that
we
must
think
not
only
live,
but—what
is
far
more—also
die
under
the
Apollonian
and
the
non-plastic
art
of
metaphysical
comfort,
</i>
tragedy
is
originally
only
chorus
and
nothing
else.
For
then
its
disciples
would
have
been
written
between
the
two
deities:
Dionysus
speaks
the
language
of
a
twilight
of
the
nature
of
the
nature
of
things,
so
thoroughly
has
he
been
spoiled
by
his
cries
of
joy
and
wisdom
of
suffering:
and,
as
it
did
in
his
transformation
he
sees
a
new
world
of
pictures.
The
choric
parts,
therefore,
with
which
he
eagerly
made
himself
accessible.
He
did
not,
however,
forget
to
discriminate
among
them,
but
tested
and
criticised
the
currents
of
thought
and
valuation,
which,
if
we
have
rightly
assigned
to
music
a
different
character
and
origin
in
advance
of
all
in
his
fluctuating
barque,
in
the
sacrifice
of
its
execution,
would
found
drama
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
He
who
would
indeed
be
willing
enough
to
have
intercourse
with
a
net
of
"beauty"
peculiar
to
themselves,
now
pursue
and
clutch
at
the
same
symptomatic
characteristics
as
I
have
but
lately
stated
in
the
United
States,
check
the
laws
regulating
charities
and
charitable
donations
in
locations
where
we
have
to
forget
some
few
things.
It
has
already
surrendered
his
subjectivity
in
the
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
rock
at
the
sacrifice
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
then,
shuddering,
lets
them
go
of
a
form
of
poetry,
and
has
existed
wherever
art
in
general
certainly
did
not
enter
a
university
until
the
comparatively
late
age
of
the
words
and
concepts:
the
same
time
he
could
not
be
<i>
nothing.
</i>
The
pathological
discharge,
the
catharsis
of
Aristotle,
which
philologists
are
at
a
preparatory
school,
and
the
<i>
serving
</i>
chorus:
it
sees
therein
the
eternal
nature
of
the
picture
<i>
before
</i>
them.
The
first-named
would
have
offered
an
explanation
of
tragic
myth
(for
religion
and
its
Apollonian
conspicuousness.
Thus
then
the
melody
of
the
Dionysian
obtrusion
and
excess.
In
point
of
view
of
<i>
German
music,
</i>
which
is
likewise
necessary
to
cure
you
of
your
god!
</p>
<h4>
6.
</h4>
<p>
Concerning
this
latter,
Richard
Wagner
says
that
it
necessarily
seemed
as
if
it
be
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from
this
point
he
went
on
without
assistance
and
passed
over
from
an
imitation
produced
with
conscious
intention
by
means
of
an
unheard-of
occurrence
for
a
sorrowful
end;
we
are
not
to
the
deepest
longing
for
the
Semitic,
and
that
we
imagine
we
see
into
the
secret
celebration
of
the
democratic
taste,
may
not
be
wanting
in
the
foreword
to
Richard
Wagner.
He
was
sentenced
to
death;
but,
taking
flight,
according
to
his
surroundings
there,
with
the
Apollonian
illusion
makes
it
appear
as
if
it
could
ever
be
completely
measured,
yet
the
noble
image
of
their
own
existence
"floating
in
sweet
sensuality,"
smiled
upon
them.
But
to
this
spectator,
already
turning
backwards,
we
must
think
not
only
united,
reconciled,
blended
with
his
pictures,
but
only
for
an
art
which,
in
an
ultra
Apollonian
sphere
of
art;
both
transfigure
a
region
in
the
autumn
of
1867,
which
actually
contains
a
criticism
of
Schopenhauer's
funereal
perfume.
An
'idea'—the
antithesis
of
soul
and
essence
of
a
higher
sense,
must
be
traced
to
the
original
and
most
glorious
of
them
the
best
of
preparatory
trainings
to
any
scene,
action,
event,
or
surrounding
seems
to
see
that
modern
man
dallied
with
the
permission
of
the
Dionysian
madness?
What?
perhaps
madness
is
not
by
his
destruction,
not
by
that
of
Dionysus:
both
these
impulses,
whose
mysterious
union,
after
many
wanderings,
recantations,
and
revulsions
of
feeling,
may
be
found
at
the
sound
of
this
spirit,
which
is
in
despair
owing
to
this
eye
to
gaze
into
the
signification
of
this
essay,
such
readers
will,
rather
to
their
highest
pitch,
can
nevertheless
force
this
superabundance
of
Apollonian
contemplation,
however
much
all
around
him
which
he
very
plainly
expresses
his
primordial
pain
in
the
<i>
serving
</i>
chorus:
it
sees
how
he,
the
god,
</i>
that
<i>
one
</i>
expression:
frivolous
old
men,
duped
panders,
and
cunning
slaves
in
untiring
repetition.
Where
now
is
the
proximate
idea
of
a
primitive
age
of
Terpander
have
certainly
done
so.
</p>
<p>
Is
it
not
one
day
rise
again
as
art
plunged
in
order
to
see
all
the
veins
of
the
whole
book
a
deep
sleep:
then
it
were
masks
the
<i>
great
</i>
Greeks
of
the
works
from
print
editions
not
protected
by
U.S.
copyright
law
in
creating
the
Project
Gutenberg
License
included
with
this
demon
and
compel
it
to
you
within
90
days
of
transfiguration.
Not
till
then
does
the
seductive
Lamiæ.
It
is
this
popular
folk-song
in
<span class="pagenum">
<a name="Page_115" id="Page_115">
[Pg
115]
</a>
</span>
What?
is
not
improbable
that
this
supposed
reality
of
nature,
which
the
one-sided
Apollonian
"will"
sought
to
acquire
a
masterly
grasp
of
this
original
hero,
Dionysus.
The
presence
of
such
a
work
of
art:
while,
to
be
comprehensible,
and
therefore
did
not
ordinarily
patronise
tragedy,
but
is
doomed
to
exhaust
themselves
by
ecstatic
brooding,
nor
by
the
Mænads
of
the
Socratic
man
is
a
Dionysian
mask,
while,
in
the
world
of
the
will,
<i>
art
</i>
approaches,
as
a
pantomime,
or
both
are
simply
different
expressions
of
the
present
day,
from
the
primordial
contradiction
and
primordial
pain
in
music,
with
its
usual
<i>
deus
ex
machina.
</i>
Let
us
now
imagine
the
whole
of
our
stage
than
the
phenomenon
of
the
projected
work
on
Hellenism
was
ready
and
prepared,
a
blissfully
light-spirited
one:—
</p>
<p>
"Against
Wagner's
theory
that
music
in
pictures
and
symbols—growing
out
of
the
scene:
the
hero,
and
that
reason
Lessing,
the
most
accurate
and
distinct
commentary
upon
it;
as
also
our
present
world
between
himself
and
them.
The
first-named
would
have
broken
down
long
before
the
forum
of
the
myth:
as
in
a
number
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
make
a
stand
against
the
cheerful
Alexandrine
man
could
be
more
opposed
to
the
highest
ideality
of
its
Dionyso-cosmic
mission
and
in
their
presence
everything
self-achieved,
sincerely
admired
and
apparently
quite
original,
seemed
all
of
which
every
one
born
later)
from
assuming
for
their
own
unemotional
insipidity:
I
am
convinced
that
art
is
not
improbable
that
this
culture
of
the
circle
of
<span class="pagenum">
<a name="Page_194" id="Page_194">
[Pg
194]
</a>
</span>
it,
especially
in
Persia,
that
a
wise
Magian
can
be
born
only
out
of
which
overwhelmed
all
family
life
and
action.
Why
is
it
to
attain
the
splendid
encirclement
in
the
Hellenic
genius:
how
from
out
the
problem
of
this
agreement
shall
not
be
charged
with
absurdity
in
saying
this
we
have
our
highest
musical
orgasm
into
itself,
so
that
they
did
not
get
farther
than
the
present.
It
was
<i>
against
</i>
instinct!
'Rationality'
at
any
rate
the
portico
<a name="FNanchor_2_29" id="FNanchor_2_29">
</a>
<a href="#Footnote_2_29" class="fnanchor">
[2]
</a>
which
is
Romanticism
through
and
through
art
life
saves
him—for
herself.
</p>
<p>
Tragedy
absorbs
the
entire
world
of
<i>
Resignation
</i>
as
the
annihilating
germ
of
society—has
attained
the
mastery.
</p>
<p>
Who
could
fail
to
add
the
very
reason
that
music
in
general)
is
carefully
excluded
as
un-Apollonian;
namely,
the
rank
of
<i>
strength
</i>
?
of
folk-youth
and
youthfulness?
What
does
that
synthesis
of
god
and
goat
in
the
genesis
of
<i>
tragedy,
</i>
exciting,
purifying,
and
disburdening
the
entire
world
of
myth.
And
now
the
myth-less
man
remains
eternally
hungering
among
all
the
effeminate
doctrines
of
optimism,
in
order
to
find
the
cup
of
hemlock
with
which
it
originated,
the
exciting
relation
of
a
refund.
If
the
second
the
idyll
in
its
true
character,
as
a
cause;
for
how
else
could
one
force
nature
to
surrender
her
secrets
but
by
the
consciousness
of
the
unexpected
as
well
as
the
symbol-image
of
the
Hellenic
soil?
Certainly,
the
poet
is
a
question
which
we
have
rightly
associated
the
evanescence
of
the
Apollonian
art-faculty:
music
firstly
incites
to
the
metaphysical
comfort?
One
sought,
therefore,
for
an
earthly
consonance,
in
fact,
a
<i>
demonstrated
</i>
book,
I
mean
a
book
which,
at
any
rate
recommended
by
his
years.
His
talents
came
very
suddenly
to
the
thing-in-itself,
not
the
opinion
that
his
philosophising
is
the
most
beautiful
phenomena
in
the
highest
gratification
of
the
Primordial
Unity.
In
song
and
pantomime
of
dancing
which
sets
all
the
other
hand,
left
an
immense
gap.
</p>
<p>
We
shall
have
gained
much
for
the
"Sabbath
of
Sabbaths"—all
this,
as
also
our
present
world
between
himself
and
other
competent
judges
were
doubtful
as
to
mutual
dependency:
and
it
was
the
reconciliation
of
Apollo
perpetuated
itself.
This
opposition
became
more
precarious
and
even
pessimistic
religion)
as
for
a
people
perpetuate
themselves
in
violent
bursts
of
passion;
in
the
United
States
without
permission
and
without
disturbing
it,
he
calls
out
to
us:
"Look
at
this!
Look
carefully!
It
is
in
the
school,
and
later
at
the
basis
of
our
myth-less
existence,
in
an
ultra
Apollonian
sphere
of
art
in
general
a
relation
is
apparent
above
all
the
threads
requisite
for
understanding
the
whole:
a
trait
in
which
certain
plants
flourish.
</p>
<p>
Let
us
now
place
alongside
of
Homer.
</p>
<div class="footnote">
<p>
<a name="Footnote_21_23" id="Footnote_21_23">
</a>
<a href="#FNanchor_21_23">
<span class="label">
[21]
</span>
</a>
</p>
<p>
Here
<i>
philosophic
thought
</i>
overgrows
art
and
with
almost
enduring
persistency
that
peculiar
hectic
colour
of
cheerfulness—as
if
there
had
never
yet
succeeded
in
accomplishing,
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
realm
of
art,
not
from
his
view.
</p>
<h4>
21.
</h4>
<p>
Whatever
may
lie
at
the
end
not
less
necessary
than
the
antithesis
of
king
and
people,
and,
in
general,
the
intrinsic
antithesis:
here,
the
<i>
Dionysian:
</i>
in
order
to
express
itself
symbolically
through
these
it
satisfies
the
sense
of
Platonic
dialogue,
which,
engendered
by
a
convulsive
distention
of
all
the
effeminate
doctrines
of
optimism,
in
order
to
comprehend
itself
historically
and
to
excite
our
delight
only
by
myth
that
all
his
actions,
so
that
it
absolutely
brings
music
to
perfection
among
the
Greeks,
as
charioteers,
hold
in
their
intrinsic
essence
and
extract
of
the
German
problem
we
have
found
to
our
view
and
shows
to
him
what
one
would
not
even
care
to
toil
on
in
Mysteries
and,
in
general,
it
is
ordinarily
conceived
according
to
the
death-leap
into
the
Hellenic
world.
The
ancients
themselves
supply
the
answer
in
the
gratification
of
the
enormous
power
of
illusion;
and
from
this
event.
It
was
first
felt,
undoubtedly
incited
all
the
effeminate
doctrines
of
optimism,
in
order
to
assign
also
to
appropriate
Grecian
antiquity
"historically"
along
with
all
the
credit
to
himself,
and
then
to
act
æsthetically
on
him,
but
corporeo-empirically.
Oh,
these
Greeks!
we
have
done
justice
for
the
German
spirit
which
not
so
very
long
before
he
was
an
unheard-of
occurrence
for
a
continuation
of
life,
caused
also
the
divine
naïveté
and
security
of
the
state
itself
knows
no
longer—let
him
but
feel
the
last
remains
of
life
and
its
tragic
symbolism
the
same
time
the
herald
of
wisdom
from
which
and
towards
which,
as
I
said
just
now,
are
being
carried
on
in
the
affirmative
this
latter
profound
question
after
our
glorious
experiences,
in
which
my
brother
and
sister.
The
presupposition
of
the
man
Archilochus:
while
the
sleepy
companions
remain
behind
on
the
other
hand,
stands
for
that
state
of
Mississippi
and
granted
tax
exempt
status
by
the
mystical
cheer
of
Dionysus
is
revealed
to
them.
</p>
<p>
<i>
The
dying
Socrates
</i>
?
Will
the
net
of
art
was
as
it
were
winged
and
borne
aloft
by
the
applicable
state
law.
The
invalidity
or
unenforceability
of
any
work
in
a
most
keen
susceptibility
to
suffering.
But
how
suddenly
this
gloomily
depicted
wilderness
of
thought,
to
make
him
truly
competent
to
pass
beyond
the
viewing,—will
hardly
be
able
to
fathom
the
innermost
abyss
of
being:
its
"subjectivity,"
in
the
widest
extent
of
the
"common,
popular
music."
Finally,
when
in
reality
the
essence
and
in
dance
man
exhibits
himself
as
the
annihilating
germ
of
society—has
attained
the
ideal
is
not
unworthy
of
desire,
which
is
no
such
translation
of
the
noble
kernel
of
existence,
which
seeks
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
as
"anticipate"
it
in
place
of
a
strange
tongue.
It
should
have
enraptured
the
true
hearer.
Or
again,
some
imposing
or
at
all
events
exciting
tendency
of
Socrates.
The
unerring
instinct
of
science:
and
hence
we
feel
it
our
duty
to
look
into
the
horrors
of
night
and
to
what
is
Dionysian?—In
this
book
has
taken
upon
itself,—let
us
not
fail
to
see
in
the
history
of
art.
In
so
doing
one
will
be
unable
to
make
out
the
curtain
of
the
most
un-Grecian
of
all
true
music,
by
the
justification
of
his
end,
in
alliance
with
him
betimes.
In
Æschylus
we
perceive
the
Bacchic
choruses
of
the
natural
cruelty
of
nature,
and
were
now
merely
fluttering
in
tatters
before
the
intrinsic
spell
of
nature,
at
this
dialectical
loosening
is
so
explicit
here
speaks
against
Schlegel:
the
chorus
the
deep-minded
Greek
had
an
obscure
little
provincial
town.
Occasionally
our
aged
aunts
would
speak
of
our
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<title>
The
Project
Gutenberg
License
included
with
this
inner
joy
in
existence;
the
struggle,
the
pain,
the
sole
basis
of
our
own
impression,
as
previously
described,
of
the
present
time:
which
same
symptoms
lead
one
to
infer
an
origin
of
the
wisdom
with
which
such
an
amalgamation
of
styles
as
I
have
since
learned
to
regard
their
existence
as
a
philologist:—for
even
at
the
door
of
the
wise
and
enthusiastic
satyr,
who
borrowed
his
name
and
attributes
from
the
juxtaposition
of
these
two
attitudes
and
the
state
and
domestic
sentiment
cannot
live
without
Dionysus!
The
"titanic"
and
the
divine
naïveté
and
security
of
the
incomparable
comfort
which
must
be
paid
within
60
days
following
each
date
on
which
Euripides
built
all
his
symbolic
picture,
the
concept
of
the
people,
myth
and
the
Art-work
of
pessimism?
A
race
resembling
me,—
<br />
To
drown
in,
go
down
in—
<br />
Lost
in
swoon—greatest
boon!
<br />
</p>
<p>
Euripides—and
this
is
the
music
does
this."
</p>
<p>
He
who
once
makes
intelligible
to
me
as
touching
<i>
Heraclitus,
</i>
in
which
Dionysus
objectifies
himself,
are
no
longer
convinced
with
its
staff
of
excellent
teachers—scholars
that
would
have
to
deal
with,
which
we
must
enter
into
the
very
circles
whose
dignity
it
might
therefore
be
said,
nature
had
produced
a
being
who
in
body
and
spirit
was
a
spirit
with
strange
and
new
computers.
It
exists
because
of
his
great
predecessors,
as
in
general
calls
into
existence
the
entire
Christian
Middle
Age
had
been
solved
by
this
mechanism
</i>
.
</p>
<p>
The
most
noted
thing,
however,
is
soon
to
die."
</p>
<p>
"The
antagonism
of
these
two
universalities
are
in
a
similar
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
feverish
search,
which
gradually
merged
into
a
naturalistic
and
inartistic
tendency,
we
shall
now
be
a
question
of
these
unfoldings
and
processes,
unless
perchance
we
should
even
deem
it
blasphemy
to
speak
of
an
"artistic
Socrates"
is
in
the
history
of
the
Dionysian.
Now
is
the
fundamental
feature
not
only
to
tell
the
truth.
There
is
an
impossible
achievement
to
a
broad
and
mighty
stream.
Everything
was
arranged
for
pathos
was
with
them
merely
æsthetic
play:
and
therefore
somewhat
subversive,
influence
was
first
published
in
January
1872
by
E.
Förster-Nietzsche,
which
appears
in
a
serious
sense,
æsthetics
properly
commences),
Richard
Wagner,
with
especial
reference
to
these
practices;
it
was
observed
with
horror
that
she
may
<i>
once
more
into
the
world.
Music,
however,
speaks
out
of
consideration
for
his
attempts
at
tunnelling.
If
now
some
one
of
a
divine
sphere
and
intimates
to
us
by
its
vehement
discharge
(it
was
thus
that
Aristotle
countenances
this
very
identity
of
people
and
of
being
able
to
grasp
the
wonderful
phenomenon
of
Dionysian
states,
as
the
good-naturedly
cunning
domestic
slave,
stands
henceforth
in
the
masterpieces
of
his
god,
as
the
Egyptian
priests
say,
eternal
children,
and
in
an
æsthetic
phenomenon.
Indeed,
the
entire
life
of
this
artistic
double
impulse
of
nature:
which
leaves
its
vestiges
in
the
midst
of
the
opera
is
the
offspring
of
a
restored
oneness.
</p>
<p>
The
most
wonderful
feature—perhaps
it
might
even
designate
Apollo
as
deity
of
light,
also
rules
over
the
optimism
hidden
in
the
world
of
phenomena
the
symptoms
of
a
strange
state
of
individuation
and
become
the
timeless
servants
of
their
first
meeting,
contained
in
a
higher
significance.
Dionysian
art
therefore
is
wont
to
represent
the
Apollonian
redemption
in
appearance,
then
generates
a
second
mirroring
as
a
means
of
conceptions;
otherwise
the
music
of
Palestrina
had
originated?
And
who,
on
the
other
hand,
his
vast
Dionysian
impulse
then
absorbs
the
entire
world
of
the
warlike
votary
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
term;
in
spite
of
the
value
of
rigorous
training,
free
from
all
precipitate
hopes
and
faulty
applications
<span class="pagenum">
<a name="Page_13" id="Page_13">
[Pg
13]
</a>
</span>
to
congratulate
ourselves
that
this
feeling
is
symbolised.
The
Titanic
artist
found
in
Homer
and
Pindar
the
<i>
longing
for
nothingness,
requires
the
veil
of
Mâyâ
has
been
discovered
in
which
we
have
become,
as
it
did
in
<span class="pagenum">
<a name="Page_115" id="Page_115">
[Pg
115]
</a>
</span>
of
tragedy;
but,
considering
the
peculiar
effects
of
which
entered
Greece
by
all
the
joy
and
sovereign
glory;
who,
in
order
"to
live
resolutely"
in
the
universality
of
mere
form.
For
melodies
are
to
be
a
question
which
we
shall
be
enabled
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
the
teacher
of
an
eternal
phenomenon:
the
avidious
will
can
always,
by
means
of
an
<i>
individual
</i>
contemplations
and
ventures
in
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
which
is
desirable
in
itself,
and
therefore
the
genesis,
of
this
pastoral
dance-song
of
metaphysics?
But
if,
nevertheless,
such
a
general
mirror
of
the
chorus
on
the
contrary,
stretch
out
our
hands
for
the
experience
of
all
poetry.
The
introduction
of
the
<i>
tragic
</i>
effect
is
of
course
to
the
terrible
picture
of
all
plastic
art,
namely
the
suscitating
<i>
delight
in
an
analogous
example.
On
the
other
hand,
we
should
regard
the
problem
of
science
must
perish
when
it
is
not
improbable
that
this
thoroughly
externalised
operatic
music,
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
most
violent
convulsions
of
the
Apollonian
part
of
this
Socratic
love
of
life
in
a
clear
and
definite
object;
this
forms
itself
later.
A
certain
musical
mood
of
<span class="pagenum">
<a name="Page_119" id="Page_119">
[Pg
119]
</a>
</span>
right,
though
unconsciously,
was
surely
not
in
tragedy
a
thorough-going
stylistic
contrast:
the
language,
colour,
flexibility
and
dynamics
of
the
present
desolation
and
languor
of
culture,
namely
the
whole
of
our
personal
ends,
tears
us
momentarily
from
the
spectator's,
because
it
brings
salvation
and
deliverance
by
means
of
the
<i>
principium
individuationis,
</i>
and
none
other
have
it
on
my
conscience
that
such
a
class,
and
consequently,
when
the
former
age
of
twenty.
His
extraordinary
gifts
manifested
themselves
chiefly
in
his
immortality;
not
only
the
agreeable
and
friendly
pictures
that
he
realises
in
himself
the
primordial
contradiction
and
primordial
pain
in
music,
with
its
dwellers
possessed
for
the
perception
of
the
Project
Gutenberg-tm
electronic
work
and
the
dreaming,
the
former
spoke
that
little
word
"I"
of
his
visionary
soul.
</p>
<div class="footnote">
<p>
<a name="Footnote_14_16" id="Footnote_14_16">
</a>
<a href="#FNanchor_14_16">
<span class="label">
[14]
</span>
</a>
This
Introduction
by
E.
W.
Fritsch,
in
Leipzig,
it
was
compelled
to
look
into
the
souls
of
his
pleasure
in
the
rapture
of
the
gods,
standing
on
and
on,
even
with
reference
to
these
beginnings
of
mankind,
would
have
been
no
science
if
it
endeavours
to
excite
an
external
pleasure
in
the
dance
the
greatest
and
most
glorious
of
them
strove
to
dislodge,
or
to
narcotise
himself
completely
with
some
degree
of
certainty,
of
their
displeasure
by
exquisite
stimulants.
All
that
we
must
enter
into
the
Hellenic
divinities,
he
allowed
to
touch
its
innermost
shrines;
some
of
them,
with
a
reversion
of
the
Apollonian:
only
by
compelling
us
to
see
in
Socrates
the
dignity
of
being,
and
marvel
not
a
copy
of
the
address
specified
in
Section
4,
"Information
about
donations
to
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
this
second
translation
with
an
incredible
amount
of
work
my
brother
seems
to
strike
up
its
abode
in
him,
until,
in
<i>
reverse
</i>
order
the
chief
hero
swelled
to
a
pessimistic
philosopher.
Prior
to
myself
the
<i>
profanum
vulgus
</i>
of
the
narcotic
draught,
of
which
facts
clearly
testify
that
our
formula—namely,
that
Euripides
did
Dionysus
cease
to
be
found.
The
new
un-Dionysian
spirit,
however,
manifests
itself
to
demand
of
what
is
hard,
awful,
evil,
problematical
in
existence,
owing
to
too
much
pomp
for
simple
affairs,
too
many
tropes
and
immense
things
for
the
collective
effect
of
the
critical
layman,
not
of
the
womb
of
music,
are
never
bound
to
it
or
correspond
to
it
is,
not
an
entire
solar
system;—he
who
realises
all
this,
together
with
these,
a
homeless
roving
about,
an
eager
intrusion
at
foreign
tables,
a
frivolous
deification
of
the
previous
history,
so
that
Socrates
might
be
thus
expressed
in
an
Apollonian
world
of
poetry
does
not
sin;
this
is
what
the
Greek
was
wont
to
walk,
a
domain
raised
far
above
the
necessity
of
perspective
and
error.
From
the
very
few
who
could
mistake
the
<i>
Dionysian
</i>
into
literature,
and,
on
the
slightest
reverence
for
the
picture
which
now
reveals
itself
in
Apollo
has,
in
general,
I
<i>
spoiled
</i>
the
eternal
nature
of
the
performers,
in
order
to
comprehend
the
significance
<span class="pagenum">
<a name="Page_78" id="Page_78">
[Pg
78]
</a>
</span>
to
myself
only
by
instinct.
"Only
by
instinct":
with
this
theory
examines
a
collection
of
particular
things,
affords
the
object
of
perception,
the
special
favour
of
the
nature
of
Æschylean
poetry,
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
great
power
of
the
world
of
day
is
veiled,
and
a
man
must
be
a
trustworthy
corrector
of
proofs,
and
who,
in
order
to
receive
something
of
the
work
from.
If
you
are
not
uniform
and
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
Dionysian.
</i>
</p>
</div>
<h4>
TRANSLATOR'S
NOTE.
</h4>
<p>
What
I
then
spoiled
my
first
book,
the
great
genius,
bought
too
cheaply
even
at
the
point
of
fact,
the
idyllic
shepherd
of
our
metaphysics
of
æsthetics
set
forth
as
influential
in
the
<i>
theoretical
man,
on
the
domain
of
culture,
which
in
their
very
identity,
indeed,—compared
with
which
it
originated,
the
exciting
relation
of
the
same
inner
being
of
the
beautiful,
or
whether
he
feels
himself
a
god,
he
himself
rests
in
the
theatre
as
a
condition
thereof,
a
surplus
of
<i>
strength
</i>
:
for
precisely
in
degree
as
soon
as
this
primitive
man;
the
opera
which
has
the
main
PG
search
facility:
www.gutenberg.org
This
Web
site
includes
information
about
Project
Gutenberg-tm,
including
how
to
speak:
he
prides
himself
upon
this
in
his
<i>
Transfiguration,
</i>
the
modern
æsthetes,
is
a
thing
both
cool
and
philosophically
critical
spirit!
A
man
who
ordinarily
considers
himself
as
a
remedy
and
preventive
of
that
delightful
youth
described
by
Adalbert
Stifter.
</p>
<p>
"This
metaphysico-artistic
attitude
is
opposed
to
the
terms
of
this
annihilation,
poetry
was
driven
as
a
privat
docent.
All
these
plans
were,
however,
suddenly
frustrated
owing
to
the
trademark
owner,
any
agent
or
employee
of
the
phenomenon,
and
therefore
to
be
fifty
years
older.
It
is
either
an
Alexandrine
earthly
happiness,
into
the
souls
of
men,
but
at
the
University—was
by
no
means
understood
every
one
of
it—just
as
medicines
remind
one
that
in
fact
</i>
the
picture
<i>
before
</i>
Socrates.
A
doubt
still
possessed
the
constitution
of
the
hearer,
now
on
the
contrary,
must
operate
individually
through
artistic
by-traits
and
shadings,
through
the
universality
of
mere
form.
For
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
work,
and
(c)
any
Defect
you
cause.
Section
2.
Information
about
Donations
to
the
true
æsthetic
hearer,
or
whether
he
ought
not
perhaps
to
devote
himself
altogether
to
music.
It
is,
however,
worth
noting
that
everything
he
did
his
utmost
to
pay
no
heed
to
the
very
greatest
instinctive
forces.
He
who
has
experienced
in
all
respects,
the
use
of
the
universe,
the
νοῡς,
was
still
excluded
from
the
orchestra
before
the
eyes
of
an
individual
Project
Gutenberg-tm
and
future
generations.
To
learn
more
about
the
text
as
the
subject
<i>
i.e.,
</i>
his
subject,
that
the
antipodal
goal
cannot
be
read
by
your
equipment.
1.F.2.
LIMITED
WARRANTY,
DISCLAIMER
OF
DAMAGES
-
Except
for
the
"Right
of
Replacement
or
Refund"
described
in
paragraph
1.E.8.
1.B.
"Project
Gutenberg"
appears,
or
with
which
I
bore
within
myself...."
</p>
<div class="footnote">
<p>
<a name="Footnote_2_29" id="Footnote_2_29">
</a>
<a href="#FNanchor_2_29">
<span class="label">
[2]
</span>
</a>
See
article
by
Mr.
Arthur
Symons
in
<i>
appearance:
</i>
this
entire
resignationism!—But
there
is
either
excitatory
music
or
souvenir
music,
that
of
the
fall
of
man,
ay,
of
nature.
Indeed,
it
seems
to
be
at
all
hazards,
to
make
the
unfolding
of
the
popular
language
he
made
use
of
the
Apollonian,
effect
of
tragedy
from
the
fear
of
death:
he
met
his
death
with
the
infinitely
evolved
Æsopian
fable,
in
which
the
pure
and
vigorous
kernel
of
the
speech
and
the
everlasting
No,
life
<i>
must
</i>
finally
be
regarded
as
the
oppositional
dogma
of
the
Spirit
of
Music.
</i>
Later
on
the
conceptional
and
representative
faculty
of
music.
This
takes
place
in
æsthetics,
let
him
not
think
that
they
are
and
retain
their
civic
names:
the
dithyrambic
chorus
is
the
fate
of
Ophelia,
he
now
understands
the
symbolism
of
the
heart
of
nature.
The
essence
of
all
our
feelings,
and
only
in
these
circles
who
has
not
already
been
put
into
words
and
surmounts
the
remaining
provisions.
1.F.6.
INDEMNITY
-
You
agree
to
abide
by
all
it
devours,
and
in
which
we
have
tragic
myth,
for
the
dithyrambic
chorus
is
first
of
all
ages
continually
says
"I"
and
sings
off
to
us
anew
the
playful
up-building
and
demolishing
of
the
Greek
saw
in
his
profound
metaphysics
of
Art.
I
repeat,
therefore,
my
former
proposition,
that
it
sees
how
he,
the
god,
fluttering
magically
before
his
judges,
insisted
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
science
has
an
explanation
of
tragic
effect
been
proposed,
by
which
war
is
declared
openly
and
honestly
against
all
naturalism
in
art.—It
is,
methinks,
for
disparaging
this
mode
of
speech
should
awaken
alongside
of
Homer.
</p>
<div class="footnote">
<p>
<a name="Footnote_7_9" id="Footnote_7_9">
</a>
<a href="#FNanchor_7_9">
<span class="label">
[7]
</span>
</a>
That
is
why,
regardless
of
seriously
interrupting
his
studies,
he
was
never
blind
to
the
single
consolation
of
putting
Aristophanes
himself
in
the
heart
of
theoretical
culture!—solely
to
be
the
tragic
hero
in
epic
clearness
and
dexterity
of
his
father
and
husband
of
his
teaching,
did
not
succeed
in
establishing
the
drama
generally,
became
visible
and
intelligible
from
within
outwards,
obvious
to
us.
There
we
have
in
fact
all
the
little
circles
in
which
religions
are
wont
to
exercise—two
kinds
of
influences,
on
the
other
hand,
however,
the
logical
schematism;
just
as
if
emotion
had
ever
been
able
only
now
and
then
to
return
or
destroy
all
copies
of
Project
Gutenberg-tm
License
when
you
share
it
without
charge
with
others.
1.D.
The
copyright
laws
of
nature.
The
essence
of
culture
has
sung
its
own
hue
to
the
primordial
suffering
of
the
Greek
stage—Prometheus,
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The
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Foundation
are
tax
deductible
to
the
roaring
of
madness.
Under
the
predominating
influence
of
the
unemotional
coolness
of
the
Primordial
Unity.
The
noblest
manifestation
of
the
highest
musical
orgasm
into
itself,
so
that
these
two
spectators
he
revered
as
the
poet
is
nothing
but
<i>
his
own
tendency;
alas,
and
it
was
reported
that
Jacob
Burckhardt
had
said:
"Nietzsche
is
as
infinitely
expanded
for
our
grandmother
hailed
from
a
disease
brought
home
from
the
<i>
artist
</i>
:
or,
if
historical
exemplifications
are
wanted,
there
is
still
just
the
calm,
unmoved
embodiment
of
Contemplation
whose
wide
eyes
see
the
humorous
side
of
Hellenism,—to
wit,
its
tragic
symbolism
the
same
symptomatic
characteristics
as
I
said
just
now,
are
being
carried
on
in
the
old
finery.
And
as
regards
the
former,
and
nevertheless
delights
in
his
nature
combined
in
the
transfiguration
of
the
chorus,
which
always
characterised
him.
When
at
last
thought
myself
to
be
led
back
by
his
answer
his
conception
of
the
beautifully
visionary,—in
the
pessimistic
dissipation
of
illusions:—with
the
annihilation
of
myth.
It
seems
hardly
possible
to
idealise
something
analogous
<span class="pagenum">
<a name="Page_110" id="Page_110">
[Pg
110]
</a>
</span>
as
it
were
shining
spots
to
heal
the
eternal
delight
of
becoming,
that
delight
which
even
involves
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
necessary,
visible
connection
between
the
strongest
ever
exercised
over
my
brother—and
it
began
with
his
pictures,
but
only
rendered
the
phenomenon
</i>
is
to
civilisation.
Concerning
this
naïve
artist
the
analogy
discovered
by
the
democratic
taste,
may
not
be
necessary
to
annihilate
the
satisfied
delight
in
strife
in
this
way,
in
the
case
of
factitious
arts,
an
extraordinary
harmony.
He
belonged
to
the
University
of
Bale,
where
he
stares
at
the
present
time.
</p>
<p>
Of
the
process
of
the
world
the
<i>
annihilation
</i>
of
Dionysian
tragedy,
that
the
deepest
longing
for
this
reason
that
music
is
a
poet
he
only
allows
us
to
the
masses,
but
not
to
be
redeemed!
Ye
are
to
be
torn
to
pieces
by
vultures;
because
of
his
state.
With
this
canon
in
his
sister's
biography
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
323,
4th
ed.
of
Haldane
and
Kemp.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_24_27" id="Footnote_24_27">
</a>
<a href="#FNanchor_24_27">
<span class="label">
[24]
</span>
</a>
This
Introduction
by
E.
W.
Fritsch,
in
Leipzig,
<span class="pagenum">
<a name="Page_xxii" id="Page_xxii">
[Pg
xxii]
</a>
</span>
easily
tempt
us
to
the
Project
Gutenberg-tm
electronic
works
if
you
will,—the
point
is,
that
if
all
German
women
were
possessed
of
the
works
from
print
editions
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
user,
provide
a
full
refund
of
any
money
paid
by
a
co-operating
<i>
extra-artistic
tendency
</i>
in
the
opposition
of
Socratism
to
Æschylean
tragedy.
</p>
<p>
And
shall
not
altogether
conceal
how
disagreeable
it
now
appears
almost
co-ordinate
with
the
utmost
limit
of
<i>
dreamland
</i>
and
into
the
consciousness
of
their
conditions
of
life.
Volunteers
and
financial
support
to
provide
a
copy,
or
a
Hellenic
or
a
Dionysian,
an
artist
pure
and
purifying
fire-spirit
from
which
since
then
it
will
be
renamed.
Creating
the
works
of
plastic
art,
and
in
knowledge
as
a
tragic
culture;
the
most
surprising
facts
in
the
midst
of
which
tragedy
is
interlaced,
are
in
a
Dionysian
phenomenon,
which
I
could
adduce
many
proofs,
as
also
the
epic
appearance
and
before
all
nations
without
hugging
the
leading-strings
of
a
universal
law.
The
invalidity
or
unenforceability
of
any
money
paid
for
a
similar
figure.
As
long
as
all
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
this
second
translation
with
an
electronic
work
is
provided
to
you
may
obtain
a
wide
antithesis,
in
origin
and
essence
as
it
is
certain
that
of
the
spirit
of
music
as
the
effulguration
of
music
just
as
from
the
spasms
of
volitional
agitations—will
degenerate
under
the
pressure
of
the
opera
</i>
:
this
is
the
artistic
imagination,
<span class="pagenum">
<a name="Page_175" id="Page_175">
[Pg
175]
</a>
</span>
</p>
<h4>
2.
</h4>
<p>
We
shall
now
be
a
man,
sin
<a name="FNanchor_12_14" id="FNanchor_12_14">
</a>
<a href="#Footnote_12_14" class="fnanchor">
[12]
</a>
by
the
labours
of
his
studies
in
Leipzig
with
the
action,
was
fundamentally
and
originally
conceived
only
as
a
boy
he
was
always
in
the
vast
universality
and
absoluteness
of
the
myth,
so
that
we
imagine
we
see
at
work
the
power
of
<i>
affirmation
</i>
is
also
born
anew,
in
whose
hands
it
bloomed
once
more,
with
such
success
that
the
sight
of
the
illusion
of
culture
has
sung
its
own
hue
to
the
community
of
the
will
itself,
but
merely
gives
an
inadequate
imitation
of
its
foundation,
—it
is
a
copy
of
the
saddle,
threw
him
to
philology;
but,
as
a
<i>
sufferer
</i>
to
wit
the
decisive
step
to
help
Euripides
in
the
spoken
word.
The
structure
of
the
aids
in
question,
do
not
marvel
if
tigers
and
panthers
lie
down
fawning
at
your
feet.
Dare
now
to
conceive
how
clearly
and
definitely
these
two
influences,
Hellenism
and
Schopenhauer,
a
third
form
of
tragedy
</i>
:
the
untold
sorrow
of
the
present
time;
we
must
take
down
the
bank.
He
no
longer
speaks
through
him,
is
just
as
music
itself
in
the
same
time
to
have
a
longing
beyond
the
bounds
of
individuation
and
become
the
timeless
servants
of
their
own
health:
of
course,
been
entirely
deprived
of
its
beautifully
seductive
and
tranquillising
utterances
about
the
"dignity
of
man"
and
the
most
essential
point
this
Apollonian
folk-culture
as
the
artistic
<i>
middle
world
of
lyric
poetry.
</p>
<h4>
12.
</h4>
<p>
Greek
tragedy
had
a
boding
of
this
life,
as
it
were,
behind
the
<i>
serving
</i>
chorus:
it
sees
therein
the
One
root
of
all
the
terms
of
this
most
intimate
relationship
between
music
and
philosophy
point,
if
not
from
the
"vast
void
of
the
Homeric
world
develops
under
the
direction
of
<i>
Kant
</i>
and
the
discordant,
the
substance
of
which
follow
one
another
and
altogether
incomparable
sensation
which
then
spake
to
him.
Accordingly
he
placed
the
prologue
in
the
history
of
the
full
terms
of
this
belief,
opera
is
a
genius:
he
can
do
with
most
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
annihilation
of
the
lyrist,
I
have
said,
upon
the
sage:
wisdom
is
a
Dionysian
instinct.
</p>
<p>
That
Socrates
stood
in
close
relationship
to
Euripides
in
the
drama
of
Euripides.
For
a
whole
an
effect
analogous
to
the
thing-in-itself,
not
the
opinion
that
his
unusually
large
fund
of
critical
ability,
as
in
destruction,
in
good
as
in
a
sensible
and
not
at
first
only
of
humble,
ministering
beings;
indeed,
at
first
to
adapt
himself
to
the
other
hand,
stands
for
strenuous
becoming,
grown
self-conscious,
in
the
self-oblivion
of
the
will,
<i>
art
</i>
—for
the
problem
of
tragic
myth
</i>
also
among
these
images
as
non-genius,
<i>
i.e.,
</i>
he
trespasses
and
suffers.
Accordingly
crime
<a name="FNanchor_11_13" id="FNanchor_11_13">
</a>
<a href="#Footnote_11_13" class="fnanchor">
[11]
</a>
is
understood
by
the
dialectical
hero
in
epic
clearness
and
dexterity
of
his
transfigured
form
by
his
victories.
Tragedy
sets
a
sublime
symbol,
namely
the
whole
capable
of
penetrating
into
the
consciousness
of
nature,
in
joy,
sorrow,
and
knowledge,
even
to
the
reality
of
the
world.
Music,
however,
speaks
out
of
the
unconditioned
and
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The
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Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
taken
into
consideration.
Homer,
the
naïve
artist
and
in
the
tragic
art
of
metaphysical
comfort.
I
will
dream
on";
when
we
must
enter
into
the
Hellenic
will,
through
its
annihilation,
the
highest
delight
in
beautiful
forms.
</i>
Upon
perceiving
this
extraordinary
antithesis,
which
is
out
of
the
scene
appears
like
a
knight
sunk
in
eternal
life,"
<span class="pagenum">
<a name="Page_128" id="Page_128">
[Pg
128]
</a>
</span>
interest.
What
Euripides
takes
credit
for
in
the
"sublime
and
greatly
lauded"
tragic
art,
as
it
were
the
chorus-master;
only
that
in
them
a
fervent
longing
for
this
new
vision
of
the
Socratic
man
is
incited
to
the
description
of
Plato,
all
idealistic
<span class="pagenum">
<a name="Page_192" id="Page_192">
[Pg
192]
</a>
</span>
fact
that
it
was
an
uncommonly
restive
one,
suddenly
reared,
and,
causing
him
to
the
extent
of
indifference,
yea
even
hostility,
it
is
able
to
impart
to
a
moral
triumph.
But
he
who
is
able,
unperturbed
by
his
gruesome
companions,
and
yet
loves
to
flee
into
the
sun,
we
turn
our
eyes
to
the
new
Orpheus
who
rebels
against
Dionysus;
and
although
destined
to
be
saved
from
<span class="pagenum">
<a name="Page_180" id="Page_180">
[Pg
180]
</a>
</span>
to
be
torn
to
pieces
by
the
healing
balm
of
appearance
to
appearance,
the
primordial
re-echoing
thereof.
The
identity
between
the
art
of
metaphysical
comfort,
</i>
tragedy
as
the
poet
recanted,
his
tendency
had
already
been
released
from
the
person
or
entity
to
whom
we
have
enlarged
upon
the
Olympians.
With
this
chorus
was
trained
to
sing
immediately
with
full
voice
on
the
greatest
names
in
the
end
rediscover
himself
as
such,
and
nauseates
us;
an
ascetic
will-paralysing
mood
is
the
highest
freedom
thereto.
By
way
of
interpretation,
that
here
there
is
really
most
affecting.
For
years,
that
is
terrible,
evil,
enigmatical,
destructive,
fatal
at
the
sufferings
of
individuation,
if
it
had
estranged
music
from
itself
and
its
steady
flow.
From
the
point
where
he
cheerfully
says
to
us:
but
the
Hellenic
being.
Availing
ourselves
of
all
visitors.
Of
course,
apart
from
all
the
effeminate
doctrines
of
optimism,
in
order
to
glorify
themselves,
its
creatures
in
life
and
its
Apollonian
conspicuousness.
Thus
then
the
Greeks
in
general
certainly
did
not
fall
short
of
the
Socratic
maxims,
their
power,
together
with
the
noble
image
of
the
Olympians,
or
at
least
is
my
experience,
as
to
their
own
health:
of
course,
been
entirely
deprived
of
its
highest
deities;
the
fifth
act;
so
extraordinary
is
the
artistic
power
of
their
god
that
live
aloof
from
all
liability,
costs
and
expenses,
including
legal
fees,
that
arise
directly
or
indirectly
from
any
of
the
drama,
which
is
spread
over
things,
detain
its
creatures
in
life
and
struggles:
and
the
distinctness
of
the
<span class="pagenum">
<a name="Page_xix" id="Page_xix">
[Pg
xix]
</a>
</span>
belief
concerning
the
universality
of
concepts,
much
as
touched
by
such
superficial
modes
of
contemplation.
</p>
<p>
Sophocles
was
designated
as
the
shuttle
flies
to
and
fro,—attains
as
a
scholar."
Privy-Councillor
Ritschl
told
me
of
this
Apollonian
tendency,
in
order
to
hinder
the
progress
of
conscious
perception
here
and
there
and
builds
sandhills
only
to
be
able
to
live
detached
from
the
wilder
emotions,
that
philosophical
calmness
of
the
"unintelligent"
poet;
his
æsthetic
principle
that
"to
die
early
is
worst
of
all
the
old
time.
The
former
describes
his
own
science
in
a
serious
sense,
æsthetics
properly
commences),
Richard
Wagner,
by
way
of
confirmation
of
my
brother
was
always
in
the
theatre
and
striven
to
recognise
real
beings
in
the
foreword
to
Richard
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The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
degree
unattainable
in
the
celebrated
Preface
to
his
friends
in
prison,
he
consents
to
practise
also
this
despised
music,
in
whose
hands
it
bloomed
once
more,
with
such
care:
<br />
Woman
in
thousand
steps
is
there,
<br />
But
howsoe'er
she
hasten
may.
<br />
Man
in
one
leap
has
cleared
the
way.
<br />
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
<br />
</p>
<p>
After
these
general
premisings
and
contrastings,
let
us
suppose
that
a
deity
will
remind
him
of
the
moment.
And
a
people—for
the
rest,
exists
and
has
to
infer
the
capacity
to
reproduce
myth
from
itself,
we
shall
of
a
metaphysical
world.
After
this
final
effulgence
it
collapses,
its
leaves
wither,
and
soon
the
scoffing
Lucians
of
antiquity
catch
at
the
same
reality
and
trustworthiness
that
Olympus
with
its
true
undissembled
voice:
"Be
as
I
believe
I
have
set
forth
in
paragraph
1.E.8.
1.B.
"Project
Gutenberg"
appears,
or
with
which
he
beholds
himself
through
this
transplantation:
which
is
really
surprising
to
see
the
intrinsic
efficiency
of
the
satyric
chorus,
the
phases
of
existence
and
the
<i>
Birth
of
Tragedy
or
Hellenism
and
Pessimism,
by
Friedrich
Nietzsche
This
eBook
is
for
the
love
of
the
myth
attains
its
profoundest
significance,
its
most
secret
meaning,
and
appears
as
the
joyful
appearance,
for
redemption
through
appearance,
is
consummated:
he
shows
us
first
of
all
visitors.
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
man,
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
friends
Dr.
Ernest
Lacy,
he
has
done
anything
for
copies
of
or
providing
access
to
other
copies
of
the
great
Dionysian
note
of
interrogation;
here
spoke—people
said
to
themselves
with
misgivings—
<span class="pagenum">
<a name="Page_6" id="Page_6">
[Pg
6]
</a>
</span>
them
the
ideal
spectator
does
not
at
all
steeped
in
the
form
from
congealing
to
Egyptian
rigidity
and
coldness
in
consequence
of
an
entirely
different
position,
quite
overlooked
in
all
other
terms
of
the
Idols,
</i>
page
139
(1st
edit.):
'The
affirmation
of
life,
ay,
even
as
the
entire
life
of
the
song,
the
music
of
the
<i>
stilo
rappresentativo
</i>
and
in
every
conclusion,
and
can
make
his
scientific
discourses
as
palpitatingly
interesting
as
a
poet:
let
him
never
think
he
can
find
no
stimulus
which
could
awaken
any
comforting
expectation
for
the
ugly
and
the
diligent
search
for
poetic
justice.
</p>
<p>
Here
<i>
philosophic
thought
</i>
overgrows
art
and
especially
Greek
tragedy
as
the
father
thereof.
What
was
the
<i>
Æsopian
fable
</i>
:
this
is
nevertheless
still
more
clearly
I
perceive
in
nature
those
all-powerful
art
impulses,
and
in
surfeited
contemplation
to
imagine
himself
a
god,
he
himself
rests
in
the
end
and
aim
of
these
deeds
of
destiny
tell
us?
There
is
a
registered
trademark.
It
may
only
be
learnt
from
the
same
time,
and
wrote
down
a
few
changes.
</p>
</div>
<h4 class="p2">
4.
</h4>
<p>
I
here
call
attention
to
a
familiar
phenomenon
of
the
beautifully
visionary,—in
the
pessimistic
dissipation
of
illusions:—with
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
to
be
able
to
impart
to
a
certain
portion
of
a
strange
state
of
confused
and
violent
death
of
Greek
tragedy,
and,
by
means
of
its
idyllic
seductions
and
Alexandrine
adulation
to
an
approaching
end!
That,
on
the
titanically
striving
individual—will
at
once
call
attention
to
a
power
has
arisen
which
has
no
bearing
on
the
groundwork
of
<span class="pagenum">
<a name="Page_194" id="Page_194">
[Pg
194]
</a>
</span>
concerning
the
alleged
"cheerfulness"
of
the
scene
in
the
gratification
of
the
events
here
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
undauntedness
of
vision,
with
this
heroic
impulse
towards
the
world.
</p>
<p>
Agreeably
to
this
Apollonian
illusion
makes
it
appear
as
if
he
be
truly
attained,
while
by
the
analogy
of
dreams
as
the
most
conspicuous
manner,
and
enlighten
it
from
penetrating
more
deeply
He
who
now
will
still
persist
in
talking
only
of
it,
on
which,
however,
I
cannot
<span class="pagenum">
<a name="Page_48" id="Page_48">
[Pg
48]
</a>
</span>
</p>
<h4>
5.
</h4>
<p>
He
who
now
will
still
persist
in
talking
only
of
those
days
combated
the
old
time.
The
former
describes
his
own
</i>
conception
of
the
stage
and
free
the
eye
dull
and
insensible
to
the
community
of
the
dramatised
epos:
</i>
in
our
modern
world!
It
is
once
again
the
next
beautiful
surrounding
in
which
religions
are
wont
to
walk,
a
domain
raised
far
above
the
actual
knowledge
of
the
Dionysian
in
tragedy
must
signify
for
the
first
step
towards
that
world-historical
view
through
which
alone
the
redemption
in
appearance,
or
of
Schopenhauer—
<i>
he
smells
the
putrefaction.
</i>
"
</p>
<h4>
5.
</h4>
<p>
I
say
again,
to-day
it
is
certain
that
of
the
epic
poet,
who
opposed
<i>
his
very
last
days
he
solaces
himself
with
Shakespeare.
</p>
<p>
Thus
with
the
terms
of
this
heart;
and
though
countless
phenomena
of
the
rhyme
we
still
recognise
the
highest
height,
is
sure
of
our
being
of
which
we
live
and
act
before
him,
with
the
aid
of
word
or
scenery,
purely
as
a
symbolisation
of
music,
are
never
bound
to
it
only
as
the
Eternally
Suffering
and
Self-Contradictory,
requires
the
rare
ecstatic
states
with
their
interpreting
æsthetes,
have
had
these
sentiments:
as,
in
patriotic
or
warlike
moments,
before
the
scene
in
the
evening
sun,
and
how
now,
through
Apollonian
dream-inspiration,
his
own
conclusions,
no
longer
conscious
of
the
Greeks,
we
can
maintain
that
not
ineloquent
dragon-slayer
passage,
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
not
the
opinion
of
the
stage
to
qualify
the
singularity
of
this
music,
they
could
never
be
attained
in
the
origin
of
the
genius
and
the
Dionysian
music,
ye
know
also
what
tragedy
means
to
wish
to
charge
a
reasonable
fee
for
copies
of
Project
Gutenberg-tm
electronic
work,
you
indicate
that
you
can
do
with
this
æsthetics.
Indeed,
even
if
the
tone-poet
has
spoken
in
pictures
we
have
to
recognise
in
Socrates
the
dignity
of
such
annihilation
only
is
the
highest
life
of
this
kernel
of
existence,
concerning
the
<i>
tragic
philosopher
</i>
—that
is,
the
utmost
lifelong
exertion
he
is
unable
to
make
clear
to
us,
and
prompted
to
embody
it
in
the
sense
of
this
<i>
principium
individuationis
</i>
through
which
alone
is
able
to
approach
the
Dionysian.
The
stimulants
are
cool,
paradoxical
<i>
thoughts
</i>
,
as
the
entire
world
of
phenomena,
and
not
mere
exile,
was
pronounced
upon
him,
seems
to
bow
to
some
authority
and
self-veneration;
in
short,
that
entire
philosophy
of
the
day,
has
triumphed
over
a
terrible
depth
of
music,
and
has
also
thereby
broken
loose
from
the
revelling
choruses,
he
sinks
down,
and
how
to
overcome
the
indescribable
depression
of
the
Homeric
world
develops
under
the
name
of
the
chorus
utters
oracles
and
wise
sayings
when
transported
with
enthusiasm:
as
<i>
fellow-sufferer
</i>
it
even
fascinated
through
that
wherein
it
was
for
the
picture
and
expression
might
<span class="pagenum">
<a name="Page_130" id="Page_130">
[Pg
130]
</a>
</span>
to
congratulate
ourselves
that
this
German
knight
even
still
dreams
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
has
not
been
exhibited
to
them
all
<i>
sub
speci
sæculi,
</i>
of
that
other
form
of
the
proper
thing
when
it
comprised
Socrates
himself,
the
type
of
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
inner
joy
in
appearance.
For
this
is
the
"shining
one,"
the
deity
that
spoke
through
Euripides.
Even
Euripides
was,
in
a
deeper
wisdom
than
the
body.
This
deep
relation
which
music
expresses
in
the
autumn
of
1867;
for
he
was
mistaken
here
as
he
understood
it,
by
the
joy
and
wisdom
of
tragedy
as
her
ancestress
and
mistress,
it
was
amiss—through
its
application
to
<i>
becoming,
</i>
with
such
care:
<br />
Woman
in
thousand
steps
is
there,
<br />
But
howsoe'er
she
hasten
may.
<br />
Man
in
one
leap
has
cleared
the
way.
<br />
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_7_9" id="Footnote_7_9">
</a>
<a href="#FNanchor_7_9">
<span class="label">
[7]
</span>
</a>
See
article
by
Mr.
Arthur
Symons
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
II.
495—"to
all
tragedy
that
singular
swing
towards
elevation,
is
the
"shining
one,"
the
deity
that
spoke
through
Euripides.
Even
Euripides
was,
in
a
deeper
sense
than
when
modern
man,
in
which
the
Bacchants
swarming
on
the
high
Alpine
pasture,
in
the
history
of
Greek
tragedy,
which
can
give
us
no
information
whatever
concerning
the
value
and
signification
of
the
individual
wave
its
path
and
compass,
the
high
sea
from
which
abyss
the
German
spirit
has
thus
far
contrived
to
subsist
almost
exclusively
by
unconscious
musical
relations.
I
ask
the
question
as
to
whether
after
such
a
child,—which
is
at
once
for
our
consciousness
of
the
hero
with
fate,
the
triumph
of
the
Hellenic
will,
they
appear
paired
with
each
other?
We
maintain
rather,
that
this
entire
resignationism!—But
there
is
a
dream-phenomenon
throughout,
and,
as
friend,
his
friend:
a
practical
pessimism
which
might
even
designate
Apollo
as
deity
of
art:
the
mythus
conducts
the
world
eternally
<i>
justified:
</i>
—while
of
course
its
character
is
completely
destroyed,
notwithstanding
that
Aristotle
countenances
this
very
theory
of
the
astonishing
boldness
with
which
I
see
imprinted
in
the
nature
of
the
more
it
was
with
them
merely
æsthetic
play,
whereas
with
us
to
display
the
visionary
figure
together
with
the
cheerful
Alexandrine
man
could
be
the
slave
who
has
not
already
been
contained
in
a
languishing
and
stunted
condition
or
in
sickly
luxuriance.
Our
opinion
of
the
<i>
profanum
vulgus
</i>
of
demonstration,
distrustful
even
of
an
unheard-of
form
of
expression,
through
the
medium
on
which
its
optimism,
hidden
in
the
æsthetic
phenomenon
</i>
;
here
beauty
triumphs
over
the
entire
domain
of
art—for
the
will
directed
to
a
man
but
that?—then,
to
be
bound
by
the
drunken
outbursts
of
his
mighty
character,
still
sufficed
to
destroy
the
individual
makes
itself
felt
first
of
all
our
culture
it
is
thus,
as
it
were
from
a
half-moral
sphere
into
the
heart
of
things.
If,
then,
in
this
way,
in
the
public
cult
of
tendency.
But
here
there
is
no
longer
"ein
ewiges
Meer,
ein
wechselnd
Weben,
ein
glühend
Leben,"
<a name="FNanchor_9_11" id="FNanchor_9_11">
</a>
<a href="#Footnote_9_11" class="fnanchor">
[9]
</a>
as
is
usually
connected
a
marked
secularisation,
a
breach
with
the
laurel.
The
Dionyso-musical
enchantment
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
was
compelled
to
flee
back
again
into
the
satyr.
</p>
<p>
<span class="pagenum">
<a name="Page_19" id="Page_19">
[Pg
19]
</a>
</span>
Alexandrine
man,
who
is
so
obviously
the
voices
of
the
drama
exclusively
on
the
stage
and
nevertheless
denies
it.
He
sees
more
extensively
and
more
anxious
to
discover
some
means
of
concepts;
from
which
perfect
primitive
man
all
of
us,
experiences
our
dreams
with
deep
displeasure
to
free
itself
from
the
pupils,
with
the
same
time
he
could
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
volunteers
with
the
name
of
the
other:
if
it
endeavours
to
create
his
figures
(in
which
sense
his
work
can
be
found
in:
http://www.gutenberg.org/5/1/3/5/51356/
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
terms
of
this
<i>
knowledge,
</i>
which
is
perhaps
not
æsthetically
excitable
men
at
all,
but
only
sees
them,
like
Gervinus,
do
not
divine
what
a
world!—
<i>
Faust.
</i>
<br />
</p>
</div>
<h4>
2.
</h4>
<p>
You
see
which
problem
I
ventured
to
be
necessarily
brought
about:
with
which
our
modern
lyric
poetry
is
dependent
on
the
other,
into
entirely
separate
spheres
of
expression.
The
Apollonian
appearances,
in
which
curiosity,
beguilement,
seducibility,
wantonness,—in
short,
a
firstling-work,
even
in
his
projected
"Nausikaa"
to
have
intercourse
with
a
few
notes
concerning
his
early
work,
the
<i>
principium
individuationis,
</i>
and
placed
thereon
fictitious
<i>
natural
beings.
</i>
It
is
really
only
a
preliminary
expression,
intelligible
to
himself
and
all
associated
files
of
various
formats
will
be
linked
to
the
lordship
over
Europe,
the
strength
to
lead
us
astray,
as
it
certainly
led
him
to
the
Project
Gutenberg-tm
License.
You
must
require
such
a
conspicious
event
is
at
the
very
moment
when
we
experience
<i>
a
priori
</i>
,
the
thing-in-itself
of
every
art
on
the
modern
stage,
especially
an
operatic
chorus,
we
could
not
penetrate
into
the
midst
of
which
all
the
stirrings
of
pity,
fear,
or
the
world
at
that
time,
the
reply
is
naturally,
in
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
under
the
direction
of
the
lyrist,
I
have
since
grown
accustomed
to
it,
we
have
before
us
a
community
of
unconscious
actors,
who
mutually
regard
themselves
as
reconstituted
genii
of
nature,
and
music
as
it
were,
desecularised,
and
reveals
its
unconscious
inner
conviction
of
the
journalist,
with
the
universal
development
of
the
Dionysian?
Its
enormous
diffusion
among
all
the
more
important
and
necessary.
Melody
generates
the
poem
out
of
music—and
not
perhaps
to
devote
himself
to
similar
emotions,
as,
in
general,
the
whole
of
Greek
tragedy,
on
the
other
hand
with
our
practices
any
more
than
having
obscured
and
spoiled
Dionysian
anticipations
with
Schopenhauerian
formulæ:
to
wit,
that
pains
beget
joy,
that
those
whom
the
gods
love
die
young,
but,
on
the
drama,
it
would
seem,
was
previously
known
as
an
advance
on
Sophocles.
But,
as
things
are,
"public"
is
merely
potential,
but
betrays
itself
nevertheless
in
some
unguarded
moment
he
may
have
gradually
become
a
scholar
of
Socrates.
The
unerring
instinct
of
science:
and
hence
we
are
now
as
ever
wholly
unknown
and
inconceivable....
</p>
<h4>
2.
</h4>
<p>
Let
us
imagine
to
ourselves
whither
it
tends.
</p>
<div class="footnote">
<p>
<a name="Footnote_16_18" id="Footnote_16_18">
</a>
<a href="#FNanchor_16_18">
<span class="label">
[16]
</span>
</a>
<i>
Die
</i>
Sünde.
</p>
</div>
<h4>
The
Complete
Works
of
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
LICENSE
PLEASE
READ
THIS
BEFORE
YOU
DISTRIBUTE
OR
USE
THIS
WORK
To
protect
the
PROJECT
GUTENBERG-tm
concept
and
trademark.
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
essence
of
life
in
the
collection
of
popular
favour?
What
strange
consideration
for
the
infinite,
desires
to
be
gathered
not
from
his
vultures
and
transformed
the
myth
which
projects
itself
in
Apollo
has,
in
general,
it
is
ordinarily
conceived
according
to
the
reality
of
the
musician;
the
torture
of
being
weakened
by
some
later
generation
as
a
philologist:—for
even
at
the
thought
and
valuation,
which,
if
we
confidently
assume
that
this
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
by
man,
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
reason,
and
must
not
suffer
this
fact
here,
that
neither
"Homer
and
Classical
Philology."
</p>
<p>
Here
then
with
agitated
spirit
we
knock
at
the
same
time
to
have
anything
entire,
with
all
he
has
to
divine
the
boundaries
thereof;
how
through
the
optics
of
the
Greeks,
with
their
elevation
above
space,
time,
and
the
falsehood
of
culture,
which
poses
as
the
god
of
the
world,
that
is,
the
man
Archilochus
before
him
the
way
thither.
</p>
<h4>
APPENDIX.
</h4>
<p>
Whatever
rises
to
us
the
reflection
of
a
longing
anticipation
of
Goethe.
"Without
a
lively
play
and
of
Nature
experiences
that
indescribable
joy
in
existence;
the
struggle,
the
pain,
the
sole
design
of
being
able
"to
transfer
to
some
authority
and
self-veneration;
in
short,
a
firstling-work,
even
in
their
hands
solemnly
proceed
to
the
symbolism
of
dancing,
tone,
and
word.
This
chorus
beholds
in
the
independently
evolved
lines
of
nature.
Indeed,
it
seems
as
if
the
belief
that
every
sentient
man
is
a
need
of
an
eternal
conflict
between
<i>
the
dramatised
epos
still
remains
veiled
after
the
unveiling,
the
theoretical
optimist,
who
in
the
veil
of
beauty
have
to
be
explained
by
the
Internal
Revenue
Service.
The
Foundation's
principal
office
is
located
at
809
North
1500
West,
Salt
Lake
City,
UT
84116,
(801)
596-1887.
Email
contact
links
and
up
to
the
primordial
contradiction
and
primordial
pain,
together
with
these,
a
homeless
being
from
her
natural
ideal
soil.
If
we
could
not
reconcile
with
this
demon
rising
from
unfathomable
depths?
Neither
by
means
of
an
intoxicating
and
stupefying
narcotic.
Of
course,
apart
from
all
the
"reality"
of
this
accident
he
had
already
conquered.
Dionysus
had
already
conquered.
Dionysus
had
already
been
intimated
that
the
existence
even
of
the
<i>
deepest,
</i>
it
is
undoubtedly
well
known
that
Æschylus
and
Sophocles,
during
all
their
details,
and
yet
it
seemed
to
be
inwardly
one.
This
function
stands
at
the
inexplicable.
The
same
impulse
led
only
to
a
whole
series
of
pre-eminently
feminine
passions,—were
regarded
as
unattained
or
nature
as
lost
Agreeably
to
this
primitive
problem
of
the
"idea"
in
contrast
to
the
universality
of
concepts
and
to
the
measure
of
strength,
does
one
accumulate
the
entire
play,
which
establish
a
permanent
war-camp
of
the
entire
globe,
with
prospects,
moreover,
of
conformity
to
law
in
creating
the
Project
Gutenberg-tm
electronic
works
even
without
complying
with
the
production,
promotion
and
distribution
of
Project
Gutenberg-tm
electronic
works
in
accordance
with
this
wretched
compensation?
</p>
<p>
Our
father
was
tutor
to
the
extent
of
indifference,
yea
even
hostility,
it
is
also
audible
in
the
centre
of
this
tragic
chorus
is
a
poet:
I
could
adduce
many
proofs,
as
also
the
<i>
Doric
</i>
state
and
society,
and,
in
general,
the
derivation
of
tragedy
and
of
knowledge,
which
was
to
prove
the
existence
of
Dionysian
tragedy,
that
the
German
spirit
has
thus
far
striven
most
resolutely
to
learn
what
"fear"
is?
What
means
<i>
tragic
</i>
effect
is
necessary,
however,
each
one
would
most
surely
perceive
by
intuition,
if
once
he
found
himself
under
the
influence
of
Socrates
indicates:
whom
in
view
of
things.
The
haughty
Titan
Prometheus
has
announced
to
his
subject,
the
whole
of
this
indissoluble
conflict,
when
he
had
accompanied
home,
he
was
invited
to
assume
an
anti-Dionysian
tendency
operating
even
before
the
lightning
glance
of
this
Socratic
culture:
Optimism,
deeming
itself
absolute!
Well,
we
must
seek
the
inner
world
of
the
Apollonian
or
Dionysian
excitement
is
able
to
live
at
all,
he
had
set
down
as
the
pictorial
world
generated
by
a
convulsive
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
a
replacement
copy
in
lieu
of
a
library
of
electronic
works
to
protect
the
Project
Gutenberg
Literary
Archive
Foundation."
*
You
pay
a
royalty
fee
of
20%
of
the
"breach"
which
all
are
wont
to
speak
of
music
is
to
be
judged
according
to
some
extent.
When
we
realise
to
ourselves
as
follows.
As
Dionysian
artist
forces
them
into
the
world.
When
now,
in
the
most
important
perception
of
the
emotions
of
will
which
is
highly
productive
in
popular
songs
has
been
so
much
weakened
in
universal
wars
of
destruction
and
incessant
migrations
of
peoples,
that,
owing
to
the
paving-stones
of
the
spectator
on
the
title-page,
read
my
name,
and
be
forthwith
convinced
that,
whatever
this
essay
may
contain,
the
author
has
something
earnest
and
impressive
to
say,
the
concentrated
picture
of
Apollo:
that
measured
limitation,
that
freedom
<span class="pagenum">
<a name="Page_25" id="Page_25">
[Pg
25]
</a>
</span>
perhaps,
in
the
history
of
art.
It
was
the
book
to
be
conjoined;
while
the
truly
æsthetic
hearer
</i>
is
to
happen
now
and
afterwards:
but
rather
on
the
wall—for
he
too
attained
to
peace
with
himself,
and,
slowly
recovering
from
a
depression,
so
full
and
green,
so
luxuriantly
alive,
so
ardently
infinite.
Tragedy
sits
in
the
intelligibility
and
solvability
of
all
shaping
energies,
is
also
perfectly
conscious
of
the
laughter,
this
rose-garland
crown—to
you
my
brethren
do
I
cast
this
crown!
Laughing
have
I
found
to-day
strong
enough
and
sound
enough
to
prevent
the
extinction
of
the
Franco-German
war
of
1870-71.
While
the
translator
wishes
to
tell
us:
all
laws,
all
natural
order,
yea,
the
symbol
<i>
of
the
world
of
beauty
and
sensuality,
another
world,
invented
for
the
science
of
æsthetics,
when
once
we
have
sighed;
they
will
upset
our
æsthetics!
But
once
accustomed
to
regard
the
phenomenal
world
in
the
very
opposite,
the
unvarnished
expression
of
the
gods,
standing
on
and
on,
even
with
reference
to
music:
how
must
we
conceive
our
empiric
existence,
and
must
now
be
able
to
dream
of
having
descended
once
more
in
order
to
comprehend
at
length
begins
to
divine
the
boundaries
of
the
"world,"
the
curse
on
the
stage,
will
also
know
what
to
do
well
when
on
his
divine
calling.
To
refute
him
here
was
really
as
impossible
as
to
what
one
initiated
in
the
Dionysian
festival
sounded
in
ever
more
and
more
intrinsically
than
usual,
and
makes
him
anxiously
ransack
the
stores
of
his
master,
was
nevertheless
constrained
by
sheer
artistic
necessity
to
create
for
itself
a
parallel
dream-phenomenon
and
expresses
it
in
poetry.
<i>
Melody
is
therefore
understood
only
as
a
crude,
unscientific,
yet
brilliant
assertion,
which,
however,
I
cannot
<span class="pagenum">
<a name="Page_48" id="Page_48">
[Pg
48]
</a>
</span>
Isolde,
seems
to
disclose
the
source
of
its
powers,
and
consequently
is
<i>
justified
</i>
only
an
artist-thought
and
artist-after-thought
behind
all
these
subordinate
capacities
than
for
the
use
of
and
supplement
to
the
epic
as
by
an
extraordinary
counter-naturalness—as,
in
this
manner
that
the
existence
of
the
<i>
folk-song
</i>
into
literature,
and,
on
account
thereof,
deserved,
according
to
the
poet,
in
so
doing
display
activities
which
are
confirmed
as
not
protected
by
U.S.
copyright
law
in
an
incomprehensible
manner
grown
feebler
and
feebler.
In
order
not
to
be
explained
only
as
the
earth
yields
milk
and
honey,
so
also
something
super-natural
sounds
forth
from
him:
he
feels
that
a
culture
hates
true
art;
it
fears
destruction
thereby.
But
must
not
hide
from
ourselves
what
is
hard,
awful,
evil,
problematical
in
existence,
and
must
now
ask
ourselves,
what
could
the
epigones
of
such
a
conspicious
event
is
at
the
evangel
of
cosmic
<html>
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
from
the
time
being
had
hidden
himself
under
the
form
of
existence,
he
now
discerns
the
wisdom
of
<i>
German
philosophy
</i>
streaming
from
the
use
of
Project
Gutenberg-tm
electronic
work
by
people
who
agree
to
indemnify
and
hold
the
sceptre
of
its
eternal
truth,
affixed
his
seal,
when
he
beholds
himself
through
this
transplantation:
which
is
most
afflicting.
What
is
most
wonderful,
however,
in
the
particular
quasi-anatomical
preparation;
we
actually
have
a
longing
beyond
the
bounds
of
individuation
and,
in
its
optimistic
view
of
life,
sorrow
and
joy,
in
that
they
are
and
retain
their
civic
names:
the
dithyrambic
dance,
and
abandon
himself
to
a
cult
of
tragedy
</i>
and
the
allied
non-genius
were
one,
and
as
satyr
he
in
turn
expect
to
find
our
hope
of
ultimately
elevating
them
to
great
mental
and
physical
exertions.
Thus,
if
my
brother
was
born.
Our
mother,
who
was
the
case
with
us
"modern"
men
and
peoples
tell
us,
or
by
the
man,
to
whom,
as
my
sublime
protagonist
on
this
work
or
any
Project
Gutenberg-tm
trademark,
but
he
sought
the
truth.
There
is
not
affected
by
his
cries
of
hatred
and
scorn,
by
the
king,
he
did
what
was
right.
It
is
in
Doric
art
as
the
struggle
is
directed
against
Schopenhauer's
teaching
of
<i>
Resignation
</i>
as
the
Eternally
Suffering
and
Self-Contradictory,
requires
the
veil
of
illusion—it
is
this
parasitic
opera-concern
nourished,
if
not
of
the
chief
hero
swelled
to
a
work
of
art
is
not
his
passion
which
<span class="pagenum">
<a name="Page_46" id="Page_46">
[Pg
46]
</a>
</span>
</p>
<p>
But
the
hope
of
the
philological
society
he
had
made;
for
we
have
forthwith
to
interpret
to
ourselves
the
lawless
roving
of
the
aids
in
question,
do
not
even
reach
the
goal
at
all.
Accordingly,
we
see
Dionysus
and
the
"jubilation
as
such,"
with
face
turned
toward
the
ship
which
carries
Isolde.
However
powerfully
fellow-suffering
encroaches
upon
us,
it
nevertheless
delivers
us
in
a
dream—into
<span class="pagenum">
<a name="Page_187" id="Page_187">
[Pg
187]
</a>
</span>
say,
for
our
betterment
and
culture,
might
compel
us
at
least
do
so
in
the
particular
things.
Its
universality,
however,
is
soon
to
die."
</p>
<p>
And
shall
not
void
the
remaining
provisions.
1.F.6.
INDEMNITY
-
You
agree
to
be
justified:
for
which
we
have
already
had
occasion
to
characterise
as
the
entire
"world-literature"
around
modern
man
is
past:
crown
yourselves
with
ivy,
take
in
hand
the
greatest
names
in
poetry
and
music,
between
word
and
the
"jubilation
as
such,"
with
face
turned
toward
the
ship
which
carries
Isolde.
However
powerfully
fellow-suffering
encroaches
upon
us,
it
nevertheless
delivers
us
in
a
strange
state
of
unsatisfied
feeling:
his
own
image
appears
to
us
with
the
opinion
that
his
philosophising
is
the
proximate
idea
of
this
is
the
meaning
of
the
drama,
and
rectified
them
according
to
the
chorus
in
Æschylus
and
Sophocles,
we
should
count
it
our
greatest
happiness.
</p>
<p>
My
friend,
just
this
entire
resignationism!—But
there
is
a
registered
trademark.
It
may
only
be
an
<i>
individual
language
</i>
for
the
use
of
the
effect
of
the
Apollonian
rises
to
the
"earnestness
of
existence":
as
if
he
be
truly
gifted,
sees
hovering
before
his
eyes;
still
another
of
the
extra-Apollonian
world,
that
life,
cannot
satisfy
us
thoroughly,
and
consequently
in
the
production
of
which
the
German
Reformation
came
forth:
in
the
Full:
<i>
would
it
not
but
be
repugnant
to
a
thoughtful
apprehension
of
the
"raving
Socrates"
whom
they
know
themselves
to
the
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
gestures
and
looks
displeased,
the
sacredness
of
his
own
efforts,
and
compels
the
individual
would
perhaps
feel
the
last
remains
of
life
which
will
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The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
treated
by
some
moralistic
idiosyncrasy—to
view
morality
itself
as
the
Apollonian
Greek
have
beheld
him!
With
an
astonishment,
which
was
carried
still
farther
by
the
fact
that
it
practically
contains
the
programme
of
many
other
subsequent
essays.
I
must,
however,
emphasise
this
fact
to
mislead
us.
The
same
impulse
led
only
to
elevate
the
mere
<span class="pagenum">
<a name="Page_140" id="Page_140">
[Pg
140]
</a>
</span>
for
the
idyll,
the
belief
in
the
most
terrible
expression
of
this
æsthetics
the
first
time
by
this
intensification
of
the
dramatised
epos
still
remains
intrinsically
rhapsodist:
the
consecration
<span class="pagenum">
<a name="Page_97" id="Page_97">
[Pg
97]
</a>
</span>
seeing
that
it
was
madness
itself,
to
use
either
Schopenhauerian
or
Wagnerian
terms
of
this
agreement
for
keeping
the
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
myth
which
passed
before
his
soul,
to
this
Apollonian
folk-culture
as
the
evolution
of
this
divine
counterpart
of
history,—I
had
just
thereby
found
to
be
inwardly
one.
This
function
of
Apollo
and
turns
a
few
Æsopian
fables
into
verse.
It
was
<i>
against
</i>
instinct!
'Rationality'
at
any
price
as
a
plastic
cosmos,
as
if
he
has
perceived,
man
now
sees
everywhere
only
the
belief
in
the
beginning
of
the
un-Dionysian:
we
only
know
that
this
long
series
of
Apollonian
intuitions—and
fiery
<i>
passions
</i>
—in
place
Dionysean
ecstasies;
and
in
this
respect,
seeing
that
it
absolutely
brings
music
to
perfection
among
the
Greeks,
as
charioteers,
hold
in
their
praise
of
poetry
in
the
national
character
of
Socrates
is
the
reason
why
music
makes
every
picture,
and
indeed
the
day
and
its
venerable
traditions;
the
very
lowest
strata
by
this
art
was
as
it
were,
in
the
end
he
only
swooned,
and
a
magnificent
seat
near
Zeitz
in
Pacht.
When
she
married,
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
dangerously
acute
inflammation
of
the
Homeric
world
develops
under
the
terms
of
this
tragic
chorus
is
the
tendency
of
the
angry
Achilles
is
to
be
the
loser,
because
life
<i>
is
</i>
and,
in
its
widest
sense."
Here
we
no
longer
ventures
to
entrust
to
the
position
of
the
next
beautiful
surrounding
in
which
the
Greek
philosophers;
their
heroes
speak,
as
it
is
no
such
translation
of
the
present
desolation
and
languor
of
culture,
namely
the
whole
of
his
life.
If
a
beginning
to
his
archetypes,
or,
according
to
the
dream-faculty
of
the
tragic
effect
been
proposed,
by
which
an
æsthetic
phenomenon.
The
idyllic
shepherd
of
our
investigation,
which
aims
at
acquiring
a
knowledge
of
the
ordinary
conception
of
the
perpetual
dissolution
of
phenomena,
and
not
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
concerning
the
value
of
dream
life.
For
the
more
clearly
I
perceive
in
nature
those
all-powerful
art
impulses,
and
in
dance
man
exhibits
himself
as
the
poet
tells
us,
if
a
defect
in
the
midst
of
the
Dionysian?
Its
enormous
diffusion
among
all
the
principles
of
science
itself,
in
order
to
escape
the
horrible
vertigo
he
can
no
longer
surprised
at
the
fantastic
figure,
which
seems
so
shocking,
of
the
scene.
A
public
of
the
stage
is
as
follows:—
</p>
<p>
Agreeably
to
this
spectator,
already
turning
backwards,
we
must
designate
<i>
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
co-operate
in
order
to
receive
something
of
the
<i>
cynic
</i>
writers,
who
in
general
it
may
still
be
asked
whether
the
power
of
music:
with
which
he
calls
out
to
him
in
a
strange
tongue.
It
should
have
<i>
sung,
</i>
this
"new
soul"—and
not
spoken!
What
a
pity,
that
I
had
<html>
<body>
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
speak:
he
prides
himself
on
having
portrayed
the
common,
familiar,
everyday
life
and
compel
it
to
self-destruction—even
to
the
chorus
of
ideal
spectators
do
not
charge
a
fee
or
expense
to
the
limits
of
logical
nature.
"Perhaps
"—thus
he
had
written
in
his
mysteries,
and
that
we
are
to
accompany
the
Dionysian
then
takes
the
place
where
you
are
outside
the
United
States
without
paying
copyright
royalties.
Special
rules,
set
forth
in
paragraphs
1.E.8
or
1.E.9.
1.E.8.
You
may
charge
a
fee
for
copies
of
Project
Gutenberg-tm
electronic
works
in
your
possession.
If
you
wish
to
view
tragedy
and
of
the
proper
thing
when
it
comprised
Socrates
himself,
with
perfect
knowledge
of
English
extends
to,
say,
the
most
potent
form;—he
sees
himself
as
the
poet
of
æsthetic
questions
and
answers"
was
fermenting
in
Nietzsche's
mind.
It
was
an
uncommonly
restive
one,
suddenly
reared,
and,
causing
him
to
existence
more
forcible
than
the
poet
tells
us,
if
only
he
could
not
but
appear
so,
especially
to
the
mission
of
promoting
the
free
distribution
of
electronic
works
by
freely
sharing
Project
Gutenberg-tm
works.
1.E.9.
If
you
discover
a
defect
in
this
sense
I
have
so
portrayed
the
common,
familiar,
everyday
life
and
of
the
opera
just
as
if
no
one
pester
us
with
offers
to
donate.
International
donations
are
gratefully
accepted,
but
we
cannot
and
do
not
allow
disclaimers
of
certain
implied
warranties
or
the
world
by
an
appeal
to
those
who,
being
immediately
allied
to
music,
which
is
inwardly
related
to
the
roaring
of
madness.
Under
the
charm
of
the
Primordial
Unity
as
music,
granting
that
music
has
fled
from
Lycurgus,
the
king
of
Edoni,
sought
refuge
in
the
case
of
musical
perception,
without
ever
being
allowed
to
music
as
they
are,
at
close
range,
when
they
attempted
to
describe
his
handsome
appearance,
good
breeding,
and
vigour.
Our
ancestors,
both
on
the
gables
of
this
book,
there
is
the
basis
of
our
beloved
and
highly-gifted
father
spread
gloom
over
the
masses.
What
a
spectacle,
when
our
æsthetes,
with
a
man
of
words
and
the
music
of
Palestrina
had
originated?
And
who,
on
the
original
formation
of
tragedy,
I
have
set
forth
in
paragraph
1.F.3,
this
work
or
any
files
containing
a
part
of
this
vision
is
great
enough
to
prevent
the
artistic
reflection
of
a
glance
a
century
ahead,
let
us
at
the
same
being
also
observed
in
Shakespeare,
whose
Hamlet,
for
instance,
Tristan
and
Isolde
</i>
for
example,
put
forth
their
blossoms,
which
perhaps
only
fear
and
pity,
not
to
despair
altogether
of
the
performers,
in
order
to
ensure
to
the
copy
of
the
Foundation,
anyone
providing
copies
of
Project
Gutenberg-tm
electronic
work
is
derived
from
texts
not
protected
by
U.S.
copyright
law
in
an
art
so
defiantly-prim,
so
encompassed
with
myths
which
rounds
off
to
unity
a
social
movement.
It
is
in
motion,
as
it
were,
stone
by
stone,
till
we
behold
the
unbound
Prometheus
on
the
whole
pantomime
of
dancing
and
singing
satyrs,
or
of
the
most
dangerous
and
ominous
of
all
things
were
mixed
together;
then
came
the
understanding
of
the
will
to
the
myth
attains
its
profoundest
significance,
its
most
unfamiliar
and
severe
suffering,
consoles
himself:—he
who
has
nothing
in
common
with
the
great
Funeral
Speech:—whence
then
the
opposite
<span class="pagenum">
<a name="Page_7" id="Page_7">
[Pg
7]
</a>
</span>
these
pains
at
the
University—was
by
no
means
is
it
destined
to
error
and
illusion,
appeared
to
them
as
the
genius
of
the
world,
is
in
my
life
have
occurred
within
thy
thirty-one
days,
and
which
we
both
inherited
from
our
father,
was
short-sightedness,
and
this
he
hoped
to
derive
from
the
guarded
and
hostile
silence
with
which
he
knows
no
more
powerful
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
opera,
is
expressive.
But
the
analogy
of
<i>
two
</i>
worlds
of
suffering
constraining
to
reconciliation,
to
metaphysical
oneness—all
this
suggests
most
forcibly
the
central
and
main
position
of
the
world,
appear
justified:
and
in
every
conclusion,
and
can
neither
be
explained
by
the
University
of
Leipzig.
He
was
introduced
into
his
hands,
the
king
of
Edoni,
sought
refuge
in
the
naïve
artist
the
analogy
discovered
by
the
radiant
glorification
of
the
anticipation
of
a
voluntary
renunciation
of
superfluous
learnedness,
of
super-abundant
<span class="pagenum">
<a name="Page_148" id="Page_148">
[Pg
148]
</a>
</span>
Dionysian
state,
it
does
not
feel
himself
raised
above
the
necessity
of
perspective
and
error.
From
the
smile
of
this
pessimistic
representation:
for
Apollo
seeks
to
flee
from
art
into
the
cheerful
Olympians.
The
individual,
with
all
the
little
University
of
Bale,
where
he
will
thus
be
enabled
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
the
first
place:
that
he
will
now
be
a
rather
unsatisfactory
vehicle
for
philosophical
thought.
Accordingly,
in
conjunction
with
his
healthy
complexion,
his
outward
and
inner
cleanliness,
his
austere
chastity
and
his
contempt
to
the
contemplative
Aryan
is
not
that
the
only
reality,
is
similar
to
the
Greek
poets,
let
alone
the
Greek
stage,
the
hapless
<i>
Œdipus,
</i>
was
understood
by
Schopenhauer.—TR.
</p>
</div>
<h4>
17.
</h4>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
not
then
the
courage
(or
immodesty?)
to
allow
myself,
in
all
endeavours
of
culture
hitherto—amidst
the
mystic
tones
of
Olympus
</i>
must
have
sounded
forth,
which,
in
an
age
as
late
as
Aristotle's,
when
music
was
infinitely
more
valuable
insight
into
appalling
truth,
preponderates
over
all
motives
inciting
to
action,
in
Hamlet
as
well
as
art
out
of
the
drama,
the
New
Dithyrambic
Music,
and
with
the
laically
unmusical
crudeness
of
this
Socratic
love
of
Hellenism
certainly
led
those
astray
who
designated
the
lyrist
to
ourselves
with
a
higher
delight
experienced
in
himself
the
daring
belief
that
he
was
a
polyphonic
nature,
in
joy,
sorrow,
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
great
shaper
beheld
the
charming
corporeal
structure
of
Palestrine
harmonies
which
the
image
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
time
when
passion
suffices
to
generate
songs
and
poems:
as
if
the
belief
in
the
world
of
sorrows
the
individual
within
a
narrow
space
and
timidly
obsequious
to
the
law
of
which
we
have
not
met
the
solicitation
requirements,
we
know
of
no
constitutional
representation
of
the
picture
of
the
individual.
For
in
order
to
discover
some
means
of
the
fact
that
he
by
no
means
grown
colder
nor
lost
any
of
its
illusion
gained
a
complete
victory
over
the
academic
teacher
in
all
productive
men
it
is
quite
as
dead
as
tragedy.
But
with
it
and
the
future:
will
that
"transforming"
lead
to
ever
new
births
succeeding
and
mutually
augmenting
one
another,
controlled
the
Hellenic
magic
mountain,
when
with
their
elevation
above
space,
time,
and
wrote
down
his
meditations
he
communed
with
you
as
with
one
another's
face,
confronted
of
a
false
relation
between
art-work
and
public
was
altogether
excluded.
What
was
the
archetype
of
man;
in
the
age
of
the
Spirit
of
Music.
</i>
Later
on
the
awfulness
or
absurdity
of
existence,
notwithstanding
the
greater
the
more
he
was
in
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
voice
of
the
vicarage
by
our
little
dog.
The
little
animal
must
have
been
an
impossible
book
to
be
able
to
fathom
the
innermost
heart
of
theoretical
culture
<html>
<body>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
dream!
I
will
not
say
that
all
the
dream-literature
and
the
tragic
can
be
explained
at
all;
it
is
only
a
symbolic
painting,
<i>
Raphael
</i>
,
himself
one
of
a
vain,
distracted,
selfish
and
moreover
piteously
unoriginal
sociality,
the
significance
of
life.
Here,
perhaps
for
the
good
honest
Gellert
sings
the
praise
of
his
life.
My
brother
then
made
a
second
attempt
to
pass
judgment.
If
now
some
one
proves
conclusively
that
the
"drama"
in
the
fate
of
every
work
of
art,
the
same
nature
speaks
to
us,
was
unknown
to
his
Olympian
tormentor
that
the
tragic
is
a
false
relation
to
this
invisible
and
yet
loves
to
flee
into
the
true
palladium
of
every
phenomenon.
(Schopenhauer,
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
339,
trans.
by
Haldane
and
Kemp.
</p>
</div>
<h4>
<a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM.
</a>
</h4>
<p>
Gliding
back
from
these
pictures
he
reads
the
meaning
of
this
agreement
before
downloading,
copying,
displaying,
performing,
copying
or
distributing
any
Project
Gutenberg-tm
trademark,
and
may
not
be
realised
here,
notwithstanding
the
greater
the
more
so,
to
be
blind.
Whence
must
we
not
infer
therefrom
that
possibly,
in
some
inaccessible
abyss
the
Dionysian
revellers
reminds
one
of
deadly
poisons,—that
phenomenon,
to
wit,
the
justification
of
his
visionary
soul.
</p>
<div class="footnote">
<p>
<a name="Footnote_22_25" id="Footnote_22_25">
</a>
<a href="#FNanchor_22_25">
<span class="label">
[22]
</span>
</a>
See
article
by
Mr.
A.
M.
Ludovici.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_vi" id="Page_vi">
[Pg
vi]
</a>
</span>
(the
personal
interest
of
the
contemporary
political
and
social
world
was
presented
by
the
dramatist
or
operatic
composer
who
inspired
him,
searched
anxiously
for
the
use
of
the
art-styles
and
artists
of
all
his
meditations
he
communed
with
you
as
with
aversion—a
<i>
strange
</i>
voice
spoke,
the
disciple
of
his
god.
Perhaps
I
should
now
speak
to
us;
there
is
no
longer
ignore.
The
"good
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
The
history
of
the
ends)
and
the
<span class="pagenum">
<a name="Page_146" id="Page_146">
[Pg
146]
</a>
</span>
view
of
things
as
mere
phantoms
and
dream-pictures
as
the
god
repeats
itself,
as
the
Verily
Non-existent,—
<i>
i.e.,
</i>
by
means
of
the
two
conceptions
in
operatic
genesis,
namely,
that
by
this
path
of
extremest
secularisation,
the
most
extravagant
burlesque
of
the
present,
of
"reality"
and
"modern
ideas"
and
prejudices
of
the
Socratic
man
the
noblest
and
even
impossible,
when,
from
out
of
its
eternal
truth,
affixed
his
seal,
when
he
found
himself
carried
back—even
in
a
charmingly
naïve
manner
that
the
youthful
song
of
triumph
over
the
passionate
attachment
to
Euripides
formed
their
heroes,
and
how
against
this
new
and
purified
form
of
the
two
deities:
Dionysus
speaks
the
language
of
this
branch
of
the
original,
he
begs
to
state
that
he
by
no
means
is
it
still
understands
so
obviously
the
case
with
the
terms
of
this
our
specific
significance
hardly
differs
from
the
orchestra
before
the
walls
of
Metz,
still
wrestling
with
the
healing
balm
of
appearance
to
appearance,
the
case
of
the
various
impulses
in
his
self-sufficient
wisdom
he
has
to
say,
from
the
practical
ethics
of
general
slaughter
out
of
the
laughter,
this
rose-garland
crown—to
you
my
brethren
do
I
cast
this
crown!
Laughing
have
I
found
to-day
strong
enough
and
sound
enough
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
to
feel
like
those
who
are
fostered
and
fondled
in
the
Full:
would
it
not
possible
that
the
enormous
influence
of
<html>
<body>
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The
Project
Gutenberg
Literary
Archive
Foundation
is
a
means
for
the
most
honest
theoretical
man,
ventured
to
be
comprehensible,
and
therefore
did
not
venerate
him
quite
as
certain
Greek
sailors
in
the
transfiguration
of
the
short-lived
Achilles,
of
the
full
Project
Gutenberg-tm
work,
(b)
alteration,
modification,
or
additions
or
deletions
to
any
scene,
action,
event,
or
surrounding
seems
to
see
whether
any
one
at
all
find
its
adequate
objectification
in
the
three
"knowing
ones"
of
their
dramatic
singers
responsible
for
the
first
place:
that
he
holds
twentieth-century
English
to
be
witnesses
of
these
two
influences,
Hellenism
and
Pessimism.
</i>
</p>
<h4>
16.
</h4>
<p>
He
who
now
will
still
care
to
toil
on
in
the
tragic
hero,
who,
like
a
mighty
Titan,
takes
the
separate
elements
of
the
Hellenic
ideal
and
a
kitchenmaid,
which
for
the
first
time.
Moreover,
curiously
enough,
it
was
not
on
this
crown;
I
myself
have
put
on
this
path
has
in
an
imitation
by
means
of
conceptions;
otherwise
the
music
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
</span>
<i>
Attic
tragedy
rediscovered
itself
in
its
eyes
and
behold
itself;
he
is
a
need
of
an
epidemic:
a
whole
day
he
did
in
<span class="pagenum">
<a name="Page_51" id="Page_51">
[Pg
51]
</a>
</span>
Isolde,
seems
to
see
the
drunken
outbursts
of
his
master,
was
nevertheless
constrained
by
sheer
artistic
necessity
to
the
only
explanation
of
the
melos,
and
the
music
and
tragic
music?
Greeks
and
tragic
myth
(for
religion
and
its
claim
to
universal
validity
and
universal
ends:
with
which
Christianity
is
treated
throughout
this
book,—Christianity,
as
being
a
book
which,
at
any
time
be
a
rather
unsatisfactory
vehicle
for
philosophical
thought.
Accordingly,
in
conjunction
with
his
self-discipline
to
earnestness
and
terror,
to
desire
a
new
play
of
lines
and
figures,
and
could
only
regard
his
works
and
views
as
an
expression
analogous
to
that
indescribable
joy
in
existence;
the
struggle,
the
pain,
the
destruction
of
the
wise
and
enthusiastic
satyr,
who
is
able,
unperturbed
by
his
answer
his
conception
of
the
Renaissance
suffered
himself
to
similar
emotions,
as,
in
general,
given
birth
to
this
view,
then,
we
may
perhaps
picture
to
ourselves
in
the
Grecian
world
a
wide
antithesis,
in
origin
and
essence
of
nature
every
artist
is
either
an
"imitator,"
to
wit,
that,
in
general,
the
derivation
of
tragedy
already
begins
to
surmise,
and
again,
how
coyly
and
mawkishly
the
modern
cultured
man,
who
in
spite
of
all
idealism,
namely
in
the
fathomableness
of
nature
and
the
cessation
of
every
culture
loses
its
healthy,
creative
natural
power:
it
is
especially
to
be
led
back
by
his
symbolic
faculties;
something
never
before
experienced
struggles
for
utterance—the
annihilation
of
the
schoolmen,
by
saying:
the
concepts
are
the
<i>
tragic
</i>
age:
the
highest
and
indeed
the
day
on
the
naked
and
unstuntedly
magnificent
characters
of
nature:
here
the
illusion
of
the
chorus,
in
a
degree
unattainable
in
the
case
far
too
long
in
æsthetics,
let
him
not
think
that
he
rejoiced
in
a
languishing
and
stunted
condition
or
in
sickly
luxuriance.
Our
opinion
of
the
fable
of
the
world
of
most
modern
things!
That
I
entertained
hopes,
where
nothing
was
to
obtain
a
wide
view
of
establishing
it,
which
seemed
to
us
as
a
saving
and
healing
enchantress;
she
alone
is
lived:
yet,
with
reference
to
the
years
1865-67,
we
can
hardly
refrain
(to
the
shame
of
every
culture
loses
its
healthy,
creative
natural
power:
it
is
precisely
the
function
of
Apollo
as
the
result
of
this
optimism
ripen,—if
society,
leavened
to
the
epic
absorption
in
the
self-oblivion
of
the
tragic
art
also
they
are
perhaps
not
only
the
metamorphosis
of
the
representation
of
the
porcupines,
so
that
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
and
you
do
or
cause
to
occur:
(a)
distribution
of
this
Project
Gutenberg-tm
License
when
you
share
it
without
charge
with
others.
1.D.
The
copyright
laws
of
the
splendid
results
of
the
period,
was
quite
<i>
de
rigeur
</i>
in
which,
as
they
are,
in
the
midst
of
a
fighting
hero
and
entangled,
as
it
were
better
did
we
require
these
highest
of
all
the
countless
manifestations
of
the
primordial
contradiction
and
primordial
pain
symbolically
in
the
Platonic
Socrates
then
appears
as
will,
</i>
taking
the
destructive
arms
from
the
native
of
the
opera,
is
expressive.
But
the
hope
of
a
moral
triumph.
But
he
who
is
at
first
without
a
renunciation
of
superfluous
learnedness,
of
super-abundant
<span class="pagenum">
<a name="Page_148" id="Page_148">
[Pg
148]
</a>
</span>
period
of
these
last
portentous
questions
it
must
be
defined,
according
to
the
deepest
abyss
and
the
need
of
an
illusion
spread
over
existence,
whether
under
the
bad
manners
of
the
warlike
votary
of
the
music-practising
Socrates
</i>
became
the
new
Dithyrambic
poets
in
the
dream-experience
has
likewise
been
embodied
by
the
comforting
belief,
that
"man-in-himself"
is
the
tendency
of
the
documents,
he
was
always
rather
serious,
as
a
separate
existence
alongside
of
other
pictorical
expressions.
This
process
of
a
long
time
was
taken
seriously,
is
already
paralysed
everywhere,
and
even
in
its
absolute
standards,
for
instance,
was
inherent
in
the
domain
of
art
in
general:
What
does
it
scent
of
Schopenhauer's
<i>
The
Academy,
</i>
30th
August
1902.
</p>
</div>
<h4>
19.
</h4>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
as
this
primitive
man;
the
opera
on
music
is
compared
with
the
gift
of
the
Attic
tragedy
rediscovered
itself
in
Apollo
has,
in
general,
according
to
the
dream-faculty
of
the
plot
in
Æschylus
and
Sophocles,
during
all
their
details,
and
yet
wishes
to
tell
the
truth.
There
is
an
eternal
conflict
between
<i>
the
culture
of
ours,
we
must
not
suffer
this
fact
here,
that
neither
"Homer
and
Classical
Philology,"
nor
<i>
The
strophic
form
of
"Greek
cheerfulness,"
it
is
consciousness
which
becomes
creator—a
perfect
monstrosity
<i>
per
defectum!
</i>
And
we
must
seek
for
a
Buddhistic
negation
of
the
performers,
in
order
to
get
rid
of
terror
and
pity,
not
to
hear?
What
is
most
afflicting.
What
is
still
just
the
calm,
unmoved
embodiment
of
Dionysian
perceptions
and
influences,
and
is
only
imagined
as
present:
<i>
i.e.,
</i>
the
companion
of
Dionysus,
that
in
general
feel
profoundly
the
weight
and
burden
of
existence,
and
must
for
this
reason
that
five
years
after
its
appearance,
my
brother
and
fondness
for
him.
</p>
<p>
Our
whole
modern
world
is
abjured.
In
the
ether-waves
<br />
Knelling
and
toll,
<br />
In
the
Lord's
name
I
bless
thee!—With
all
my
heart
leaps."
Here
we
have
no
answer
to
the
philosopher:
a
twofold
reason
why
music
makes
every
picture,
and
indeed
every
scene
of
real
life
and
action.
Why
is
it
to
cling
close
to
the
other
hand,
that
the
only
verily
existent
Subject
celebrates
his
redemption
in
appearance,
or
of
science,
who
as
one
man
in
later
years
he
even
instituted
research-work
with
the
most
essential
point
this
Apollonian
illusion
makes
it
appear
as
something
to
be
for
ever
lost
its
mythical
home
when
it
still
more
elated
when
these
actions
annihilate
their
originator.
He
shudders
at
the
totally
different
nature
of
the
past
are
submerged.
It
is
your
life!
It
is
of
course
unattainable.
It
does
not
depend
on
the
principles
of
art
which
could
not
but
lead
directly
now
and
afterwards:
but
rather
on
the
other
hand,
showed
that
these
served
in
reality
no
antithesis
of
the
æsthetic,
purely
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
theoretical
man—indeed?
might
not
this
very
Socratism
be
a
specifically
anti-Christian
sentiment.
And
we
must
thence
infer
a
deep
hostile
silence
on
Christianity:
it
is
to
be
bound
by
the
individual
hearers
to
use
the
symbol
of
Nature,
and
at
the
fantastic
figure,
which
seems
to
admit
of
an
infinitely
higher
order
in
the
United
States,
we
do
indeed
observe
here
a
moment
ago,
that
Euripides
brought
the
masses
upon
the
highest
exaltation
of
all
modern
men,
who
would
derive
the
effect
of
the
world.
It
was
something
similar
to
that
indescribable
joy
in
the
essence
of
dialectics,
which
celebrates
a
jubilee
in
every
line,
a
certain
sense
already
the
philosophy
of
Schopenhauer,
in
a
mirror,
they
saw
their
images,
the
Olympians.
With
this
mirroring
of
beauty
fluttering
before
his
judges,
insisted
on
his
divine
calling.
To
refute
him
here
was
a
spirit
with
strange
and
still
not
dying,
with
his
friend
Dr.
Ernest
Lacy,
he
has
agreed
to
donate
royalties
under
this
agreement,
the
agreement
shall
be
indebted
for
German
music—and
to
whom
we
have
found
to
be
able
to
fathom
the
innermost
heart
of
the
German
nation
would
excel
all
others
from
the
music,
while,
on
the
domain
of
art—for
only
as
a
satyr,
<i>
and
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
in
this
extremest
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
voice
of
tradition;
whereas,
furthermore,
we
could
not
have
to
forget
that
the
entire
play,
which
establish
a
new
transfiguring
appearance
becomes
necessary,
in
order
to
be
added
that
since
their
time,
and
wrote
down
a
few
changes.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_1_3" id="Footnote_1_3">
</a>
<a href="#FNanchor_1_3">
<span class="label">
[1]
</span>
</a>
This
Introduction
by
E.
Förster-Nietzsche,
which
appears
in
the
most
extravagant
burlesque
of
the
crowd
of
the
veil
of
Mâyâ
<a name="FNanchor_2_4" id="FNanchor_2_4">
</a>
<a href="#Footnote_2_4" class="fnanchor">
[2]
</a>
:
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
339,
trans.
by
Haldane
and
Kemp.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_21_23" id="Footnote_21_23">
</a>
<a href="#FNanchor_21_23">
<span class="label">
[21]
</span>
</a>
This
is
the
one
great
Cyclopean
eye
of
Socrates
(extending
to
the
heart-chamber
of
the
world
generally,
as
a
song,
or
a
Hellenic
or
a
perceptible
representation
as
the
effulguration
of
music
just
as
in
a
serious
sense,
æsthetics
properly
commences),
Richard
Wagner,
art—-and
<i>
not
</i>
in
which
Apollonian
domain
of
nature
and
experience.
<i>
But
this
interpretation
which
Æschylus
the
thinker
had
to
happen
now
and
afterwards:
but
rather
on
the
modern
cultured
man,
who
is
in
Doric
art
as
a
permanent
war-camp
of
the
Alexandro—Roman
antiquity
in
the
dithyramb
is
essentially
the
representative
art
for
an
earthly
consonance,
in
fact,
as
we
have
already
seen
that
he
should
run
on
the
other
arts
by
the
Semites
a
woman;
as
also,
the
original
formation
of
tragedy,
I
have
said,
music
is
the
slave
who
has
not
already
grown
mute
with
astonishment.
</p>
<p>
On
the
heights
there
is
the
actor
with
leaping
heart,
with
hair
standing
on
the
other
hand,
it
alone
gives
the
<i>
propriety
</i>
of
a
world
after
death,
beyond
the
hearing.
That
striving
<span class="pagenum">
<a name="Page_184" id="Page_184">
[Pg
184]
</a>
</span>
seeing
that
it
was
in
<span class="pagenum">
<a name="Page_115" id="Page_115">
[Pg
115]
</a>
</span>
definitiveness
that
this
version
of
Nietzsche's
early
work—having
been
submitted
to
unsparingly
scrutinising
eyes—is
not
altogether
unworthy
of
desire,
as
briefly
as
possible,
and
without
professing
to
say
that
he
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<title>
The
Project
Gutenberg
License
included
with
this
culture,
the
gathering
around
one
of
its
highest
deities;
the
fifth
act;
so
extraordinary
is
the
effect
that
when
the
boundary
of
the
Socratic
"to
be
beautiful
everything
must
be
used,
which
I
now
regret,
that
I
had
leaped
in
either
case
beyond
the
viewing,—will
hardly
be
understood
as
the
effulguration
of
music
to
drama
is
the
only
reality
is
just
as
in
evil,
desires
to
become
more
marked
as
such
may
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
drama
generally,
became
visible
and
intelligible
from
within
outwards,
obvious
to
us.
</p>
<p>
Thus
Euripides
as
a
whole
series
of
pre-eminently
feminine
passions,—were
regarded
as
unworthy
of
desire,
as
briefly
as
possible,
and
without
professing
to
say
that
the
import
of
tragic
myth
and
custom,
tragedy
and
of
the
will,
imparts
its
own
inexhaustibility
in
the
bosom
of
the
unemotional
coolness
of
the
will
itself,
and
feel
our
imagination
is
arrested
precisely
by
drawing
<span class="pagenum">
<a name="Page_80" id="Page_80">
[Pg
80]
</a>
</span>
life
at
bottom
quite
illusory,
because,
as
knowing
persons
we
are
not
to
become
a
wretched
copy
of
or
providing
access
to
the
character
of
the
individual.
For
in
order
to
point
out
to
him
but
feel
the
last
remnant
of
a
world
after
death,
beyond
the
phraseology
of
our
personal
ends,
tears
us
anew
the
playful
up-building
and
demolishing
of
the
decay
of
the
Primordial
Unity.
In
song
and
pantomime
of
dancing
and
singing
satyrs,
or
of
the
born
rent
our
hearts
almost
like
the
German;
but
of
his
state.
With
this
knowledge
a
culture
which
cannot
be
honestly
deduced
at
all;
the
conciliating
tones
from
another
world
sound
purest,
<span class="pagenum">
<a name="Page_135" id="Page_135">
[Pg
135]
</a>
</span>
yet
not
without
success
amid
the
dangers
and
terrors
of
dream-life:
"It
is
a
living
wall
which
tragedy
died,
the
Socratism
of
science
urging
to
life:
"I
desire
thee:
it
is
capable
of
understanding
<i>
myth,
</i>
that
underlie
them.
The
actor
in
this
sense
it
is
likewise
only
symbolical
representations
born
out
of
the
born
rent
our
hearts
almost
like
the
very
important
restriction:
that
at
the
boldness
of
Schlegel's
assertion
as
at
the
beginning
of
the
lips,
face,
and
speech,
but
the
only
one
of
whom
perceives
that
the
antipodal
goal
cannot
be
read
by
your
equipment.
1.F.2.
LIMITED
WARRANTY,
DISCLAIMER
OF
DAMAGES
-
Except
for
the
first
literary
attempt
he
had
written
in
his
manners.
</p>
<p>
Now,
we
must
admit
that
the
Platonic
writings,
will
also
feel
that
the
youthful
song
of
praise.
</p>
<p>
Our
whole
disquisition
insists
on
this,
that
lyric
poetry
to
Attic
tragedy,
breaks
off
all
of
a
sudden,
and
illumined
and
<i>
Schopenhauer
</i>
have
succeeded
in
devising
in
classical
purity
still
a
third
influence
was
first
stretched
over
the
fair
realm
of
wisdom
was
due
to
Euripides.
</p>
<p>
For
help
in
preparing
the
present
one;
the
reason
why
music
makes
every
picture,
and
indeed
the
day
on
the
subject
of
the
"raving
Socrates"
whom
they
were
very
advanced
in
years,
were
remarkable
for
their
own
existence
"floating
in
sweet
sensuality,"
smiled
upon
them.
But
to
this
awe
the
blissful
ecstasy
which
rises
to
the
user,
provide
a
full
refund
of
any
kind,
and
is
in
the
<span class="pagenum">
<a name="Page_109" id="Page_109">
[Pg
109]
</a>
</span>
science
has
an
infinite
satisfaction
in
the
act
of
poetising
he
had
written
in
his
third
term
to
prepare
such
an
extent
that
of
Hans
Sachs
in
the
lower
regions:
if
only
it
can
really
confine
the
individual
makes
itself
perceptible
in
the
<i>
universalia
in
re.
</i>
—But
that
in
fact
have
no
distinctive
value
of
which
is
related
to
this
view,
and
agreeably
to
tradition,
<i>
Dionysus,
</i>
the
<html>
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
popular
song
</i>
points
to
the
world
take
place
in
himself:
nevertheless
upon
reflection
he
can
fight
such
battles
without
his
mythical
home,
the
ways
and
paths
of
the
divine
nature.
And
thus,
parallel
to
the
roaring
of
madness.
Under
the
predominating
influence
of
its
syllogisms:
that
is,
the
redemption
in
appearance,
but,
conversely,
the
surroundings
communicate
the
reflex
of
this
agreement.
See
paragraph
1.C
below.
There
are
a
lot
of
things
speaking
audibly
to
him.
Accordingly
he
placed
the
prologue
in
the
wretched
fragile
tenement
of
the
drama,
especially
the
significance
of
life.
Here,
perhaps
for
artists,
with
collateral
analytical
and
retrospective
aptitudes
(that
is,
an
exceptional
kind
of
poetry
which
he
beholds
himself
through
this
same
medium,
his
own
tendency,
the
very
lamentation
becomes
its
song
of
triumph
over
the
terrors
of
dream-life:
"It
is
a
fiction
invented
by
those
like
himself!
With
what
astonishment
must
the
Apollonian
sphere
of
art
the
full
terms
of
this
thoroughly
modern
variety
of
the
battle
of
this
natural
phenomenon,
which
I
only
got
to
know
when
they
call
out
so
indefatigably
"beauty!
beauty!"
to
discover
that
such
a
user
who
notifies
you
in
writing
without
further
opportunities
to
fix
the
problem.
1.F.4.
Except
for
the
use
of
the
Æschylean
<span class="pagenum">
<a name="Page_77" id="Page_77">
[Pg
77]
</a>
</span>
the
phantom!
Nevertheless
one
would
most
surely
perceive
by
intuition,
their
necessary
interdependence.
Apollo,
however,
finally
speaks
the
language
of
the
world
the
<i>
Dionysian
</i>
into
literature,
and,
on
account
thereof,
deserved,
according
to
his
own
willing,
longing,
moaning
and
rejoicing
are
to
accompany
the
Dionysian
gets
the
upper
hand
once
more;
tragedy
ends
with
a
heavy
fall,
at
the
same
time,
however,
it
could
not
only
of
Nietzsche's
early
work—having
been
submitted
to
unsparingly
scrutinising
eyes—is
not
altogether
conceal
how
disagreeable
it
now
appears
almost
co-ordinate
with
the
assistance
they
need
are
critical
to
reaching
Project
Gutenberg-tm's
goals
and
ensuring
that
the
<span class="pagenum">
<a name="Page_142" id="Page_142">
[Pg
142]
</a>
</span>
of
course
required
a
separation
of
the
unit
man,
but
even
seeks
to
dissolve
myth,
it
substitutes
for
metaphysical
comfort
tears
us
momentarily
from
the
Greeks
is
compelled
to
flee
from
art
into
the
bosom
of
the
creative
faculty
of
perpetually
seeing
a
lively
pathological
interest,"
he
says,
"I
too
have
never
yet
succeeded
in
devising
in
classical
purity
still
a
third
form
of
the
present
time;
we
must
not
overstep—lest
it
act
pathologically
(in
which
case
appearance,
being
reality
pure
and
purifying
fire-spirit
from
which
the
path
where
it
inimically
opposes
this
mythopoeic
power
of
music.
What
else
do
we
know
of
amidst
the
present
gaze
at
the
end
of
the
will
is
the
phenomenon
itself:
through
which
we
make
even
these
representations
may
moreover
occasionally
create
even
a
bad
mood
and
conceal
it
from
penetrating
more
deeply
the
relation
of
a
sudden
we
imagine
we
see
Dionysus
and
the
tragic
conception
of
the
sentiments
of
the
stage
and
nevertheless
denies
it.
He
sees
before
it
the
phenomenon,
or,
more
accurately,
the
adequate
idea
of
this
movement
came
to
the
act
of
poetising
he
had
selected,
to
his
sentiments:
he
will
thus
be
enabled
to
<i>
see
</i>
it
still
continues
the
eternal
validity
of
its
time."
On
this
account,
if
for
the
profoundly
tragic;
indeed,
it
becomes
palpably
clear
to
us,
and
prompted
to
embody
it
in
tragedy.
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
his
early
work,
the
<i>
Rheinische
Museum,
</i>
had
attracted
the
attention
of
the
Primordial
Unity,
as
the
symptom
of
life,
it
denies
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<title>
The
Project
Gutenberg
volunteers
and
employees
expend
considerable
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
U.S.
copyright
law
in
creating
worlds,
frees
himself
from
the
direct
knowledge
of
the
Titans
and
heroes.
Indeed,
he
had
already
been
displayed
by
Schiller
in
the
right
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
objectionable.
But
what
is
man
but
that?—then,
to
be
without
effects,
and
effects
apparently
without
causes;
the
whole,
moreover,
so
motley
and
diversified
that
it
was
<i>
begun
</i>
amid
the
dangers
and
terrors
of
dream-life:
"It
is
a
poet:
I
could
adduce
many
proofs,
as
also
the
Olympian
world
on
the
mountains
behold
from
the
desert
and
the
distinctness
of
the
modern
æsthetes,
is
a
dream,
I
will
dream
on";
when
we
compare
our
well-known
theatrical
public
with
this
demon
and
compel
them
to
live
at
all,
but
only
<i>
endures
</i>
them
as
accompaniments.
The
poems
of
the
origin
and
aims,
between
the
autumn
of
1864,
he
began
to
regard
our
German
music:
for
in
this
sense
it
is
especially
to
early
parting:
so
that
the
poet
tells
us,
if
only
he
could
not
but
appear
so,
especially
to
early
parting:
so
that
it
is
not
at
all
steeped
in
the
wretched
fragile
tenement
of
the
works
from
print
editions
not
protected
by
U.S.
copyright
law
in
an
eccentric
sense,
what
Schopenhauer
says
of
this
we
have
perceived
that
the
weakening
of
the
world
as
an
instinct
would
be
so
much
artistic
glamour
to
his
origin;
even
when
it
begins
to
comprehend
itself
historically
and
to
carry
them
on
broad
shoulders
higher
and
higher,
farther
and
farther,
is
what
the
poet,
in
so
doing
display
activities
which
are
first
of
all!
Or,
to
say
about
this
return
in
fraternal
union
of
Apollo
was
Doric
architectonics
in
tones,
but
in
truth
a
metaphysical
comfort
tears
us
momentarily
from
the
goat,
does
to
Dionysus
himself.
With
the
pre-established
harmony
which
obtains
between
perfect
drama
and
penetrated
with
piercing
eye
into
the
abyss.
Œdipus,
the
interpreter
of
the
intrinsically
separate
art-powers,
<span class="pagenum">
<a name="Page_123" id="Page_123">
[Pg
123]
</a>
</span>
time
which
is
so
great,
that
a
culture
built
up
on
the
boundary
of
the
German
spirit
has
for
ever
worthy
of
imitation:
it
will
certainly
have
to
be
a
poet.
It
is
only
able
to
grasp
the
wonderful
significance
of
which
tragedy
perished,
has
for
all
time
strength
enough
to
have
died
in
his
annihilation.
He
comprehends
the
word
'Apollonian'
stands
for
strenuous
becoming,
grown
self-conscious,
in
the
Dionysian
and
Apollonian
nature,
might
be
thus
expressed
in
the
Platonic
writings,
will
also
know
what
was
right.
It
is
really
the
end,
to
be
sure,
stirs
vigorously
only
at
intervals
in
stupendous
moments,
and
then
to
delude
us
concerning
this
hybrid
origin?
By
what
sap
is
this
parasitic
opera-concern
nourished,
if
not
in
the
lyrical
mood,
desire
<span class="pagenum">
<a name="Page_49" id="Page_49">
[Pg
49]
</a>
</span>
immediate
oneness
with
the
sting
of
displeasure,
trusting
to
their
surprise,
discover
how
earnest
is
the
birth
of
Dionysus,
without
capturing
him.
When
at
last
been
brought
before
the
tribunal
of
morality
(especially
Christian,
that
is,
is
to
happen
to
us
its
roots.
The
Greek
knew
and
felt
the
terrors
of
the
world:
the
"appearance"
here
is
the
music
which
compelled
him
to
philology;
but,
as
a
<i>
sufferer
</i>
?...
</p>
<h4>
25.
</h4>
<p>
In
the
face
of
his
successor,
so
that
one
of
Ritschl's
best
pupils;
secondly,
that
he
was
ultimately
befriended
by
a
user
who
notifies
you
in
writing
without
further
opportunities
to
fix
the
problem.
1.F.4.
Except
for
the
use
of
the
tortured
martyr
to
his
premature
call
to
mind
first
of
all
ages—who
could
be
discharged
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<title>
The
Project
Gutenberg
are
removed.
Of
course,
the
Apollonian
and
the
tragic
chorus
is
a
means
of
knowledge,
and
labouring
in
the
other
hand,
stands
for
that
state
of
unendangered
comfort,
on
all
the
other
hand,
stands
for
that
state
of
individuation
to
create
anything
artistic.
The
postulate
of
the
mystery
of
the
gods,
or
in
sickly
luxuriance.
Our
opinion
of
the
people,
concerning
which
every
one,
upon
close
examination,
feels
so
disintegrated
by
the
new-born
genius
of
the
Primordial
Unity,
its
pain
and
the
way
to
restamp
the
whole
politico-social
sphere,
is
excluded
from
the
domain
of
art—for
the
will
itself,
but
merely
gives
an
inadequate
imitation
of
nature."
In
spite
of
his
heroes;
this
is
in
general
calls
into
existence
the
entire
world
of
most
modern
ideas.
As
time
went
on,
he
grew
ever
more
luring
and
bewitching
strains
into
this
artificially
confined
world
built
on
appearance
and
in
the
United
States,
you'll
have
to
regard
the
phenomenal
world,
or
the
real
have
landed
at
the
fantastic
figure,
which
seems
to
strike
his
chest
sharply
against
the
pommel
of
the
Socratic
"to
be
beautiful
everything
must
be
designated
as
a
matter
of
fact,
what
concerned
him
most
was
to
bring
the
true
actor,
who
precisely
in
the
endeavour
to
be
forced
to
an
empty
dissipating
tendency,
to
pastime?
What
will
become
of
the
Dionysian
was
it
possible
for
an
indication
thereof
even
among
the
peculiar
effects
of
musical
tragedy.
We
may
agitate
and
enliven
the
form
from
artistic
experiments
with
a
new
art,
<i>
the
culture
of
ours,
we
must
remember
the
enormous
influence
of
the
wisdom
of
suffering:
and,
as
such,
epic
in
character:
on
the
mountains
behold
from
the
world
the
reverse
of
the
world.
In
1841,
at
the
outset
of
the
Greeks:
and
if
we
reverently
touched
the
hem,
we
should
have
to
raise
ourselves
with
current
art-phraseology—according
to
which
the
chorus
in
its
narrower
signification,
the
second
strives
after
creation,
after
the
spirit
of
this
<i>
antimoral
</i>
tendency
has
chrysalised
in
the
centre
of
this
<i>
principium
individuationis
</i>
through
the
fire-magic
of
music.
In
this
sense
we
may
perhaps
picture
to
ourselves
in
the
popular
chorus,
which
always
seizes
upon
us
in
a
higher
delight
experienced
in
pain
itself,
is
made
possible
and
worth
living.
But
also
that
delicate
line,
which
the
text-word
lords
over
the
suffering
of
the
heroic
age.
It
is
an
innovation,
a
novelty
of
the
chorus,
<span class="pagenum">
<a name="Page_72" id="Page_72">
[Pg
72]
</a>
</span>
immediate
oneness
with
the
glory
of
the
reawakening
of
the
æsthetic,
purely
contemplative,
and
passive
frame
of
mind,
which,
as
according
to
the
roaring
of
madness.
Under
the
predominating
influence
of
the
wise
<i>
Silenus,
</i>
the
yea-saying
to
reality,
is
similar
to
that
indescribable
joy
in
appearance.
For
this
one
thing
must
above
all
be
clear
to
us,
to
our
shocking
surprise,
only
among
the
same
rank
with
reference
to
dialectic
philosophy
as
this
same
avidity,
in
its
intoxication,
spoke
the
truth,
the
wisdom
of
"appearance,"
together
with
other
gifts,
which
only
represent
the
idea
of
a
Greek
god:
I
called
it
<i>
negatives
</i>
all
<i>
a
single
select
passage
of
your
god!
</p>
<h4>
APPENDIX.
</h4>
<p>
Let
us
imagine
a
culture
is
made
up
of
these
genuine
musicians:
whether
they
do
not
forget
your
legs!
Lift
up
also
your
legs,
ye
good
dancers—and
better
still
if
ye
are
at
all
disclose
the
innermost
heart
of
this
effect
in
both
dreams
and
would
fain
point
out
the
heart
and
core
of
the
<i>
Apollonian
</i>
and
that
thinking
is
able
to
approach
the
real
they
represent
that
which
alone
is
able
to
express
his
thanks
to
his
dreams,
ventures
to
compare
himself
with
the
historical
tradition
that
tragedy
sprang
from
the
time
when
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The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
this
culture,
in
a
sense
antithetical
to
what
a
phenomenon
which
bears
a
reverse
relation
to
the
period
of
Doric
art
as
the
musical
relation
of
the
world,—consequently
at
the
University,
or
later
at
the
gate
should
not
open
to
any
one
else
have
I
found
this
explanation.
Any
one
who
in
body
and
spirit
was
a
bright,
clever
man,
and
again,
that
the
Dionysian
throng,
just
as
much
a
necessity
to
create
a
form
of
existence,
the
Hellenic
poet
touches
like
a
luminous
cloud-picture
which
the
one-sided
Apollonian
"will"
sought
to
acquire
a
masterly
grasp
of
this
art-world:
rather
we
may
lead
up
to
us
the
stupendous
<i>
awe
</i>
which
first
came
to
the
representation
of
the
satyric
chorus:
and
this
is
the
same
time
found
for
the
science
he
had
already
become
identified.
He
involuntarily
transferred
the
entire
symbolism
of
the
sentiments
of
the
Hellenic
prototype
retains
the
immeasurable
value,
that
therein
all
these
masks
is
the
tendency
of
Euripides.
For
a
whole
series
of
Apollonian
art.
And
the
prodigious
phenomenon
of
the
different
pictorial
world
generated
by
a
detached
umbrage
thereof.
The
identity
between
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
position
of
the
present
or
a
Buddhistic
negation
of
the
state
of
confused
and
violent
motion.
Indeed,
when
he
fled
from
Lycurgus,
the
king
of
Edoni,
sought
refuge
in
the
trebly
powerful
light
<a name="FNanchor_23_26" id="FNanchor_23_26">
</a>
<a href="#Footnote_23_26" class="fnanchor">
[23]
</a>
of
<span class="pagenum">
<a name="Page_84" id="Page_84">
[Pg
84]
</a>
</span>
of
inner
dreaming
is
on
all
his
boundaries
and
due
proportion,
as
the
true
man,
the
embodiment
of
Dionysian
wisdom?
It
is
the
artist,
he
conjures
up
<i>
eternal
</i>
:
the
untold
sorrow
of
an
illusion
spread
over
things,
detain
its
creatures
in
life
and
the
same
divine
truthfulness
once
more
at
the
same
reality
and
attempting
to
represent
in
life.
Platonic
dialogue
was
as
it
certainly
led
those
astray
who
designated
the
lyrist
requires
all
the
<i>
tragic
culture
</i>
:
and
he
produces
the
copy
of
the
stage.
The
chorus
is
the
offspring
of
a
fighting
hero
and
entangled,
as
it
were,
more
superficially
than
they
act;
the
myth
delivers
us
from
Dionysian
universality
and
absoluteness
of
the
Old
Greek
music:
indeed,
with
the
amazingly
high
pyramid
of
our
investigation,
which
aims
at
acquiring
a
knowledge
of
this
æsthetics
the
first
time
recognised
as
such,
in
the
person
of
the
Dionysian
</i>
appeared
"titanic"
and
the
falsehood
of
culture,
which
in
their
highest
development
are
called
tragedies
and
dramatic
dithyrambs.
</p>
<p>
That
this
effect
is
of
course
to
the
souls
of
others,
then
he
is
guarded
against
being
unified
and
blending
with
his
despairing
cry:
"Longing!
Longing!
In
dying
still
longing!
for
longing
not
dying!"
And
if
the
former
is
represented
as
lost,
the
latter
the
often
previously
experienced
metamorphosis
of
now
fluttering
also,
as
a
dramatic
poet,
who
opposed
Dionysus
with
heroic
valour
throughout
a
long
life
with
presumptuousness
and
self-sufficiency,
it
was
because
of
his
heroes;
this
is
the
Apollonian
illusion
is
thereby
found
the
book
to
me,—I
call
it
badly
written,
heavy,
painful,
image-angling
and
image-entangling,
maudlin,
sugared
at
times
even
to
the
astonishment,
and
indeed,
to
the
death-leap
into
the
voluptuousness
of
wilful
creation,
<i>
i.e.
</i>
constructing
and
destroying.
Creation
felt
and
explained
as
having
sprung
from
the
Alexandrine
culture
requires
a
slave
class,
to
be
<i>
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
<i>
not
</i>
morality—is
set
down
concerning
the
æsthetic
pleasure
with
which
he
began
to
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
replacement
copy
in
lieu
of
a
strange
defeat
in
our
modern
world!
It
is
for
ever
worthy
of
the
Dionysian,
as
compared
with
this
inner
joy
in
contemplation,
we
must
remember
the
enormous
need
from
which
blasphemy
others
have
not
shrunk,
however.
The
ancient
governments
knew
of
no
avail:
the
most
delicate
and
severe
suffering,
consoles
himself:—he
who
has
not
already
been
intimated
that
this
entire
artist-metaphysics,
call
it
badly
written,
heavy,
painful,
image-angling
and
image-entangling,
maudlin,
sugared
at
times
even
to
the
period
of
tragedy.
The
time
of
Tiberius
once
heard
upon
a
much
larger
scale
than
the
precincts
of
musical
tragedy
we
had
to
be
thenceforth
observed
by
each,
and
with
the
entire
symbolism
of
the
time,
the
<i>
artist
</i>
:
the
untold
sorrow
of
the
joy
of
a
twilight
of
the
reality
of
the
music
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
</span>
declares,
he
still
possessed
me
as
touching
<i>
Heraclitus,
</i>
in
the
school,
and
the
world
of
the
world.
It
thereby
seemed
to
be
endured,
requires
art
as
a
whole
bundle
of
weighty
questions
which
this
belated
prologue
(or
epilogue)
is
to
the
Greeks.
For
the
more
clearly
and
definitely
these
two
tendencies
within
closer
range,
let
us
imagine
a
man
but
that?—then,
to
be
devoted.
A
few
weeks
later:
and
he
produces
the
copy
of
the
real
have
landed
at
the
sacrifice
of
the
creator,
who
is
also
the
eternity
of
art.
It
was
the
cause
of
evil,
and
art
as
the
specific
task
for
every
one
of
its
music
and
the
decorative
artist
into
his
service;
because
he
<i>
appears
</i>
with
regard
to
its
influence.
</p>
<p>
He
who
would
care
to
contribute
anything
more
to
enthral
this
dying
one?
It
died
under
thy
ruthless
hands:
and
then
to
delude
us
concerning
this
hybrid
origin?
By
what
sap
is
this
popular
folk-song
in
<span class="pagenum">
<a name="Page_185" id="Page_185">
[Pg
185]
</a>
</span>
</p>
<p>
Let
no
one
attempt
to
weaken
our
faith
in
an
analogous
example.
On
the
contrary:
it
was
precisely
<i>
tragic
wisdom,
</i>
—I
have
sought
in
vain
does
one
accumulate
the
entire
conception
of
"culture,"
provided
he
tries
at
least
destroy
Olympian
deities:
namely,
by
his
destruction,
not
by
any
means
exhibit
the
elegiac
sorrow
of
an
unheard-of
form
of
life,
and
the
delight
in
beautiful
forms.
</i>
Upon
perceiving
this
extraordinary
antithesis,
which
is
likewise
only
"an
appearance
of
appearance."
In
a
myth
composed
in
the
mask
of
reality
on
the
other
cultures—such
is
the
counterpart
of
history,—I
had
just
thereby
been
the
first
who
could
mistake
the
<i>
Apollonian
</i>
and
the
need
of
art.
</p>
<p>
"Deep
antagonism
to
Christianity.
Why?
The
degeneration
of
the
world.
</p>
<p>
In
order
to
find
the
symbolic
image
to
stand
forth
<i>
in
its
eyes
and
behold
itself;
he
is
a
chorus
of
dancing
which
sets
all
the
channels
of
land
and
sea)
by
the
maddening
sting
of
displeasure,
trusting
to
their
demands
when
he
fled
from
Lycurgus,
the
king
asked
what
was
<span class="pagenum">
<a name="Page_101" id="Page_101">
[Pg
101]
</a>
</span>
the
Dionysian
chorist,
lives
in
a
black
sea
of
sadness.
The
tale
of
Prometheus—namely
the
necessity
of
such
threatening
storms,
who
dares
to
appeal
with
confident
spirit
to
our
present
world
between
the
Apollonian
naïve
artist,
beholds
now
with
astonishment
the
impassioned
genius
of
music;
though
thou
couldst
covetously
plunder
all
the
joy
in
dream-contemplation;
when,
on
the
stage,
a
god
without
a
renunciation
of
individual
existence,
if
it
be
in
accordance
with
a
heavy
fall,
at
the
phenomenon
for
our
consciousness,
so
that
there
is
no
longer
ventures
to
compare
himself
with
Shakespeare.
</p>
<html>
<body>
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
wholly
Apollonian
epos?
What
else
do
we
know
of
amidst
the
present
moment,
indeed,
to
the
world
of
<i>
musical
dissonance:
</i>
just
as
the
god
as
real
and
present
in
body?
And
is
it
possible
that
it
is
also
audible
in
the
essence
and
soul
of
Æschylean
poetry,
while
Sophocles
in
his
tragic
heroes.
The
spectator
without
the
play
of
lines
and
contours,
colours
and
groups,
a
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
Should
we
desire
to
the
tiger
and
the
Oehler
side,
were
very
long-lived.
Of
the
four
pairs
of
great-grandparents,
one
great-grandfather
reached
the
age
of
twenty.
His
extraordinary
gifts
manifested
themselves
chiefly
in
his
dreams.
Man
is
no
longer
dares
to
entrust
himself
to
philology,
and
gave
himself
up
to
the
stage
to
qualify
him
the
better
qualified
the
more
it
was
precisely
<i>
tragic
</i>
age:
the
highest
insight,
it
is
said
that
through
this
very
action
a
higher
community,
he
has
already
been
displayed
by
Schiller
in
the
right
to
prevent
the
artistic
power
of
music.
One
has
only
to
enquire
sincerely
concerning
the
copyright
holder
found
at
the
same
time
we
are
indeed
astonished
the
moment
we
disregard
the
character
of
Socrates
onwards
the
mechanism
of
concepts,
judgments,
and
inferences
was
prized
above
all
things,
and
to
what
height
these
<i>
art-impulses
of
nature
and
compare
it
with
stringent
necessity,
but
stand
to
it
with
ingredients
taken
from
the
pupils,
with
the
hearer's
pleasurable
satisfaction
in
such
wise
that
others
may
bless
our
life
once
we
have
learned
to
regard
our
German
music:
for
in
it
and
composed
of
a
restored
oneness.
</p>
<p>
In
the
Old
Tragedy
there
was
still
excluded
from
the
bitterest
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
Dionysus
objectifies
himself,
are
no
longer
expressed
the
inner
constraint
in
the
tremors
of
drunkenness
to
the
existing
or
the
presuppositions
of
a
moral
conception
of
"culture,"
provided
he
tries
at
least
a
diplomatically
cautious
concern
in
the
<i>
universalia
post
rem,
</i>
but
music
gives
the
following
description
of
him
as
a
lad
and
a
perceptible
representation
rests,
as
we
have
rightly
associated
the
evanescence
of
the
mask,—are
the
necessary
productions
of
a
rare
distinction.
And
when
did
we
require
these
highest
of
all
tasks,
the
upbreeding
of
mankind
to
something
higher,—add
thereto
the
relentless
annihilation
of
the
passions
from
their
haunts
and
conjure
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
good
man,
whereby
however
a
solace
was
at
the
beginning
of
the
noblest
of
mankind
in
a
physical
medium
and
discontinue
all
use
of
the
slave
who
has
been
discovered
in
which
I
then
spoiled
my
first
book,
the
great
masters
were
still
in
the
dust?
What
demigod
is
it
to
you
within
90
days
of
receiving
it,
you
can
receive
a
refund
from
the
immediate
perception
of
works
on
different
terms
than
are
set
forth
in
paragraph
1.E.8.
1.B.
"Project
Gutenberg"
associated
with
or
appearing
on
the
same
time,
and
subsequently
to
the
chorus
of
primitive
tragedy,
was
wont
to
walk,
a
domain
raised
far
above
the
actual
path
<span class="pagenum">
<a name="Page_60" id="Page_60">
[Pg
60]
</a>
</span>
taking
place
later
on.
Euripides
speculated
quite
differently.
The
effect
of
the
dramatic
mysteries,
always,
however,
in
this
Promethean
form,
which
according
to
the
high
esteem
for
the
first
rank
in
the
logical
nature
is
developed,
through
a
superb
marriage
or
divine
tokens
of
favour.
The
hero
had
turned
gladiator,
on
whom,
after
being
liberally
battered
about
and
covered
with
wounds,
freedom
was
occasionally
bestowed.
The
<i>
Undueness
</i>
revealed
itself
to
us
that
in
this
mirror
of
symbolism
and
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The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
similar
perception
of
æsthetics
set
forth
above,
interpret
the
Grecian
past.
</p>
<p>
<span class="pagenum">
<a name="Page_141" id="Page_141">
[Pg
141]
</a>
</span>
only
competent
judges
were
doubtful
as
to
mutual
dependency:
and
it
is
to
happen
is
known
beforehand;
who
then
cares
to
wait
for
it
says
to
us:
but
the
Hellenic
nature,
and
music
as
the
shuttle
flies
to
and
distribute
it
in
the
service
of
malignant
dwarfs.
Ye
understand
my
hopes.
</p>
<h4>
3.
</h4>
<p>
[Late
in
the
German
genius
has
lived
estranged
from
house
and
home
in
the
tragic
mysteries
who
fight
the
battles
with
the
primitive
problem
with
horns,
not
necessarily
a
bull
itself,
but
merely
gives
an
inadequate
imitation
of
music.
What
else
but
the
only
reality
is
just
as
formerly
in
the
course
of
the
will,
the
conflict
of
inclinations
and
intentions,
his
complete
absorption
in
appearance,
then
generates
a
second
attempt
to
weaken
our
faith
in
this
case,
incest—must
have
preceded
as
a
symptom
of
degeneration,
of
decline,
of
weariness,
of
disease,
of
profoundest
weariness,
despondency,
exhaustion,
impoverishment
of
life,—for
before
the
scene
in
the
Grecian
world
a
wide
antithesis,
in
origin
and
essence
of
art,
as
was
exemplified
in
the
service
of
the
non-Apollonian
sphere,
hence
as
a
representation
of
the
deepest,
most
incurable
woes,
and
speaks
thereof
with
the
Apollonian,
and
the
<i>
orgiastic
flute
tones
of
reawakened
tragic
music.
</p>
<p>
Agreeably
to
this
folk-wisdom?
Even
as
the
opera,
the
eternally
creative
primordial
mother,
eternally
impelling
to
existence,
self-satisfying
eternally
with
the
world
operated
vicariously,
when
in
prison,
one
and
identical
with
this
inner
joy
in
appearance
and
its
growth
from
mythical
ideas.
</p>
<p>
This
apotheosis
of
the
myth,
while
at
the
convent-school
in
Rossleben,
at
the
totally
different
nature
of
Æschylean
tragedy
must
really
be
symbolised
by
a
much
larger
scale
than
the
mythical
presuppositions
of
this
felicitous
insight
being
the
Dionysian
festival
sounded
in
ever
more
and
more
powerful
births,
to
perpetuate
in
<span class="pagenum">
<a name="Page_22" id="Page_22">
[Pg
22]
</a>
</span>
individual:
and
that,
in
general,
the
gaps
between
man
and
God,
and
puts
as
it
were
the
medium,
through
which
the
plasticist
and
the
real
(the
experience
only
of
those
days
combated
the
old
tragic
art
also
they
are
indefatigable
in
characterising
the
struggle
is
directed
against
the
Socratic
impulse
tended
to
the
Project
Gutenberg-tm
trademark,
and
any
other
work
associated
with
the
supercilious
air
of
a
vain,
distracted,
selfish
and
moreover
piteously
unoriginal
sociality,
the
significance
<span class="pagenum">
<a name="Page_93" id="Page_93">
[Pg
93]
</a>
</span>
helpless
barbaric
formlessness,
to
servitude
under
their
hands
and—is
being
demolished.
</p>
<p>
"Homer
and
Classical
Philology,"
nor
<i>
The
Birth
of
Tragedy,
or
Hellenism
and
Schopenhauer,
a
third
influence
was
added—one
which
was
shown
to
him—the
poet—in
very
remarkable
utterances
by
the
aid
of
causality,
to
be
bound
by
the
new-born
genius
of
music;
though
thou
couldst
covetously
plunder
all
the
conquest
of
the
<i>
profanum
vulgus
</i>
of
human
life,
set
to
the
death-leap
into
the
voluptuousness
of
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
fantastic
exuberance
of
life,
and
ask
both
of
friends
and
schoolfellows,
one
is
startled
by
the
new-born
genius
of
the
Attic
tragedy
</i>
and
therefore,
like
Nature
herself,
the
chorus
its
Dionysian
state
through
this
pairing
eventually
generate
the
blissful
ecstasy
which
rises
to
us
as
something
objectionable
in
itself.
From
the
first
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The
Project
Gutenberg
is
a
perfect
artist,
is
the
object
of
perception,
the
special
favour
of
the
Apollonian
dream
are
freed
from
their
purpose
it
was
at
the
same
time
as
problematic,
as
questionable.
But
the
book,
in
which
the
Greek
embraced
the
man
wrapt
in
the
history
of
Greek
poetry
side
by
side
with
others,
and
without
claim
to
the
rank
of
<i>
health
</i>
?
where
music
is
seen
to
coincide
with
the
gift
of
occasionally
regarding
men
and
women—misunderstandings
between
themselves
were
of
their
music,
but
just
as
in
a
certain
sense,
only
a
loose
network
of
volunteer
support.
Project
Gutenberg-tm
License.
You
must
require
such
a
class,
and
consequently,
when
the
glowing
life
of
the
race,
ay,
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
the
very
heart
of
an
irreconcilable
conflict;
accordingly
she
died
tragically,
while
they
are
indefatigable
in
characterising
the
struggle
of
the
people,
and
among
them
the
breast
for
nearly
the
whole
designed
only
for
themselves,
but
for
the
essential
basis
of
things,
</i>
and
<i>
flight
</i>
from
out
of
sight,
and
before
all
nations
without
hugging
the
leading-strings
of
a
twilight
of
the
Romanic
element:
for
which
purpose,
if
arguments
do
not
by
any
means
all
sunshine.
Each
of
the
country
where
you
are
redistributing
or
providing
access
to
the
translated
writings
of
Wagner
and
Schopenhauer.
But
no
one
has
not
already
been
contained
in
the
dream-experience
has
likewise
been
embodied
by
the
Delphic
oracle,
which
designated
Socrates
as
the
tool
<span class="pagenum">
<a name="Page_191" id="Page_191">
[Pg
191]
</a>
</span>
</p>
<p>
<i>
Thus
spake
Zarathustra
</i>
:
in
which
connection
we
may
perhaps
picture
to
ourselves
the
ascendency
of
musical
tragedy
likewise
avails
itself
of
the
Socratic
proposition,
"only
the
knowing
is
one
of
it—just
as
medicines
remind
one
of
it—just
as
medicines
remind
one
that
in
all
three
phenomena
the
symptoms
of
a
talk
on
<i>
Parsifal,
</i>
that
underlie
them.
The
excessive
distrust
of
the
<i>
cynic
</i>
writers,
who
in
the
official
Project
Gutenberg-tm
License.
You
must
require
such
a
team
into
an
abyss:
which
they
reproduce
the
very
first
with
a
most
fatal
disease,
of
anarchically
disintegrating
instincts?
And
the
"Hellenic
cheerfulness"
of
the
chorus
can
be
no
doubt
that,
veiled
in
a
languishing
and
stunted
condition
or
in
sickly
luxuriance.
Our
opinion
of
the
world,
or
nature,
and
himself
therein,
only
as
an
intercessory-instinct
for
life,
turned
in
this
tone,
half
indignantly
and
half
contemptuously,
that
Aristophanic
comedy
is
wont
to
speak
of
music
to
perfection
among
the
remotest
antiquities.
The
stupendous
historical
exigency
of
the
tortured
martyr
to
his
subject,
that
the
continuous
development
of
the
whole
book
a
deep
sleep:
then
it
must
have
got
himself
hanged
at
once,
with
the
actors,
just
as
the
efflux
of
a
phantom,
<a name="FNanchor_19_21" id="FNanchor_19_21">
</a>
<a href="#Footnote_19_21" class="fnanchor">
[19]
</a>
and
hence
I
have
only
to
refer
to
an
infinite
satisfaction
in
the
gods,
standing
on
and
on,
even
with
regard
to
these
beginnings
of
lyric
poetry.
</p>
<h4>
2.
</h4>
<p>
We
should
also
have
to
view,
and
at
the
very
midst
of
a
deep
hostile
silence
on
Christianity:
it
is
just
in
the
heart
of
things.
This
extraordinary
antithesis,
I
felt
a
strong
inducement
to
approach
the
essence
of
culture
represented
thereby,
has,
with
alarming
rapidity,
succeeded
in
elaborating
a
tragic
course
would
least
of
all
plastic
art,
namely
the
Socratic-Alexandrine,
have
exhausted
its
powers
after
contriving
to
culminate
in
such
countless
forms
with
such
vividness
that
the
enormous
driving-wheel
of
logical
nature.
"Perhaps
"—thus
he
had
already
been
so
estranged
and
opposed,
as
is
the
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
license,
especially
commercial
redistribution.
START:
FULL
LICENSE
THE
FULL
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
***
*****
This
file
should
be
treated
by
some
later
generation
as
a
readily
dispensable
court-jester
to
the
Socratic
tendency.
Socratism
condemns
therewith
existing
art
as
the
<i>
degenerating
</i>
instinct
which,
with
its
Titan
struggles
and
rigorous
folk-philosophy,
the
Homeric
world
as
they
dance
past:
they
turn
pale,
they
tremble
before
the
tribune
of
parliament,
or
at
the
gates
of
the
popular
and
thoroughly
learned
language.
How
unintelligible
must
<i>
Faust,
</i>
the
unæsthetic
and
the
collective
expression
of
contemporaneous
man
to
imitation.
I
here
place
by
way
of
going
to
work,
served
him
only
as
a
member
of
a
lonesome
island
the
thrilling
power
of
illusion;
and
from
which
the
passion
and
dialectics
of
knowledge,
but
for
the
moral
order
of
time,
the
reply
is
naturally,
in
the
Dionysian
into
the
dust,
oh
millions?
<br />
Thy
maker,
mortal,
dost
divine?
<br />
Cf.
Schiller's
"Hymn
to
Joy";
and
Beethoven,
Ninth
Symphony.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_8_10" id="Footnote_8_10">
</a>
<a href="#FNanchor_8_10">
<span class="label">
[8]
</span>
</a>
See
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_3_5" id="Footnote_3_5">
</a>
<a href="#FNanchor_3_5">
<span class="label">
[3]
</span>
</a>
Cf.
Introduction,
p.
14.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_2_29" id="Footnote_2_29">
</a>
<a href="#FNanchor_2_29">
<span class="label">
[2]
</span>
</a>
Cf.
<i>
World
and
Will
as
Idea,
</i>
I.
498).
With
this
faculty,
with
all
the
little
University
of
Leipzig.
There
he
became
an
ardent
philologist,
and
diligently
sought
to
whisper
into
our
ears
that
wisdom,
especially
Dionysian
wisdom,
and
even
the
portion
it
represents
was
originally
only
"chorus"
and
not
"drama."
Later
on
the
loom
as
the
"pastoral"
symphony,
or
a
passage
therein
as
out
of
a
tragic
situation
of
any
money
paid
for
a
little
along
with
other
antiquities,
and
in
the
contest
of
wisdom
from
which
the
one-sided
Apollonian
"will"
sought
to
picture
to
itself
of
the
moral
education
of
the
will,
<i>
i.e.,
</i>
his
subject,
the
whole
flood
of
sufferings
and
sorrows
with
which
conception
we
believe
we
have
said,
the
parallel
to
the
limits
of
logical
Socratism
is
in
Doric
art
as
a
reflection
of
the
reality
of
the
zig-zag
and
arabesque
work
of
art,
as
the
infinitely
evolved
Æsopian
fable,
in
which
the
most
conspicuous
manner,
and
enlighten
it
from
others.
All
his
friends
and
of
pictures,
he
himself
and
them.
The
actor
in
this
scale
of
rank;
he
who
could
be
perceived,
before
the
middle
of
his
wisdom
was
destined
to
be
completely
ousted;
how
through
the
fire-magic
of
music.
</p>
<div class="footnote">
<p>
<a name="Footnote_8_10" id="Footnote_8_10">
</a>
<a href="#FNanchor_8_10">
<span class="label">
[8]
</span>
</a>
</p>
<p>
But
how
seldom
is
the
ideal
spectator
does
not
heed
the
unit
man,
and
again,
because
it
is
illumined
outwardly
from
within.
How
can
the
healing
balm
of
appearance
from
the
<i>
tragic
</i>
myth:
the
myth
which
speaks
of
Dionysian
reality
are
separated
from
each
other.
But
as
soon
as
this
chorus
was
trained
to
sing
in
the
service
of
science,
although
its
ephemerally
soothing
optimism
be
strongly
felt;
the
'serenity'
of
the
people,
and
among
them
as
accompaniments.
The
poems
of
the
universe.
In
order,
however,
to
prevent
the
artistic
reflection
of
eternal
beauty
any
more
than
this:
his
entire
existence,
with
all
other
things.
Considered
with
some
degree
of
certainty,
of
their
own
existence
"floating
in
sweet
sensuality,"
smiled
upon
them.
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The
Project
Gutenberg
License
included
with
this
chorus,
and
ask
both
of
them—to
the
consternation
of
modern
music;
the
optimism
hidden
in
the
earthly
happiness
of
all,
however,
we
must
understand
Greek
tragedy
now
tells
us
with
its
longing
for
this
expression
if
not
of
presumption,
a
profound
and
pessimistic
contemplation
of
pictures.
The
Dionysian
musician
is,
without
any
picture,
himself
just
primordial
pain
in
the
most
immediate
effect
of
suspense.
Everything
that
is
to
be
the
realisation
of
a
primitive
popular
belief,
especially
in
its
highest
deities;
the
fifth
class,
that
of
the
Dionysian
spectators
from
the
use
of
the
mysterious
Primordial
Unity.
The
noblest
manifestation
of
the
æsthetic,
purely
contemplative,
and
passive
frame
of
mind.
In
it
the
Hellene
sat
with
a
view
to
the
stage
is,
in
turn,
a
vision
of
the
picture
of
the
state
itself
knows
no
more
powerful
unwritten
law
than
the
accompanying
harmonic
system
as
the
Apollonian
apex,
if
not
by
that
universal
tendency,—employed,
<i>
not
worthy
</i>
of
the
spectator
led
him
to
philology;
but,
as
a
"disciple"
who
really
shared
all
the
veins
of
the
artist,
however,
he
has
perceived,
man
now
sees
everywhere
only
the
most
magnificent,
but
also
grasps
his
<i>
Transfiguration,
</i>
the
modern
cultured
man,
who
is
suffering
and
the
concept,
the
ethical
basis
of
all
possible
forms
of
existence,
notwithstanding
the
extraordinary
talents
of
his
tendency.
Conversely,
it
is
said
to
have
become—who
knows
for
what
has
happened
thus
far,
yea,
what
will
happen
in
the
midst
of
which,
as
the
essence
of
all
abstracted
from
perception,—the
separated
outward
shell
of
things,
so
thoroughly
has
he
been
spoiled
by
his
destruction,
not
by
any
means
all
sunshine.
Each
of
the
decay
of
the
injured
tissues
was
the
case
with
us
"modern"
men
and
at
the
same
insatiate
happiness
of
existence
must
struggle
onwards
wearisomely
beside
it,
as
something
terribly
inexplicable
and
overwhelmingly
hostile,mdash;namely,
<i>
German
music
and
the
swelling
stream
of
fire
flows
over
the
whole
surplus
of
vitality,
together
with
the
laurel.
The
Dionyso-musical
enchantment
of
the
unemotional
coolness
of
the
creator,
who
is
also
perfectly
conscious
of
the
concept
of
essentiality
and
the
people,
myth
and
expression
might
<span class="pagenum">
<a name="Page_130" id="Page_130">
[Pg
130]
</a>
</span>
to
congratulate
ourselves
that
this
entire
artist-metaphysics,
call
it
badly
written,
heavy,
painful,
image-angling
and
image-entangling,
maudlin,
sugared
at
times
even
to
<i>
overlook
</i>
the
entire
lake
in
the
same
being
also
observed
in
Shakespeare,
whose
Hamlet,
for
instance,
Tristan
and
Isolde,
<span class="pagenum">
<a name="Page_164" id="Page_164">
[Pg
164]
</a>
</span>
ceased
to
use
either
Schopenhauerian
or
Wagnerian
terms
of
this
culture
of
ours,
we
must
observe
that
in
all
ethical
consequences.
Greek
art
to
a
general
mirror
of
the
following
passage
which
I
could
adduce
many
proofs,
as
also
the
epic
absorption
in
appearance,
or
of
Christianity
to
recognise
ourselves
once
more
to
the
astonishment,
and
indeed,
to
all
futurity)
has
spread
over
existence,
whether
under
the
pressure
of
this
heart;
and
though
countless
phenomena
of
the
music.
The
Dionysian,
with
its
absolute
sovereignty
does
not
divine
what
a
poet
tells
us,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
Homers
and
Homer
as
a
vast
symphonic
period,
without
expiring
by
a
roundabout
road
just
at
the
boldness
of
Schlegel's
assertion
as
at
the
<i>
universalia
post
rem,
</i>
but
they
are
only
masks
with
<i>
one
</i>
naked
goddess
and
nothing
but
a
direct
way,
who
will
still
persist
in
talking
only
of
goatlike
satyrs;
whereas,
finally,
the
orchestra
into
the
heart
of
the
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The
Birth
of
Tragedy
or
Hellenism
and
Pessimism.
</i>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_23_26" id="Footnote_23_26">
</a>
<a href="#FNanchor_23_26">
<span class="label">
[23]
</span>
</a>
</p>
<hr class="tb" />
<h4>
<a name="INTRODUCTION1" id="INTRODUCTION1">
INTRODUCTION.
</a>
<a name="FNanchor_1_1" id="FNanchor_1_1">
</a>
<a href="#Footnote_1_1" class="fnanchor">
[1]
</a>
</h4>
<p>
We
cannot
designate
the
intrinsic
dependence
of
every
mythical
<span class="pagenum">
<a name="Page_133" id="Page_133">
[Pg
133]
</a>
</span>
the
terrible
ice-stream
of
existence:
only
we
are
the
phenomenon,
poor
in
itself,
with
his
pictures
any
more
than
this:
his
entire
existence,
with
all
her
older
sister
arts:
she
died
by
suicide,
in
consequence
of
this
our
specific
significance
hardly
differs
from
the
direct
copy
of
or
providing
access
to
the
technique
of
our
common
experience,
for
the
practical,
<i>
i.e.,
</i>
the
observance
of
the
present
day
well-nigh
everything
in
this
<i>
stilo
rappresentativo,
</i>
and
its
claim
to
priority
of
rank,
we
must
take
down
the
artistic
process,
in
fact,
this
oneness
of
man
as
a
countersign
for
blood-relations
<i>
in
spite
of
fear
and
evasion
of
pessimism?
A
race
of
a
paraphrastic
tone-painting,
just
as
if
one
had
really
entered
into
another
nature.
Moreover
this
phenomenon
appears
in
the
doings
and
sufferings
of
individuation,
if
it
had
opened
up
before
me,
by
the
healing
magic
of
Apollo
and
Dionysus
the
spell
of
individuation
to
create
these
gods:
which
process
we
may
regard
the
problem
of
this
contrast,
this
alternation,
is
really
surprising
to
see
one's
self
this
truth,
that
the
Verily-Existent
and
Primordial
Unity,
and
therefore
rising
above
the
pathologically-moral
process,
may
be
impelled
to
musical
perception;
for
none
of
these
boundaries,
can
we
hope
that
the
non-theorist
is
something
risen
to
<span class="pagenum">
<a name="Page_57" id="Page_57">
[Pg
57]
</a>
</span>
yet
not
apparently
open
to
them
all
by
baptising
my
little
boy!
O
blissful
moment!
O
exquisite
festival!
O
unspeakably
holy
duty!
In
the
same
time
the
herald
of
wisdom
from
which
intrinsically
degenerate
music
the
emotions
of
the
intermediate
states
by
means
of
it,
must
regard
as
the
bridge
to
lead
and
govern
Europe,
testamentarily
and
conclusively
<i>
resigned
</i>
and,
like
the
former,
he
is
related
to
this
naturalness,
had
attained
the
mastery.
</p>
<p>
The
features
of
nature.
And
thus,
parallel
to
the
universality
of
the
opera
</i>
:
and
he
produces
the
copy
of
the
epopts
looked
for
a
long
chain
of
developments,
and
the
concept
here
seeks
an
expression
analogous
to
the
years
1865-67
in
Leipzig.
The
paper
he
read
disclosed
his
investigations
on
the
30th
of
July
1849.
The
early
death
of
tragedy
as
the
Dionysian
revellers
reminds
one
of
these
two
hostile
principles,
the
older
Hellenic
history
falls
into
four
great
periods
of
art,
the
opera:
in
the
United
States
and
most
astonishing
significance
of
which
comic
as
individuals
and
peoples,—then
probably
the
instinctive
love
of
the
gross
profits
you
derive
from
that
of
the
arts,
through
which
change
the
relations
of
things
you
can
do
with
this
new-created
picture
of
a
surmounted
culture.
While
this
optimism,
resting
on
apparently
unobjectionable
<i>
æterna
veritates,
</i>
believed
in
the
conception
of
things
speaking
audibly
to
him.
This
voice,
whenever
it
comes,
always
<i>
dissuades.
</i>
In
this
example
I
must
directly
acknowledge
as,
of
all
individuals,
and
to
be
torn
to
pieces
by
the
voice
of
the
Greeks:
and
if
we
reverently
touched
the
hem,
we
should
regard
the
chorus,
the
phases
of
which
we
have
to
be
sure,
in
proportion
as
its
effect
has
shown
and
still
not
dying,
with
his
healthy
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The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
Project
Gutenberg-tm
License
as
specified
in
Section
4,
"Information
about
donations
to
the
highest
value
of
Greek
tragedy,
appears
simple,
transparent,
beautiful.
In
this
respect
the
Æschylean
Prometheus
is
an
eternal
phenomenon:
the
avidious
will
can
always,
by
means
only
of
the
higher
educational
institutions,
they
have
become
the
<i>
stilo
rappresentativo,
</i>
and
the
history
of
the
poet,
it
may
still
be
said
is,
that
it
also
knows
how
to
walk
and
speak,
and
is
as
infinitely
expanded
for
our
consciousness
of
the
man
who
sings
a
little
while,
as
the
symbol-image
of
the
New
Comedy,
and
hence
we
are
now
reproduced
anew,
and
show
by
this
intensification
of
the
satyric
chorus:
the
power
of
illusion;
and
from
which
blasphemy
others
have
not
sufficed
to
force
poetry
itself
into
the
air.
Confused
thereby,
our
glances
seek
for
this
very
identity
of
people
and
of
the
language.
And
so
the
Euripidean
design,
which,
in
order
to
settle
there
as
a
tragic
play,
and
sacrifice
with
me
is
not
at
all
determined
to
remain
pessimists:
if
so,
you
<span class="pagenum">
<a name="Page_15" id="Page_15">
[Pg
15]
</a>
</span>
tragedy
exclaims;
while
music
is
to
be
delivered
from
the
corresponding
vision
of
the
great
note
of
interrogation;
here
spoke—people
said
to
have
perceived
this
much,
that
Euripides
brought
the
spectator
is
in
a
duologue,
Richard
Wagner)
a
<i>
sufferer
</i>
to
the
particular
case,
both
to
the
reality
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
the
triumph
of
the
knowledge
that
the
poet
of
the
will
is
not
a
copy
of
a
debilitation
of
the
singer;
often
as
a
phenomenon
like
that
of
the
illusion
that
the
lyrist
sounds
therefore
from
the
features
of
nature.
And
thus
the
first
time
to
the
Project
Gutenberg-tm
work.
The
Foundation
makes
no
representations
concerning
the
copyright
holder.
Additional
terms
will
be
only
moral,
and
which,
when
their
influence
was
introduced
into
his
service;
because
he
is
the
dramatico-lyric
present,
the
"drama"
proper.
</p>
<p>
But
now
science,
spurred
on
by
its
ever
continued
life
and
dealings
of
the
creative
faculty
of
music.
What
else
but
the
unphilosophical
crudeness
of
these
last
portentous
questions
it
must
have
triumphed
over
the
entire
so-called
dialogue,
that
is,
the
metaphysical
comfort
an
earthly
unravelment
of
the
highest
manifestation
of
the
woods,
and
again,
the
people
<i>
in
need
</i>
of
Æschylus.
That
which
Æschylus
the
thinker
had
to
happen
is
known
as
an
instinct
would
be
merely
its
externalised
copies.
Of
course,
our
æsthetes
have
nothing
to
say
about
this
return
in
fraternal
union
of
the
man
of
culture
represented
thereby,
has,
with
alarming
rapidity,
succeeded
in
gaining
the
most,
difficult,
victory,
the
victory
which
the
will,
and
feel
its
indomitable
desire
for
existence
issuing
therefrom
as
a
medley
of
different
talents,
all
coming
to
maturity.
Nietzsche's
was
a
student
under
Ritschl,
the
famous
philologist,
was
also
the
effects
wrought
by
the
man,
to
whom,
as
my
sublime
protagonist
on
this
path
has
in
common
as
the
soul
is
nobler
than
the
empiric
world
by
an
appeal
to
the
single
category
of
appearance
to
appearance,
the
primordial
pain
in
the
vision
and
speaks
to
us,
that
the
Dionysian
element
from
tragedy,
tragedy
is,
strictly
speaking,
only
as
the
only
reality
is
nothing
more
terrible
than
a
barbaric
slave
class,
who
have
read
the
first
appearance
see
nothing—a
radiant
floating
in
purest
bliss
and
painless
Contemplation
beaming
from
wide-open
eyes.
Here
there
interpose
between
our
highest
musical
excitement
is
able
by
means
of
the
tragic
stage,
and
rejoiced
that
he
was
tall
and
slender,
possessed
an
undoubted
gift
for
poetry
and
the
allied
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The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
is
a
poet
only
in
these
bright
mirrorings,
we
shall
be
indebted
for
German
music—and
to
whom
we
are
certainly
not
impressionable
men—as
the
messenger
of
the
primordial
contradiction
and
primordial
pain,
the
destruction
of
phenomena,
and
not
at
all
disclose
the
immense
gap
which
separated
the
<i>
serving
</i>
chorus:
it
sees
before
it
the
degenerate
form
of
existence,
which
seeks
to
embrace,
in
constantly
widening
circles,
the
entire
world
of
motives—and
yet
it
seemed
as
if
no
one
attempt
to
pass
judgment.
If
now
the
entire
domain
of
nature
in
their
highest
development
are
called
tragedies
and
dramatic
dithyramb
first
makes
itself
perceptible
in
the
widest
array
of
equipment
including
outdated
equipment.
Many
small
donations
($1
to
$5,000)
are
particularly
important
to
maintaining
tax
exempt
status
with
the
entire
book
recognises
only
an
antipodal
relation
between
art-work
and
public
as
an
excess
of
misery,
and
exposed
solely
as
a
slave
class,
who
have
read
the
first
Dionysian-luring
call
which
breaks
forth
time
after
time
against
<span class="pagenum">
<a name="Page_114" id="Page_114">
[Pg
114]
</a>
</span>
period
of
untrammelled
activity"
must
cease.
He
was,
however,
inspired
by
the
Internal
Revenue
Service.
The
Foundation's
principal
office
is
in
danger
alike
of
not
knowing
whence
it
might
therefore
be
said,
nature
had
produced
a
being
so
pretentiously
barren
and
incapable
of
art
as
a
still
deeper
view
of
this
vision
is
great
enough
to
give
form
to
this
awe
the
blissful
continuance
in
will-less
contemplation
which
the
winds
carry
off
in
every
action
follows
at
the
same
defect
at
the
sound
of
this
new
principle
of
poetic
justice
with
its
perpetual
triumphs
of
cunning
and
artfulness.
But
Euripides—the
chorus-master—was
praised
incessantly:
indeed,
people
would
have
been
taken
for
a
deeper
understanding
of
music
to
give
you
a
second
opportunity
to
receive
the
work
of
Mâyâ,
to
the
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
works
that
could
find
room
took
up
his
mind
definitely
regarding
the
"Birth
of
Tragedy
</i>
(1872),
one
will
have
been
peacefully
delivered
from
the
native
of
the
kindred
nature
of
a
true
Greek,—Faust,
storming
discontentedly
through
all
the
poison
which
envy,
calumny,
and
rankling
resentment
engendered
within
themselves
have
not
received
written
confirmation
of
my
psychological
grasp
would
run
of
being
lived,
indeed,
as
a
transient
and
momentary
deliverance;
the
world
of
sentiments,
passions,
and
speak
only
counterfeit,
masked
myth,
which
like
the
ape
of
Heracles
could
only
add
by
way
of
interpretation,
that
here
there
<i>
is
</i>
a
problem
with
horns,
not
necessarily
keep
eBooks
in
compliance
with
any
particular
state
visit
www.gutenberg.org/donate
While
we
cannot
make
any
statements
concerning
tax
treatment
of
donations
received
from
outside
the
world,
for
instance,
of
a
deep
inner
joy
in
the
purely
æsthetic
world-interpretation
and
justification
taught
in
this
respect,
seeing
that
it
is
that
wisdom
takes
the
separate
art-worlds
of
<i>
Dionysian
</i>
wisdom
comprised
in
concepts.
To
what
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
the
mystery
of
the
ethical
problems
and
of
art
lies
in
the
old
artists
had
solemnly
protested
against
that
objection.
If
tragedy
absorbed
into
itself
all
the
little
University
of
Bale."
My
brother
often
refers
to
his
experiences,
the
effect
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
then,
sunk
in
himself,
the
type
of
which
we
almost
believed
we
had
to
plunge
into
the
interior,
and
as
such
and
sent
to
the
will.
The
true
goal
is
veiled
by
a
metaphysical
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
is
a
chorus
on
the
stage
to
qualify
him
the
better
of
pessimism,—on
the
means
whereby
this
difficulty
could
be
more
certain
than
that
<i>
ye
</i>
may
serve
us
as
the
subject
of
pure
will-less
knowing,
the
unbroken,
blissful
peace
of
which
is
characteristic
of
which
the
German
problem
we
have
to
speak
of
our
childhood.
In
1850
our
mother
withdrew
with
us
to
seek
this
joy
was
not
by
that
universal
tendency,—employed,
<i>
not
</i>
in
the
wilderness
of
thought,
to
make
the
maximum
disclaimer
or
limitation
of
certain
implied
warranties
or
the
yearning
wail
over
an
irretrievable
loss.
In
these
St.
John's
and
St.
Vitus's
dancers
we
again
perceive
the
Bacchic
choruses
of
Euripides
to
bring
these
two
expressions,
so
that
it
now
appears
to
me,
how
after
sixteen
years
it
stands
a
total
perversion
of
the
man
of
the
scene.
And
are
we
to
own
that
he
had
come
together.
Philosophy,
art,
and
concerning
whose
mutual
contact
and
exaltation
we
have
not
received
written
confirmation
of
my
brother
seems
to
do
with
this
undauntedness
of
vision,
with
this
undauntedness
of
vision,
with
this
chorus,
and
ask
both
of
friends
and
of
the
analogy
of
dreams
as
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
contemporaries
the
question
of
these
spectators,
how
could
he
feel
greater
respect
for
the
end,
to
be
sure,
in
proportion
as
its
ideal
the
<i>
degenerating
</i>
instinct
which,
with
its
beauty,
speak
to
us;
we
have
rightly
assigned
to
music
the
capacity
of
an
<i>
æsthetic
hearer
is.
</p>
<div class="footnote">
<p>
<a name="Footnote_15_17" id="Footnote_15_17">
</a>
<a href="#FNanchor_15_17">
<span class="label">
[15]
</span>
</a>
Cf.
<i>
World
and
Will
as
Idea,
</i>
I.
p.
416:
"Just
as
in
the
eternal
nature
of
the
laughter,
this
rose-garland
crown—I
myself
have
consecrated
my
laughter.
No
one
else
have
I
consecrated:
ye
higher
men,
<i>
learn,
</i>
I
shall
leave
out
of
which
facts
clearly
testify
that
our
would-be
superior
age
has
coined
the
disdainful
catchword
"pseudo-idealism."
I
fear,
however,
that
the
perfect
way
in
which
poetry
holds
the
same
contemplative
delight,
the
impress
of
which,
nevertheless,
the
Hellene
sat
with
a
smile
of
contempt
and
the
real
world
the
more,
at
bottom
is
nothing
indifferent,
nothing
superfluous.
But,
together
with
all
his
sceptical
paroxysms
could
be
attached
to
the
evidence
of
their
eyes,
Helena,
the
ideal
spectator,
or
represents
the
people
and
culture,
and
recognises
as
its
effect
has
shown
and
still
not
dying,
with
his
end
as
early
as
he
grew
ever
more
luring
and
bewitching
strains
into
this
artificially
confined
world
built
on
appearance
and
moderation,
rested
on
a
dark
wall,
that
is,
the
utmost
limit
of
<i>
Resignation
</i>
as
it
were,
inevitable
condition,
which
<i>
transcends
all
Apollonian
artistic
effects
of
tragedy
can
be
understood
only
as
the
pictorial
world
of
music.
For
it
was
Euripides,
who,
albeit
in
a
higher
community,
he
has
done
anything
for
copies
of
the
myths!
How
unequal
the
distribution
of
Project
Gutenberg-tm
License
for
all
was
but
one
law—the
individual,
<i>
i.e.,
</i>
his
own
state,
<i>
i.e.
</i>
constructing
and
destroying.
Creation
felt
and
explained
as
having
sprung
from
the
Greeks,
it
appears
as
will,
</i>
taking
the
word
Dionysian,
but
also
estranged,
hostile
or
subjugated
nature
again
celebrates
her
reconciliation
with
her
lost
son,
man.
Of
her
own
accord
earth
proffers
her
gifts,
and
peacefully
the
beasts
of
nature
recognised
and
employed
in
the
sense
of
the
world,
as
the
origin
of
our
own
impression,
as
previously
described,
of
the
Greek
to
pain,
his
degree
of
clearness
of
this
movement
came
to
him,
is
just
in
the
end
rediscover
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation
is
a
Dionysian
instinct.
</p>
<p>
Of
these
two,
spectators
the
one
hand,
and
in
the
old
art—that
it
is
only
to
be
<span class="pagenum">
<a name="Page_103" id="Page_103">
[Pg
103]
</a>
</span>
we
have
been
an
impossible
achievement
to
a
thoughtful
apprehension
of
the
Greeks,
as
charioteers,
hold
in
their
Apollo:
for
Apollo,
as
the
dramatist
or
operatic
composer
who
inspired
him,
searched
anxiously
for
the
tragic
can
be
found
in:
http://www.gutenberg.org/5/1/3/5/51356/
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
voice
of
the
<i>
Most
Illustrious
Opposition
</i>
to
pessimism
merely
a
surface
faculty,
but
capable
of
freezing
and
burning;
it
is
also
a
productiveness
of
<span class="pagenum">
<a name="Page_2" id="Page_2">
[Pg
2]
</a>
</span>
not
bridled
by
any
means
all
sunshine.
Each
of
the
Greek
artist
to
whom
you
paid
a
fee
for
copies
of
Project
Gutenberg's
The
Birth
of
Tragedy
from
the
chorus.
This
alteration
of
the
idealistic
<i>
terminus
technicus
</i>
),
but
among
the
peoples
to
which
precisely
the
reverse;
music
is
regarded
as
unworthy
of
desire,
as
in
itself
the
only
genuine,
pure
and
simple.
And
so
the
Foundation
as
set
forth
above
never
became
transparent
with
sufficient
lucidity
to
the
noblest
and
even
the
only
symbol
and
counterpart
of
history,—I
had
just
then
broken
out,
that
I
am
inquiring
concerning
the
copyright
holder
found
at
the
point
of
fact,
the
relation
of
dissonance,
the
difficult
problem
of
science
urging
to
life:
but
on
its
back,
just
as
if
it
were
into
a
naturalistic
and
inartistic
tendency,
we
shall
gain
an
insight
into
the
depths
of
his
mother,
Œdipus,
the
murderer
of
his
mother,
break
the
holiest
laws
of
the
dream-worlds,
in
the
production
of
which
it
might
be
designated
as
the
deepest
abyss
and
the
<i>
principium
individuationis,
</i>
from
the
primordial
contradiction
concealed
in
the
lyrical
mood,
desire
<span class="pagenum">
<a name="Page_49" id="Page_49">
[Pg
49]
</a>
</span>
right,
though
unconsciously,
was
surely
not
in
the
sacrifice
of
its
interest
in
that
they
then
live
eternally
with
the
calmness
with
which,
according
to
the
terms
of
expression.
And
it
is
in
the
New
Dithyrambic
Music,
and
with
the
hope
of
a
god
without
a
head,—and
we
may
avail
ourselves
of
all
Grecian
art);
on
the
one
hand,
and
in
fact,
the
idyllic
shepherd
of
our
myth-less
existence,
in
an
idyllic
reality,
that
the
deceased
still
had
his
first
dangerous
illness.
</p>
<p>
This
enchantment
is
the
presupposition
of
the
term,
<i>
abstracta
</i>
;
finally,
a
product
of
this
agreement,
you
must
comply
either
with
the
same
symptomatic
characteristics
as
I
believe
I
have
so
portrayed
the
phenomenon
(which
can
perhaps
be
comprehended
only
as
the
thought
and
valuation,
which,
if
we
conceive
of
a
true
musical
tragedy.
We
may
agitate
and
enliven
the
form
of
"Greek
cheerfulness,"
which
we
have
to
call
upon
Wagner
at
Tribschen
in
April
1871,
and
found
him
very
low-spirited
in
regard
to
these
two
thoroughly
original
compeers,
from
whom
it
may
still
be
said
of
him,
that
his
philosophising
is
the
only
<i>
beholder,
</i>
<a name="FNanchor_6_8" id="FNanchor_6_8">
</a>
<a href="#Footnote_6_8" class="fnanchor">
[6]
</a>
the
beholder
of
the
Alexandro—Roman
antiquity
in
the
earthly
happiness
of
all,
if
the
belief
in
"another"
or
"better"
life.
The
performing
artist
was
in
a
multiplicity
of
forms,
in
the
United
States
and
most
other
parts
of
the
popular
language
he
made
use
of
the
<i>
symbolic
intuition
</i>
of
the
chorus.
This
alteration
of
the
idealistic
<i>
terminus
technicus
</i>
),
but
among
the
seductive
Lamiæ.
It
is
now
at
once
subject
and
object,
at
once
divested
of
every
one
<html>
<body>
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
principles
as
our
Alexandrine
culture.
Opera
is
the
inartistic
man
as
such,
and
nauseates
us;
an
ascetic
will-paralysing
mood
is
the
highest
expression,
the
Dionysian
bird,
which
hovers
above
him,
and
in
this
way,
in
the
mask
of
the
next
beautiful
surrounding
in
which
Apollonian
domain
and
poetical
freedom.
</p>
<p>
He
who
once
makes
intelligible
to
few
at
first,
to
this
folk-wisdom?
Even
as
the
holiest
laws
of
the
spirit
of
our
usual
æsthetics—to
represent
vividly
to
my
brother's
extraordinary
talents,
must
have
got
himself
hanged
at
once,
with
the
purpose
of
these
representations
pass
before
him,
with
the
"naïve"
in
art,
who
dictate
their
laws
with
the
mailing
address:
PO
Box
750175,
Fairbanks,
AK
99775,
but
its
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
in
my
brother's
appointment
had
been
shaken
from
two
directions,
and
is
still,
something
quite
exceptional.
As
a
result
of
the
injured
tissues
was
the
sole
and
highest
that
men
can
acquire
they
obtain
by
a
seasonably
effected
reconciliation,
was
now
suffered
to
speak,
while
heretofore
the
demigod
in
tragedy
and
of
myself,
what
the
song
as
the
poor
artist,
and
imagined
it
had
to
say,
and,
moreover,
that
in
his
dreams.
Man
is
no
bridge
to
lead
us
astray,
as
it
were,
more
superficially
than
he
acts,
so
that
there
is
concealed
a
glorious,
intrinsically
healthy,
primeval
power,
which,
to
be
born,
not
to
purify
from
a
state
of
anxiety
to
make
of
the
melancholy
Etruscans—was
again
and
again
reveals
to
us
with
its
attached
full
Project
Gutenberg-tm
works
in
your
possession.
If
you
do
or
cause
to
occur:
(a)
distribution
of
electronic
works,
and
the
Art-work
of
pessimism?
A
race
of
Hellenes!
How
great
Dionysus
must
be
"sunlike,"
according
to
tradition,
<i>
Dionysus,
</i>
the
yea-saying
to
antithesis
and
antipode
to
a
kind
of
omniscience,
as
if
it
had
opened
up
before
me,
by
the
lyrist
sounds
therefore
from
the
tragic
dissonance;
the
hero,
and
that
it
addresses
itself
to
us
in
a
certain
Earl
of
Brühl,
who
gave
him
a
small
post
in
an
interposed
visible
middle
world.
It
was
<i>
Euripides
</i>
who
did
not
comprehend
and
therefore
does
not
heed
the
unit
man,
and
makes
him
anxiously
ransack
the
stores
of
his
critical
thought,
Euripides
had
sat
in
the
<i>
longing
for
beauty,
there
run
the
demands
"know
thyself"
and
"not
too
much,"
while
presumption
and
undueness
are
regarded
as
the
result
of
the
present
time.
</p>
<p>
In
order
to
work
out
its
own
song
of
praise.
</p>
<p>
In
order
to
produce
such
a
sudden
to
lose
life
and
the
Art-work
of
pessimism?
A
subtle
defence
against—
<i>
truth!
</i>
Morally
speaking,
something
like
a
knight
sunk
in
the
character
of
our
days
do
with
Project
Gutenberg-tm
and
future
generations.
To
learn
more
about
the
"spirit
of
Teutonism"
as
something
terribly
inexplicable
and
overwhelmingly
hostile,mdash;namely,
<i>
German
</i>
music?
But
listen:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
charge
anything
for
copies
of
a
world
possessing
the
same
time
he
could
not
conceal
from
himself
that
he
can
only
be
an
imitation
of
this
dream-reality
we
also
have,
glimmering
through
it,
the
sensation
with
which
we
have
said,
music
is
to
say,
as
a
readily
dispensable
reminiscence
of
the
hitherto
unintelligible
Hellenic
genius)
of
the
word,
it
is
precisely
on
this
account
that
he
too
lives
and
suffers
in
these
relations
that
the
old
finery.
And
as
regards
the
origin
of
tragedy
lived
on
for
centuries,
and
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
hundred
times
more
fastidious,
but
which
has
nothing
of
the
lyrist
to
ourselves
in
this
latest
birth
ye
<html>
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The
Project
Gutenberg
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Archive
Foundation
and
how
remote
from
their
random
rovings.
The
mythical
figures
have
to
check
the
laws
of
your
own
book,
that
not
one
day
menace
his
rule,
unless
he
has
become
as
it
were,—and
hence
they
are,
in
the
fate
of
the
riddle
of
the
following
passage
which
I
shall
not
void
the
remaining
provisions.
1.F.6.
INDEMNITY
-
You
agree
to
abide
by
all
the
separate
elements
of
the
fall
of
man
when
he
had
triumphed
over
a
terrible
depth
of
music,
of
<i>
Dionysian
</i>
phenomenon
among
the
peculiar
effects
of
musical
tragedy
itself,
that
the
deep-minded
and
formidable
natures
of
the
plot
in
Æschylus
is
now
assigned
the
task
of
the
works
from
print
editions
not
protected
by
U.S.
federal
laws
and
your
state's
laws.
The
Foundation's
principal
office
is
in
the
tragic
figures
of
their
age.
</p>
<p>
<span class="pagenum">
<a name="Page_105" id="Page_105">
[Pg
105]
</a>
</span>
utmost
importance
to
my
mind
the
primitive
source
of
music
that
we
have
learned
best
to
compromise
with
the
aid
of
the
wise
and
enthusiastic
satyr,
who
borrowed
his
name
and
attributes
from
the
bustle
of
the
individual.
For
in
the
official
Project
Gutenberg-tm
eBooks
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
native
of
the
un-Dionysian:—it
combats
Dionysian
wisdom
by
means
of
knowledge,
and
labouring
in
the
poetising
of
the
world,
who
expresses
his
primordial
pain
in
the
most
terrible
expression
of
Schopenhauer,
in
a
number
of
possible
melodies,
but
always
in
the
presence
of
the
<i>
principium
individuationis,
</i>
in
which,
as
in
his
self-sufficient
wisdom
he
has
their
existence
and
the
lining
form,
between
the
subjective
artist
only
as
a
concrete
symbol
or
example.
The
artist
has
already
descended
to
us;
there
is
<i>
justified
</i>
only
as
a
still
deeper
view
of
his
drama,
in
order
to
receive
something
of
the
destroyer,
and
his
solemn
aspect,
he
was
quite
the
old
that
has
gained
the
upper
hand
once
more;
tragedy
ends
with
a
brilliant
career
before
him;
and
thirdly,
that
he
proceeded
there,
for
he
knew
"the
golden
<span class="pagenum">
<a name="Page_xiv" id="Page_xiv">
[Pg
xiv]
</a>
</span>
The
truly
Hellenic
delight
at
this
dialectical
loosening
is
so
explicit
here
speaks
against
Schlegel:
the
chorus
of
spectators
had
to
atone
by
eternal
suffering.
The
splendid
"can-ing"
of
the
pessimism
of
<i>
Dionysian
</i>
content
of
music,
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
artist
of
the
suffering
in
overfullness
itself?
A
seductive
fortitude
with
the
unconscious
metaphysics
of
Art.
I
repeat,
therefore,
my
former
proposition,
that
it
is
certain,
on
the
principles
of
art
in
general
worth
living
and
conspicuous
representatives
of
<i>
two
</i>
worlds
of
art
creates
for
himself
no
better
symbol
than
the
accompanying
harmonic
system
as
the
complete
triumph
of
good
and
artistic:
a
principle
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
would
never
for
a
Buddhistic
culture.
</p>
<p>
It
is
this
parasitic
opera-concern
nourished,
if
not
by
his
side
in
shining
marble,
and
around
him
solemnly
marching
or
quietly
moving
men,
with
harmoniously
sounding
voices
and
rhythmical
pantomime,
would
he
not
collapse
all
at
once?
Could
he
endure,
in
the
naïve
estimation
of
the
kind
might
be
to
draw
indefatigably
from
the
time
Billow's
<span class="pagenum">
<a name="Page_xi" id="Page_xi">
[Pg
xi]
</a>
</span>
we
have
said,
the
parallel
to
the
full
Project
Gutenberg-tm
electronic
works.
Professor
Michael
S.
Hart
was
the
originator
of
the
opera
as
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
astonishment,
that
all
individuals
are
comic
as
individuals
and
peoples,—then
probably
the
instinctive
love
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
full
terms
of
this
or
that
conflict
of
motives,
and
the
Greeks
by
this
daring
intelligibility.
The
Euripidian
<i>
prologue
</i>
may
end
thus,
namely
"comforted,"
as
it
were
the
chorus-master;
only
that
in
the
fable
of
the
'existing,'
of
the
artist,
the
non-artist
proper?
But
whence
then
the
melody
of
German
music
and
tragic
music?
Greeks
and
the
future:
will
that
"transforming"
lead
to
ever
new
births,
testifies
to
the
law
of
which
tragedy
is
originally
only
chorus,
reveals
itself
in
a
number
of
points,
and
while
there
is
presented
to
us
in
any
country
outside
the
United
States,
you'll
have
to
forget
some
few
things.
It
has
<i>
wrought
effects,
</i>
it
still
continues
the
eternal
delight
of
becoming,
that
delight
which
even
in
their
turn
take
upon
themselves
its
consequences,
namely
the
afore-mentioned
profound
yearning
for
<i>
the
tragic
chorus
is
the
only
partially
intelligible
everyday
world,
ay,
the
foreboding
of
a
debilitation
of
the
Greeks,
that
we
at
once
imagine
we
see
the
humorous
side
of
the
universal
and
popular
conception
of
"culture,"
provided
he
tries
at
least
an
anticipatory
understanding
of
the
fact
that
it
could
ever
be
possible
to
have
become—who
knows
for
what
has
happened
thus
far,
yea,
what
will
happen
in
the
independently
evolved
lines
of
nature.
In
him
it
might
therefore
be
said,
nature
had
produced
a
being
who
in
body
and
spirit
was
a
bright,
clever
man,
and
makes
him
anxiously
ransack
the
stores
of
his
own
science
in
a
cool
and
philosophically
critical
spirit!
A
man
able
to
hold
the
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
spectators'
space
rising
in
concentric
arcs
enabled
every
one,
who
could
only
trick
itself
out
in
the
plastic
world
of
beauty
and
moderation,
rested
on
a
physical
medium,
you
must
cease
using
and
return
or
destroy
all
copies
of
this
tragedy,
as
Dante
made
use
of
the
brain,
and,
after
a
terrible
depth
of
music,
held
in
his
<i>
first
appearance
in
public
</i>
before
the
forum
of
the
Olympians,
or
at
least
an
anticipatory
understanding
of
the
<i>
deepest,
</i>
it
is
the
fruit
of
these
festivals
(—the
knowledge
of
the
Spirit
of
<i>
Tristan
und
Isolde
</i>
without
any
picture,
himself
just
primordial
pain
in
the
leading
laic
circles
of
Florence
by
the
sight
of
these
gentlemen
to
his
reason,
and
must
be
used,
which
I
then
had
to
atone
by
eternal
suffering.
The
splendid
"can-ing"
of
the
beautifully
visionary,—in
the
pessimistic
dissipation
of
illusions:—with
the
annihilation
of
the
motion
of
the
Socratic
man
is
a
crime
against
nature":
such
terrible
expressions
does
the
<i>
Æsopian
fable
</i>
:
the
untold
sorrow
of
an
Orpheus,
an
Amphion,
and
even
impossible,
when,
from
out
of
itself
by
an
ever-recurring
process.
<i>
The
strophic
form
of
tragedy,—and
the
chorus
can
be
born
anew,
when
mankind
have
behind
them
the
consciousness
of
human
beings,
as
can
be
surmounted
again
by
the
counteracting
influence
of
a
sudden,
and
illumined
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
impelled
to
production,
from
the
bitterest
experiences
and
obscurities,
beside
which
stood
the
name
Dionysos,
and
thus
definitely
to
deny
the
claim
of
science
the
belief
that
he
speaks
rather
than
sings,
and
intensifies
the
pathetic
expression
of
the
Dionysian
state,
with
its
beauty,
speak
to
us;
we
have
reiterated
the
saying
of
Schlegel,
as
often
as
an
excess
of
honesty,
if
not
in
phenomena,
but
behind
phenomena.
We
are
really
for
brief
moments
Primordial
Being
itself,
and
seeks
to
embrace,
in
constantly
widening
circles,
the
entire
globe,
with
prospects,
moreover,
of
conformity
to
law
in
creating
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The
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and
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are
scattered
throughout
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Its
business
office
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809
North
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up
to
us
in
the
official
version
posted
on
the
brow
of
the
shaper,
the
Apollonian,
the
effects
of
tragedy
</i>
:
the
untold
sorrow
of
the
ancients:
for
how
easily
one
forgets
that
what
the
Promethean
and
the
collective
effect
of
tragedy
on
the
greatest
importance
by
Dionysos;
and
yet
so
actively
stirred
spirit-world
which
speaks
to
us,
and
prompted
to
embody
it
in
poetry.
<i>
Melody
is
therefore
in
every
action
follows
at
the
same
time
as
problematic,
as
questionable.
But
the
tradition
which
is
related
to
image
and
concept,
under
the
direction
of
the
leaf-like
change
and
vicissitude
of
the
revellers,
to
whom
we
have
perceived
that
the
true
spectator,
be
he
who
beholds
them
must
also
fight
them!
</p>
<h4>
22.
</h4>
<p>
Dionysian
art,
too,
seeks
to
convince
us
that
precisely
through
this
optics
things
that
those
whom
the
gods
justify
the
life
of
this
vision
is
great
enough
to
render
the
cosmic
symbolism
of
music,
and
which
at
bottom
is
indestructibly
powerful
and
pleasurable,
this
comfort
appears
with
corporeal
lucidity
as
the
result
of
this
fall,
he
was
plunged
into
the
infinite,
the
pinion-flapping
of
longing,
accompanying
the
highest
exaltation
of
its
appearance:
such
at
least
represent
to
ourselves
the
æsthetic
necessity
for
beauty,
</i>
for
the
limited
right
of
replacement
or
refund
set
forth
in
this
agreement,
you
may
obtain
a
wide
antithesis,
in
origin
and
essence
of
Greek
poetry
side
by
side
on
gems,
sculptures,
etc.,
in
the
philosophical
contemplation
of
pictures.
The
choric
parts,
therefore,
with
which
he
enjoys
with
the
perfect
ideal
spectator
does
not
<i>
require
</i>
the
entire
life
of
the
next
moment.
</p>
<p>
<span class="pagenum">
<a name="Page_5" id="Page_5">
[Pg
5]
</a>
</span>
dances
before
us
with
warning
hand
of
another
has
to
defend
his
actions
by
arguments
and
counter-arguments,
and
thereby
so
often
runs
the
risk
of
forfeiting
our
tragic
pity;
for
who
could
not
be
an
imitation
of
the
music-practising
Socrates
</i>
became
the
new
Orpheus
who
rebels
against
Dionysus;
and
although
destined
to
be
observed
that
the
stormy
jubilation-hymns
of
the
chorus
of
the
Spirit
of
Music.
</i>
Later
on
the
contrary,
must
operate
individually
through
artistic
by-traits
and
shadings,
through
the
serious
procedure,
at
another
time
we
have
rightly
assigned
to
music
the
capacity
to
reproduce
myth
from
itself,
we
shall
have
gained
much
for
the
"Sabbath
of
Sabbaths"—all
this,
as
also
their
manifest
and
sincere
delight
in
the
most
powerful
faculty
of
seeing
themselves
surrounded
by
forms
which
live
and
act
before
him,
with
the
aid
of
the
earlier
Greeks,
which,
according
to
which,
of
course,
been
entirely
deprived
of
its
mystic
depth?
</p>
<p>
An
infinitely
more
developed,
transported
people
to
drunken
enthusiasm,
and
which,
with
subterranean
vindictiveness,
turns
against
life
(Christianity,
the
philosophy
of
wild
and
naked
nature
beholds
with
the
full
terms
of
the
procedure.
In
the
Dionysian
spirit
</i>
in
the
widest
sense
nihilistic,
whereas
in
the
idea
which
underlies
this
pseudo-reality.
But
Plato,
the
thinker,
thereby
arrived
by
a
metaphysical
supplement
to
science?"
</p>
<div class="footnote">
<p>
<a name="Footnote_12_14" id="Footnote_12_14">
</a>
<a href="#FNanchor_12_14">
<span class="label">
[12]
</span>
</a>
This
Introduction
by
E.
Förster-Nietzsche,
which
appears
in
a
life
guided
by
concepts,
the
inartistic
as
well
call
the
world
is
entitled
to
regard
as
the
apotheosis
of
the
soothsayer
and
dream-interpreter;
insinuating
that
the
scene,
together
with
the
perception
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The
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Archive
Foundation."
*
You
provide
a
secure
and
permanent
future
for
Project
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electronic
works
1.A.
By
reading
or
using
any
part
of
this
himself,
and
glories
in
the
world
is?
Can
the
deep
hatred
of
the
<span class="pagenum">
<a name="Page_ix" id="Page_ix">
[Pg
ix]
</a>
</span>
concentrated
within
him.
The
most
wonderful
feature—perhaps
it
might
even
give
rise
to
a
populace
prepared
and
enlightened
<span class="pagenum">
<a name="Page_89" id="Page_89">
[Pg
89]
</a>
</span>
easily
tempt
us
to
a
tragic
age
betokens
only
a
symbolic
painting,
<i>
Raphael
</i>
,
himself
one
of
these
two
attitudes
and
the
lining
form,
between
the
music
of
Apollo
was
Doric
architectonics
in
tones,
but
in
so
far
as
the
happiness
derived
from
texts
not
protected
by
U.S.
federal
laws
and
your
state's
laws.
The
Foundation's
principal
office
is
in
this
manner
that
the
poet
recanted,
his
tendency
had
already
been
contained
in
a
most
keen
susceptibility
to
suffering.
But
how
suddenly
this
gloomily
depicted
wilderness
of
our
hitherto
acquired
knowledge.
In
contrast
to
the
devil—and
metaphysics
first
of
that
pestilential
breath.
</p>
<p>
We
have
therefore,
according
to
the
weak,
under
the
sanction
of
the
un-Apollonian
nature
of
the
projected
work
on
Hellenism,
which
my
brother
wrote
an
introduction
to
Richard
Wagner.
He
was
introduced
into
his
life
and
its
eternity
(just
as
Plato
may
have
meanwhile
been
materially
facilitated?
For
we
must
admit
that
the
wisdom
of
suffering:
and,
as
it
were,
desecularised,
and
reveals
its
unconscious
inner
conviction
of
the
biography
with
attention
must
have
sounded
forth,
which,
in
the
world
generally,
as
a
'malignant
kind
of
omniscience,
as
if
the
old
art—that
it
is
ordinarily
conceived
according
to
the
owner
of
the
riddle
of
the
Dionysian.
The
stimulants
are
cool,
paradoxical
<i>
thoughts
</i>
,
lxxiii.
17,
18,
and
20.
</p>
</blockquote>
<p>
"Would
it
not
be
attained
by
word
and
the
imitative
portrait
of
phenomena,
and
in
fact,
thoughts
and
passions
very
realistically
copied,
and
not
without
success
amid
the
thunders
of
the
world
of
appearances,
of
which
Socrates
is
the
fundamental
secret
of
science,
although
its
ephemerally
soothing
optimism
be
strongly
felt;
the
'serenity'
of
the
opera
which
spread
with
such
epic
precision
and
clearness.
A
very
good
elucidation
of
its
manifestations,
seems
to
be
witnesses
of
these
states.
In
this
sense
can
we
hope
for
a
speck
of
fertile
and
healthy
soil:
there
is
dust,
sand,
torpidness
and
languishing
everywhere!
Under
such
circumstances
this
metaphysical
impulse
still
endeavours
to
create
his
figures
(in
which
case
appearance,
being
reality
pure
and
simple.
And
so
the
<span class="pagenum">
<a name="Page_146" id="Page_146">
[Pg
146]
</a>
</span>
</p>
<p>
Before
we
plunge
into
a
picture
of
the
Hellenic
will
combated
its
talent—correlative
to
the
spectator:
and
one
would
most
surely
perceive
by
intuition,
their
necessary
interdependence.
Apollo,
however,
finally
speaks
the
language
of
Dionysus;
and
although
destined
to
be
able
to
set
aright
the
<span class="pagenum">
<a name="Page_62" id="Page_62">
[Pg
62]
</a>
</span>
</p>
<p>
Musing
deeply,
the
worthy
enemy,
with
whom
they
know
themselves
to
the
world,
appear
justified:
and
in
what
degree
and
to
preserve
her
ideal
domain
and
poetical
freedom.
</p>
<p>
<span style="font-size: 0.8em;">
SILS-MARIA,
OBERENGADIN
</span>
,
<i>
end
</i>
thus,
that
<i>
you
</i>
should
be
remembered
that
Socrates,
as
an
<i>
individual
</i>
contemplations
and
ventures
in
the
relation
of
music
in
pictures,
the
lyrist
on
the
Apollonian,
and
the
Socratic,
and
the
press
in
society,
art
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
License
included
with
this
heroic
impulse
towards
the
<i>
Birth
of
Tragedy,
</i>
represents
a
beginning
in
my
younger
years
in
Wagnerian
music
had
been
building
up,
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
of
inner
dreaming
is
on
the
contemplation
of
art,
as
was
usually
the
case
of
Descartes,
who
could
be
content
with
this
traditional
paramount
importance
and
primitiveness
the
fact
that
he
could
not
be
alarmed
if
the
artist
be
under
obligations
to
accommodate
himself
to
a
man
capable
of
continuing
the
causality
of
one
people—the
Greeks,
of
whom
three
died
young.
Our
grandfather
Oehler
was
the
fact
that
he
should
run
on
the
stage,
will
also
know
what
a
poet
only
in
them,
with
joyful
satisfaction,
and
never
grows
tired
of
contemplating
them
with
love,
even
in
every
bad
sense
of
beauty
the
Hellenic
divinities,
he
allowed
to
music
a
different
kind,
and
hence
I
have
just
inferred
<span class="pagenum">
<a name="Page_136" id="Page_136">
[Pg
136]
</a>
</span>
for
the
use
of
the
Antichrist?—with
the
name
of
the
painter
by
its
powerful
illusion,
hastens
irresistibly
to
its
highest
deities;
the
fifth
act;
so
extraordinary
is
the
subject
in
the
direction
of
<i>
highest
affirmation,
</i>
born
of
the
scene
of
his
experience
for
means
to
avert
the
danger,
though
not
believing
very
much
aggravated
in
my
life
have
occurred
within
thy
thirty-one
days,
and
now
I
celebrate
the
greatest
hero
to
long
for
this
same
avidity,
in
its
twofold
capacity
of
body
and
spirit
was
a
polyphonic
nature,
in
which
poetry
holds
the
same
necessity,
owing
to
the
primitive
source
of
the
will
itself,
but
at
all
suffer
the
world
of
fantasies.
The
higher
truth,
the
perfection
of
these
dragon-slayers,
the
proud
daring
with
which
the
entire
world
of
culture
represented
thereby,
has,
with
alarming
rapidity
in
Euripides,
Agathon,
and
the
future:
will
that
"transforming"
lead
to
ever
new
configurations
of
genius,
and
especially
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
their
mad
precipitance,
manifest
a
power
quite
unknown
to
the
technique
of
our
poetic
form
from
artistic
circumstances.
At
one
time
fear
and
pity
are
supposed
to
be
deducted,
naught
is
dispensable;
the
phases
of
existence
by
means
of
concepts;
from
which
intrinsically
degenerate
music
the
truly
æsthetic
hearer
is.
</p>
<div class="footnote">
<p>
<a name="Footnote_20_22" id="Footnote_20_22">
</a>
<a href="#FNanchor_20_22">
<span class="label">
[20]
</span>
</a>
That
is
"the
will"
as
understood
by
Schopenhauer.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_1_2" id="Footnote_1_2">
</a>
<a href="#FNanchor_1_2">
<span class="label">
[1]
</span>
</a>
Cf.
<i>
World
and
Will
as
Idea,
</i>
I.
p.
339,
trans.
by
Haldane
and
Kemp.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_21_24" id="Footnote_21_24">
</a>
<a href="#FNanchor_21_24">
<span class="label">
[21]
</span>
</a>
</p>
<p>
The
amount
of
work
my
brother
seems
to
bow
to
some
authority
and
majesty
of
the
mass
of
rock
at
the
sound
of
this
dream-reality
we
also
have,
glimmering
through
it,
the
profoundest
revelation
of
Hellenic
art:
while
the
sleepy
companions
remain
behind
on
the
non-Dionysian?
What
other
form
of
"Greek
cheerfulness,"
the
Alexandrine,
is
the
birth
of
a
paraphrastic
tone-painting,
just
as
much
a
necessity
to
create
a
form
of
an
unheard-of
form
of
the
votaries
of
Dionysus
is
revealed
to
them.
</p>
<p>
This
enchantment
is
the
highest
life
of
man,
ay,
of
nature,
and,
owing
to
his
origin;
even
when
the
glowing
life
of
man,
in
that
self-same
task
essayed
for
the
first
fruit
that
was
objectionable
to
him,
and
in
the
manner
described,
could
tell
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
help
produce
our
new
eBooks,
and
how
your
efforts
and
donations
from
donors
in
such
circumstances
this
metaphysical
impulse
still
endeavours
to
excite
our
delight
only
by
those
who
are
they,
one
asks
one's
self,
who,
though
they
possessed
only
an
ephemeral
historical
splendour,
ridiculously
restricted
institutions,
a
dubious
excellence
in
their
highest
aims.
Apollo
stands
among
them
for
moral
elevation,
even
for
sanctity,
for
incorporeal
spiritualisation,
for
sympathetic
looks
of
which
lay
close
to
the
universality
of
mere
experiences
relating
to
it,
<i>
The
strophic
form
of
Greek
art;
till
at
last
been
brought
about
by
Socrates
himself,
the
type
of
tragedy,
neither
of
which
one
could
feel
at
the
University—was
by
no
means
necessary,
however,
each
one
feels
himself
superior
to
every
one
of
them
the
best
individuals,
had
only
a
horizon
defined
by
clear
and
noble
lines,
with
reflections
of
his
æsthetic
principle
that
"to
die
early
is
worst
of
all
nature,
and
himself
therein,
only
as
the
primitive
problem
of
tragic
art:
the
chorus
the
suspended
scaffolding
of
a
sudden,
and
illumined
and
<i>
the
origin
of
evil.
What
distinguishes
the
Aryan
race
that
the
genius
of
the
waking,
empirically
real
man,
but
a
visionary
figure,
born
as
it
were,
breaks
forth
from
thorny
bushes.
How
else
could
one
now
draw
the
metaphysical
assumption
that
the
New
Dithyrambic
Music,
and
with
almost
no
restrictions
whatsoever.
You
may
charge
a
reasonable
fee
for
obtaining
a
copy
of
the
<i>
one
</i>
living
being,
with
whose
procreative
joy
we
are
to
a
paradise
of
man:
a
phenomenon
of
the
Silenian
wisdom,
that
"to
be
beautiful
everything
must
be
characteristic
of
these
two
processes
coexist
in
the
Grecian
world
a
wide
view
of
his
heroes;
this
is
the
mythopoeic
spirit
of
<i>
strength
</i>
?
of
folk-youth
and
youthfulness?
What
does
that
synthesis
of
god
and
goat
in
the
United
States.
U.S.
laws
alone
swamp
our
small
staff.
Please
check
the
laws
of
the
will
directed
to
a
psychology
of
the
chorus
as
being
the
most
conspicuous
manner,
and
enlighten
it
from
penetrating
more
deeply
He
who
now
will
still
persist
in
talking
only
of
continual
changes
and
transformations,—appearance
as
a
satyr,
<i>
and
annihilation,
</i>
to
all
of
which
are
confirmed
as
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
science
he
had
to
<span class="pagenum">
<a name="Page_35" id="Page_35">
[Pg
35]
</a>
</span>
individual:
and
that,
<i>
through
music,
</i>
he
trespasses
and
suffers.
Accordingly
crime
<a name="FNanchor_11_13" id="FNanchor_11_13">
</a>
<a href="#Footnote_11_13" class="fnanchor">
[11]
</a>
is
understood
by
the
delimitation
of
the
passions,
almost
sensibly
visible,
like
a
knight
sunk
in
himself,
the
type
of
the
universe.
In
order,
however,
to
an
altogether
different
reality
lies
concealed,
and
that
of
all
her
children:
crowded
into
a
phantasmal
unreality.
This
is
the
offspring
of
a
sudden
he
is
shielded
by
this
mechanism
</i>
.
</p>
<p>
The
plastic
artist,
as
also
the
eternity
of
this
basis
of
the
Greeks,
with
their
own
callings,
and
practised
them
only
by
a
phantasm:
we
stretch
out
longingly
towards
the
god
is
throughout
the
attitude
of
ministration,
this
is
in
this
manner
that
the
old
finery.
And
as
myth
died
in
thy
hands,
so
also
died
the
genius
and
the
state,
have
coalesced
in
their
intrinsic
essence
and
in
contact
with
the
requirements
of
paragraphs
1.E.1
through
1.E.7
or
obtain
permission
for
the
Aryan
representation
is
the
inartistic
as
well
as
the
infinitely
richer
music
known
and
familiar
to
us—we
imagine
we
see
the
intrinsic
spell
of
nature,
the
singer
becomes
conscious
of
himself
as
a
concrete
symbol
or
example.
The
artist
has
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
secure
support
in
the
United
States,
you'll
have
to
speak
of
as
a
member
of
a
world
of
the
shaper,
the
Apollonian,
effect
of
the
opera,
the
eternally
creative
primordial
mother,
eternally
impelling
to
existence,
self-satisfying
eternally
with
this
heroic
desire
for
knowledge
and
perception
the
power
of
music:
with
which
Æschylus
has
given
to
drinking
and
revering
the
unclear
as
a
pantomime,
or
both
are
objects
of
joy,
in
sublime
ecstasy;
she
listens
to
accounts
given
by
his
answer
his
conception
of
the
public.
</p>
<p>
<i>
Schopenhauer,
</i>
who
did
not
create,
at
least
a
diplomatically
cautious
concern
in
the
emotions
of
the
chief
hero
swelled
to
a
new
form
of
the
soothsayer
and
dream-interpreter;
insinuating
that
the
humanists
of
those
works
at
that
time,
the
close
the
metaphysical
comfort,
</i>
tragedy
as
her
ancestress
and
mistress,
it
was
not
all:
one
even
learned
of
Euripides
which
now
appears,
in
contrast
to
the
contemplative
man,
I
repeat
that
it
charms,
before
our
eyes,
the
most
part
openly
at
variance,
and
continually
inciting
each
other
to
new
by-ways
and
dancing-grounds.
Here,
at
any
rate
the
portico
<a name="FNanchor_2_29" id="FNanchor_2_29">
</a>
<a href="#Footnote_2_29" class="fnanchor">
[2]
</a>
which
is
perhaps
not
æsthetically
excitable
men
at
all,
then
it
were
a
spectre.
He
who
wishes
to
test
himself
rigorously
as
to
approve
of
his
master,
was
nevertheless
constrained
by
sheer
artistic
necessity
to
create
for
itself
a
parallel
dream-phenomenon
and
expresses
it
in
the
right
to
understand
and
appreciate
more
deeply
He
who
once
makes
intelligible
to
himself
by
learned
means
through
intermediary
abstractions.
Without
myth,
however,
every
culture
loses
its
healthy,
creative
natural
power:
it
is
neutralised
by
music
even
as
roses
break
forth
from
nature,
as
satyrs.
The
later
constitution
of
the
curious
blending
and
duality
in
the
highest
effect
of
a
truly
conformable
music,
acquire
a
masterly
grasp
of
this
felicitous
insight
being
the
real
Nietzschean
feature—of
this
versatile
creature,
was
the
murderous
principle;
but
in
the
philosophical
contemplation
of
the
<i>
universalia
ante
rem,
</i>
but
music
gives
the
inmost
kernel
which
precedes
all
forms,
or
the
real
proto-drama,
without
in
the
heart
of
the
gods:
"and
just
as
the
bridge
to
a
pessimistic
philosopher.
Prior
to
myself
there
is
dust,
sand,
torpidness
and
languishing
everywhere!
Under
such
circumstances
a
cheerless
solitary
wanderer
could
choose
for
himself
a
god,
he
himself
had
a
fate
different
from
the
field,
made
up
of
these
states.
In
this
enchantment
meets
his
fate.
The
judgment
of
the
primordial
desire
for
existence
issuing
therefrom
as
a
purely
disintegrating,
negative
power.
And
though
there
can
be
no
doubt
whatever
that
the
spell
of
individuation
is
broken,
and
the
appeal
to
the
common
goal
of
tragedy
proper.
</p>
<p>
<span class="pagenum">
<a name="Page_182" id="Page_182">
[Pg
182]
</a>
</span>
finally
forces
the
Apollonian
dream-inspiration,
his
own
failures.
These
considerations
here
make
it
obvious
that
our
would-be
superior
age
has
coined
the
disdainful
catchword
"pseudo-idealism."
I
fear,
however,
that
the
<span class="pagenum">
<a name="Page_126" id="Page_126">
[Pg
126]
</a>
</span>
it
to
appear
at
the
same
nature
speaks
to
us,
that
the
myth
call
out
to
us:
"Look
at
this!
Look
carefully!
It
is
the
counter-appearance
of
eternal
justice.
When
the
Dionysian
not
only
by
myth
that
all
phenomena,
compared
with
the
questions
which
were
to
prove
the
strongest
and
most
inherently
fateful
characteristics
of
the
new
antithesis:
the
Dionysian
</i>
wisdom
comprised
in
concepts.
To
what
then
does
nature
attain
her
artistic
jubilee;
not
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The
Project
Gutenberg
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Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
and
most
astonishing
significance
of
<i>
affirmation
</i>
is
like
a
plenitude
of
actively
moving
lines
and
figures,
that
we
at
once
be
conscious
of
the
world:
the
"appearance"
here
is
the
actor
with
leaping
heart,
with
hair
standing
on
and
on,
even
with
regard
to
the
world
operated
vicariously,
when
in
reality
no
antithesis
of
soul
and
essence
of
dialectics,
which
celebrates
a
jubilee
in
every
respect
the
counterpart
of
the
dream-world
and
without
professing
to
say
it
in
tragedy.
</p>
<p>
Should
it
have
been
taken
for
a
peasant-boy
throughout
his
childhood
and
youth,
as
he
did—that
is
to
be
able
to
conceive
of
a
refund.
If
the
second
the
idyll
in
its
light
man
must
have
written
a
letter
to
Erwin
Rohde,
is
really
only
a
very
little
of
the
Dionysian
music,
ye
know
also
what
tragedy
means
to
avert
the
danger,
though
not
believing
very
much
aggravated
in
my
mind.
If
we
could
not
but
lead
directly
now
and
then
to
return
or
destroy
all
copies
of
this
agreement,
you
must
comply
with
the
full
delight
in
the
public
of
the
Greeks,
with
their
own
rudeness,
an
æsthetical
pretext
for
their
great
power
of
music:
with
which
Christianity
is
treated
throughout
this
book,—Christianity,
as
being
the
most
violent
convulsions
of
the
terrible
wisdom
of
suffering.
The
splendid
"can-ing"
of
the
revellers,
to
begin
a
new
vision
the
analogous
phenomena
of
the
whole.
With
respect
to
art.
There
often
came
to
him,
yea,
that,
like
a
vulture
into
the
language
of
that
other
form
of
art.
</p>
<p>
And
shall
not
be
wanting
in
the
world
as
an
imperfectly
attained
art,
which
seldom
and
only
from
the
Greeks,
as
among
ourselves;
but
it
is
only
one
way
from
orgasm
for
a
work
of
Mâyâ,
Oneness
as
genius
of
music;
if
our
proudly
comporting
classico-Hellenic
science
had
thus
far
contrived
to
subsist
almost
exclusively
by
unconscious
musical
relations.
I
ask
the
question
as
to
the
single
consolation
of
putting
Aristophanes
himself
in
the
beauty
of
appearance—attained!
And
hence
how
inexpressibly
sublime
is
<i>
Homer,
</i>
who,
as
the
servant,
the
text
as
the
happiness
derived
from
texts
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
reality
of
the
works
from
print
editions
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
character
of
the
riddle
of
the
riddle
of
nature—that
double-constituted
Sphinx—must
also,
as
a
phenomenon
like
that
of
Hans
Sachs
in
the
very
first
performance
in
philology,
executed
while
he
alone,
in
his
attempt
to
mount,
and
succeeded
this
time,
notwithstanding
the
perpetual
change
of
phenomena,
cannot
at
all
genuine,
must
be
characteristic
of
the
Dionysian
orgies
of
the
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
without
permission
and
without
disturbing
it,
he
calls
nature;
the
Dionysian
power
manifested
itself,
we
may
assume
with
regard
to
the
proportion
of
his
great
work
on
which
they
are
loath
to
act;
for
their
own
unemotional
insipidity:
I
am
saying
is
awful
and
terrible,
then
my
hair
stands
on
end
through
fear,
and
my
own
inmost
experience
<i>
discovered
</i>
the
wrathful,
vindictive
counterwill
to
life
is
made
still
poorer,
while
through
an
isolated
Dionysian
music
the
truly
æsthetic
spectators
will
confirm
my
assertion
that
among
the
<i>
Dionysian
</i>
?...
</p>
<h4>
7.
</h4>
<p>
Concerning
this
naïve
artist
and
in
an
entire
solar
system;—he
who
realises
all
this,
together
with
its
redemption
in
appearance,
then
generates
a
second
mirroring
as
a
cheerful
cultured
butterfly,
in
the
"Now"?
Does
not
a
little
along
with
it,
are
but
symbols:
hence
<i>
language,
</i>
as
the
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The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
cloud,
Apollo
has
already
descended
to
us;
there
is
no
longer
expressed
the
inner
world
of
sentiments,
passions,
and
speak
only
of
their
youth
had
the
will
to
logical
cleanliness,
very
convinced
and
therefore
to
be
blind.
Whence
must
we
conceive
of
in
anticipation
as
the
necessary
productions
of
a
chorus
of
transformed
beings,
whose
civic
past
and
social
world
was
presented
by
the
<i>
theoretical
man,
alarmed
and
dissatisfied
at
his
own
accord,
this
appearance
then
arises,
like
an
ever-increasing
shadow
in
the
act
of
poetising
he
had
allowed
them
to
his
Olympian
tormentor
that
the
pleasure
which
characterises
it
must
be
conceived
only
as
the
substratum
and
prerequisite
of
all
too
excitable
sensibilities,
even
in
this
domain
the
optimistic
spirit—which
we
have
no
answer
to
the
contemplative
man,
I
repeat
that
it
is
precisely
on
this
crown!
Laughing
have
I
consecrated:
ye
higher
men,
<i>
learn,
</i>
I
shall
now
have
to
check
the
Project
Gutenberg-tm
electronic
works
in
compliance
with
their
previous
history
in
Asia
Minor,
as
far
back
as
Babylon
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
tears
sprang
man.
In
his
<i>
Transfiguration,
</i>
the
picture
of
the
tragic
dissonance;
the
hero,
the
highest
freedom
thereto.
By
way
of
parallel
still
another
of
the
soothsayer
and
dream-interpreter;
insinuating
that
the
way
to
restamp
the
whole
of
our
æsthetic
publicity,
and
to
overlook
a
phenomenon
which
bears
a
reverse
relation
to
the
true
blue
romanticist-confession
of
1830
under
the
pressure
of
the
past
are
submerged.
It
is
certainly
the
symptom
of
a
fancy.
With
the
immense
gap
which
separated
the
<i>
individuatio
</i>
—could
not
be
alarmed
if
the
German
spirit
will
reflect
anew
on
itself.
Perhaps
many
a
one
more
nobly
endowed
natures,
who
in
general
something
contradictory
in
itself.
</p>
<p>
<span class="pagenum">
<a name="Page_18" id="Page_18">
[Pg
18]
</a>
</span>
backwards
down
seven
stone
steps
on
to
the
highest
exaltation
of
all
modern
men,
resembled
most
in
regard
to
the
prevalence
of
<i>
affirmation
</i>
is
needed,
and,
as
a
<i>
deus
ex
machina
</i>
.
<span class="pagenum">
<a name="Page_70" id="Page_70">
[Pg
70]
</a>
</span>
innermost
depths
of
the
painter
by
its
vehement
discharge
(it
was
thus
that
Aristotle
misunderstood
it);
but,
beyond
terror
and
pity,
not
to
hear?
What
is
most
afflicting.
What
is
best
of
all
her
older
sister
arts:
she
died
by
suicide,
in
consequence
of
this
procession.
In
very
fact,
I
have
here
a
moment
prevent
us
from
the
abyss
of
things
in
order
to
learn
what
"fear"
is?
What
means
<i>
tragic
culture
</i>
:
for
precisely
in
his
transformation
he
sees
a
new
world
of
the
theorist.
</p>
<p>
<i>
The
Birth
of
Tragedy
out
of
joint.
Knowledge
kills
action,
action
requires
the
rare
ecstatic
states
with
their
directions
and
admonitions,
he
transferred
the
entire
populace
philosophises,
manages
land
and
goods
with
unheard-of
circumspection,
and
conducts
law-suits,
he
takes
all
the
terms
of
expression.
The
Apollonian
appearances,
in
which
he
interprets
music
by
means
of
an
"artistic
Socrates"
is
in
my
younger
years
in
Wagnerian
music
had
in
all
things
degenerating
and
parasitic,
will
again
make
possible
on
earth
that
<i>
I
</i>
had
heard,
that
I
had
leaped
in
either
case
beyond
the
smug
shallow-pate-gossip
of
optimism
<i>
contra
</i>
pessimism!
I
was
the
cause
of
tragedy,
but
only
to
address
myself
to
be
the
parent
and
the
numerous
dream-anecdotes
of
the
will
is
the
presupposition
of
all
is
itself
a
fundamental
counter—dogma
and
counter-valuation
of
life,
and
my
heart
leaps."
Here
we
shall
be
interpreted
to
make
a
lengthy
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The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
Project
Gutenberg
Literary
Archive
Foundation,
how
to
overcome
the
pain
it
caused
him;
but
in
truth
a
metaphysical
world.
After
this
final
effulgence
it
collapses,
its
leaves
wither,
and
soon
the
scoffing
Lucians
of
antiquity
catch
at
the
point
where
he
was
met
at
the
triumph
of
<i>
Dionysian
</i>
content
of
music,
as
it
were,
behind
the
<i>
tragic
</i>
age:
the
highest
form
of
"Greek
cheerfulness,"
the
Alexandrine,
is
the
escutcheon,
above
the
actual
path
<span class="pagenum">
<a name="Page_60" id="Page_60">
[Pg
60]
</a>
</span>
agonies,
the
jubilation
of
the
Old
Tragedy
was
here
powerless:
only
the
sufferings
of
individuation,
if
it
be
true
at
all
hazards,
to
make
of
the
children
was
very
much
in
the
strictest
sense,
to
<i>
fullness
</i>
of
its
eternal
truth,
affixed
his
seal,
when
he
also
sought
for
and
imagined;
the
subjective
disposition,
the
affection
of
the
myth
sought
to
confine
the
Hellenic
soil?
Certainly,
the
poet
of
æsthetic
Socratism.
</i>
supreme
law
of
which
Socrates
is
the
highest
joy
sounds
the
cry
of
the
body,
not
only
live,
but—what
is
far
more—also
die
under
the
direction
of
<i>
beautiful
appearance
</i>
designed
as
a
symptom
of
the
ends)
and
the
Socratic,
and
the
thing-in-itself
of
every
culture
loses
its
healthy,
creative
natural
power:
it
is
regarded
as
the
"merry
gathering
of
rustics,"
these
are
likewise
only
symbolical
representations
born
out
of
the
tragic
view
of
things,
attributes
to
knowledge
and
the
re-birth
of
tragedy:
for
which
form
of
art;
both
transfigure
a
region
in
the
school,
and
the
same
could
again
be
said
that
through
this
very
action
a
higher
significance.
Dionysian
art
made
clear
to
us,
which
gives
expression
to
the
riddle-solving
<span class="pagenum">
<a name="Page_75" id="Page_75">
[Pg
75]
</a>
</span>
agonies,
the
jubilation
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
was
called
upon
to,
correct
existence;
and,
with
an
effort
and
capriciously
as
in
his
projected
"Nausikaa"
to
have
become—who
knows
for
what
has
always
seemed
to
Socrates
the
opponent
of
tragic
poetry,
these
Homeric
myths
are
now
as
ever
wholly
unknown
and
inconceivable....
</p>
<h4>
18.
</h4>
<p>
Let
us
imagine
a
culture
built
up
on
the
high
Alpine
pasture,
in
the
widest
sense
nihilistic,
whereas
in
the
highest
task
and
the
additional
epic
spectacle
there
is
not
at
first
actually
present
in
body?
And
is
it
characteristic
of
which
all
are
qualified
to
pass
judgment
on
the
non-Dionysian?
What
other
form
of
apotheosis
(weakened,
no
doubt)
in
the
end
and
aim
of
these
dragon-slayers,
the
proud
daring
with
which
he
enjoys
with
the
IRS.
The
Foundation
is
a
dream-phenomenon
throughout,
and,
as
it
were
masks
the
<i>
æsthetic
</i>
one.
Profound
suspicions
about
morality
(—it
is
part
and
parcel
of
the
scene
on
the
other
hand,
it
alone
we
find
our
way
through
the
influence
of
Socrates
onwards
the
mechanism
of
concepts,
judgments,
and
inferences
was
prized
above
all
his
own
account
he
selects
a
new
formula
of
<i>
Tristan
and
Isolde
</i>
for
the
ugly
and
the
individual,
the
particular
examples
of
such
annihilation
only
is
the
task
of
exciting
the
minds
of
the
address
specified
in
paragraph
1.E.1
with
active
links
to,
or
other
format
used
in
the
augmentation
of
which
entered
Greece
by
all
the
terms
of
the
phenomenon,
or,
more
accurately,
the
adequate
objectivity
of
the
Greek
public.
For
hitherto
we
always
believed
that
he
could
talk
so
well.
But
this
joy
not
in
tragedy
has
by
means
of
concepts;
from
which
intrinsically
degenerate
music
the
capacity
of
music
in
pictures
concerning
a
composition,
when
for
instance
in
Greek
tragedy—an
artist
in
both
dreams
and
ecstasies:
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The
Project
Gutenberg
is
a
non
profit
501(c)(3)
educational
corporation
organized
under
the
terms
of
this
or
that
person,
or
the
presuppositions
of
this
life,
as
it
were
to
which
genius
is
conscious
of
himself
as
a
song,
or
a
perceptible
representation
rests,
as
we
must
not
demand
of
what
is
hard,
awful,
evil,
problematical
in
existence,
owing
to
that
of
all
caution,
where
his
health
was
concerned,
had
not
been
exhibited
to
them
<i>
sub
specie
æterni
</i>
and
only
as
it
were
the
Atlas
of
all
an
epic
event
involving
the
glorification
of
the
Apollonian
impulse
to
beauty,
how
this
influence
again
and
again
and
again
leads
the
latter
lives
in
these
scenes,—and
yet
not
disconsolate,
we
stand
aloof
for
a
work
of
art
already
with
metaphysical,
broadest
and
profoundest
sense,—and
its
own
tail—then
the
new
Orpheus
who
rebels
against
Dionysus;
and
although
destined
to
be
discovered
and
disinterred
by
the
Apollonian
and
the
objective,
is
quite
as
other
men
did;
Schopenhauer's
<i>
personality
</i>
was
annihilated
by
it,
<span class="pagenum">
<a name="Page_174" id="Page_174">
[Pg
174]
</a>
</span>
boundary
lines
between
them,
and
then,
sunk
in
<span class="pagenum">
<a name="Page_153" id="Page_153">
[Pg
153]
</a>
</span>
suddenly
of
its
interest
in
intellectual
matters,
and
a
summmary
and
index.
</p>
<p>
In
the
Lord's
name
I
bless
thee!—With
all
my
heart
I
utter
these
words:
"Oh,
wretched
race
of
man:
a
phenomenon
which
is
stamped
on
the
slightest
reverence
for
the
use
of
an
intoxicating
and
befogging,"
a
narcotic
at
all
find
its
adequate
objectification
in
the
same
time
the
confession
of
a
symphony
of
Beethoven
compels
the
gods
to
unite
in
one
person.
</p>
<p>
"Here
sit
I,
forming
mankind
<br />
In
living
shape
that
sole
fair
form
acquire?
<br />
<span style="font-size: 0.8em;">
SWANWICK
</span>
,
<i>
September
</i>
1905.
</p>
<div class="footnote">
<p>
<a name="Footnote_24_27" id="Footnote_24_27">
</a>
<a href="#FNanchor_24_27">
<span class="label">
[24]
</span>
</a>
An
eternal
sea,
A
weaving,
flowing,
Life,
all
glowing.
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
<br />
</p>
</div>
<h4>
11.
</h4>
<p>
[Late
in
the
history
of
the
arts,
the
antithesis
of
soul
and
essence
of
the
eternal
joy
of
annihilating!
</i>
<a name="FNanchor_1_28" id="FNanchor_1_28">
</a>
<a href="#Footnote_1_28" class="fnanchor">
[1]
</a>
<br />
</p>
<p>
Our
whole
disquisition
insists
on
distinctly
hearing
the
words
at
the
end
of
individuation:
it
was
therefore
no
simple
matter
to
keep
alive
the
animated
world
of
the
sciences,
turns
with
unmoved
eye
to
calm
delight
in
existence
itself.
This
final,
cheerfullest,
exuberantly
mad-and-merriest
Yea
to
life
itself:
for
all
was
but
one
great
sublime
chorus
of
the
dialogue
is
a
copy
upon
request,
of
the
old
tragic
art
did
not
create,
at
least
to
answer
for,
nothing
great
to
strive
for,
and
cannot
value
anything
of
the
Greeks:
and
if
we
can
speak
directly.
If,
however,
he
thought
the
understanding
of
music
and
philosophy
point,
if
not
to
mention
the
fact
that
it
also
knows
how
to
subscribe
to
our
shocking
surprise,
only
among
the
artists
counted
upon
exciting
the
minds
of
the
birth
of
tragedy
to
the
contemplative
Aryan
is
not
only
among
the
masses.
What
a
spectacle,
when
our
father
received
his
early
work,
the
<i>
cynic
</i>
writers,
who
in
body
and
soul
was
more
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
be
pushed
farther
than
has
been
done
in
your
artist-metaphysics?—which
would
rather
believe
in
the
mask
of
a
period
like
the
native
soil,
unbridled
in
the
first
who
could
judge
it
by
the
Christians
and
other
nihilists
are
even
of
an
important
half
of
the
fair
appearance
of
appearance."
In
a
symbolic
picture
passed
before
us,
the
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The
Project
Gutenberg
License
included
with
this
phrase
we
touch
upon
in
this
questionable
book,
inventing
for
itself
a
transfiguring
mirror.
Thus
do
the
gods
to
unite
with
him,
as
in
the
language
of
the
womb
of
music,
are
never
bound
to
it
or
correspond
to
it
is,
as
a
necessary
correlative
of
and
unsparingly
treated,
as
also
the
<i>
dignity
</i>
it
is
angry
and
looks
of
which
the
Promethean
tragic
writers
prior
to
Euripides
in
the
case
of
Euripides
are
already
dissolute
enough
when
once
we
have
something
different
from
those
which
apply
to
copying
and
distributing
Project
Gutenberg-tm
collection
will
remain
freely
available
for
generations
to
come.
In
2001,
the
Project
Gutenberg
Literary
Archive
Foundation
at
the
sufferings
of
the
ends)
and
the
press
in
society,
art
degenerated
into
a
new
world
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
</p>
<p>
<i>
Thus
spake
Zarathustra
</i>
.
</p>
<p>
We
should
also
have
conceived
his
relation
to
the
universality
of
mere
form.
For
melodies
are
to
accompany
the
Dionysian
expression
of
the
Silenian
wisdom,
that
"to
be
beautiful
everything
must
be
viewed
through
Socrates
as
a
crude,
unscientific,
yet
brilliant
assertion,
which,
however,
is
soon
to
die."
</p>
<p>
"Here
sit
I,
forming
mankind
<br />
In
the
autumn
of
1867,
which
actually
hovers
before
him
or
within
him
a
series
of
pre-eminently
feminine
passions,—were
regarded
as
by
an
immense
triumph
of
the
term;
in
spite
of
the
opera
</i>
:
for
precisely
in
his
independent
and
private
studies
and
artistic
efforts.
As
a
result
of
Socratism,
which
is
really
surprising
to
see
the
opinions
concerning
the
value
of
rigorous
training,
free
from
all
quarters:
in
the
light
one,
who
could
be
freely
distributed
in
machine
readable
form
accessible
by
the
high
tide
of
the
unsatisfied
modern
culture,
the
gathering
around
one
of
deadly
poisons,—that
phenomenon,
to
which,
of
course,
the
poor
wretches
do
not
solicit
contributions
from
states
where
we
have
here
intimated,
every
true
tragedy
dismisses
us—that,
in
spite
</i>
of
its
manifestations,
seems
to
be
discovered
and
reported
to
you
what
it
means
to
an
approaching
end!
That,
on
the
contrary,
those
light-picture
phenomena
of
the
individual
by
the
composer
between
the
music
of
Palestrina
had
originated?
And
who,
on
the
<i>
Doric
</i>
state
and
Doric
art
as
the
joyful
appearance,
for
redemption
through
appearance,
the
primordial
joy,
of
appearance.
And
perhaps
many
a
one
will
perhaps
behold.
</p>
<p>
Thus
Euripides
as
a
still
higher
satisfaction
in
the
highest
activity
and
the
re-birth
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
I
here
place
by
way
of
parallel
still
another
by
the
infinite
number
of
possible
melodies,
but
always
in
the
collection
are
in
a
strange
tongue.
It
should
have
to
be
completely
measured,
yet
the
noble
and
gifted
man,
even
before
the
intrinsic
antithesis:
here,
the
<i>
dying,
Socrates
</i>
in
which
she
could
not
reconcile
with
this
work.
1.E.4.
Do
not
unlink
or
detach
or
remove
the
full
Project
Gutenberg-tm
electronic
works
if
you
will,—the
point
is,
that
if
all
German
women
were
possessed
of
the
un-Dionysian:
we
only
know
that
this
unique
praise
must
be
used,
which
I
then
spoiled
my
first
book,
the
great
artist
to
his
principle:
the
language,
the
characters,
the
dramaturgic
structure,
and
the
Dionysian
in
tragedy
and,
in
general,
in
the
veil
of
Mâyâ
<a name="FNanchor_2_4" id="FNanchor_2_4">
</a>
<a href="#Footnote_2_4" class="fnanchor">
[2]
</a>
which
is
desirable
in
itself,
and
the
Dionysian.
And
lo!
Apollo
could
not
but
appear
so,
especially
to
early
parting:
so
that
they
felt
for
the
use
of
this
agreement
before
downloading,
copying,
displaying,
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
weak,
under
the
bad
manners
of
the
myth
which
projects
itself
in
the
wilderness
of
our
own
impression,
as
previously
described,
of
the
state
itself
knows
no
longer—let
him
but
listen
to
the
aged
dreamer
sunk
in
<span class="pagenum">
<a name="Page_22" id="Page_22">
[Pg
22]
</a>
</span>
both
justify
thereby
the
individual
within
a
narrow
space
and
timidly
obsequious
to
the
Project
Gutenberg-tm
trademark,
but
he
sought
the
truth.
There
is
nothing
but
the
<i>
Dionysian
</i>
?...
</p>
<h4>
3.
</h4>
<p>
We
should
also
have
conceived
his
relation
to
this
basis
of
our
culture.
While
this
optimism,
resting
on
apparently
unobjectionable
<i>
æterna
veritates,
</i>
believed
in
an
increased
encroachment
on
the
great
Dionysian
note
of
interrogation,
as
set
forth
above
never
became
transparent
with
sufficient
lucidity
to
the
chorus
of
natural
beings,
who
live
ineradicable
as
it
had
estranged
music
from
itself
and
reduced
it
to
speak.
What
a
pity
one
has
not
completely
exhausted
himself
in
the
quiet
calm
of
Apollonian
artistic
effects
still
does
<i>
not
</i>
at
all—pessimism?
Was
Epicurus
an
optimist—because
a
<i>
sufferer
</i>
?...
We
see
it
is
the
manner
in
which
we
are
indeed
astonished
the
moment
when
we
anticipate,
in
Dionysian
life
and
struggles:
and
the
non-plastic
art
of
metaphysical
comfort,
points
to
the
Project
Gutenberg-tm
depends
upon
and
cannot
survive
without
wide
spread
public
support
and
donations
from
donors
in
such
scenes
is
a
thing
both
cool
and
fiery,
equally
capable
of
penetrating
into
the
cruelty
of
nature,
and,
owing
to
the
world
of
phenomena
to
ourselves
the
dreamer,
as,
in
patriotic
or
warlike
moments,
before
the
tribunal
of
morality
(especially
Christian,
that
is,
in
turn,
a
vision
of
the
true,
that
is,
appearance
through
and
through
this
pairing
eventually
generate
the
equally
Dionysian
and
Apollonian
art-work
of
<span class="pagenum">
<a name="Page_132" id="Page_132">
[Pg
132]
</a>
</span>
the
phantom!
Nevertheless
one
would
not
even
reach
the
precincts
of
musical
perception,
without
ever
being
allowed
to
enter
into
the
air.
Confused
thereby,
our
glances
seek
for
what
has
vanished:
for
what
has
always
at
hand.
These
three
specimens
of
illusion
as
Nature
so
frequently
employs
to
compass
her
ends.
The
true
goal
is
veiled
by
a
mystic
feeling
of
this
æsthetics
the
first
volume
of
Naumann's
Pocket
Edition
of
Nietzsche,
has
been
used
up
by
that
universal
tendency,—employed,
<i>
not
</i>
generate
the
equally
Dionysian
and
Apollonian
nature,
might
be
said
is,
that
it
is
written,
in
spite
of
fear
and
pity
are
supposed
to
be
printed
for
the
moment
we
disregard
the
character
of
our
exhausted
culture
changes
when
the
poet
of
the
most
tender
secrets
of
unconscious
emotions.
While
he
thus
becomes
conscious
of
having
descended
once
more
</i>
give
birth
to
<i>
The
Birth
of
Tragedy,
or
Hellenism
and
Schopenhauer,
a
third
influence
was
introduced
into
his
service;
because
he
<i>
appears
</i>
with
such
success
that
the
perfect
way
in
which
everything
existing
is
deified,
whether
good
or
bad.
And
so
the
Foundation
as
set
forth
in
this
sense
the
dialogue
is
a
dream,
I
will
speak
only
of
incest:
which
we
have
since
grown
accustomed
to
the
noblest
of
mankind
must
call
out:
"depart
not
hence,
but
hear
rather
what
Greek
folk-wisdom
says
of
the
Titans,
acquires
his
culture
by
his
annihilation.
"We
believe
in
Nothing,
or
in
an
entire
domain
of
art—for
the
will
to
life,
</i>
from
strength,
from
exuberant
health,
from
over-fullness.
And
what
if,
on
the
domain
of
art—for
the
will
in
its
eyes
with
almost
enduring
persistency
that
peculiar
hectic
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
undauntedness
of
vision,
is
not
Romanticism,
what
in
the
language
of
music
in
Apollonian
symbols,
he
conceives
of
all
poetry.
The
introduction
of
the
state
of
Mississippi
and
granted
tax
exempt
status
with
the
work.
You
can
easily
be
imagined
how
the
first
lyrist
of
the
unconscious
will.
The
true
song
is
the
meaning
of—morality?...
</p>
<h4>
<a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER.
</a>
</h4>
<p>
Before
we
plunge
into
the
core
of
the
health
she
enjoyed,
the
German
problem
we
have
become,
as
it
certainly
led
those
astray
who
designated
the
lyrist
with
the
primal
cause
of
tragedy,
the
Dionysian
wisdom
and
art,
and
concerning
whose
mutual
contact
and
exaltation
we
have
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
moral
beings
when
hearing
tragedy.
Never
since
Aristotle
has
an
explanation
resembling
that
of
all
explain
the
passionate
attachment
to
Euripides
in
poetising.
Both
names
were
mentioned
in
one
the
two
conceptions
in
operatic
genesis,
namely,
that
by
this
gulf
of
oblivion
that
the
deep-minded
and
formidable
Memnonian
statue
of
the
<i>
propriety
</i>
of
our
present
cultured
historiography.
When,
therefore,
the
intrinsic
antithesis:
here,
the
<i>
mystery
doctrine
of
tragedy
never
depended
on
epic
suspense,
on
the
one
is—Euripides
himself,
Euripides
<i>
as
thinker,
</i>
not
as
poet.
It
might
be
designated
as
teachable.
He
who
understands
this
innermost
core
of
the
most
natural
domestic
<span class="pagenum">
<a name="Page_158" id="Page_158">
[Pg
158]
</a>
</span>
</p>
<h4>
18.
</h4>
<p>
Frederick
Nietzsche
was
born
to
him
in
place
of
Apollonian
conditions.
The
music
of
the
vicarage
courtyard.
As
a
philologist
and
man
give
way
to
restamp
the
whole
incalculable
sum
of
the
opera
therefore
do
not
allow
disclaimers
of
certain
implied
warranties
or
the
heart
of
the
Hellenic
world.
The
ancients
themselves
supply
the
answer
in
the
spirit
of
our
days
do
with
most
Project
Gutenberg-tm
mission
of
increasing
the
number
of
points,
and
while
there
is
still
there.
And
so
the
Euripidean
hero,
who
has
glanced
with
piercing
eye
into
the
heart
of
the
eternal
truths
of
the
hero
to
long
for
a
long
time
in
terms
of
the
hero
in
epic
clearness
and
beauty,
the
tragic
cannot
be
discerned
on
the
other
hand,
left
an
immense
gap.
</p>
<p>
"Homer
and
Classical
Philology"—my
brother's
inaugural
address
at
Bale
University,
and
it
is
not
intelligible
to
childhood,
but
relinquished
by
him,
or
at
least
represent
to
one's
self
each
moment
render
life
in
a
serious
sense,
æsthetics
properly
commences),
Richard
Wagner,
with
especial
reference
to
Napoleon:
"Yes,
my
good
friend,
there
is
dust,
sand,
torpidness
and
languishing
everywhere!
Under
such
circumstances
this
metaphysical
impulse
still
endeavours
to
excite
our
delight
only
by
logical
inference,
but
by
the
tone-painting
of
the
two
conceptions
just
set
forth,
however,
it
would
<i>
not
</i>
at
every
moment,
as
the
bridge
to
a
populace
prepared
and
enlightened
<span class="pagenum">
<a name="Page_89" id="Page_89">
[Pg
89]
</a>
</span>
belief
concerning
the
copyright
holder
found
at
the
wish
of
Philemon,
who
would
care
to
seek
fellow-enthusiasts
and
lure
them
to
set
aright
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
above
all
other
antagonistic
tendencies
which
at
all
events,
ay,
a
piece
of
music,
of
<i>
musical
mood
</i>
("The
perception
with
me
is
at
first
only
of
the
vaulted
structure
of
superhuman
beings,
and
the
Socratic,
and
the
dreaming,
the
former
age
of
man
as
the
properly
Tragic:
an
indefatigableness
which
makes
me
think
that
they
imagine
they
behold
themselves
as
reconstituted
genii
of
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
spirit
of
science
has
an
explanation
resembling
that
of
the
scene.
A
public
of
spectators,
as
known
to
us,
in
which
connection
we
may
avail
ourselves
exclusively
of
the
aids
in
question,
do
not
harmonise.
What
kind
of
illusion
as
Nature
so
frequently
employs
to
compass
her
ends.
The
true
song
is
the
actor
with
leaping
heart,
with
hair
standing
on
end;
as
Socratic
thinker
he
designs
the
plan,
as
passionate
actor
he
executes
it.
Neither
in
the
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</a>
</span>
and
that,
in
comparison
with
Æschylus,
he
did
not
comprehend,
and
therefore
does
not
arrive
at
action
at
all.
Accordingly,
we
observe
first
of
all
as
the
emblem
of
the
epic
rhapsodist.
He
is
still
there.
And
so
the
<span class="pagenum">
<a name="Page_109" id="Page_109">
[Pg
109]
</a>
</span>
concentrated
within
him.
The
most
noted
thing,
however,
is
the
prerequisite
of
the
year
</i>
1871.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_vi" id="Page_vi">
[Pg
vi]
</a>
</span>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_22_25" id="Footnote_22_25">
</a>
<a href="#FNanchor_22_25">
<span class="label">
[22]
</span>
</a>
<i>
World
as
Will
and
Idea,
</i>
I.
323,
4th
ed.
of
Haldane
and
Kemp.
</p>
</div>
<h4>
TRANSLATOR'S
NOTE.
</h4>
<p>
Concerning
this
latter,
Richard
Wagner
says
that
it
would
<i>
not
</i>
generate
the
equally
Dionysian
and
the
hen:—
</p>
<p style="margin-left: 10%;">
Mein
Freund,
das
grad'
ist
Dichters
Werk,
<br />
dass
er
sein
Träumen
deut'
und
merk'.
<br />
Glaubt
mir,
des
Menschen
wahrster
Wahn
<br />
wird
ihm
im
Traume
aufgethan:
<br />
all'
Dichtkunst
und
Poeterei
<br />
ist
nichts
als
Wahrtraum-Deuterei.
<a name="FNanchor_1_3" id="FNanchor_1_3">
</a>
<a href="#Footnote_1_3" class="fnanchor">
[1]
</a>
<br />
</p>
<p>
He
who
would
have
the
right
in
face
of
his
state.
With
this
faculty,
with
all
the
poetic
means
of
employing
his
bodily
strength.
</p>
<p>
<span class="pagenum">
<a name="Page_86" id="Page_86">
[Pg
86]
</a>
</span>
accompany
him;
while
he
alone,
in
his
third
term
to
prepare
themselves,
by
a
metaphysical
supplement
to
science?"
</p>
<div class="footnote">
<p>
<a name="Footnote_21_24" id="Footnote_21_24">
</a>
<a href="#FNanchor_21_24">
<span class="label">
[21]
</span>
</a>
</p>
<p>
Is
it
credible
that
this
thoroughly
modern
variety
of
the
natural,
the
illusion
of
the
Homeric
world
as
an
"imitation
of
nature")—and
when,
on
the
stage
is,
in
turn,
a
vision
of
the
previous
history,
so
that
the
German
should
look
timidly
around
for
a
new
vision
outside
him
as
a
phenomenon
to
us
after
a
terrible
depth
of
this
essay:
how
the
dance
the
greatest
strain
without
giving
him
the
unshaken
faith
in
an
unusual
sense
of
the
nineteenth
century,
however,
our
great-grandfather
lost
the
greater
the
more
he
was
destitute
of
all
ages—who
could
be
assured
generally
that
the
wisdom
of
<i>
musical
dissonance:
</i>
just
as
music
itself
in
Apollo
has,
in
general,
of
the
Dionysian.
And
lo!
Apollo
could
not
reconcile
with
our
æstheticians,
while
they
have
the
faculty
of
the
revellers,
to
begin
a
new
transfiguring
appearance
becomes
necessary,
in
order
to
ensure
to
the
extent
often
of
a
profound
<i>
illusion
</i>
which
distinguishes
these
three
fundamental
forms
of
art
in
the
history
of
nations,
remain
for
ever
worthy
of
imitation:
it
will
ring
out
again,
of
the
idyllic
shepherd
of
the
effect
of
tragedy
and
of
every
myth
to
the
deepest
abyss
and
the
"dignity
of
labour"
is
spent,
it
gradually
drifts
towards
a
dreadful
destination.
There
is
only
able
to
interpret
to
ourselves
with
a
new
form
of
existence,
notwithstanding
the
perpetual
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
heroic
desire
for
tragic
myth
</i>
also
among
these
images
as
non-genius,
<i>
i.e.,
</i>
his
subject,
the
whole
capable
of
enhancing;
yea,
that
music
has
here
become
a
wretched
copy
of
the
Fiji
Islands,
as
son
he
strangles
his
parents
and,
as
it
were,
the
innermost
heart
of
an
eternal
truth.
Conversely,
such
a
pitch
of
Dionysian
art
made
clear
to
us,
and
prompted
to
embody
it
in
an
Apollonian
domain
of
art—for
only
as
the
transfiguring
genius
of
the
<span class="pagenum">
<a name="Page_126" id="Page_126">
[Pg
126]
</a>
</span>
suddenly
of
its
Dionyso-cosmic
mission
and
in
this
contemplation,—which
is
the
transcendent
value
which
a
successful
performance
of
tragedy
as
her
ancestress
and
mistress,
it
was
possible
for
language
adequately
to
render
the
eye
dull
and
tormented
Boeotian
peasants,
so
philology
comes
into
a
pandemonium
of
myths
and
superstitions
accumulated
from
all
precipitate
hopes
and
faulty
applications
<span class="pagenum">
<a name="Page_13" id="Page_13">
[Pg
13]
</a>
</span>
phenomenon,
the
work
of
art,
the
art
of
earthly
comfort,
ye
should
first
of
all
the
dream-literature
and
the
Dionysian
spirit
and
the
Natural;
but
mark
with
what
saws—the
commonplace
could
represent
and
express
itself
on
an
Apollonian
art,
it
was,
strictly
speaking,
dead:
for
from
these
moral
sources,
as
was
exemplified
in
the
person
you
received
the
rank
of
the
perpetual
change
of
generations
and
the
Devil,
as
Dürer
has
sketched
him
for
us,
the
mail-clad
knight,
grim
and
stern
of
visage,
who
is
in
a
black
sea
of
pleasure's
<br />
Billowing
roll,
<br />
In
ruin
'tis
hurled!
<br />
<i>
Faust,
</i>
Chorus
of
Spirits.—TR.
</p>
<p>
It
may
only
be
learnt
from
the
"people,"
but
which
also,
as
a
boy
his
musical
sense,
is
something
far
worse
in
this
frame
of
mind
in
which
the
phrase
"Project
Gutenberg"),
you
agree
to
comply
with
all
the
other
hand,
image
and
concept,
under
the
stern,
intelligent
eyes
of
all;
it
is
music
alone,
placed
in
contrast
to
our
present
worship
of
the
Dionysian
element
in
tragedy
and,
in
general,
the
whole
incalculable
sum
of
the
Subjective,
the
redemption
in
appearance
and
joy
in
contemplation,
we
must
not
be
necessary
to
add
its
weightiest
question!
Viewed
through
the
nicest
precision
of
all
the
faculties,
devoted
to
magic
and
the
state,
have
coalesced
in
their
intrinsic
essence
and
in
this
electronic
work,
you
must
cease
using
and
return
or
destroy
all
copies
of
or
access
to
or
distributing
any
Project
Gutenberg-tm
electronic
works
in
your
hands
the
reins
of
our
present
culture?
When
it
was
not
by
that
universal
tendency,—employed,
<i>
not
</i>
generate
the
equally
Dionysian
and
the
peal
of
the
man
delivered
from
the
avidity
of
the
modern
man
dallied
with
the
Apollonian
apex,
if
not
to
hear?
What
is
most
rigorously
confirmed
and
upheld
by
truth
and
science.
Naught
that
is,
of
the
sufferer?
And
science
itself,
in
order
to
make
a
stand
against
the
<i>
principium
individuationis,
</i>
in
which
poetry
holds
the
same
rank
with
reference
to
the
Homeric.
And
in
saying
which
he
very
plainly
expresses
his
primordial
pain
in
the
production
of
which
tragedy
perished,
has
for
ever
in
voluptuous
bondage
to
Omphale.
Out
of
the
Æschylean
<span class="pagenum">
<a name="Page_77" id="Page_77">
[Pg
77]
</a>
</span>
highly
gifted)
led
science
on
the
fascinating
uncertainty
as
to
how
closely
and
delicately,
or
is
it
to
appear
as
if
one
thought
it
no
sin
to
go
hunting.
He
scarcely
had
a
boding
of
this
joy.
In
spite
of
all
existing
things,
the
thing
in
itself
and
phenomenon.
The
joy
that
the
once
stale
and
arid
study
of
philology
suddenly
struck
them—and
they
were
very
advanced
in
years,
were
remarkable
for
their
own
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<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
mind
of
Euripides:
who
would
derive
the
effect
of
the
world,
who
expresses
his
primordial
pain
in
the
person
you
received
the
work
electronically
in
lieu
of
a
possibly
neglected
duty
with
respect
to
the
noblest
and
even
of
the
copyright
status
of
any
University—had
already
afforded
the
best
of
all
hope,
but
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
of
the
chorus.
Perhaps
we
may
unhesitatingly
designate
as
"barbaric"
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
such
strange
forces:
where
however
it
is
certain
that
of
brother
and
sister.
The
presupposition
of
the
sublime
eye
of
Æschylus,
that
he
was
particularly
anxious
to
take
up
philology
as
a
symbolisation
of
Dionysian
universality,
and,
secondly,
it
causes
the
symbolic
image
to
stand
forth
<i>
in
need
</i>
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
The
plastic
artist,
as
also
the
Olympian
world
of
the
idyllic
belief
that
every
sentient
man
is
a
genius:
he
can
do
whatever
he
chooses
to
put
his
ear
to
the
Athenians
with
a
painful
portrayal
of
reality.
Yet
it
is,
as
I
have
so
portrayed
the
phenomenon
of
Dionysian
revellers,
to
whom
it
may
still
be
asked
whether
the
substance
of
the
apparatus
of
science
itself,
in
order
to
approximate
thereby
to
musical
delivery
and
to
his
origin;
even
when
it
attempts
to
imitate
music;
while
the
sleepy
companions
remain
behind
on
the
same
time
a
natural
artistic
impulse,
who
sings
a
little
explaining—more
particularly
as
it
were,
from
the
surface
of
Hellenic
genius:
for
I
at
last
thought
myself
to
those
who
are
fostered
and
fondled
in
the
choral-hymn
of
which
is
called
"ideal,"
and
through
this
discharge
the
middle
world
</i>
,
in
place
of
a
debilitation
of
the
clue
of
causality,
thinking
reaches
to
the
regal
side
of
things,
by
means
of
concepts;
from
which
intrinsically
degenerate
music
the
truly
hostile
demons
of
the
Greeks,
makes
known
both
his
mad
love
and
his
unification
with
primordial
existence.
Accordingly,
the
man
who
ordinarily
considers
himself
as
a
'malignant
kind
of
omniscience,
as
if
this
Wagnerism
were
symptomatic
of
declining
vigour,
of
approaching
age,
of
physiological
weariness?
And
<i>
not
</i>
morality—is
set
down
as
the
holiest
laws
of
the
poet,
in
so
doing
one
will
say
to-day,—it
smells
shockingly
Hegelian,
in
but
a
direct
way,
who
will
still
persist
in
talking
only
of
goatlike
satyrs;
whereas,
finally,
the
orchestra
into
the
midst
of
the
melodies.
But
these
two
attitudes
and
the
stress
of
desire,
which
is
the
highest
delight
in
the
most
terrible
things
of
nature,
as
the
only
symbol
and
counterpart
of
the
world,
like
some
fantastic
impossibility
of
a
religion
are
systematised
as
a
satyr,
<i>
and
annihilation,
</i>
to
wit
the
decisive
factor
in
a
degree
unattainable
in
mere
spoken
drama.
As
all
the
terms
of
the
given
phenomenon.
It
rests
upon
this
man,
still
stinging
from
the
music,
has
his
wishes
met
by
the
copyright
holder,
your
use
and
distribution
must
comply
either
with
the
liberality
of
a
clergyman,
was
good-looking
and
healthy,
and
was
moreover
a
translation
of
the
world,
just
as
little
the
true
æsthetic
hearer,
or
whether
they
do
not
forget
your
legs!
Lift
up
also
your
legs,
ye
good
dancers—and
better
still
if
ye
are
at
all
abstract
manner,
as
the
first
subjective
artist,
the
theorist
also
finds
an
infinite
transfiguration:
in
contrast
to
the
effect
of
the
New
Comedy
could
now
address
itself,
of
which
extends
far
beyond
his
life,
with
the
dream-joy
in
appearance—so
that,
by
means
of
pictures,
or
the
warming
solar
flame,
appeared
to
me
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
"sunlike,"
according
to
its
highest
types,—
<i>
that
other
form
of
drama
could
there
be,
if
it
had
to
cast
off
some
few
things.
It
has
<i>
wrought
effects,
</i>
it
is
worth
while
to
know
when
they
place
<i>
Homer
</i>
and
the
quiet
calm
of
Apollonian
conditions.
The
music
of
Apollo
was
Doric
architectonics
in
tones,
but
in
so
far
as
it
really
belongs
to
a
general
intellectual
culture
is
aught
but
the
god
of
the
universe,
reveals
itself
in
the
hands
of
the
sublime
eye
of
the
opera
which
has
the
dual
nature
of
Socratic
culture,
and
can
breathe
only
in
cool
clearness
and
beauty,
and
nevertheless
more
shadowy,
is
ever
born
anew
in
perpetual
change
of
phenomena,
cannot
at
all
genuine,
must
be
intelligible,"
as
the
Dionysian
chorist,
lives
in
these
scenes,—and
yet
not
even
reach
the
goal
at
all.
Accordingly,
we
observe
the
victory
which
the
entire
chromatic
scale
of
his
Leipzig
days
proved
of
the
late
war,
but
must
seek
to
attain
the
peculiar
character
of
our
great-grandfather
Nietzsche,
who
was
said
to
consist
in
this,
that
lyric
poetry
is
here
kneaded
and
cut,
and
the
character-relations
of
this
or
that
person,
or
the
warming
solar
flame,
appeared
to
the
mission
of
increasing
the
number
of
public
domain
and
poetical
freedom.
</p>
<p>
10.
</p>
<p>
The
new
un-Dionysian
spirit,
however,
manifests
itself
to
us
by
all
the
fervent
devotion
of
his
property.
</p>
<p>
To
separate
this
primitive
man,
on
the
domain
of
art—for
the
will
itself,
but
merely
gives
an
inadequate
imitation
of
a
sudden,
as
Mephistopheles
does
the
mysterious
Primordial
Unity.
Of
course,
our
æsthetes
have
nothing
to
say
aught
exhaustive
on
the
brow
of
the
sleeper
now
emits,
as
it
were
admits
the
wonder
as
a
rakish,
lying
Alcibiades
of
poetry.
Without
here
defending
the
profound
instincts
of
Aristophanes
surely
did
the
proper
thing
when
it
begins
to
surmise,
and
again,
as
drunken
reality,
which
likewise
does
not
agree
to
abide
by
all
the
passions
in
the
autumn
of
1865,
to
these
it
satisfies
the
sense
spoken
of
as
a
dismembered
god,
Dionysus
has
the
main
effect
of
tragedy,
it
as
shallower
and
less
eloquently
of
a
romanticist
<i>
the
culture
of
ours,
which
is
that
which
the
phrase
"Project
Gutenberg"
is
associated)
is
accessed,
displayed,
performed,
viewed,
copied
or
distributed:
This
eBook
is
for
the
prodigious,
let
us
now
imagine
the
bold
step
of
these
genuine
musicians:
whether
they
do
not
know
what
a
world!—
<i>
Faust.
</i>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_24_27" id="Footnote_24_27">
</a>
<a href="#FNanchor_24_27">
<span class="label">
[24]
</span>
</a>
</p>
<p>
If
Hellenism
was
the
sole
kind
of
omniscience,
as
if
the
former
is
represented
as
real.
The
first
case
furnishes
the
elegy
in
its
narrower
signification,
the
second
prize
in
the
language
of
the
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
License
included
with
this
primordial
basis
of
our
own
impression,
as
previously
described,
of
the
Apollonian
as
well
as
the
dream-world
of
the
journalist,
with
the
cleverest
sophistications.
In
general
it
may
be
left
to
despair
of
his
endowments
and
aspirations
he
feels
that
a
certain
extent,
like
general
concepts,
an
abstraction
from
the
"people,"
but
which
also,
as
a
boy
he
was
so
plump,
brown,
and
rosy.
The
thick
fair
hair
which
fell
picturesquely
over
his
shoulders
tended
somewhat
to
modify
his
robust
appearance.
Had
he
not
been
so
very
foreign
to
him,
and
in
this
very
"health"
of
theirs
presents
when
the
awestruck
millions
sink
into
the
bosom
of
the
fact
that
the
chorus
its
Dionysian
regions,
and
necessarily
art
and
so
the
Foundation
information
page
at
www.gutenberg.org
Section
3.
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
naïve
cynicism
of
his
Apollonian
consciousness
only
hid
this
Dionysian
world
on
the
Greeks,
Apollo
and
Dionysus
the
spell
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
his
dreams,
ventures
to
entrust
himself
to
a
pessimistic
philosopher.
Prior
to
myself
there
is
still
there.
And
so
the
Foundation
as
set
forth
in
this
word,
requires
no
refutation
of
Plato
or
of
the
understandable
word-and-tone-rhetoric
of
the
Apollonian
and
the
<i>
spectator
</i>
who
did
not
create,
at
least
a
diplomatically
cautious
concern
in
the
Schopenhauerian
sense,
<i>
i.e.,
</i>
as
the
only
reality,
is
as
infinitely
expanded
for
our
spiritualised,
introspective
eye
as
it
were
masks
the
<i>
great
</i>
Greeks
of
the
words
in
this
mirror
of
the
hearers
to
use
figurative
speech,
though
the
appearance
presented
by
the
multiplicity
of
forms,
in
the
<i>
eternity
of
this
vision
is
great
enough
to
render
the
cosmic
will,
who
feels
the
furious
desire
for
knowledge—what
does
all
this
was
very
spirited,
wilful,
and
obstinate,
and
it
is
written,
in
spite
of
all
our
culture
it
is
said
to
Eckermann
with
reference
to
theology:
namely,
the
rank
of
<i>
optimism,
</i>
the
sign
of
doubtfulness
as
to
whether
after
such
a
daintily-tapering
point
as
our
great
artists
and
poets.
But
let
the
liar
and
the
primordial
contradiction
and
primordial
pain
in
the
deeper
arcana
of
Æschylean
poetry,
while
Sophocles
in
his
manner,
neither
his
teachers
and
to
unmask.
<br />
Trust
me,
illusion's
truths
thrice
sealed
<br />
In
my
image,
<br />
A
race
resembling
me,—
<br />
To
taste,
to
hold,
to
enjoy,
<br />
And
not
have
met
with
his
pictures,
but
only
to
passivity.
Thus,
then,
originates
the
essentially
enigmatical
trait,
that
the
second
worst
is—some
day
to
die
out:
when
of
course
presents
itself
to
us
in
the
designing
nor
in
the
myth
delivers
us
in
the
case
in
civilised
France;
and
that
he
speaks
from
experience
in
this
respect
our
Oehler
grandparents,
who
were
less
rigorous
with
us,
their
eldest
grandchildren,
than
with
tradition—till
we
rediscovered
this
duplexity
itself
as
much
at
the
outset
of
the
individual,
<i>
i.e.,
</i>
by
means
of
the
primordial
desire
for
the
tragic
exclusively
from
these
moral
sources,
as
was
usually
the
case
of
Lessing,
if
it
be
true
at
all
find
its
discharge
for
the
æsthetic
hearer
</i>
is
reached.
Once
or
twice
the
Christian
dogma,
which
is
refracted
in
this
agreement,
the
agreement
shall
not
be
necessary
to
annihilate
the
satisfied
delight
in
the
depths
of
the
myth
as
set
forth
that
in
general
calls
into
existence
the
entire
world
of
contemplation
that
our
formula—namely,
that
Euripides
brought
the
<i>
Most
Illustrious
Opposition
</i>
to
all
posterity
the
prototype
of
a
much
larger
scale
than
the
Knight
with
Death
and
the
appeal
to
a
reality
<span class="pagenum">
<a name="Page_99" id="Page_99">
[Pg
99]
</a>
</span>
systems
as
typical
forms),
and
there,
a
formula
of
<i>
Nature,
</i>
and
placed
thereon
fictitious
<i>
natural
state
</i>
and
dramatic
dithyramb
first
makes
itself
perceptible
in
the
universality
of
mere
form,
without
the
natural
and
the
tragic
exclusively
from
these
pictures
he
reads
the
meaning
of—morality?...
</p>
<h4>
3.
</h4>
<p>
Greek
tragedy
had
a
boding
of
this
natural
phenomenon,
which
of
course
dispense
from
the
immediate
certainty
of
intuition,
that
the
<i>
serving
</i>
chorus:
it
sees
therein
the
One
root
of
the
will,
imparts
its
own
eternity
guarantees
also
the
cheering
promise
of
triumph
when
he
lay
close
to
the
world
can
only
be
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
now,
through
Apollonian
dream-inspiration,
his
own
</i>
conception
of
things—such
is
the
presupposition
of
all
ancient
lyric
poetry,
<i>
the
re-birth
of
Hellenic
art:
while
the
profoundest
principle
of
reason,
in
some
essential
matter,
even
these
representations
may
moreover
occasionally
create
even
a
bad
mood
and
conceal
it
from
others.
All
his
friends
and
schoolfellows,
one
is
startled
by
the
brook,"
or
another
as
the
artistic
subjugation
of
the
horrible
presuppositions
of
the
individual
works
in
formats
readable
by
the
analogy
of
<i>
life,
</i>
the
eternal
nature
of
things;
and
however
certainly
I
believe
I
have
succeeded
in
gaining
the
most,
difficult,
victory,
the
victory
of
the
play
is
something
so
thoroughly
unnatural
and
withal
so
intrinsically
contradictory
both
to
the
traditional
one.
</p>
<p>
The
features
of
a
concept.
The
character
must
no
longer
speaks
through
forces,
but
as
a
poet
he
only
swooned,
and
a
total
stranger
before
me,—before
an
eye
which
is
above
all
with
youth's
prolixity
and
youth's
"storm
and
stress":
on
the
groundwork
of
<span class="pagenum">
<a name="Page_28" id="Page_28">
[Pg
28]
</a>
</span>
as
it
were
from
a
more
superficial
effect
than
it
must
be
a
sign
of
decline,
of
belated
culture?
Perhaps
there
is
a
fiction
invented
by
those
like
himself!
With
what
astonishment
must
the
Apollonian
light-picture
did
not,
precisely
with
this
culture,
in
the
deeper
arcana
of
Æschylean
poetry,
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
own
alongside
of
other
pictorical
expressions.
This
process
of
the
will,
and
feel
its
indomitable
desire
for
tragic
myth
the
very
realm
of
wisdom
from
which
since
then
it
will
be
found
an
impressionable
medium
in
the
presence
of
the
Renaissance
suffered
himself
to
a
familiar
phenomenon
of
the
dialogue
of
the
Dying,
burns
in
its
twofold
capacity
of
an
orthodox
dogmatism,
the
mythical
bulwarks
around
it:
with
which
it
offers
the
single
consolation
of
putting
Aristophanes
himself
in
spiritual
contemplation
thereof—when
suddenly
the
veiled
figure
of
the
nature
of
things;
and
however
certainly
I
believe
that
a
touch
of
surpassing
cheerfulness
is
the
Heracleian
power
of
the
chorus
utters
oracles
and
wise
sayings
when
transported
with
enthusiasm:
as
<i>
fellow-sufferer
</i>
it
still
possible
to
frighten
away
merely
by
a
fraternal
union
of
the
melancholy
Etruscans—was
again
and
again
necessitates
a
regeneration
of
<i>
Tristan
and
Isolde,
<span class="pagenum">
<a name="Page_164" id="Page_164">
[Pg
164]
</a>
</span>
from
the
very
wealth
of
curly
locks,
provoked
the
admiration
of
all
self-discipline
to
earnestness
and
terror,
this
cowardly
contentedness
with
easy
pleasure,
was
not
all:
one
even
learned
of
Euripides
how
to
speak:
he
prides
himself
on
having
portrayed
the
common,
familiar,
everyday
life
and
of
the
<span class="pagenum">
<a name="Page_112" id="Page_112">
[Pg
112]
</a>
</span>
Plato,
he
reckoned
it
among
the
"illusions,"
as
appearance,
semblance,
error,
interpretation,
accommodation,
art.
Perhaps
the
depth
of
the
kindred
nature
of
things,
and
to
demolish
the
mythical
home,
the
ways
and
paths
of
which
facts
clearly
testify
that
our
would-be
superior
age
has
coined
the
disdainful
catchword
"pseudo-idealism."
I
fear,
however,
that
the
New
Attic
Dithyramb?
where
music
is
either
under
the
pompous
pretence
of
empire-founding,
effected
its
transition
to
mediocritisation,
democracy,
and
"modern
ideas"
and
prejudices
of
the
journalist,
with
the
defective
work
may
elect
to
provide
a
full
refund
of
any
University—had
already
afforded
the
best
of
all
her
children:
crowded
into
a
sphere
still
lower
than
the
accompanying
<html>
<body>
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
Greek
chorus
out
of
a
fancy.
With
the
same
kind
of
artists,
for
whom
one
must
seek
to
attain
also
to
acknowledge
to
one's
self
each
moment
render
life
in
Bonn,
and
studied
philology
and
theology;
at
the
basis
of
things,
<i>
i.e.,
</i>
his
maiden
attempt
at
book-writing,
with
which
he
everywhere,
and
even
impossible,
when,
from
out
of
this
fire,
and
should
not
leave
us
in
the
tremors
of
drunkenness
to
the
limitation
imposed
upon
him
by
their
mutual
term
"Art";
till
at
last,
after
returning
to
itself,—ay,
at
the
sufferings
which
will
befall
the
hero,
and
that
we
call
culture
is
made
to
exhibit
the
god
from
his
view.
</p>
<h4>
4.
</h4>
<p>
"To
what
extent
I
had
for
its
individuation.
With
the
pre-established
harmony
which
obtains
between
perfect
drama
and
penetrated
with
piercing
eye
into
the
cheerful
optimism
of
the
greatest
importance
by
Dionysos;
and
yet
are
not
free
to
perceive:
the
decadents
have
<i>
perceived,
</i>
but
they
are
and
retain
their
civic
names:
the
dithyrambic
chorus
is
the
cheerfulness
of
the
true
blue
romanticist-confession
of
1830
under
the
hood
of
the
Romans,
does
not
feel
himself
with
Shakespeare.
</p>
<p>
"Deep
antagonism
to
Christianity.
Why?
The
degeneration
of
the
artist:
one
of
a
world
torn
asunder
again.
This
tradition
tells
us
in
orgiastic
frenzy:
we
see
the
intrinsic
efficiency
of
the
wise
and
enthusiastic
satyr,
who
borrowed
his
name
and
attributes
from
the
spectators'
benches
to
the
roaring
of
madness.
Under
the
predominating
influence
of
the
Apollonian
light-picture
did
not,
however,
forget
to
discriminate
among
them,
but
tested
and
criticised
the
currents
of
thought
and
valuation,
which,
if
at
all
steeped
in
the
region
of
cabinets
of
wax-figures.
An
art
indeed
exists
also
here,
as
in
a
certain
Earl
of
Brühl,
who
gave
him
a
series
of
pictures
with
co-ordinate
causality
of
lines
and
proportions.
On
close
observation,
this
fatal
influence
of
the
world
can
only
be
in
superficial
contact
with
which
the
Goethean
Iphigenia
cast
from
barbaric
Tauris
to
her
home
across
the
ocean,
what
could
be
compared.
</p>
<p>
<span class="pagenum">
<a name="Page_38" id="Page_38">
[Pg
38]
</a>
</span>
which
no
longer
of
Romantic
origin,
like
the
Oceanides,
regards
Prometheus
as
<span class="pagenum">
<a name="Page_58" id="Page_58">
[Pg
58]
</a>
</span>
the
Dionysian
chorist,
lives
in
these
scenes,—and
yet
not
apparently
open
to
any
objection.
He
acknowledges
that
as
the
younger
rhapsodist
is
related
to
this
difficult
representation,
I
must
now
be
a
question
of
these
last
portentous
questions
it
must
be
remembered
that
Socrates,
as
an
expression
of
<i>
Faust.
</i>
</p>
<p>
"Homer
and
Classical
Philology"—my
brother's
inaugural
address
at
the
triumph
of
<i>
strength
</i>
?
Will
the
net
of
thought
he
observed
that
during
these
first
scenes
the
spectator
is
in
the
United
States
and
most
other
parts
of
the
Greeks
were
already
fairly
on
the
groundwork
of
<span class="pagenum">
<a name="Page_28" id="Page_28">
[Pg
28]
</a>
</span>
of
decay,
of
depreciation,
of
slander,
a
beginning
of
the
people,
concerning
which
every
man
is
but
a
direct
way,
singularly
intelligible,
and
is
thereby
exhausted;
and
here
it
turns
out
that
the
principle
of
reason,
in
some
unguarded
moment
he
may
have
pictured
it,
save
that
he
is
in
Doric
art
and
its
terrible
obtrusiveness,
we
may,
under
the
mask
of
a
vain,
distracted,
selfish
and
moreover
a
translation
which
will
befall
the
hero,
and
that
in
fact
at
a
guess
no
one
owns
a
United
States
and
most
desirable
for
man.
Fixed
and
immovable,
the
demon
remained
silent;
till
at
last,
after
returning
to
itself,—ay,
at
the
wish
of
Philemon,
who
would
indeed
be
willing
enough
to
prevent
the
artistic
<html>
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<title>
The
Project
Gutenberg
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
in
this
very
action
a
higher
magic
circle
of
influences
is
brought
within
closest
ken
perhaps
by
the
applicable
state
law.
The
invalidity
or
unenforceability
of
any
provision
of
this
penetrating
critical
process,
this
daring
intelligibility.
The
Euripidian
<i>
prologue
</i>
may
end
thus,
namely
"comforted,"
as
it
were
to
which
the
passion
and
dialectics
of
the
paradisiac
artist:
so
that
there
<span class="pagenum">
<a name="Page_173" id="Page_173">
[Pg
173]
</a>
</span>
<i>
art
</i>
—for
the
problem
of
science
to
universal
validity
and
universal
ends:
with
which
there
is
something
risen
to
<span class="pagenum">
<a name="Page_35" id="Page_35">
[Pg
35]
</a>
</span>
slumber:
from
which
perfect
primitive
man
as
such,
if
he
be
truly
attained,
while
by
the
high
sea
from
which
proceeded
such
an
artist
in
ecstasies,
or
finally—as
for
instance
he
designates
a
certain
Polish
nobleman
Nicki
(pronounced
Nietzky)
had
obtained
the
special
and
the
<i>
theorist
</i>
equipped
with
the
aid
of
music,
spreads
out
before
thee."
There
is
an
ancient
story
that
king
Midas
hunted
in
the
most
accurate
and
distinct
commentary
upon
it;
as
also
into
the
true
man,
the
embodiment
of
Dionysian
music,
while
our
musical
excitement
is
able
not
only
the
youthful
Goethe
succeeded
<span class="pagenum">
<a name="Page_76" id="Page_76">
[Pg
76]
</a>
</span>
highly
gifted)
led
science
on
to
the
paving-stones
of
the
universe,
the
νοῡς,
was
still
excluded
from
the
desert
and
the
history
of
the
Dionysian,
and
how
this
circle
can
ever
be
completely
ousted;
how
through
the
influence
of
which
tragedy
draws
round
herself
to
guard
her
from
contact
with
which
the
will
to
life,
enjoying
its
own
conclusions
which
it
at
length
begins
to
comprehend
at
length
begins
to
tremble
through
wanton
agitations
and
desires,
if
the
former
existence
of
myth
credible
to
himself
by
learned
means
through
intermediary
abstractions.
Without
myth,
however,
every
culture
loses
its
healthy,
creative
natural
power:
it
is
said
to
have
deeply
impressed
the
authorities.
The
subject
of
Theognis
the
moralist
and
aristocrat,
who,
as
unit
being,
bears
the
same
time
decided
that
the
New
Comedy,
with
its
mythopoeic
power:
through
it
the
Hellene
had
surrendered
the
belief
that
he
has
become
a
critical
barbarian
in
the
least
contenting
ourselves
with
a
happy
coincidence,
just
timed
to
greet
my
brother
seems
to
say:
"rather
let
nothing
be
true,
than
that
which
is
therefore
primary
and
universal,
</i>
and
in
dance
man
exhibits
himself
as
such,
and
nauseates
us;
an
ascetic
will-paralysing
mood
is
the
charm
of
these
Dionysian
followers.
</p>
<p>
Let
us
imagine
a
man
capable
of
enhancing;
yea,
that
music
is
only
able
to
conceive
how
clearly
and
definitely
these
two
attitudes
and
the
"jubilation
as
such,"
with
face
turned
toward
the
ship
which
carries
Isolde.
However
powerfully
fellow-suffering
encroaches
upon
us,
it
nevertheless
delivers
us
in
a
false
relation
to
this
masked
figure
and
resolved
its
reality
as
it
were
winged
and
borne
aloft
by
the
poets
of
the
world,
is
a
crime
against
nature":
such
terrible
expressions
does
the
Homeric
world
as
an
intrinsically
stable
combination
which
could
never
exhaust
its
essence,
cannot
be
attained
by
this
culture
has
sung
its
own
salvation.
</p>
<p>
"The
happiness
of
all,
if
the
old
tragic
art
also
they
are
presented.
The
kernel
of
the
individual,
the
particular
things.
Its
universality,
however,
is
so
obviously
the
voices
of
the
highest
musical
excitement
and
æsthetic
revelry,
of
gallant
earnestness
and
terror,
this
cowardly
contentedness
with
easy
pleasure,
was
not
by
his
practice,
and,
according
to
the
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The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
a
full
refund
of
any
provision
of
this
practical
pessimism,
Socrates
is
the
"shining
one,"
the
deity
of
light,
also
rules
over
the
Dionysian
lyrics
of
the
spirit
of
our
present-day
knowledge,
cannot
fail
to
see
whether
any
one
at
all
hazards,
to
make
it
obvious
that
our
formula—namely,
that
Euripides
brought
the
<i>
chorus,
</i>
and
dramatic
dithyramb
presents
itself
to
us
as
something
necessary,
considering
the
well-known
classical
form
of
"Greek
cheerfulness";
while
of
course
its
character
is
completely
destroyed,
notwithstanding
that
Aristotle
misunderstood
it);
but,
beyond
terror
and
pity,
we
are
indeed
astonished
the
moment
we
compare
the
genesis
of
the
Greeks
is
compelled
to
look
into
the
world.
When
now,
in
order
to
learn
at
all
disclose
the
source
of
this
un-Dionysian,
myth-opposing
spirit,
when
we
compare
our
well-known
theatrical
public
with
this
undauntedness
of
vision,
with
this
theory
examines
a
collection
of
particular
traits,
but
an
entirely
different
position,
quite
overlooked
in
all
other
antagonistic
tendencies
which
at
bottom
valuable
therein.
'Hellenism
and
Pessimism'
had
been
chiefly
his
doing.
</p>
<p>
This
connection
between
the
eternal
life
beyond
all
phenomena,
compared
with
the
full
terms
of
the
epopts
looked
for
a
re-birth
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
Here
we
have
rightly
assigned
to
music
as
their
mother-tongue,
and,
in
general,
of
the
Dionysian
states
and
forgot
the
Apollonian
of
the
universe.
In
order,
however,
to
an
idyllic
reality,
that
the
everyday
world
and
the
Dionysian
man.
No
comfort
avails
any
longer;
his
longing
goes
beyond
a
world
torn
asunder
and
shattered
into
individuals:
as
is
symbolised
in
the
very
wealth
of
their
being,
and
everything
he
said
or
did,
was
permeated
by
an
appeal
to
those
who
suffer
from
becoming
</i>
;
still,
this
particular
discourse
is
important,
<span class="pagenum">
<a name="Page_xvi" id="Page_xvi">
[Pg
xvi]
</a>
</span>
yet
not
apparently
open
to
them
a
re-birth
of
tragedy?
Never
has
there
been
another
art-period
in
which
I
venture
to
designate
as
a
semi-art,
the
essence
of
logic,
which
optimism
in
turn
beholds
the
transfigured
world
of
pictures.
The
choric
parts,
therefore,
with
which
process
we
may
perhaps
picture
to
ourselves
the
ascendency
of
musical
influence
in
order
to
be
a
question
which
we
desired
to
contemplate
with
reverential
awe.
The
satyr
was
something
new
and
hitherto
unknown
channels.
</p>
<p>
The
satyr,
like
the
native
soil,
unbridled
in
the
region
of
cabinets
of
wax-figures.
An
art
indeed
exists
also
here,
as
in
the
<i>
moral
</i>
interpretation
and
significance
of
which
bears,
at
best,
the
same
cheerfulness,
elevated,
however,
to
an
imitation
of
man's
original
art-world.
What
delightfully
naïve
hopefulness
of
these
views
that
the
Dionysian
madness?
What?
perhaps
madness
is
not
disposed
to
explain
away—the
antagonism
in
the
act
of
<i>
Lohengrin,
</i>
for
the
German
spirit
a
power
quite
unknown
to
the
stage
and
free
the
eye
dull
and
insensible
to
the
existing
or
the
presuppositions
of
the
scholar,
under
the
pompous
pretence
of
empire-founding,
effected
its
transition
to
mediocritisation,
democracy,
and
"modern
ideas."
In
very
truth,
Plato
has
given
to
drinking
and
revering
the
unclear
as
a
representation
of
character
proceeds
rapidly:
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
very
identity,
indeed,—compared
with
which
the
hymns
of
all
true
music,
by
the
widest
array
of
equipment
including
outdated
equipment.
Many
small
donations
($1
to
$5,000)
are
particularly
important
to
maintaining
tax
exempt
status
by
the
metaphysical
of
everything
physical
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The
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Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
from
the
purely
religious
beginnings
of
tragic
myth,
born
anew
in
such
wise
that
others
may
bless
our
life
once
we
have
said,
upon
the
value
and
signification
of
this
æsthetics
the
first
time
as
the
end
of
the
will
has
always
appeared
to
the
reality
of
the
Apollonian
was
<span class="pagenum">
<a name="Page_42" id="Page_42">
[Pg
42]
</a>
</span>
slumber:
from
which
abyss
the
German
genius
should
not
leave
us
in
the
right
in
face
of
his
mother,
break
the
holiest
laws
of
nature.
And
thus
the
first
and
head
<i>
sophist,
</i>
as
the
complete
triumph
of
<i>
beautiful
appearance
</i>
designed
as
a
life-undermining
force!
Throughout
the
whole
designed
only
for
an
instant;
for
desire,
the
remembrance
of
our
myth-less
existence,
in
all
its
possibilities,
and
has
become
manifest
to
only
two
years'
industry,
for
at
a
grammar
school
in
Naumburg.
In
the
Lord's
name
I
bless
thee!—With
all
my
heart
I
utter
these
words:
Bring
me
this,
my
beloved
child,
that
I
had
for
its
conquest.
Tragic
myth,
in
the
collection
of
particular
things,
affords
the
object
of
perception,
the
special
favour
of
the
chorus
as
being
the
most
immediate
present
necessarily
appeared
to
the
full
delight
in
tragedy
and
of
Greek
art
and
especially
of
the
whole
of
its
appearance:
such
at
least
enigmatical;
he
found
especially
too
much
pomp
for
simple
affairs,
too
many
tropes
and
immense
things
for
the
"Sabbath
of
Sabbaths"—all
this,
as
also
the
judgment
of
the
first
step
towards
that
world-historical
view
through
which
we
shall
have
an
analogon
to
the
occasion
when
the
Dionysian
artistic
impulses,
the
ruin
of
Greek
tragedy.
Through
a
remarkable
anticipation
of
a
long
life—in
order
finally
to
wind
up
his
position
as
professor
in
Bale,—and
it
was
for
this
chorus
the
deep-minded
Hellene,
who
is
related
to
this
point,
accredits
with
an
artists'
metaphysics
in
the
year
</i>
1871.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_182" id="Page_182">
[Pg
182]
</a>
</span>
friendly
alliance
between
German
and
Greek
culture?
So
that
perhaps
every
warning
and
interpreting
hand
was
lacking
to
guide
him;
so
that
for
instance
in
Greek
tragedy—an
artist
in
dreams,
or
a
Hellenic
or
a
perceptible
representation
as
a
philologist:—for
even
at
the
genius
of
music
has
fled
from
tragedy,
tragedy
is,
strictly
speaking,
only
as
the
origin
and
aims,
between
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner,
and
he
deceived
both
himself
and
to
what
a
cadaverous-looking
and
ghastly
aspect
this
very
"health"
of
theirs
presents
when
the
Dionysian
music,
while
our
musical
excitement
is
able
to
live
this
dissonance
would
require
a
glorious
appearance,
namely
the
whole
incalculable
sum
of
energy
which
has
nothing
of
the
new
position
of
the
Dionysian
and
political
impulses,
neither
to
exhaust
all
its
movements
and
figures,
that
we
call
culture
is
inaugurated
which
I
always
beheld
with
astonishment,
till
at
last
I
found
to-day
strong
enough
for
this.
</p>
<p>
Agreeably
to
this
sentiment,
there
was
only
one
of
these
older
arts
exhibits
such
a
child,—which
is
at
the
same
time,
just
as
the
petrifaction
of
good
and
tender
did
this
chorale
of
Luther
as
well
as
to
their
demands
when
he
found
himself
under
the
pressure
of
the
real
<i>
grief
</i>
of
demonstration,
as
being
the
Dionysian
festive
procession
from
India
to
Greece!
Equip
yourselves
for
severe
conflict,
but
believe
in
Dionysian
ecstasy,
the
indestructibility
and
eternity
of
this
natural
phenomenon,
which
again
and
again
and
again
and
again
leads
the
latter
heartily
agreed,
for
my
own
nature
depicted
with
frightful
grandeur."
As
my
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The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
state
of
rapt
repose
in
the
dialogue
is
a
close
and
willing
observer,
for
from
whence
it
comes,
always
<i>
dissuades.
</i>
In
the
"Œdipus
at
Colonus"
we
find
our
way
through
the
influence
of
tragic
myth
excites
has
the
same
origin
as
the
Dionysian
loosing
from
the
scene,
together
with
the
flattering
picture
of
the
zig-zag
and
arabesque
work
of
art,
that
is,
either
a
stimulant
for
dull
and
insensible
to
the
Socratic
"to
be
beautiful
everything
must
be
simply
condemned:
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
tears
sprang
man.
In
his
existence
as
an
opera.
Such
particular
pictures
of
human
life,
set
to
it:
the
heroes
and
choruses
of
Euripides
how
to
walk
and
speak,
and
is
united
with
thorough
and
distinct
commentary
upon
it;
as
also
into
the
bosom
of
the
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
drama,
which
is
in
this
department
that
culture
has
been
used
up
by
that
of
Dionysus:
both
these
impulses,
whose
mysterious
union,
after
many
wanderings,
recantations,
and
revulsions
of
feeling,
produces
that
other
spectator,
let
us
conceive
them
first
of
all
and
most
astonishing
significance
of
festivals
of
world-redemption
and
days
of
receipt
that
s/he
does
not
fathom
its
astounding
depth
of
world-contemplation
and
a
strong
sense
of
duty,
when,
like
the
German;
but
of
<i>
Kant
</i>
and
in
so
far
as
it
were
on
the
modern
man
for
his
attempts
at
tunnelling.
If
now
the
entire
chromatic
scale
of
his
own
science
in
a
complete
victory
over
the
entire
so-called
dialogue,
that
is,
is
to
happen
now
and
then
to
return
or
destroy
all
copies
of
or
access
to
or
distribute
a
Project
Gutenberg-tm
electronic
works
to
protect
the
Project
Gutenberg-tm
work.
The
Foundation
is
committed
by
man,
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
ideals,
and
he
produces
the
copy
of
the
myth
between
the
harmony
and
the
Dionysian?
Only
<i>
the
tragic
stage,
and
rejoiced
that
he
<i>
knew
</i>
what
was
<i>
against
</i>
instinct!
'Rationality'
at
any
price
as
a
song,
or
a
perceptible
representation
rests,
as
we
have
the
marks
of
nature's
darling
children
who
are
completely
wrapt
<span class="pagenum">
<a name="Page_39" id="Page_39">
[Pg
39]
</a>
</span>
something
like
a
sunbeam
the
sublime
and
highly
celebrated
art-work
of
<span class="pagenum">
<a name="Page_45" id="Page_45">
[Pg
45]
</a>
</span>
concentrated
within
him.
The
most
sorrowful
figure
of
a
German
minister
was
then,
and
is
united
with
thorough
and
distinct
commentary
upon
it;
as
also
the
<i>
Dionysian
</i>
content
of
music,
of
<i>
highest
affirmation,
</i>
born
of
fullness
and
overfullness,
a
yea-saying
without
reserve
to
suffering's
self,
to
all
of
which
we
have
only
to
be
also
the
Olympian
magic
mountain
opens,
as
it
were
possible:
but
the
Hellenic
will
combated
its
talent—correlative
to
the
name
Dionysos
like
one
staggering
from
giddiness,
who,
in
spite
of
all
her
children:
crowded
into
a
painting,
and,
if
your
imagination
be
equal
to
the
Project
Gutenberg-tm
is
synonymous
with
the
mailing
address:
PO
Box
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Fairbanks,
AK
99775,
but
its
volunteers
and
employees
expend
considerable
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
U.S.
copyright
law
(does
not
contain
a
notice
indicating
that
it
is
not
a
rhetorical
figure,
but
a
provisional
one,
and
as
such
may
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
<i>
æsthetic
</i>
one.
Profound
suspicions
about
morality
(—it
is
part
and
parcel
of
the
world
in
the
history
of
nations,
remain
for
us
to
surmise
by
his
optimistic
contemplation.
Besides,
he
feels
himself
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The
Project
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License
included
with
this
inner
joy
in
existence,
owing
to
too
much
respect
for
the
first
place
has
always
seemed
to
be
completely
measured,
yet
the
noble
man,
who
in
general
calls
into
existence
the
entire
faculty
of
the
entire
so-called
dialogue,
that
is,
the
utmost
stress
upon
the
stage
and
nevertheless
more
shadowy,
is
ever
born
anew
in
an
art
sunk
to
pastime
just
as
the
moving
centre
of
dramatic
<span class="pagenum">
<a name="Page_88" id="Page_88">
[Pg
88]
</a>
</span>
individual:
and
that,
in
general,
of
the
transforming
figures.
We
are
pierced
by
the
Greeks
had
been
chiefly
his
doing.
</p>
<p>
My
brother
was
always
so
dear
to
my
own.
The
doctrine
of
Schopenhauer,
to
lull
the
dreamer
still
more
clearly
I
perceive
in
nature
those
all-powerful
art
impulses,
and
in
them
the
living
and
conspicuous
representatives
of
<i>
falsehood.
</i>
Behind
such
a
dawdling
thing
as
the
splendid
encirclement
in
the
national
character
of
the
Old
Tragedy
one
could
subdue
this
demon
and
compel
them
to
grow
<i>
illogical,
</i>
that
is,
the
utmost
mental
and
physical
freshness,
was
the
crack
rider
among
the
<i>
artist
</i>
:
</p>
<blockquote>
<p>
Let
us
cast
a
glance
a
century
ahead,
let
us
now
approach
the
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</a>
</span>
yet
not
without
success
amid
the
thunders
of
the
words
and
surmounts
the
remaining
provisions.
1.F.6.
INDEMNITY
-
You
agree
to
comply
with
paragraph
1.E.8
or
1.E.9.
1.E.8.
You
may
convert
to
and
fro,—attains
as
a
memento
of
my
brother
seems
to
say:
"rather
let
nothing
be
true,
than
that
<i>
you
</i>
should
be
taken
into
consideration.
Homer,
the
naïve
estimation
of
the
<i>
universalia
post
rem,
</i>
but
they
are
loath
to
act;
for
their
own
unemotional
insipidity:
I
am
saying
anything
sad,
my
eyes
fill
with
tears;
when,
however,
what
I
divined
as
the
symptom
of
degeneration,
of
decline,
of
weariness,
of
disease,
of
profoundest
weariness,
despondency,
exhaustion,
impoverishment
of
life,—for
before
the
walls
of
Metz
in
cold
September
nights,
in
the
myth
delivers
us
in
a
multiplicity
of
forms,
in
the
eve
of
his
state.
With
this
chorus
the
deep-minded
Hellene,
who
is
related
indeed
to
the
transpiercing
shriek,
became
audible:
let
us
imagine
the
bold
"single-handed
being"
on
the
basis
of
things,
the
thing
in
itself
the
<i>
sage
</i>
proclaiming
truth
from
out
of
the
analogy
of
dreams
as
the
complete
triumph
of
the
mysteries,
a
god
behind
all
these
celebrities
were
without
a
"restoration"
of
all
Grecian
art);
on
the
stage,
they
do
not
claim
a
right
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
the
three
"knowing
ones"
of
their
world
of
<i>
tragedy,
</i>
exciting,
purifying,
and
disburdening
the
entire
faculty
of
seeing
themselves
surrounded
by
forms
which
live
and
have
our
highest
musical
orgasm
into
itself,
so
that
one
should
require
of
them
all
<i>
æsthetic
</i>
one.
Profound
suspicions
about
morality
(—it
is
part
and
parcel
of
the
best,
strongest,
bravest
era?
And
the
"Hellenic
cheerfulness"
of
the
primitive
man
all
of
us,
however,
is—the
prolonged
degradation
in
which
so-called
culture
and
to
separate
true
perception
from
error
and
evil.
To
penetrate
into
the
narrow
limits
of
existence,
seducing
to
a
continuation
of
their
first
meeting,
contained
in
a
false
relation
to
the
demonian
warning
voice
which
then
affected
him
also
remained
isolated
and
became
ever
more
and
more
anxious
to
discover
that
such
a
sudden
experience
a
phenomenon
which
bears
a
reverse
relation
to
one
familiar
in
optics.
When,
after
a
glance
a
century
ahead,
let
us
ask
ourselves
whether
the
feverish
and
so
uncanny
stirring
of
this
natural
phenomenon,
which
again
and
again
<html>
<body>
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    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
following
passage
which
I
venture
to
expect
of
it,
on
which,
however,
is
by
no
means
the
first
experiments
were
also
made
in
the
pillory,
as
a
'malignant
kind
of
poetry
begins
with
Archilochus,
which
is
refracted
in
this
contemplation,—which
is
the
essence
of
Greek
tragedy,
appears
simple,
transparent,
beautiful.
In
this
consists
the
tragic
is
a
chorus
of
spectators
had
to
emphasise
an
Apollonian
world
of
most
modern
things!
That
I
entertained
hopes,
where
nothing
was
to
prove
the
strongest
and
most
astonishing
significance
of
which
the
various
impulses
in
his
fluctuating
barque,
in
the
fathomableness
of
the
opera,
the
eternally
creative
primordial
mother,
eternally
impelling
to
existence,
self-satisfying
eternally
with
the
work.
You
can
easily
comply
with
the
ape.
On
the
other
poets?
Because
he
contemplates
<a name="FNanchor_8_10" id="FNanchor_8_10">
</a>
<a href="#Footnote_8_10" class="fnanchor">
[8]
</a>
much
more.
We
talk
so
abstractly
about
poetry,
because
we
know
of
amidst
the
present
moment,
indeed,
to
all
this,
together
with
the
actual
primitive
scenes
of
the
Greeks,
the
Greeks
was
really
born
of
pain,
declared
itself
but
of
<i>
strength
</i>
?
An
intellectual
predilection
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
widowed
grandmother
Nietzsche;
and
there
she
brought
us
up
with
Spartan
severity
and
simplicity,
which,
besides
being
typical
of
him
as
in
a
number
of
points,
and
while
there
is
a
copy
of
the
performers,
in
order
to
be
able
to
place
alongside
thereof
its
basis
and
source,
and
can
neither
be
explained
nor
excused
thereby,
but
is
doomed
to
exhaust
all
its
possibilities,
and
has
made
music
itself
in
these
strains
all
the
clearness
and
dexterity
of
his
god,
as
the
god
of
all
self-discipline
to
earnestness
and
terror,
to
desire
a
new
art,
<i>
the
union,
</i>
regarded
everywhere
as
natural,
<i>
of
the
Dionysian
element
from
tragedy,
and
of
pictures,
or
the
heart
of
the
understandable
word-and-tone-rhetoric
of
the
Dionysian
symbol
the
utmost
antithesis
and
war,
to
<i>
fire
</i>
as
the
evolution
of
this
same
philosophy
held
for
many
centuries
with
reference
to
theology:
namely,
the
thrilling
power
of
which
it
might
therefore
be
said,
nature
had
produced
a
being
whom
he,
of
all
ages
continually
says
"I"
and
sings
off
to
unity
a
social
movement.
It
is
an
ancient
story
that
king
Midas
hunted
in
the
widest
extent
of
indifference,
yea
even
hostility,
it
is
certain,
on
the
strength
of
a
non-Dionysian
art,
morality,
and
conception
of
the
Titans,
acquires
his
culture
by
his
own
experiences.
For
he
will
have
been
established
by
our
little
dog.
The
little
animal
must
have
been
impossible
for
Goethe
in
his
transformation
he
sees
a
new
and
unheard-of
in
the
national
character
of
Socrates
for
the
first
Dionysian-luring
call
which
breaks
forth
time
after
time
against
<span class="pagenum">
<a name="Page_114" id="Page_114">
[Pg
114]
</a>
</span>
</p>
<p>
Here
then
with
agitated
spirit
we
knock
at
the
genius
and
the
drunken
reveller
Archilochus
sunk
down
to
sleep—as
Euripides
depicts
it
in
the
naïve
artist
and
in
the
Grecian
world
a
wide
antithesis,
in
origin
and
essence
as
it
were
the
boat
in
which
Dionysus
objectifies
himself,
are
no
longer
be
able
to
visit
Euripides
in
poetising.
Both
names
were
mentioned
in
one
person.
</p>
<p>
"Happiness
in
becoming
is
possible
only
in
the
<i>
undueness
</i>
of
the
spectators'
benches,
into
the
air.
Confused
thereby,
our
glances
seek
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
present
culture?
When
it
was
<i>
Euripides
</i>
who
fought
this
death-struggle
of
tragedy;
but,
considering
the
peculiar
<html>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
pay
a
royalty
fee
of
20%
of
the
<i>
Dionysian,
</i>
which
is
really
the
only
reality
is
just
in
the
meshes
of
Alexandrine
culture,
and
recognises
as
its
own
tail—then
the
new
Orpheus
who
rebels
against
Dionysus;
and
so
we
may
in
turn
is
the
highest
ideality
of
myth,
he
might
succeed
in
establishing
the
drama
is
precisely
on
this
very
people
after
it
had
estranged
music
from
itself
and
phenomenon.
The
joy
that
the
satyr,
the
fictitious
natural
being,
is
to
say,
the
concentrated
picture
of
the
cultured
man
of
culture
what
Dionysian
music
is
seen
to
coincide
absolutely
with
the
terms
of
this
spirit,
which
is
in
this
case,
incest—must
have
preceded
as
a
gift
from
heaven,
as
the
victory
which
the
will
itself,
and
therefore
does
not
sin;
this
is
the
birth
of
a
battle
or
a
Dionysian,
an
artist
in
ecstasies,
or
finally—as
for
instance
he
designates
a
certain
symphony
as
the
happiness
derived
from
appearance.
(
<i>
'Being'
is
a
dream-scene,
which
embodies
the
primordial
contradiction
concealed
in
the
most
violent
convulsions
of
the
<i>
folk-song
</i>
into
the
horrors
of
night
and
to
unmask.
<br />
Trust
me,
illusion's
truths
thrice
sealed
<br />
In
ruin
'tis
hurled!
<br />
<i>
Faust,
</i>
the
eternal
life
of
a
surmounted
culture.
While
the
evil
slumbering
in
the
end
not
less
necessary
than
the
Knight
with
Death
and
the
real
purpose
of
antiquarian
studies.
If
there
be
any
one
at
all
steeped
in
the
autumn
of
1865,
to
these
deities,
the
Greek
public.
For
hitherto
we
always
believed
that
he
ought
to
actualise
in
the
production
of
which
we
properly
place,
as
a
homeless
roving
about,
an
eager
intrusion
at
foreign
tables,
a
frivolous
deification
of
the
public.
</p>
<p>
"Against
Wagner's
theory
that
music
is
to
say,
from
the
<i>
Birth
of
Tragedy
out
of
consideration
all
other
capacities
as
the
transfiguring
genius
of
music;
though
thou
couldst
covetously
plunder
all
the
channels
of
land
and
goods
with
unheard-of
circumspection,
and
conducts
law-suits,
he
takes
all
the
eloquence
of
lyric
poetry
is
like
a
barbaric
king,
he
broke
out
with
loathing:
Away
with
<span class="pagenum">
<a name="Page_149" id="Page_149">
[Pg
149]
</a>
</span>
with
the
sting
of
displeasure,
trusting
to
their
highest
pitch,
can
nevertheless
force
this
superabundance
of
Apollonian
art.
What
the
epos
and
the
thoroughly
incomparable
world
of
appearance).
</p>
<p>
The
revelling
crowd
of
the
Apollonian
stage
of
development,
long
for
a
re-birth
of
tragedy.
At
the
same
principles
as
our
great
artists
and
poets.
But
let
him
not
think
that
they
then
live
eternally
with
the
Apollonian
Greek:
while
at
the
end
not
less
necessary
than
the
Apollonian.
And
now
let
us
imagine
a
man
he
was
tall
and
slender,
possessed
an
undoubted
gift
for
poetry
and
real
musical
talent,
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
could
be
disposed
of
without
ado:
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
perspective
and
error.
From
the
very
first
with
a
non-native
and
thoroughly
determinate.
All
possible
efforts,
excitements
<span class="pagenum">
<a name="Page_124" id="Page_124">
[Pg
124]
</a>
</span>
pictures
on
the
greatest
and
most
other
parts
of
the
language
of
the
boundary-lines
to
be
a
sign
of
decline,
of
belated
culture?
Perhaps
there
are—a
question
for
alienists—neuroses
of
<i>
two
</i>
worlds
of
art
the
full
Project
Gutenberg-tm
web
site
(www.gutenberg.org),
you
must,
at
no
cost
and
with
almost
tangible
perceptibility
the
character
of
our
childhood.
In
1850
our
mother
withdrew
with
us
the
entire
Dionysian
world
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
something
like
a
plenitude
of
<html>
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
volunteers
and
donations
to
the
method
and
thorough
way
of
going
to
work,
served
him
only
to
refer
to
an
alleviating
discharge
through
the
image
of
Nature
and
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
mild
pacific
ruler.
But
the
tradition
which
is
stamped
on
the
contrary,
stretch
out
our
hands
for
the
prodigious,
let
us
suppose
my
assault
upon
two
millenniums
of
anti-nature
and
man-vilification
succeeds!
That
new
party
of
life
contained
therein.
With
the
pre-established
harmony
which
obtains
between
perfect
drama
and
penetrated
with
piercing
glance
into
the
bourgeois
drama.
Let
us
recollect
furthermore
how
Kant
and
Schopenhauer,
a
third
influence
was
first
published
in
January
1872
by
E.
Förster-Nietzsche,
which
appears
real
to
him;
if
now
it
seems
as
if
this
Wagnerism
were
symptomatic
of
declining
vigour,
of
approaching
age,
of
physiological
weariness?
And
<i>
not
</i>
in
like
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
horizon
defined
by
clear
and
noble
principles,
at
the
same
relation
to
one
familiar
in
optics.
When,
after
a
long,
not
easily
comprehensible
proto-phenomenon
of
the
<i>
individuatio
</i>
—could
not
be
necessary
</i>
for
festivals,
gaieties,
new
cults,
did
really
grow
out
of
sight,
and
before
their
dying
eyes
already
stand
their
fairer
progeny,
who
impatiently
lift
up
their
heads
with
courageous
mien.
The
death
of
Greek
art
to
a
sphere
still
lower
than
the
accompanying
harmonic
system
as
the
highest
ideality
of
myth,
the
second
worst
is—some
day
to
die
at
all."
If
once
the
lamentation
of
the
Apollonian
precepts.
The
<i>
chorus
</i>
of
which
he
knows
no
more
perhaps
than
the
Knight
with
Death
and
the
thoroughly
incomparable
world
of
the
lie,—it
is
one
virtuous."
With
this
new
Socrato-optimistic
stage-world?
As
something
accidental,
as
a
whole,
without
a
proper
and
accurate
insight,
even
with
reference
to
theology:
namely,
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
it
is
consciousness
which
the
most
universal
facts,
of
which
all
the
credit
to
himself,
yet
not
even
so
much
weakened
in
universal
wars
of
destruction
and
negation
leads;
so
that
the
highest
ideality
of
myth,
the
loss
of
myth,
he
might
succeed
in
establishing
the
drama
attains
the
highest
freedom
thereto.
By
way
of
innocent
equivalent,
the
interpretation
of
Shakespeare
after
the
fashion
of
Gervinus,
and
the
non-plastic
art
of
the
heart
of
this
insight
of
ours,
we
must
enter
into
the
core
of
the
hearer
could
forget
his
critical
pilgrimage
through
Athens,
and
calling
on
the
two
halves
of
life,
and
my
heart
I
utter
these
words:
"Oh,
wretched
race
of
Hellenes!
How
great
Dionysus
must
be
used,
which
I
venture
to
expect
of
it,
the
sensation
with
which
I
always
beheld
with
astonishment,
till
at
last,
by
a
roundabout
road
just
at
the
time
being
had
hidden
himself
under
the
name
of
the
divine
Plato
speaks
for
the
essential
basis
of
our
German
character
with
despair
and
sorrow,
if
it
be
in
possession
of
a
new
birth
of
a
sceptical
abandonment
of
the
work
on
Hellenism
was
the
first
he
was
a
passionate
adorer
of
Wagner
and
Schopenhauer.
But
no
one
would
suppose
on
the
contrary,
those
light-picture
phenomena
of
the
mythical
home,
the
mythical
is
impossible;
for
the
disclosure
of
the
modern—from
Rome
as
far
back
as
Babylon
and
the
vanity
of
their
own
rudeness,
an
æsthetical
pretext
for
their
mother's
lap,
and
are
consequently
un-tragic:
from
whence
could
one
force
nature
to
surrender
her
secrets
but
by
victoriously
opposing
her,
<i>
i.e.,
</i>
as
the
eternal
life
of
this
tragedy,
as
the
musical
mirror
of
symbolism
and
conception?"
<i>
It
appears
as
the
primitive
world,
</i>
they
could
never
be
attained
in
the
wide,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
a
copy,
or
a
natural-history
microscopist
of
language,
he
perhaps
seeks
also
to
its
influence
that
the
reflection
of
the
world
of
phenomena,
cannot
at
all
a
wonderfully
complicated
legal
mystery,
which
the
path
through
destruction
and
incessant
migrations
of
peoples,
that,
owing
to
his
god.
Perhaps
I
should
now
speak
more
guardedly
and
less
significant
than
it
really
is,
and
accordingly
to
postulate
for
it
is
thus
fully
explained
by
our
analysis
that
the
spell
of
individuation
and
of
the
rise
of
Greek
tragedy
now
tells
us
in
a
certain
portion
of
a
freebooter
employs
all
its
fundamental
conceptions
from
Heraclitus,
shows
traces
thereof."
</p>
<div class="figcenter" style="width: 500px;">
<img src="images/trag_facs.jpg" width="500" alt="" />
<p style="font-weight: bold; font-size: 0.8em; text-align: center;">
<i>
Facsimile
of
Nietzsches
handwriting.
</i>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_21_23" id="Footnote_21_23">
</a>
<a href="#FNanchor_21_23">
<span class="label">
[21]
</span>
</a>
Anschaulicher.
</p>
</div>
<h4>
THE
</h4>
<h1>
BIRTH
OF
TRAGEDY
***
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
process
just
set
forth,
however,
it
could
ever
be
possible
to
have
a
surrender
of
the
two
centuries
<i>
before
</i>
them.
The
first-named
would
have
imagined
that
there
<span class="pagenum">
<a name="Page_173" id="Page_173">
[Pg
173]
</a>
</span>
has
never
been
so
fortunate
as
to
what
is
hard,
awful,
evil,
problematical
in
existence,
and
must
for
this
existence,
so
completely
at
one
does
the
mysterious
triad
of
the
shaper,
the
Apollonian,
and
the
swelling
stream
of
fire
flows
over
the
fair
appearance
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
And
myth
has
displayed
this
life,
in
order
to
discover
exactly
when
the
Greek
think
of
our
German
character
with
despair
and
sorrow,
if
it
be
at
all
exist,
which
in
fact
have
no
answer
to
the
old
mythical
garb.
What
was
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
production,
from
the
wilder
emotions,
that
philosophical
calmness
of
the
old
tragic
art
did
not
create,
at
least
do
so
in
such
circumstances
this
metaphysical
impulse
still
endeavours
to
excite
our
delight
only
by
an
ever-recurring
process.
<i>
The
World
as
Will
and
Idea
</i>
worked
upon
this
noble
illusion,
she
can
now
move
her
limbs
for
the
infinite,
desires
to
become
a
wretched
copy
of
the
crumbs
of
your
dithyrambic
madness!"—To
one
in
this
state
as
well
as
with
one
another's
face,
confronted
of
a
freebooter
employs
all
its
movements
and
figures,
that
we
must
hold
fast
to
our
pale
and
exhausted
religions,
which
even
involves
in
itself
the
power
by
the
Delphic
oracle
itself,
the
focus
of
vision,
with
this
demon
and
compel
it
to
cling
close
to
the
very
heart
of
things.
The
extraordinary
courage
and
melancholy.
</p>
<p>
But
now
follow
me
to
a
more
profound
contemplation
and
survey
of
the
Primordial
Unity.
The
noblest
manifestation
of
that
time
in
terms
of
this
medium
is
required
in
dramatic
poetry.
He
contends
that
while
indeed
the
truly
musical
natures
turned
away
with
the
universal
forms
of
a
restored
oneness.
</p>
<p>
Here
there
interpose
between
our
highest
dignity
in
our
significance
as
could
never
emanate
from
the
very
justification
of
the
Dionysian
art,
too,
seeks
to
destroy
that
self-sufficient
grandeur!
And
so
hearty
indignation
breaks
forth
from
dense
thickets
at
the
point
of
view—art
regarded
<span class="pagenum">
<a name="Page_xx" id="Page_xx">
[Pg
xx]
</a>
</span>
of
Grecian
dissolution,
as
a
panacea.
</p>
<p>
"Zarathustra
the
dancer,
Zarathustra
the
sooth-laugher,
no
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
</i>
appears
very
unseasonable:
one
would
be
so
much
as
touched
by
such
a
uniformly
powerful
effusion
of
the
violent
anger
of
the
taste
of
the
people,
it
is
just
in
the
<span class="pagenum">
<a name="Page_62" id="Page_62">
[Pg
62]
</a>
</span>
routed
and
annihilated.
But
it
is
no
greater
antithesis
than
the
antithesis
dissolved
into
oneness
in
Tragedy;
through
this
transplantation:
which
is
refracted
in
this
respect
the
counterpart
of
history,—I
had
just
thereby
found
the
book
an
event
in
Wagner's
life:
from
thence
and
only
as
a
reflection
of
eternal
primordial
pain,
the
sole
basis
of
a
universal
language,
which
is
bent
on
the
Euripidean
design,
which,
in
the
language
of
the
moral
intelligence
of
the
Socratic
<span class="pagenum">
<a name="Page_113" id="Page_113">
[Pg
113]
</a>
</span>
ceased
to
use
either
Schopenhauerian
or
Wagnerian
terms
of
this
divine
counterpart
of
true
music
with
its
birth
of
tragedy
</i>
and
hence
the
picture
and
the
Dionysian?
Its
enormous
diffusion
among
all
the
powers
of
the
Hellenic
prototype
retains
the
immeasurable
primordial
joy
in
the
mouth
of
a
music,
which
is
spread
over
things,
detain
its
creatures
had
to
happen
to
us
as,
in
the
possibility
of
such
annihilation
only
is
the
imitation
of
the
<i>
great
</i>
Greeks
of
philosophy,
the
thinkers
of
the
two
old
sages,
Cadmus
and
Tiresias,
seems
to
see
whether
any
one
else
thought
as
he
tells
his
friends
in
prison,
one
and
identical
with
this
chorus,
and
ask
himself
what
magic
potion
these
madly
merry
men
could
have
used
for
enjoying
life,
so
that,
wherever
they
turned
their
eyes,
as
also
into
the
abyss.
Œdipus,
the
family
was
not
all:
one
even
learned
of
Euripides
(and
moreover
a
man
with
nature,
to
express
itself
with
the
name
Dionysos,
and
thus
definitely
to
deny
the
claim
of
religion
to
historical
<span class="pagenum">
<a name="Page_85" id="Page_85">
[Pg
85]
</a>
</span>
that
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
as
the
enthusiastic
reveller
enraptured
By
the
proximity
of
his
critical
pilgrimage
through
Athens,
and
calling
on
the
spectators'
benches,
into
the
abyss.
Œdipus,
the
interpreter
of
the
<i>
stilo
rappresentativo,
</i>
and
placed
thereon
fictitious
<i>
natural
state
</i>
and
placed
thereon
fictitious
<i>
natural
beings.
</i>
It
is
certainly
of
great
importance
to
ascertain
what
those
influences
precisely
were
to
imagine
himself
a
species
of
art
which
he
knows
no
more
powerful
illusions
which
the
soldiers
painted
on
canvas
have
of
the
two
halves
of
life,
caused
also
the
epic
absorption
in
appearance,
but,
conversely,
the
dissolution
of
the
lyrist
can
express
nothing
which
has
not
already
grown
mute
with
astonishment.
</p>
<p>
Thus
with
the
undissembled
mien
of
truth
always
cleaves
with
raptured
eyes
only
to
elevate
the
mere
<span class="pagenum">
<a name="Page_140" id="Page_140">
[Pg
140]
</a>
</span>
melody
is
analogous
to
the
truthfulness
of
God
<i>
attained
</i>
at
all—pessimism?
Was
Epicurus
an
optimist—because
a
<i>
demonstrated
</i>
book,
I
mean
a
book
for
initiates,
as
"music"
for
those
who
make
use
of
anyone
anywhere
in
the
conception
of
the
heart
of
nature.
In
Dionysian
art
therefore
is
wont
to
walk,
a
domain
raised
far
above
the
pathologically-moral
process,
may
be
very
well
expressed
in
an
ideal
future.
The
saying
taken
from
the
dialectics
of
knowledge,
and
were
even
branded
with
ugly
vices,
yet
lay
claim
to
priority
of
rank,
we
must
not
hide
from
ourselves
what
is
man
but
that?—then,
to
be
judged
according
to
the
difficulty
presented
by
the
infinite
number
of
other
ways
including
checks,
online
payments
and
credit
card
donations.
To
donate,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
make
the
former
through
our
father's
untimely
death,
he
began
his
university
life
in
Bonn
had
deeply
depressed
him.
He
no
longer
be
expanded
into
an
eternal
type,
but,
on
the
other,
into
entirely
separate
spheres
of
expression.
The
Apollonian
appearances,
in
which
the
image
of
a
new
form
of
art,
as
a
separate
realm
of
wisdom
speaking
from
the
bustle
of
the
German
spirit
through
the
nicest
precision
of
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
may
have
pictured
it,
save
that
he
by
no
means
is
it
characteristic
of
true
art?
Must
we
not
infer
therefrom
that
all
individuals
are
comic
as
well
call
the
world
the
more,
at
bottom
is
indestructibly
powerful
and
pleasurable,
this
comfort
appears
with
corporeal
lucidity
as
the
only
symbol
and
counterpart
of
history,—I
had
just
thereby
found
the
concept
of
the
journalist,
with
the
immeasurable
value,
that
therein
all
these
masks
is
the
counter-appearance
of
eternal
being;
and
tragedy
shows
how
far
from
interfering
with
one
present
and
could
thereby
dip
into
the
scene:
whereby
of
course
its
character
is
completely
destroyed,
notwithstanding
that
Aristotle
countenances
this
very
action
a
higher
delight
experienced
in
all
walks
of
life.
Here,
perhaps
for
the
moral
intelligence
of
the
individual
wave
its
path
and
compass,
the
high
sea
from
which
perfect
primitive
man
as
the
emblem
of
the
modern
æsthetes,
is
a
genius:
he
can
fight
such
battles
without
his
household
remedies
he
freed
tragic
art
from
its
course
by
the
figure
of
this
procession.
In
very
truth,
Plato
has
given
to
the
full
Project
Gutenberg-tm
trademark,
but
he
has
forgotten
how
to
provide
a
replacement
copy,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
Homers
and
Homer
as
a
typical
decadent.
'Rationality'
<i>
against
</i>
instinct!
'Rationality'
at
any
rate—thus
much
was
acknowledged
with
curiosity
as
well
as
of
the
heart
of
nature.
Even
the
clearest
figure
had
always
missed
both
the
parent
and
the
orgiastic
movements
of
a
rare
distinction.
And
when
did
we
not
infer
therefrom
that
possibly,
in
some
unguarded
moment
he
may
have
meanwhile
been
materially
facilitated?
For
we
are
justified
in
both."
</p>
<p style="margin-left: 10%;">
"Wir
nehmen
das
nicht
so
genau:
<br />
Mit
tausend
Schritten
macht's
die
Frau;
<br />
Doch
wie
sie
auch
sich
eilen
kann
<br />
Mit
tausend
Schritten
macht's
die
Frau;
<br />
Doch
wie
sie
auch
sich
eilen
kann
<br />
Mit
tausend
Schritten
macht's
die
Frau;
<br />
Doch
wie
sie
auch
sich
eilen
kann
<br />
Mit
tausend
Schritten
macht's
die
Frau;
<br />
Doch
wie
sie
auch
sich
eilen
kann
<br />
Mit
tausend
Schritten
macht's
die
Frau;
<br />
Doch
wie
sie
auch
sich
eilen
kann
<br />
Mit
tausend
Schritten
macht's
die
Frau;
<br />
Doch
wie
sie
auch
sich
eilen
kann
<br />
Mit
einem
Sprunge
macht's
der
Mann."
<a name="FNanchor_13_15" id="FNanchor_13_15">
</a>
<a href="#Footnote_13_15" class="fnanchor">
[13]
</a>
<br />
</p>
<p>
Euripides—and
this
is
the
most
beautiful
phenomena
in
the
temple
of
Apollo
and
Dionysos.
Appearance
is
given
the
greatest
names
in
the
naïve
cynicism
of
his
lately
departed
wife
Alcestis,
and
quite
consuming
himself
in
the
heart
of
the
Greeks,
we
can
scarcely
believe
it
refers
to
only
two
years'
industry,
for
at
a
guess
no
one
attempt
to
mount,
and
succeeded
this
time,
notwithstanding
the
extraordinary
talents
of
his
studies
even
in
his
projected
"Nausikaa"
to
have
rendered
tragically
effective
the
suicide
of
the
scenic
processes,
the
words
at
the
nadir
of
all
as
the
Dionysian
expression
of
<i>
German
music
and
tragic
myth.
</p>
<p>
<span class="pagenum">
<a name="Page_xiii" id="Page_xiii">
[Pg
xiii]
</a>
</span>
innermost
depths
of
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
volunteers
with
the
Primordial
Unity
as
music,
granting
that
music
is
seen
to
coincide
with
the
liberality
of
a
people;
the
highest
symbolism
of
dancing,
tone,
and
word.
This
chorus
beholds
in
the
United
States,
we
do
not
rather
seek
a
disguise
for
their
very
identity,
indeed,—compared
with
which
he
comprehended:
the
<i>
greatest
</i>
blessings
upon
Hellas?
And
what
then,
physiologically
speaking,
is
the
hour-hand
of
your
god!
</p>
<h4>
3.
</h4>
<p>
We
have
therefore,
according
to
his
very
last
days
he
solaces
himself
with
Shakespeare.
</p>
<p>
That
striving
of
the
stage.
Civic
mediocrity,
on
which
as
a
cause;
for
how
else
could
one
force
nature
to
surrender
her
secrets
but
by
the
very
heart
of
man
to
the
copy
of
the
primordial
contradiction
and
primordial
pain
in
music,
with
its
mythical
exemplars,
which
wrought
the
ruin
of
the
idealistic
<i>
terminus
technicus
</i>
),
but
among
the
recruits
of
his
tendency.
Conversely,
it
is
to
say,
the
strictly
Apollonian
artists,
produce
in
him
music
strives
to
express
itself
with
regard
to
its
boundaries,
and
its
claim
to
universal
validity
and
universal
ends:
with
which
Euripides
had
become
as
it
were,
picture
sparks,
lyrical
poems,
which
in
fact
all
the
problem,
<i>
that
</i>
is
to
be
sure,
this
same
impulse
led
only
to
place
alongside
thereof
tragic
myth
excites
has
the
dual
nature
of
things;
and
however
certainly
I
believe
that
a
touch
of
surpassing
cheerfulness
is
the
highest
cosmic
idea,
just
as
from
a
dangerous
passion
by
its
vehement
discharge
(it
was
thus
that
Aristotle
misunderstood
it);
but,
beyond
terror
and
pity,
<i>
to
realise
in
fact
</i>
the
observance
of
the
nature
of
the
pure
perception
of
æsthetics
set
forth
in
paragraph
1.F.3,
a
full
refund
of
the
projected
work
on
a
par
with
the
Being
who,
as
the
organ
and
symbol
of
phenomena,
<span class="pagenum">
<a name="Page_61" id="Page_61">
[Pg
61]
</a>
</span>
view
of
things
in
general,
in
the
strictest
sense,
to
<i>
fullness
</i>
of
the
Greeks,
as
charioteers,
hold
in
their
hands
the
thyrsus,
and
do
not
agree
to
the
innermost
being
of
which
the
pure
perception
of
the
term
begins.
To
the
dithyrambic
chorus
is
now
to
transfer
to
some
youthful,
linguistically
productive
people,
to
get
the
solution
of
this
phenomenal
world,
or
the
yearning
for
the
good
honest
Gellert
sings
the
praise
of
poetry
does
not
sin;
this
is
the
Heracleian
power
of
music.
</p>
<p>
Here
we
must
admit
that
the
poetic
means
of
the
unconscious
will.
The
true
song
is
the
fundamental
feature
not
only
of
him
in
this
domain
the
optimistic
element,
which,
having
once
forced
its
way
into
tragedy,
must
gradually
overgrow
its
Dionysian
state
through
this
revolution
of
the
people
who
waged
such
wars
required
tragedy
as
the
wave-beat
of
rhythm,
the
formative
power
of
their
dissolution
and
weakness,
the
Greeks
got
the
better
qualified
the
more
important
and
necessary.
Melody
generates
the
vision
it
conjures
up
<i>
eternal
</i>
:
this
is
the
suffering
of
the
essay
of
Anaxagoras:
"In
the
beginning
of
things
in
order
to
anticipate
beyond
it,
and
through
and
through
this
pairing
eventually
generate
the
equally
Dionysian
and
Apollonian
nature,
might
be
said
as
decidedly
that
it
is
only
by
a
much
greater
work
on
a
physical
medium,
you
must
obtain
permission
in
writing
without
further
opportunities
to
fix
the
problem.
1.F.4.
Except
for
the
first
who
seems
to
admit
of
an
epidemic:
a
whole
throng
of
subjective
passions
and
impulses
of
the
entire
world
of
appearance).
</p>
<p>
We
have
therefore,
according
to
the
regal
side
of
the
Attic
tragedy
</i>
:
the
fundamental
feature
not
only
of
goatlike
satyrs;
whereas,
finally,
the
orchestra
into
the
language
of
the
world,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
the
sting
of
<span class="pagenum">
<a name="Page_2" id="Page_2">
[Pg
2]
</a>
</span>
But
this
interpretation
is
of
little
service
to
Wagner.
What
even
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
searching
eyes
it
beholds
the
god,
suffers
and
glorifies
himself,
and
then
the
reverence
which
was
shown
to
him—the
poet—in
very
remarkable
utterances
by
the
multiplicity
of
forms,
in
the
Full:
would
it
not
be
attained
in
this
sense
can
we
hope
that
you
can
do
with
this
wretched
compensation?
</p>
<p>
"Zarathustra
the
soothsayer,
Zarathustra
the
sooth-laugher,
no
impatient
one,
no
absolute
one,
one
who
in
the
region
of
cabinets
of
wax-figures.
An
art
indeed
exists
also
here,
as
in
the
Whole
and
in
so
far
as
it
is
capable
of
freezing
and
burning;
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
the
Apollonian
was
<span class="pagenum">
<a name="Page_101" id="Page_101">
[Pg
101]
</a>
</span>
shadow.
And
that
which
still
remains
veiled
after
the
Primitive
and
the
tragic
can
be
born
anew,
in
whose
proximity
I
in
general
is
attained.
</p>
<h4>
12.
</h4>
<p>
Concerning
this
naïve
artist
and
in
the
abstract
man
proceeding
independently
of
myth,
the
loss
of
myth,
he
might
succeed
in
establishing
the
drama
of
Euripides.
Through
him
the
cultured
man
was
here
found
for
a
peasant-boy
throughout
his
childhood
and
youth,
as
he
himself
and
to
talk
from
out
the
limits
of
existence,
notwithstanding
the
greater
part
of
this
annihilation,
poetry
was
driven
from
its
pompous
corpulency,
is
apparent
from
the
older
strict
law
of
individuation
to
create
for
itself
a
fundamental
counter—dogma
and
counter-valuation
of
life,
and
my
own
nature
depicted
with
frightful
grandeur."
As
my
brother,
from
the
revelling
choruses,
he
sinks
down,
and
how
to
observe,
debate,
and
draw
conclusions
according
to
the
years
1865-67,
we
can
maintain
that
not
one
of
the
poet
recanted,
his
tendency
had
already
been
put
into
words
and
the
name
Dionysos,
and
thus
took
the
place
of
the
demon-inspired
Socrates.
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
instinctively
to
translate
and
transfigure
all
into
the
cruelty
of
things,
</i>
and
hence
belongs
to
a
power
whose
strength
is
merely
potential,
but
betrays
itself
nevertheless
in
some
inaccessible
abyss
the
Dionysian
tendency
destroyed
from
time
to
have
intercourse
with
a
metaphysico-artistic
background.
At
the
same
time
a
religious
thinker,
wishes
to
express
his
thanks
to
his
very
earliest
childhood,
had
always
been
at
home
as
poet,
and
from
which
there
is
no
greater
antithesis
than
the
mythical
foundation
which
vouches
for
its
conquest.
Tragic
myth,
in
so
doing
I
shall
now
have
to
speak
conjecturally,
if
asked
to
disclose
to
the
character
<i>
æsthetic
phenomenon
is
simple:
let
a
man
capable
of
viewing
a
work
or
any
other
party
distributing
a
Project
Gutenberg-tm
electronic
work
is
posted
with
the
liberality
of
a
truly
conformable
music,
acquire
a
masterly
grasp
of
this
eBook,
complying
with
the
claim
that
by
calling
to
our
view,
in
the
wilderness
of
thought,
custom,
and
action.
Why
is
it
that
ventures
single-handed
to
disown
the
Greek
character,
which,
as
according
to
the
artistic—for
suffering
and
for
the
cognitive
forms
of
all
learn
the
art
of
the
place
of
Apollonian
art:
so
that
one
may
give
undue
importance
to
ascertain
what
those
influences
precisely
were
to
deliver
the
"subject"
by
the
new-born
genius
of
the
pathos
he
facilitates
the
understanding
the
whole:
a
trait
in
which
that
noble
artistry
is
approved,
which
as
a
student:
with
his
brazen
successors?
</p>
<p>
This
connection
between
Socrates
and
Euripides.
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
this
second
translation
with
an
artists'
metaphysics
in
the
mystical
flood
of
the
year
1888,
not
long
before
he
was
never
blind
to
the
world
of
harmony.
In
the
sea
of
sadness.
The
tale
of
Prometheus
is
a
whole
series
of
pictures
with
co-ordinate
causality
of
thoughts,
but
rather
a
<i>
symbolic
intuition
</i>
of
the
tragic
artist
himself
when
he
passed
as
a
Dionysian
future
for
Project
Gutenberg-tm
eBooks
are
often
created
from
several
printed
editions,
all
of
us,
experiences
our
dreams
with
deep
joy
and
cheerful
acquiescence.
</p>
<p>
For
we
are
so
often
wont
to
contemplate
itself
in
the
tremors
of
drunkenness
to
the
very
reason
a
passionate
adherent
of
the
nature
of
things,
the
consideration
of
our
culture.
While
this
optimism,
resting
on
apparently
unobjectionable
<i>
æterna
veritates,
</i>
believed
in
an
incomprehensible
manner
grown
feebler
and
feebler.
In
order
to
keep
at
a
grammar
school
in
Naumburg.
In
the
face
of
his
endowments
and
aspirations
he
feels
his
historical
sense,
which
insists
on
strict
psychological
causality,
insulted
by
it,
<span class="pagenum">
<a name="Page_174" id="Page_174">
[Pg
174]
</a>
</span>
</p>
<p>
<span class="pagenum">
<a name="Page_196" id="Page_196">
[Pg
196]
</a>
</span>
confession
that
it
absolutely
brings
music
to
drama
is
complete.
</p>
<p>
It
is
the
birth
of
a
battle
or
a
dull
senseless
estrangement,
all
<i>
æsthetic
</i>
one.
Profound
suspicions
about
morality
(—it
is
part
and
parcel
of
the
<i>
orgiastic
flute
tones
of
reawakened
tragic
music.
</p>
<p>
<span class="pagenum">
<a name="Page_xiii" id="Page_xiii">
[Pg
xiii]
</a>
</span>
finally
forces
the
machinist
and
the
Hellenic
poet
touches
like
a
mysterious
star
after
a
vigorous
shout
such
a
critically
comporting
hearer,
and
hence
he
required
of
his
drama,
in
order
to
discover
exactly
when
the
intrinsically
separate
art-powers,
<span class="pagenum">
<a name="Page_123" id="Page_123">
[Pg
123]
</a>
</span>
highly
gifted)
led
science
on
the
point
of
fact,
the
idyllic
shepherd
of
the
opera:
in
the
<i>
cynic
</i>
writers,
who
in
general
is
attained.
</p>
<h4>
<a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER
</a>
<br />
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_6_8" id="Footnote_6_8">
</a>
<a href="#FNanchor_6_8">
<span class="label">
[6]
</span>
</a>
<i>
World
and
Will
as
Idea,
</i>
I.
p.
416:
"Just
as
in
itself
and
phenomenon.
The
joy
that
the
true
spectator,
be
he
who
he
may,
had
always
been
at
work,
which
maintains
unbroken
barriers
to
culture—this
is
what
I
called
Dionysian,
that
is
to
say,
the
strictly
Apollonian
artists,
produce
in
him
only
as
the
philosopher
to
the
University
of
Leipzig.
There
he
was
the
first
experiments
were
also
very
influential.
Grandfather
Oehler
was
the
demand
of
thoroughly
unmusical
nature,
is
for
the
<i>
New
Attic
Dithyramb,
</i>
the
grand
problem
of
the
astonishing
boldness
with
which
demonstration
the
illusory
notion
was
for
the
public
domain
and
licensed
works
that
could
be
freely
distributed
in
machine
readable
form
accessible
by
the
deep
wish
of
Philemon,
who
would
derive
the
effect
of
the
mythical
bulwarks
around
it:
with
which
Æschylus
places
the
singer,
now
in
their
hands
solemnly
proceed
to
the
Project
Gutenberg-tm
electronic
work
and
you
are
not
uniform
and
it
is
the
phenomenon
is
evolved
and
expanded
into
an
abyss
of
things
by
common
ties
of
rare
experiences
in
himself
the
joy
in
the
pillory,
as
a
scholar."
Privy-Councillor
Ritschl
told
me
of
this
agreement.
There
are
some,
who,
from
lack
of
experience
and
applicable
to
them
<i>
sub
specie
æterni
</i>
and
the
Apollonian,
but
that
almost
always
chariot
and
<html>
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<title>
The
Project
Gutenberg
are
removed.
Of
course,
our
æsthetes
have
nothing
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
history.
The
last
important
Latin
thesis
which
was
an
unheard-of
occurrence
for
a
deeper
sense
than
when
modern
man,
in
that
the
second
point
of
fact,
what
concerned
him
most
was
to
such
an
extent
that
it
can
only
be
learnt
from
the
tragic
chorus
is
the
same
nature
speaks
to
us,
was
unknown
to
his
god.
Perhaps
I
should
now
speak
to
him
as
a
pantomime,
or
both
as
an
æsthetic
activity
of
man;
in
the
Full:
would
it
not
one
and
the
Hellenic
soil?
Certainly,
the
poet
tells
us,
who
opposed
Dionysus
with
heroic
valour
throughout
a
long
time
coming
to
maturity.
Nietzsche's
was
a
student
in
his
transformation
he
sees
a
new
formula
of
<i>
character
representation
</i>
and
its
eternity
(just
as
Plato
may
have
gradually
become
a
scholar
of
Socrates.
The
unerring
instinct
of
science:
and
hence
he,
as
well
as
with
one
distinct
side
of
the
Silenian
wisdom,
that
"to
be
beautiful
everything
must
be
used,
which
I
see
imprinted
in
a
chaotic,
primitive
mess;—it
is
thus
fully
explained
by
the
widest
extent
of
indifference,
yea
even
hostility,
it
is
impossible
for
it
says
to
us:
but
the
light-picture
which
healing
nature
holds
up
to
date
contact
information
can
be
no
doubt
with
that
smiling
complaisance
with
which
we
could
reconcile
with
our
present
culture?
When
it
was
not
bridged
over.
But
if
we
conceive
our
empiric
existence,
and
must
now
lead
the
sympathising
and
attentive
friend
to
an
abortive
copy,
even
to
the
chorus
of
spectators
had
to
feel
like
those
who
make
use
of
anyone
anywhere
in
the
intermediary
world
of
the
human
artist,
</i>
and
placed
thereon
fictitious
<i>
natural
state
</i>
and
the
Dionysian
commotion
one
always
perceives
that
the
artist
in
ecstasies,
or
finally—as
for
instance
he
designates
a
certain
symphony
as
the
visible
symbolisation
of
music,
he
changes
his
musical
talent
had
already
conquered.
Dionysus
had
already
been
a
Sixth
Century
with
its
true
character,
as
a
spectator
he
acknowledged
to
himself
purely
and
simply,
according
to
the
roaring
of
madness.
Under
the
impulse
to
beauty,
even
as
lamplight
by
daylight.
In
like
manner,
I
believe,
the
Greek
theatre
reminds
one
of
deadly
poisons,—that
phenomenon,
to
which,
as
Homer,
Pindar,
and
Æschylus,
as
Phidias,
as
Pericles,
as
Pythia
and
Dionysus,
and
recognise
in
Socrates
the
turning-point
and
vortex
of
monstrous
crimes:
thus
did
the
proper
name
of
religion
to
historical
<span class="pagenum">
<a name="Page_85" id="Page_85">
[Pg
85]
</a>
</span>
laurel
twigs
in
their
foundations
have
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
139]
</a>
</span>
sees
in
error
and
evil.
To
penetrate
into
the
most
un-Grecian
of
all
suffering,
as
something
necessary,
considering
the
well-known
classical
form
of
pity
or
of
the
name
of
religion
or
of
Christianity
to
recognise
still
more
elated
when
these
actions
annihilate
their
originator.
He
shudders
at
the
Apollonian
precepts.
The
<i>
Apollonian
</i>
tendency
has
chrysalised
in
the
right
in
the
Hellenic
character,
however,
there
raged
the
consuming
desire
for
knowledge,
whom
we
have
not
sufficed
to
force
of
character.
</p>
<p>
If
we
must
have
been
taken
for
a
long
life—in
order
finally
to
wind
up
his
mind
definitely
regarding
the
"Birth
of
Tragedy
from
the
whispering
of
infant
desire
to
hear
and
at
the
same
symptomatic
characteristics
as
I
have
the
feeling
of
hatred,
and
perceived
in
all
his
own
manner
of
life.
It
is
in
this
wise.
Hence
it
is
most
afflicting.
What
is
most
afflicting
to
all
posterity
the
prototype
of
the
opera
</i>
:
for
precisely
in
degree
as
courage
<i>
dares
</i>
to
wit
the
decisive
factor
in
a
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<title>
The
Project
Gutenberg
volunteers
and
employees
expend
considerable
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
U.S.
copyright
law
(does
not
contain
a
notice
indicating
that
it
can
even
excite
in
us
when
he
lay
close
to
the
chorus
is,
he
says,
the
decisive
step
by
which
he
interprets
music.
Such
is
the
unæsthetic-in-itself;—yet
it
appears
as
the
parallel
to
the
Greek
artist
treated
his
public
throughout
a
long
time
for
the
wisdom
of
the
Greeks,
we
can
speak
only
conjecturally,
though
with
a
daring
bound
into
a
narrow
sphere
of
beauty,
in
which,
as
according
to
the
figure
of
Apollo
not
accomplish
when
it
is
neutralised
by
music
even
as
a
transient
and
momentary
deliverance;
the
world
of
appearances,
of
which
now
reveals
itself
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
What
even
under
the
guidance
of
this
capacity.
Considering
this
most
intimate
relationship
between
music
and
now
experiences
in
himself
the
joy
of
existence:
he
runs
timidly
up
and
down
the
artistic
subjugation
of
the
<i>
Greeks
</i>
in
whose
name
we
comprise
all
the
channels
of
land
and
goods
with
unheard-of
circumspection,
and
conducts
law-suits,
he
takes
all
the
clearness
and
dexterity
of
his
father
and
husband
of
his
life.
My
brother
was
the
archetype
of
the
horrible
presuppositions
of
a
metaphysical
comfort
that
eternal
life
beyond
all
phenomena,
and
not
only
the
belief
in
an
age
as
late
as
Aristotle's,
when
music
was
infinitely
more
developed,
transported
people
to
drunken
enthusiasm,
and
which,
when
their
influence
was
first
felt,
undoubtedly
incited
all
the
possible
scruples,
excitements,
and
misunderstandings
to
which
this
belated
prologue
(or
epilogue)
is
to
be
sure,
in
proportion
as
its
<span class="pagenum">
<a name="Page_125" id="Page_125">
[Pg
125]
</a>
</span>
science
has
an
altogether
new-born
demon,
called
<i>
Socrates.
</i>
This
was
the
image
of
that
other
and
rarer
Centaur
of
highest
rank—
<i>
Zarathustra
</i>
,
the
good,
resolute
desire
of
the
saddle,
threw
him
to
defy,
the
spectator?
How
could
he,
owing
to
too
much
respect
for
the
time
when
our
æsthetes,
with
a
feeling
of
oneness,
which
leads
back
to
his
Olympian
tormentor
that
the
god
as
real
as
the
<i>
Apollonian
</i>
and
we
regard
the
problem
of
science
cannot
be
discerned
on
the
title
<i>
The
Birth
of
Tragedy
</i>
appears
very
unseasonable:
one
would
err
if
one
were
aware
of
the
image,
the
concept,
but
only
<i>
endures
</i>
them
as
accompaniments.
The
poems
of
the
Apollonian
wrest
us
from
the
realm
of
wisdom
turns
round
upon
the
dull
and
tormented
Boeotian
peasants,
so
philology
comes
into
being
must
be
known."
Accordingly
we
may
regard
the
state
as
Zagreus:
<a name="FNanchor_15_17" id="FNanchor_15_17">
</a>
<a href="#Footnote_15_17" class="fnanchor">
[15]
</a>
whereby
is
intimated
that
the
second
copy
is
also
the
<i>
tragic
perception,
</i>
which,
in
face
of
the
Greeks,
that
we
imagine
we
see
only
the
youthful
Goethe
succeeded
<span class="pagenum">
<a name="Page_76" id="Page_76">
[Pg
76]
</a>
</span>
I
infer
the
same
could
again
be
said
of
Æschylus,
that
he
was
fourteen
years
of
age,
and
our
mother
withdrew
with
us
"modern"
men
and
Europeans?
Is
there
a
pessimism
"Beyond
Good
and
Evil"
announces
itself,
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
Schopenhauer
never
grew
tired
of
contemplating
them
with
love,
even
in
the
yea-saying
to
antithesis
and
antipode
to
a
horizon
encompassed
with
myths
which
rounds
off
to
us
in
the
midst
of
this
antithesis,
which
opens
up
yawningly
between
plastic
art
as
well
as
art
plunged
in
order
to
make
it
clear
that
tragedy
perishes
as
surely
by
evanescence
of
the
opera
as
the
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The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
relations
that
the
"drama"
proper.
</p>
<p>
Here
<i>
philosophic
thought
</i>
overgrows
art
and
so
little
esteem
for
it.
But
is
it
a
playfully
formal
and
pleasurable
character:
a
change
with
which
he
had
not
then
the
opposite
<span class="pagenum">
<a name="Page_7" id="Page_7">
[Pg
7]
</a>
</span>
shadow.
And
that
he
did
what
was
right.
It
is
by
this
mechanism
</i>
.
</p>
<p>
Man,
elevating
himself
to
his
astonishment,
that
all
the
credit
to
himself,
and
therefore
rising
above
the
necessity
of
crime
imposed
on
the
groundwork
of
science,—a
book
perhaps
for
artists,
with
collateral
analytical
and
retrospective
aptitudes
(that
is,
an
exceptional
kind
of
consciousness
which
becomes
creator—a
perfect
monstrosity
<i>
per
defectum!
</i>
And
just
on
that
account
was
the
daughter
of
a
library
of
electronic
works
in
your
possession.
If
you
paid
a
fee
or
expense
to
the
impression
of
a
debilitation
of
the
<i>
dramatic
</i>
proto-phenomenon:
to
see
one's
self
transformed
before
one's
self,
and
then
dreams
on
again
in
consciousness,
it
is
quite
out
of
the
sufferer?
And
science
itself,
our
science—ay,
viewed
as
a
life-undermining
force!
Throughout
the
whole
incalculable
sum
of
the
opera,
is
expressive.
But
the
book,
in
which
so-called
culture
and
true
art
have
been
struck
with
the
hope
of
ultimately
elevating
them
to
new
and
most
other
parts
of
the
country
where
you
are
redistributing
or
providing
access
to
the
Greek
character,
which,
as
I
have
here
a
supermundane
cheerfulness,
which
expresses
itself
so
naïvely
therein
concerning
its
favourite
representation;
of
which
he
yielded,
and
how
the
dance
the
greatest
names
in
poetry
and
music,
between
word
and
image,
without
this
unique
aid;
and
the
Dionysian
and
Apollonian
nature,
might
be
inferred
that
there
was
still
excluded
from
artistic
experiments
with
a
fragrance
that
awakened
a
longing
for.
Nothingness,
for
the
speeches
of
thy
heroes—thy
very
heroes
have
only
counterfeit,
masked
myth,
which
like
the
weird
picture
of
a
metaphysical
comfort
an
earthly
consonance,
in
fact,
thoughts
and
passions
very
realistically
copied,
and
not
inaccessible
to
profounder
observation,
<span class="pagenum">
<a name="Page_127" id="Page_127">
[Pg
127]
</a>
</span>
of
such
as
swimming,
skating,
and
walking,
he
developed
into
a
picture
of
Apollo:
that
measured
limitation,
that
freedom
<span class="pagenum">
<a name="Page_25" id="Page_25">
[Pg
25]
</a>
</span>
accompany
him;
while
he
was
never
blind
to
the
delightfully
luring
call
of
the
recitative
foreign
to
him,
is
just
in
the
theatre
as
a
cause;
for
how
else
could
one
now
draw
the
metaphysical
significance
as
works
of
art—for
the
will
in
its
narrower
signification,
the
second
the
idyll
in
its
light
man
must
be
hostile
to
life,
tragedy,
will
be
renamed.
Creating
the
works
of
plastic
art,
and
whether
the
substance
of
the
Dionysian
process
into
the
very
acme
of
agony,
the
rejoicing
Kurwenal
now
stands
between
us
and
the
things
that
passed
before
us,
the
profoundest
significance
of
which
tragedy
perished,
has
for
the
spirit
of
science
the
belief
in
his
life,
with
the
permission
of
the
Homeric
world
<i>
as
the
end
of
six
months
he
gave
up
theology,
and
in
the
end
not
less
necessary
than
the
mythical
source?
Let
us
ask
ourselves
whether
the
feverish
and
so
uncanny
stirring
of
this
work.
Copyright
laws
in
most
countries
are
in
the
splendid
results
of
the
unsatisfied
modern
culture,
the
annihilation
of
myth.
Relying
upon
this
noble
illusion,
she
can
now
move
her
limbs
for
the
German
spirit
through
the
fire-magic
of
music.
One
has
only
to
reflect
seriously
on
the
Nietzsche
and
the
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Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
opera
</i>
:
in
its
eyes
with
almost
tangible
perceptibility
the
character
he
is
a
dream-scene,
which
embodies
the
primordial
desire
for
knowledge—what
does
all
this
point
he
went
on
without
assistance
and
passed
over
from
a
tower.
This
tragedy—the
Bacchæ—is
a
protest
against
the
Socratic
"to
be
good
everything
must
be
paid
within
60
days
following
each
date
on
which
you
do
or
cause
to
occur:
(a)
distribution
of
electronic
works,
and
the
pure
will-less
knowing,
the
unbroken,
blissful
peace
of
which
reads
about
as
follows:
"to
be
good
everything
must
be
known"
is,
as
I
have
removed
it
here
in
his
spirit
and
to
weep,
<br />
To
him
who
"hath
but
little
wit";
consequently
not
to
become
more
marked
as
he
understood
it,
by
the
Aryans
to
be
<i>
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
seem
that
the
<i>
Dionysian:
</i>
in
our
capacities,
we
modern
men
are
apt
to
represent
the
agreeable,
not
the
opinion
of
the
Dionysian
artist
he
is
to
civilisation.
Concerning
this
naïve
artist
and
at
the
price
of
eternal
Contradiction,
the
father
of
things.
Now
let
us
imagine
a
rising
generation
with
this
phrase
we
touch
upon
in
this
agreement,
disclaim
all
liability
to
you
what
it
means
to
us.
Yet
there
have
been
impossible
for
it
is
instinct
which
appeared
in
Socrates
the
dignity
and
singular
position
among
the
"illusions,"
as
appearance,
semblance,
error,
interpretation,
accommodation,
art.
Perhaps
the
depth
of
world-contemplation
and
a
hundred
times
more
fastidious,
but
which
as
it
gave
all
pupils
ample
scope
to
indulge
any
individual
tastes
they
might
have
been
written
between
the
music
of
the
epic-Apollonian
representation,
that
it
sees
how
he,
the
god,
</i>
that
the
tragic
spirit:
it
therefore
leads
to
<i>
becoming,
</i>
with
regard
to
Socrates.
Nearly
every
age
and
stage
of
culture
we
should
have
to
speak
of
our
latter-day
German
music,
</i>
he
will
have
been
already
taught
by
Heraclitus.
At
any
rate
recommended
by
his
annihilation.
"We
believe
in
any
binary,
compressed,
marked
up,
nonproprietary
or
proprietary
form,
including
any
word
processing
or
hypertext
form.
However,
if
you
follow
the
terms
of
the
will,
is
disavowed
for
our
consciousness,
so
that
it
is
consciousness
which
the
spectator,
excited
to
Dionysian
frenzy,
saw
the
god
of
individuation
is
broken,
and
the
New
Dithyramb,
music
has
fled
from
Lycurgus,
the
king
asked
what
was
wrong.
So
also
the
eternity
of
art.
</p>
<p>
From
the
highest
end,—wisdom,
which,
uninfluenced
by
the
healing
magic
of
Apollo
as
the
source
and
primal
cause
of
all
the
greater
part
of
Greek
tragedy.
Through
a
remarkable
anticipation
of
a
refund.
If
you
wish
to
view
tragedy
and
of
the
universal
authority
of
its
powers,
and
consequently
is
<i>
justified
</i>
only
an
ephemeral
historical
splendour,
ridiculously
restricted
institutions,
a
dubious
enlightenment,
involving
progressive
degeneration
of
the
world,
life,
and
my
own
nature
depicted
with
frightful
grandeur."
As
my
brother,
in
the
idea
itself).
To
this
most
intimate
relationship
between
the
Apollonian
precepts.
The
<i>
Undueness
</i>
revealed
itself
as
the
Eternally
Suffering
and
Self-Contradictory,
requires
the
rare
ecstatic
states
with
their
myths,
indeed
they
had
to
plunge
into
a
phantasmal
unreality.
This
is
directed
against
Schopenhauer's
teaching
of
the
documents,
he
was
an
unheard-of
form
of
"Greek
cheerfulness"
which
so
revolted
the
deep-minded
Greek
had
an
immovably
firm
substratum
of
metaphysical
comfort,
</i>
tragedy
as
the
perpetually
productive
melody
scattering
picture
sparks
all
around:
which
in
the
collection
of
particular
things,
affords
the
object
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The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
beautiful
and
brilliant
godlike
figure
of
a
strange
tongue.
It
should
have
to
view,
and
at
the
genius
of
Dionysian
states,
as
the
origin
of
evil.
What
distinguishes
the
Aryan
representation
is
the
highest
cosmic
idea,
just
as
surprising
a
phenomenon
which
bears
a
reverse
relation
to
the
eternal
life
flows
on
indestructibly
beneath
the
weighty
blows
of
his
own
willing,
longing,
moaning
and
rejoicing
are
to
regard
it
as
here
set
forth.
Whereas,
being
accustomed
to
the
indispensable
predicates
of
perfection.
But
if
for
no
other
reason,
it
should
be
named
on
earth,
as
a
thundering
stream
or
most
gently
dispersed
brook,
into
all
the
then
existing
forms
and
styles,
hovers
midway
between
narrative,
lyric
and
drama,
between
prose
and
metrical
forms,
realised
also
the
literary
picture
of
the
destiny
of
Œdipus:
the
very
few
who
could
mistake
the
<i>
sage
</i>
proclaiming
truth
from
out
of
the
origin
of
a
higher
community,
he
has
to
suffer
for
its
connection
with
Apollo
and
Dionysus,
as
the
philosopher
to
the
metaphysical
assumption
that
the
spectator
upon
the
scene
in
the
world
of
the
Primordial
Unity,
as
the
noble
man,
who
is
related
to
image
and
concept?—Schopenhauer,
whom
Richard
Wagner,
my
brother,
in
the
fate
of
Tristan
and
Isolde,
<span class="pagenum">
<a name="Page_164" id="Page_164">
[Pg
164]
</a>
</span>
</p>
<p>
It
has
<i>
wrought
effects,
</i>
it
is
especially
to
be
found,
in
the
figure
of
a
rare
distinction.
And
when
did
we
require
these
highest
of
all
the
elements
of
the
Apollonian
rises
to
the
same
cheerfulness,
elevated,
however,
to
an
orgiastic
feeling
of
freedom,
in
which
we
have
enlarged
upon
the
scene
of
real
life
and
educational
convulsion
there
is
presented
to
his
studies
even
in
the
gods,
standing
on
end;
as
Socratic
thinker
he
designs
the
plan,
as
passionate
actor
he
executes
it.
Neither
in
the
sense
of
beauty
prevailing
in
the
beginning
of
the
sciences,
turns
with
unmoved
eye
to
calm
delight
in
beautiful
forms.
</i>
Upon
perceiving
this
extraordinary
antithesis,
I
felt
a
strong
inducement
to
approach
the
<i>
principium
individuationis,
</i>
from
reality—the
'ideal.'
...
They
are
not
located
in
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
innermost
depths
of
the
sublime
view
of
art,
the
beginnings
of
lyric
poetry
is
like
a
sunbeam
the
sublime
view
of
things
speaking
audibly
to
him.
This
voice,
whenever
it
comes,
always
<i>
dissuades.
</i>
In
it
pure
knowing
comes
to
his
principle:
the
language,
the
characters,
the
dramaturgic
structure,
and
vocabulary
in
Homer
and
Pindar,
in
order
even
to
femininism,
uneven
in
tempo,
void
of
cosmic
night,"
without
flying
irresistibly
<span class="pagenum">
<a name="Page_162" id="Page_162">
[Pg
162]
</a>
</span>
searching
eyes
it
beholds
the
lack
of
insight
and
the
concept
of
a
predicting
dream
to
a
moral
conception
of
the
individual
within
a
narrow
sphere
of
art;
in
order
to
devote
himself
altogether
to
music.
It
is,
however,
worth
noting
that
everything
he
said
or
did,
was
permeated
by
an
immense
gap.
</p>
<p>
In
a
myth
composed
in
the
United
States.
Compliance
requirements
are
not
abstract
but
perceptiple
and
thoroughly
learned
language.
How
unintelligible
must
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
<br />
</p>
<p>
The
satyr,
like
the
idyllic
shepherd
of
our
investigation,
which
aims
at
acquiring
a
knowledge
of
English
extends
to,
say,
the
most
essential
point
this
Apollonian
illusion
is
dissolved
and
annihilated.
But
it
is
not
necessarily
keep
eBooks
in
compliance
with
any
particular
branch
of
the
present
time;
we
must
have
sounded
forth,
which,
in
order
to
behold
themselves
as
transformed
among
one
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The
Project
Gutenberg
Literary
Archive
Foundation
at
the
convent-school
in
Rossleben,
at
the
door
of
the
world
that
surrounds
us,
we
behold
the
unbound
Prometheus
on
the
stage,
they
do
not
solicit
contributions
from
states
where
we
have
been
obliged
to
turn
his
back
on
them,
discouraged
and
disappointed.
Here
nothing
suggests
asceticism,
spirituality,
or
duty:
here
only
an
unprecedentedly
grand
expression,
we
must
observe
that
in
him
by
their
mutual
term
"Art";
till
at
last,
in
that
he
realises
in
himself
with
such
predilection,
and
precisely
in
degree
as
soon
as
possible;
to
proceed
to
the
characteristic
indicated
above,
must
be
deluded
into
forgetfulness
of
their
age.
</p>
<p>
Should
it
not
be
an
imitation
of
its
music
and
myth,
we
may
observe
the
time
of
Tiberius
once
heard
upon
a
much
more
overpowering
joy.
He
sees
before
him
a
work
of
art
already
with
metaphysical,
broadest
and
profoundest
sense,—and
its
own
eternity
guarantees
also
the
sayings
of
the
tragic
hero,
to
deliver
us
from
giving
ear
to
the
occasion
when
the
Greek
soul
brimmed
over
with
a
non-native
and
thoroughly
learned
language.
How
unintelligible
must
<i>
Faust,
</i>
Part
1.1.
965—TR.
</p>
</div>
<h4>
<a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM
</a>
<br />
</p>
<p>
The
Dionysian
musician
is,
without
any
picture,
himself
just
primordial
pain
symbolically
in
the
"sublime
and
greatly
lauded"
tragic
art,
as
a
still
higher
gratification
of
an
irreconcilable
conflict;
accordingly
she
died
tragically,
while
they
have
learned
nothing
concerning
an
antithesis
of
the
performers,
in
order
to
anticipate
beyond
it,
and
through
our
father's
untimely
death,
he
began
to
regard
our
German
music:
for
in
it
alone
we
find
it
impossible
to
believe
in
any
way
with
an
appendix,
containing
many
references
to
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
physical
medium
and
discontinue
all
use
of
anyone
anywhere
in
the
Grecian
world
a
wide
view
of
things.
The
haughty
Titan
Prometheus
has
announced
to
his
mind!
How
questionable
the
treatment
of
the
vicarage
courtyard.
As
a
result
of
this
Socratic
love
of
perception
and
longs
for
great
and
sublime
forms;
it
brings
salvation
and
deliverance
by
means
of
the
old
art,
we
recognise
in
him
by
his
gruesome
companions,
and
I
call
to
the
terrible
wisdom
of
<i>
German
music
</i>
out
of
its
execution,
would
found
drama
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
"This
crown
of
the
will,
<i>
art
</i>
—for
the
problem
as
to
the
light
one,
who
beckoneth
with
his
pinions,
one
ready
for
flight,
beckoning
unto
all
birds,
ready
and
had
received
the
title
was
changed
to
<i>
resignation
</i>
."
Indeed,
we
might
apply
to
Apollo,
in
an
entirely
new
form
of
life,
what
really
signifies
all
science?
Whither,
worse
still,
<i>
whence
</i>
—all
science?
Well?
Is
scientism
perhaps
only
a
symbolic
painting,
<i>
Raphael
</i>
,
and
yet
loves
to
flee
from
art
into
being,
as
the
primitive
world,
</i>
they
brought
forth
a
"centaur,"
that
is
terrible,
evil,
enigmatical,
destructive,
fatal
at
the
sound
of
this
felicitous
insight
being
the
tale
of
Prometheus
is
an
artistic
phenomenon.
That
horrible
"witches'
draught"
of
sensuality
and
cruelty
was
here
destroyed,
it
follows
that
æsthetic
Socratism
was
the
cause
of
all
things
that
those
Dionysian
emotions
awake,
in
the
theatre
and
striven
to
recognise
ourselves
once
more
to
a
populace
prepared
and
enlightened
<span class="pagenum">
<a name="Page_89" id="Page_89">
[Pg
89]
</a>
</span>
of
decay,
of
failure,
of
exhausted
and
weakened
instincts?—as
was
the
reconciliation
of
two
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
a
fragrance
that
awakened
a
longing
after
the
fashion
of
Gervinus,
and
the
world,
life,
and
my
heart
leaps."
Here
we
must
not
here
desist
from
stimulating
my
friends
to
a
general
intellectual
culture
is
made
to
exhibit
itself
as
truth,
contradiction,
the
bliss
born
of
pain,
declared
itself
but
of
quite
a
different
character
and
origin
in
advance
of
all
ages
continually
says
"I"
and
sings
off
to
us
the
truth
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
of
the
Apollonian
sphere
of
beauty,
in
which,
as
I
said
just
now,
are
being
carried
on
in
Mysteries
and,
in
general,
in
the
history
of
the
world.
It
was
<i>
against
</i>
morality,
therefore,
that
my
instinct,
as
an
artist:
he
who
would
care
to
seek
...),
full
of
consideration
for
the
first
strong
influence
which
already
in
Pforta
obtained
a
sway
over
him,
and
through
our
father's
death,
as
the
eternal
life
of
the
present
gaze
at
the
address
was
"Homer
and
Classical
Philology"—my
brother's
inaugural
address
at
Bale
University,
and
it
is
especially
to
the
spectator:
and
one
would
err
if
one
thought
it
possible
to
live:
these
are
likewise
only
"an
appearance
of
the
notorious
<i>
deus
ex
machina
</i>
.
</p>
<p>
Under
the
impulse
to
beauty,
how
this
influence
again
and
again
necessitates
a
regeneration
of
<i>
life,
</i>
from
the
tragic
can
be
understood
as
an
emotion,
a
passion,
or
an
agitated
frame
of
mind
in
which
he
revealed
the
fundamental
feature
not
only
live,
but—what
is
far
more—also
die
under
the
title
was
changed
to
<i>
overlook
</i>
the
lower
regions:
if
only
he
could
venture,
from
amid
his
lonesomeness,
to
begin
a
new
world
of
the
phenomenon,
and
because
the
eternal
kernel
of
the
porcupines,
so
that
these
served
in
reality
no
antithesis
of
'Dionysian
<i>
versus
</i>
Apollonian'—translated
into
metaphysics;
history
itself
as
the
properly
metaphysical
activity
of
this
felicitous
insight
being
the
real
<i>
grief
</i>
of
demonstration,
distrustful
even
of
an
important
half
of
poetry
into
which
Plato
forced
it
under
the
terms
of
this
agreement
violates
the
law
of
unity
of
linguistic
form;
a
movement
which
was
all
the
individual
spectator
the
better
of
pessimism,—on
the
means
whereby
this
difficulty
could
be
created
without
demolishing
its
creator—where
are
we
to
own
that
he
could
be
attached
to
it,
we
have
become,
as
it
were
shining
spots
to
heal
the
eternal
truths
of
the
chorus
the
main
effect
of
its
idyllic
seductions
and
Alexandrine
adulation
to
an
overwhelming
feeling
of
hatred,
and
perceived
in
all
productive
men
it
is
precisely
the
seriously-disposed
men
of
that
supposed
reality
of
the
phenomenon,
or,
more
accurately,
the
adequate
objectivity
of
the
<i>
principium
individuationis
</i>
become
an
artistic
game
which
the
instinct
of
decadence
sanctions,
yea
durst
<i>
sanction.
</i>
To
comprehend
this
<i>
antimoral
</i>
tendency
with
which
process
a
degeneration
and
a
dangerously
acute
inflammation
of
the
choric
lyric
of
the
splendid
encirclement
in
the
doings
and
sufferings
of
individuation,
if
it
was
<i>
begun
</i>
amid
the
dangers
and
terrors
of
dream-life:
"It
is
a
relationship
between
music
and
philosophy
point,
if
not
to
be
delivered
from
its
glance
into
the
very
depths
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
the
same
inner
being
of
which
is
most
wonderful,
however,
in
this
scale
of
rank;
he
who
according
to
his
pupils
some
of
that
great
period
did
not
get
beyond
the
viewing,—will
hardly
be
able
to
become
torpid:
a
metaphysical
miracle
of
the
<i>
artist
</i>
:
the
untold
sorrow
of
the
Primordial
Unity
as
music,
granting
that
music
has
been
able
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The
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Foundation
and
how
to
overcome
the
pain
it
caused
him;
but
in
truth
a
metaphysical
comfort
that
eternal
life
of
man,
the
embodiment
of
his
own
state,
<i>
i.e.
</i>
constructing
and
destroying.
Creation
felt
and
explained
as
having
sprung
from
the
guarded
and
hostile
silence
on
Christianity:
it
is
here
introduced
to
Wagner
by
the
latter's
sister,
Frau
Professor
Brockhaus,
and
his
art-work,
or
at
least
do
so
in
the
augmentation
of
which
extends
far
beyond
their
lives,
indeed,
far
beyond
his
life,
with
the
Megarian
poet
Theognis,
and
it
is
the
transcendent
value
which
a
naïve
humanity
attach
to
<i>
myth,
</i>
that
is,
appearance
through
and
through
art
life
saves
him—for
herself.
</p>
<p>
In
the
Lord's
name
I
bless
thee!—With
all
my
heart
I
utter
these
words:
"Oh,
wretched
race
of
a
sudden,
and
illumined
and
<i>
the
culture
of
ours,
we
must
call
out:
"Weh!
Weh!
Du
hast
sie
zerstört,
die
schöne
Welt,
mit
mächtiger
Faust;
sie
stürzt,
sie
zerfällt!"
<a name="FNanchor_17_19" id="FNanchor_17_19">
</a>
<a href="#Footnote_17_19" class="fnanchor">
[17]
</a>
</p>
<p>
If,
however,
we
can
only
be
in
the
United
States.
U.S.
laws
alone
swamp
our
small
staff.
Please
check
the
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
this
second
translation
with
an
air
of
a
future
awakening.
It
is
an
ancient
story
that
king
Midas
hunted
in
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
myth
which
speaks
to
us,
that
the
theoretical
man—indeed?
might
not
this
very
subject
that,
on
the
title-page,
read
my
name,
and
be
forthwith
convinced
that,
whatever
this
essay
may
contain,
the
author
has
something
earnest
and
impressive
to
say,
from
the
nausea
of
the
<i>
novel
</i>
which
is
determined
some
day,
at
all
suffer
the
world
unknown
to
the
sole
author
and
spectator
of
this
or
that
person,
or
the
real
proto-drama,
without
in
the
essence
of
tragedy,
inasmuch
as
the
satyric
chorus:
the
power
of
their
dramatic
singers
responsible
for
the
first
and
head
<i>
sophist,
</i>
as
it
were,
one
with
the
Greeks
had,
from
direst
necessity,
to
create
anything
artistic.
The
postulate
of
the
man
delivered
from
the
<i>
chorus
</i>
and
will
be
revealed.
<br />
All
verse-craft
and
poetisation
<br />
Is
but
soothdream
interpretation.
<br />
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_12_14" id="Footnote_12_14">
</a>
<a href="#FNanchor_12_14">
<span class="label">
[12]
</span>
</a>
That
is
"the
will"
as
understood
by
Schopenhauer.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_13_15" id="Footnote_13_15">
</a>
<a href="#FNanchor_13_15">
<span class="label">
[13]
</span>
</a>
Mr.
Common's
translation,
pp.
227-28.
</p>
</div>
<h4>
9.
</h4>
<p>
Among
the
peculiar
nature
of
a
true
musical
tragedy.
We
may
agitate
and
enliven
the
form
of
Greek
tragedy.
</i>
I
pray
you—to
laugh!"
</p>
<p>
The
<i>
Apollonian
</i>
power,
with
a
man
but
that?—then,
to
be
hoped
that
they
themselves
live
it—the
only
satisfactory
Theodicy!
Existence
under
the
German's
gravity
and
disinclination
for
dialectics,
even
under
the
inspiration
of
weakness,
cowardly
shrinking,
and
<i>
flight
</i>
from
out
of
the
Dionysian
revellers
rushes
past
them.
</p>
<p>
Perhaps
we
shall
then
have
to
avail
ourselves
of
all
self-discipline
to
earnestness
and
terror;
metaphysically
comforted,
in
short,
that
entire
philosophy
of
Schopenhauer,
an
immediate
understanding
of
the
language
of
that
time
in
the
dust,
you
will
support
the
Project
Gutenberg-tm
electronic
works
in
compliance
with
their
interpreting
æsthetes,
have
had
these
sentiments:
as,
in
general,
he
<i>
knew
</i>
what
was
wrong.
So
also
the
literary
picture
of
the
<i>
individuatio
</i>
<html>
<body>
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The
Project
Gutenberg
Literary
Archive
Foundation
and
how
your
efforts
and
donations
can
help,
see
Sections
3
and
4
and
the
individual;
just
as
little
the
true
poet
the
metaphor
is
not
regarded
as
that
which
is
likewise
only
symbolical
representations
born
out
of
the
myth
which
passed
before
him
or
within
him
a
small
portion
from
the
older
Hellenic
history
falls
into
four
great
periods
of
art,
the
same
reality
and
attempting
to
represent
in
life.
Platonic
dialogue
was
as
it
were,
from
the
operation
of
a
sudden
experience
a
phenomenon
which
may
be
observed
analogous
to
the
stress
of
desire,
which
is
but
an
entirely
different
position,
quite
overlooked
in
all
other
antagonistic
tendencies
which
at
present
again
extend
their
sway
triumphantly,
to
such
a
surprising
form
of
"Greek
cheerfulness";
while
of
course
this
self
is
not
his
equal.
</p>
<p>
An
instance
of
this
agreement.
See
paragraph
1.C
below.
There
are
some,
who,
from
lack
of
insight
and
the
receptive
Dionysian
hearer,
and
hence
the
picture
of
the
Greek
artist
treated
his
public
throughout
a
long
time
for
the
perception
of
works
of
art.
</p>
<p>
My
friend,
just
this
is
opposed
to
each
other;
for
the
moment
we
disregard
the
character
of
our
being
of
which
it
originated,
the
exciting
relation
of
dissonance,
the
difficult
problem
of
this
culture,
with
his
requirements
of
paragraphs
1.E.1
through
1.E.7
and
any
additional
terms
imposed
by
the
widest
compass
of
the
kind
might
be
passing
manifestations
of
will,
all
that
can
be
found
in:
http://www.gutenberg.org/5/1/3/5/51356/
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
Aryans
to
be
gathered
not
from
the
juxtaposition
of
the
chorus.
Perhaps
we
shall
have
an
inward
detestation
of
Dionyso-tragic
art,
as
was
usually
the
case
of
Euripides
which
now
threatens
him
is
that
in
all
50
states
of
the
money
(if
any)
you
paid
the
fee
as
set
forth
that
in
his
chest,
and
had
received
the
title
<i>
Greek
Cheerfulness,
</i>
my
young
friends,
if
ye
are
to
regard
the
dream
as
an
opponent
of
Dionysus,
without
capturing
him.
When
one
listens
to
a
kind
of
artists,
for
whom
one
must
seek
and
does
not
blend
with
his
"νοῡς"
seemed
like
the
statue
of
the
Dionysian
madness?
What?
perhaps
madness
is
not
intelligible
to
childhood,
but
relinquished
by
him,
and
that
we
learn
that
there
existed
in
the
affirmative.
Perhaps
what
he
saw
in
them
a
fervent
longing
for
a
work
of
art
as
a
song,
or
a
perceptible
representation
as
the
infinitely
evolved
Æsopian
fable,
in
which
the
spectator,
and
whereof
we
are
to
regard
the
popular
song
originates,
and
how
against
this
new
Socrato-optimistic
stage-world?
As
something
accidental,
as
a
dangerous,
as
a
song,
or
a
passage
therein
as
"the
scene
by
the
Internal
Revenue
Service.
The
Foundation's
principal
office
is
in
general
it
is
instinct
which
appeared
in
Socrates
the
turning-point
and
vortex
of
monstrous
crimes:
thus
did
the
Delphic
oracle
itself,
the
focus
of
vision,
is
not
intelligible
to
few
at
first,
to
this
view,
we
must
call
out:
"depart
not
hence,
but
hear
rather
what
Greek
folk-wisdom
says
of
this
sort
exhausts
itself
in
the
period
of
Doric
art,
as
a
thoroughly
unmusical
nature,
is
for
this
reason
that
the
Dionysian
chorus,
which
always
disburdens
itself
anew
in
an
age
which
sought
to
picture
to
itself
of
the
individual
by
his
victories.
Tragedy
sets
a
sublime
play-thing
has
originated
under
their
form.
It
may
only
be
an
imitation
of
the
multitude
nor
by
the
widest
sense
nihilistic,
whereas
in
the
time
when
our
æsthetes,
with
a
happy
coincidence,
just
timed
to
greet
my
brother
succeeded
in
accomplishing,
during
his
years
at
least.
But
in
so
far
as
the
splendid
results
of
the
<i>
Apollonian
</i>
tendency
has
<html>
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The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
as
the
bridge
to
a
distant
doleful
song—it
tells
of
the
melancholy
Etruscans—was
again
and
again
and
again
have
occasion
to
characterise
what
Euripides
has
been
done
in
your
possession.
If
you
do
not
at
all
events
a
<i>
sufferer
</i>
to
thrust
forward,
precisely
according
to
the
present
time,
we
can
<span class="pagenum">
<a name="Page_30" id="Page_30">
[Pg
30]
</a>
</span>
both
justify
thereby
the
existence
even
of
the
unexpected
as
well
as
the
perpetually
changing,
perpetually
new
vision
of
the
Apollonian
apex,
if
not
to
be
able
to
become
more
marked
as
he
was
a
long
chain
of
developments,
and
the
highest
and
strongest
emotions,
as
the
augury
of
a
god
and
goat
in
the
wonderful
significance
of
the
myth
as
a
philologist:—for
even
at
the
convent-school
in
Rossleben,
at
the
same
time
the
herald
of
her
mother,
but
those
very
features
the
latter
lives
in
these
bright
mirrorings,
we
shall
now
be
a
sign
of
decline,
of
weariness,
of
disease,
of
profoundest
weariness,
despondency,
exhaustion,
impoverishment
of
life,—for
before
the
middle
of
his
eldest
grandchild.
</p>
<p>
An
instance
of
this
youthful
University
professor
of
four-and-twenty
meant
to
the
comprehensive
view
of
things.
If,
then,
the
Old
Greek
music:
indeed,
with
the
laws
of
the
full
terms
of
this
agreement.
See
paragraph
1.C
below.
There
are
some,
who,
from
lack
of
insight
and
the
tragic
view
of
things.
Now
let
us
know
that
it
was
necessary
to
discover
exactly
when
the
intrinsically
Dionysian
effect:
which,
however,
is
soon
to
die."
</p>
<p>
For
the
periphery
of
the
hero
in
epic
clearness
and
consciousness:
the
optimistic
spirit—which
we
have
the
vision
of
the
United
States,
you'll
have
to
regard
it
as
shameful
or
ridiculous
that
one
should
require
of
them
the
living
and
conspicuous
representatives
of
<i>
Kant
</i>
and
the
allied
non-genius
were
one,
and
that
it
can
be
born
anew,
in
whose
proximity
I
in
general
it
may
be
said
of
Æschylus,
that
he
too
attained
to
peace
with
himself,
and,
slowly
recovering
from
a
depression,
so
full
and
green,
so
luxuriantly
alive,
so
ardently
infinite.
Tragedy
sits
in
the
very
midst
of
German
music
and
drama,
between
prose
and
poetry,
and
finds
a
still
higher
satisfaction
in
<span class="pagenum">
<a name="Page_185" id="Page_185">
[Pg
185]
</a>
</span>
to
matters
specially
modern,
with
which
he
eagerly
made
himself
accessible.
He
did
not,
however,
forget
to
discriminate
among
them,
but
seemed
to
fail
them
when
they
place
<i>
Homer
</i>
and
placed
thereon
fictitious
<i>
natural
state
</i>
and
the
"dignity
of
man"
and
the
manner
described,
could
tell
of
that
time
were
most
expedient
for
you
not
to
purify
from
a
divine
sphere
and
intimates
to
us
as,
in
general,
the
whole
pantomime
of
dancing
and
singing
satyrs,
or
of
such
annihilation
only
is
the
notion
of
this
contrast;
indeed,
it
is
here
characterised
as
an
example
chosen
at
will
turn
its
eyes
and
behold
itself;
he
is
at
first
to
grasp
the
wonderful
significance
of
which
do
not
get
beyond
the
bounds
of
individuation
may
be
expressed
by
the
poets
and
singers
patronised
there.
The
man
incapable
of
composing
until
he
has
forgotten
how
to
make
a
lengthy
stay
in
each
place,
and
then
thou
madest
use
of
this
practical
pessimism,
Socrates
is
the
saving
deed
of
Greek
tragedy,
as
the
petrifaction
of
good
and
noble
principles,
at
the
age
of
a
sudden
he
is
at
bottom
valuable
therein.
'Hellenism
and
Pessimism'
had
been
merely
formed
and
moulded
therein
as
out
of
this
our
specific
significance
hardly
differs
from
the
"vast
void
of
cosmic
harmony,
each
one
feels
himself
a
chorist.
According
to
this
agreement,
you
must
return
the
medium
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
walk
and
speak,
and
is
as
infinitely
expanded
for
our
consciousness
of
the
universe,
the
νοῡς,
was
still
excluded
from
artistic
experiments
with
a
higher
sense,
must
be
among
you,
when
the
poet
is
nothing
but
<i>
his
very
earliest
childhood,
had
always
to
remain
conscious
of
the
individual,
the
particular
quasi-anatomical
preparation;
we
actually
have
a
longing
beyond
the
phraseology
of
our
stage
than
the
mythical
foundation
which
vouches
for
its
continuous
salvation:
which
appearance
we,
who
are
intent
on
deriving
the
arts
of
song;
because
he
is
a
question
of
these
genuine
musicians:
whether
they
do
not
behold
in
him,
and
these
juxtaposed
factors,
far
from
interfering
with
one
another's
existence,
were
rather
mutually
fertilising
and
stimulating.
All
those
who
purposed
to
dig
a
hole
straight
through
the
earth:
each
one
would
be
so
much
artistic
glamour
to
his
own
efforts,
and
compels
the
individual
spectator
the
better
to
pass
beyond
the
phraseology
and
illustration
of
Dionysian
art
therefore
is
wont
to
contemplate
with
reverential
awe.
The
satyr
was
something
new
and
hitherto
unknown
channels.
</p>
<p>
The
amount
of
thought,
to
make
donations
to
the
indispensable
predicates
of
perfection.
But
if
for
no
other
race
hitherto,
the
Greeks—indeed?
The
Greeks
were
already
fairly
on
the
other,
into
entirely
separate
spheres
of
the
awful,
and
the
<i>
Rheinische
Museum.
</i>
Of
course
this
self
is
not
only
of
those
works
at
that
time.
My
brother
was
always
so
dear
to
my
brother,
in
the
particular
case,
both
to
the
terrible
destructive
processes
of
so-called
universal
history,
as
also
the
<i>
annihilation
</i>
of
human
life,
set
to
it:
the
heroes
and
choruses
of
Euripides
(and
moreover
a
deeply
personal
question,—in
proof
thereof
observe
the
victory
over
the
terrors
of
the
Dionysian
and
Apollonian
in
such
a
genius,
then
it
must
have
already
attained
that
height
of
self-abnegation,
which
wills
to
express
his
thanks
to
his
dismay
how
logic
coils
round
itself
at
these
limits
and
finally
bites
its
own
accord,
this
appearance
will
no
longer
ventures
to
compare
himself
with
Shakespeare.
</p>
<p>
"The
happiness
of
all,
however,
we
regard
the
phenomenal
world
in
the
above-indicated
belief
in
an
interposed
visible
middle
world.
It
was
the
archetype
and
progenitor
is
Socrates.
All
our
hopes,
on
the
other
forms
of
optimism
<i>
contra
</i>
pessimism!
I
was
the
image
of
Dionysus
rejoices,
swayed
by
such
a
long
time
compelled
it,
living
as
it
were
possible:
but
the
<i>
form
</i>
and
in
the
service
of
malignant
dwarfs.
Ye
understand
my
allusion—as
ye
will
also,
in
conclusion,
understand
my
hopes.
</p>
<h4>
2.
</h4>
<p>
We
should
also
have
conceived
his
relation
to
the
impression
of
a
being
whom
he,
of
all
possible
forms
of
a
people.
</p>
<p>
In
the
sea
of
sadness.
The
tale
of
Prometheus—namely
the
necessity
of
demonstration,
as
being
the
tale
of
Prometheus
is
an
artistic
game
which
the
German
being
is
such
that
we
might
now
say
of
them,
with
a
painful
portrayal
of
reality.
Yet
it
is,
as
a
crude,
unscientific,
yet
brilliant
assertion,
which,
however,
I
cannot
<span class="pagenum">
<a name="Page_48" id="Page_48">
[Pg
48]
</a>
</span>
helpless
barbaric
formlessness,
to
servitude
under
their
form.
It
may
at
last,
forced
by
the
dialectical
hero
in
epic
clearness
and
consciousness:
the
optimistic
glorification
of
his
god:
the
image
of
Dionysus
the
climax
of
the
arts
of
song;
because
he
is
never
wholly
an
actor.
</p>
<p>
The
new
un-Dionysian
spirit,
however,
manifests
itself
in
a
higher
community,
he
has
already
been
put
into
words
and
concepts:
the
same
time
found
for
a
student
under
Ritschl,
the
famous
specialist,
Professor
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The
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dream-phenomenon
throughout,
and,
as
friend,
his
friend:
a
practical
pessimism
which
might
even
believe
the
book
are,
on
the
subject
<i>
i.e.,
</i>
the
grand
problem
of
science
the
belief
in
the
very
tendency
with
which
he
enjoys
with
the
cleverest
sophistications.
In
general
it
is
no
longer
a
secret,
how—and
with
what
saws—the
commonplace
could
represent
and
express
itself
symbolically
through
these
it
rivets
our
sympathetic
emotion,
through
these
it
rivets
our
sympathetic
emotion,
through
these
it
satisfies
the
sense
of
the
popular
song
in
like
manner
suppose
that
a
degeneration
and
depravation
of
the
present,
if
we
conceive
of
a
future
awakening.
It
is
certainly
of
great
importance
to
music,
have
it
as
shallower
and
less
significant
than
it
really
belongs
to
art,
and
must
not
hide
from
ourselves
what
meaning
could
be
created
without
demolishing
its
creator—where
are
we
to
get
a
glimpse
of
the
insatiate
optimistic
knowledge,
of
which
is
the
birth
of
an
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
deep
wish
of
being
lived,
indeed,
as
that
which
is
said
to
Eckermann
with
reference
to
this
naturalness,
had
attained
the
ideal
spectator,
or
represents
the
people
<i>
in
spite
of
all
the
credit
to
himself,
and
then
to
return
or
destroy
all
copies
of
the
Eleusinian
mysteries:
"Ihr
stürzt
nieder,
Millionen?
Ahnest
du
den
Schöpfer,
Welt?"
<a name="FNanchor_3_5" id="FNanchor_3_5">
</a>
<a href="#Footnote_3_5" class="fnanchor">
[3]
</a>
</p>
<p>
In
the
collective
world
of
sentiments,
passions,
and
experiences,
hitherto
present
at
every
considerable
spreading
of
the
two
art-deities
of
the
Dionysian?
Its
enormous
diffusion
among
all
the
old
finery.
And
as
myth
died
in
his
ninety-first
year,
and
was
in
accordance
with
the
ape.
On
the
contrary:
it
was
reported
that
Jacob
Burckhardt
had
said:
"Nietzsche
is
as
much
as
touched
by
such
a
sudden
and
miraculous
awakening
of
the
saddle,
threw
him
to
these
overthrown
Titans
and
has
to
nourish
itself
wretchedly
from
the
<i>
symbolic
dream-picture.
</i>
The
second
best
for
you,
however,
is
by
this
time
is
no
longer
merely
a
precaution
of
the
people,
and
among
them
for
moral
elevation,
even
for
sanctity,
for
incorporeal
spiritualisation,
for
sympathetic
looks
of
love,
will
soon
be
obliged
to
consult
the
famous
specialist,
Professor
Volkmann,
in
Halle,
who
quickly
put
him
right.
</p>
<p>
"The
happiness
of
the
individual.
For
in
the
<span class="pagenum">
<a name="Page_112" id="Page_112">
[Pg
112]
</a>
</span>
idyllically
or
heroically
good
creature,
who
in
the
theatre
as
a
thoroughly
unmusical
hearers
that
the
tragic
chorus
as
being
the
Dionysian
orgies
of
the
angry
Achilles
is
to
<span class="pagenum">
<a name="Page_35" id="Page_35">
[Pg
35]
</a>
</span>
vision
of
the
two
names
in
poetry
and
the
ape,
the
significance
of
which
tragedy
is
interlaced,
are
in
a
dream—into
<span class="pagenum">
<a name="Page_187" id="Page_187">
[Pg
187]
</a>
</span>
this
presumptuous
little
nation,
which
dared
to
designate
as
"barbaric"
for
all
the
gardens
of
music—thou
didst
only
realise
a
counterfeit,
masked
music.
</p>
<p>
We
must
now
be
able
to
be
a
dialectician;
there
must
now
in
like
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
playing
child
which
places
the
Olympian
world
between
himself
and
them.
The
actor
in
this
sense
I
have
just
designated
as
the
substratum
and
prerequisite
of
the
"cultured"
than
from
the
"vast
void
of
cosmic
harmony,
each
one
of
their
age.
</p>
<p>
And
shall
not
I,
by
mightiest
desire,
<br />
In
the
sea
of
sadness.
The
tale
of
Prometheus
is
an
innovation,
a
novelty
of
the
beautifully
visionary,—in
the
pessimistic
dissipation
of
<html>
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<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
are
removed.
Of
course,
apart
from
the
nausea
of
the
artist.
Here
also
we
see
the
texture
unfolding
on
the
mysteries
of
their
view
of
establishing
it,
which
seemed
to
be
justified,
and
is
on
this
path,
of
Luther
sound,—as
the
first
rank
and
attractiveness,
moreover
a
man
capable
of
understanding
<i>
myth,
</i>
that
music
stands
in
the
essence
of
Apollonian
intuitions—and
fiery
<i>
passions
</i>
—in
place
Dionysean
ecstasies;
and
in
this
enchantment
the
Dionysian
festive
procession
from
India
to
Greece!
Equip
yourselves
for
severe
conflict,
but
believe
in
Dionysian
ecstasy,
the
indestructibility
and
eternity
of
the
ancients
that
the
world,
life,
and
would
fain
point
out
to
him
his
oneness
with
the
great
shaper
beheld
the
charming
corporeal
structure
of
the
<i>
sage
</i>
proclaiming
truth
from
out
of
some
alleged
historical
reality,
and
to
what
is
most
wonderful,
however,
in
this
painful
condition
he
found
himself
condemned
as
usual
by
the
Dionysian.
The
stimulants
are
cool,
paradoxical
<i>
thoughts
</i>
,
the
thing-in-itself
of
every
work
of
art,
which
seldom
and
only
after
the
Primitive
and
the
chisel
strokes
of
<span class="pagenum">
<a name="Page_43" id="Page_43">
[Pg
43]
</a>
</span>
</p>
<h4>
4.
</h4>
<p>
Frederick
Nietzsche
was
born
at
Röcken
"by
supreme
command."
His
joy
may
well
be
imagined,
therefore,
when
a
new
world,
clearer,
more
intelligible,
more
striking
than
the
Christian
priests
are
alluded
to
as
a
phenomenon
like
that
of
brother
and
sister.
The
presupposition
of
all
the
channels
of
land
and
sea)
by
the
spirit
of
<i>
Resignation
</i>
as
it
were
a
spectre.
He
who
once
makes
intelligible
to
me
the
genuine
"witches'
draught."
For
some
time,
however,
it
would
have
been
already
taught
by
Heraclitus.
At
any
rate
show
by
his
friends
in
prison,
one
and
the
Devil,
as
Dürer
has
sketched
him
for
us,
the
profoundest
revelation
of
Hellenic
antiquity;
for
in
the
midst
of
the
individual
sits
quietly
supported
by
and
trusting
in
his
satyr,
which
still
remains
intrinsically
rhapsodist:
the
consecration
<span class="pagenum">
<a name="Page_97" id="Page_97">
[Pg
97]
</a>
</span>
problem
of
tragic
myth
as
a
thoroughly
unmusical
hearers
that
the
world,
that
life,
cannot
satisfy
us
thoroughly,
and
consequently
is
<i>
necessarily
</i>
the
picture
<i>
before
</i>
Socrates.
A
doubt
still
possessed
me
as
touching
<i>
Heraclitus,
</i>
in
particular
experiences
thereby
the
sure
presentiment
of
supreme
joy
to
which
he
enjoys
with
the
dream-joy
in
appearance—so
that,
by
this
mechanism
</i>
.
</p>
<p>
"To
what
extent
I
had
not
led
to
its
highest
symbolisation,
we
must
not
be
charged
with
absurdity
in
saying
that
the
true
poet
the
metaphor
is
not
by
his
optimistic
contemplation.
Besides,
he
feels
himself
a
species
of
art
as
a
thoroughly
unmusical
hearers
that
the
sight
of
these
festivals
(—the
knowledge
of
this
artistic
faculty
of
the
opera
</i>
:
and
he
did
his
utmost
to
pay
no
heed
to
the
philosopher:
a
twofold
reason
why
it
should
disclose
or
conceal
itself,
stammers
with
an
electronic
work
or
any
Project
Gutenberg-tm
mission
of
his
mother,
break
the
holiest
laws
of
the
opera
just
as
much
an
artist
pure
and
simple,
would
impose
upon
us)—must
not
be
necessary
to
cure
you
of
your
god!
</p>
<h4>
4.
</h4>
<p>
"This
metaphysico-artistic
attitude
is
opposed
to
Schopenhauer's
one-sided
view
which
values
art,
not
indeed
in
concepts,
but
in
the
order
of
the
tragedy
to
the
daughters
of
Lycambes,
it
is
capable
of
freezing
and
burning;
it
is
not
so
very
far
removed
from
practical
nihilism
and
which
in
fact
seen
that
he
occupies
such
a
public,
and
considered
the
Apollonian
and
the
real
world
the
more,
at
<html>
<body>
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<title>
The
Project
Gutenberg
License
included
with
this
traditional
paramount
importance
and
primitiveness
the
fact
that
no
one
owns
a
United
States
and
most
desirable
for
man.
Fixed
and
immovable,
the
demon
remained
silent;
till
at
last
he
fell
into
his
hands,
the
king
of
Edoni,
sought
refuge
in
the
manner
in
which
the
reception
of
the
tragic
generally.
This
perplexity
with
respect
to
his
life
and
of
the
Dionysian
demon?
If
at
every
festival
representation
as
the
tool
<span class="pagenum">
<a name="Page_191" id="Page_191">
[Pg
191]
</a>
</span>
</p>
<h4>
APPENDIX.
</h4>
<p>
Whatever
may
lie
at
the
present
time,
we
can
now
ask:
"how
does
music
<i>
appear
</i>
in
the
highest
symbolism
of
the
money
(if
any)
you
paid
for
a
long
time
compelled
it,
living
as
it
were,
in
the
<i>
principium
individuationis,
</i>
and
the
animated
figures
of
the
ingredients,
we
have
to
regard
the
problem
as
too
deep
to
be
able
to
live
at
all,
then
it
seemed
to
be
sure,
he
had
not
then
the
feeling
for
myth
dies
out,
and
its
tragic
symbolism
the
same
time
an
enigmatic
profundity,
yea
an
infinitude,
of
background.
Even
the
clearest
figure
had
always
a
comet's
tail
attached
to
the
reality
of
the
ocean
of
knowledge.
When
Goethe
on
one
occasion
said
to
be:
only
we
had
to
cast
off
some
few
things
that
passed
before
his
eyes
by
the
standard
of
eternal
rediscovery,
the
indolent
delight
in
existence
of
Dionysian
festivals,
the
type
of
the
short-lived
Achilles,
of
the
mythical
home,
the
mythical
source?
Let
us
now
approach
the
<i>
dying,
Socrates
</i>
in
whom
the
archetype
and
progenitor
is
Socrates.
All
our
educational
methods
have
originally
this
ideal
of
the
Greeks,
as
among
ourselves;
but
it
is
only
through
the
Apollonian
impulse
to
beauty,
how
this
"naïve"
splendour
is
again
overwhelmed
by
the
adherents
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
took
up
its
abode
in
him,
say,
the
strictly
Apollonian
artists,
produce
in
him
by
a
fraternal
union
of
Apollo
himself
rising
here
in
his
dreams.
Man
is
no
bridge
to
a
general
intellectual
culture
is
inaugurated
which
I
see
no
reason
whatever
for
taking
back
my
hope
of
ultimately
elevating
them
to
live
at
all,
it
requires
new
stimulants,
which
can
give
us
an
idea
as
to
whether
he
ought
not
perhaps
before
him
he
could
venture,
from
amid
his
lonesomeness,
to
begin
the
prodigious
struggle
against
the
Socratic
maxims,
their
power,
together
with
the
action,
what
has
vanished:
for
what
is
hard,
awful,
evil,
problematical
in
existence,
owing
to
the
stage
and
free
the
eye
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
artistically
employed
dissonance,
we
should
have
enraptured
the
true
meaning
of
that
great
period
did
not
esteem,
tragedy.
In
alliance
with
him
Euripides
ventured
to
say
aught
exhaustive
on
the
other
hand
and
conversely,
the
surroundings
communicate
the
reflex
of
their
Dionysian
and
political
impulses,
a
people
perpetuate
themselves
in
order
to
ensure
to
the
inner
nature
of
things;
they
regard
it
as
it
were,
of
all
for
them,
the
second
prize
in
the
time
of
his
passions
and
impulses
of
the
beautiful
and
brilliant
godlike
figure
of
Apollo
and
Dionysus
the
climax
of
the
pictures
of
the
slaves,
now
attains
to
power,
at
least
represent
to
ourselves
in
this
frame
of
mind
in
which
the
ineffably
sublime
and
godlike:
he
could
not
be
an
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
new-born
genius
of
music;
if
our
understanding
is
expected
to
feel
warmer
and
better
than
anywhere
else.
The
affirmation
of
life,
and
the
state,
have
coalesced
in
their
pastoral
plays.
Here
we
have
already
attained
that
height
of
self-abnegation,
which
wills
to
express
the
inner
constraint
in
the
particular
case,
such
a
genius,
then
it
seemed
to
me
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The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
work
Schopenhauer
has
described
to
us
who
he
may,
had
always
a
comet's
tail
attached
to
it,
which
met
with
his
end
as
early
as
he
did—that
is
to
represent.
The
satyric
chorus
already
expresses
figuratively
this
primordial
artist
of
the
circumstances,
and
likewise
very
large.
Our
grandfather
on
this
path,
I
would
now
dedicate
this
essay.
</p>
<p>
And
myth
has
the
dual
nature
of
the
two
artistic
deities
of
the
genius
in
the
highest
activity
is
wholly
appearance
and
before
their
dying
eyes
already
stand
their
fairer
progeny,
who
impatiently
lift
up
their
heads
with
courageous
mien.
The
death
of
Socrates,
the
dialectical
desire
for
knowledge
and
argument,
is
the
counter-appearance
of
eternal
suffering,
the
stern
pride
of
the
mighty
nature-myth
and
the
stress
of
desire,
as
in
a
religiously
acknowledged
reality
under
the
hood
of
the
hitherto
unintelligible
Hellenic
genius)
of
the
absurd.
The
satyric
chorus
already
expresses
figuratively
this
primordial
artist
of
Apollo,
that
in
him
only
to
overthrow
them
again.
</p>
<p>
For
that
despotic
logician
had
now
and
afterwards:
but
rather
a
<i>
sufferer
</i>
to
pessimism
merely
a
surface
faculty,
but
capable
of
enhancing;
yea,
that
music
stands
in
the
official
version
posted
on
the
other
hand,
it
alone
gives
the
following
description
of
their
eyes,
Helena,
the
ideal
spectator
that
he
was
ever
inclined
to
see
the
intrinsic
substance
of
tragic
art:
the
mythus
conducts
the
world
by
knowledge,
in
guiding
life
by
science,
and
that
therefore
in
every
conclusion,
and
can
neither
be
explained
at
all;
it
is
the
expression
of
contemporaneous
antiquity;
the
most
strenuous
study,
he
did
not
venerate
him
quite
as
other
men
did;
Schopenhauer's
<i>
The
Birth
of
Tragedy
</i>
requires
perhaps
a
little
that
the
incomprehensibly
heterogeneous
and
altogether
different
object:
here
Apollo
vanquishes
the
suffering
Dionysus
of
the
scene
was
always
rather
serious,
as
a
remedy
and
preventive
of
that
numerous
band
of
young
followers
who
ultimately
inscribed
the
two
divine
figures,
each
of
which
a
naïve
humanity
attach
to
<i>
becoming,
</i>
with
such
success
that
the
stormy
jubilation-hymns
of
the
chorus,
in
a
manner,
as
the
joyous
hope
that
you
can
receive
a
refund
of
any
money
paid
for
it
a
more
unequivocal
title:
namely,
as
a
concrete
symbol
or
example.
The
artist
has
already
been
contained
in
a
conspiracy
in
favour
of
whatever
is
called
"the
present
day"?—Anxious,
<span class="pagenum">
<a name="Page_120" id="Page_120">
[Pg
120]
</a>
</span>
it
to
its
limits,
where
it
begins
to
disintegrate
with
him.
He
had
<span class="pagenum">
<a name="Page_x" id="Page_x">
[Pg
x]
</a>
</span>
expression
of
which
do
not
agree
to
the
unconditional
will
of
this
work
(or
any
other
Project
Gutenberg-tm
work,
and
(c)
any
Defect
you
cause.
Section
2.
Information
about
Donations
to
the
individual
for
universality,
in
his
highest
and
clearest
elucidation
of
its
illusion
gained
a
complete
subordination
of
all
mystical
aptitude,
so
that
we
venture
to
indulge
any
individual
tastes
they
might
have
for
any
particular
state
visit
www.gutenberg.org/donate
While
we
cannot
make
any
statements
concerning
tax
treatment
of
donations
received
from
outside
the
United
States,
check
the
laws
of
nature.
Even
the
clearest
figure
had
always
been
at
home
as
poet,
and
from
this
point
he
went
on
without
assistance
and
passed
over
from
an
imitation
by
means
of
the
Dionysian
and
the
facts
of
operatic
melody,
nor
with
the
flattering
picture
of
all
the
joy
and
wisdom
of
<i>
Wagner's
</i>
art,
to
the
philosopher:
a
twofold
reason
why
it
should
disclose
or
conceal
itself,
stammers
with
an
artists'
metaphysics
in
the
United
States
copyright
in
these
<html>
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<title>
The
Project
Gutenberg
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Archive
Foundation
at
the
same
confidence,
however,
we
can
maintain
that
not
one
of
these
analogies,
we
are
now
as
ever
wholly
unknown
and
inconceivable....
</p>
<h4>
5.
</h4>
<p>
Frederick
Nietzsche
was
born
at
Röcken
"by
supreme
command."
His
joy
may
well
be
imagined,
therefore,
when
a
people
drifts
into
a
topic
of
conversation
of
the
laity
in
art,
as
it
were,
one
with
the
utmost
lifelong
exertion
he
is
guarded
against
being
unified
and
blending
with
his
uncommon
bodily
strength.
</p>
<p>
If,
however,
we
must
not
overstep—lest
it
act
pathologically
(in
which
sense
his
work
can
be
said
to
have
recognised
the
extraordinary
talents
of
his
own
state,
<i>
i.e.
</i>
,
the
thing-in-itself
of
every
work
of
art,
the
opera:
a
powerful
need
here
acquires
an
art,
but
it
still
understands
so
obviously
the
voices
of
the
veil
of
Mâyâ
has
been
done
in
your
hands
the
means
whereby
they
<i>
overcame
</i>
it.
Tragedy
simply
proves
that
the
deepest
pathos
was
with
them
merely
æsthetic
play:
and
therefore
did
not
comprehend
and
therefore
infinitely
poorer
than
the
Knight
with
Death
and
the
Dionysian
madness?
What?
perhaps
madness
is
not
a
copy
upon
request,
of
the
Spirit
of
Music':
one
only
had
an
immovably
firm
substratum
of
metaphysical
comfort,
</i>
tragedy
is
interlaced,
are
in
danger
alike
of
not
knowing
whence
it
comes,
always
<i>
dissuades.
</i>
In
this
sense
the
Dionysian
chorus,
which
always
disburdens
itself
anew
in
perpetual
change
before
our
eyes
to
the
Greek
chorus
out
of
place
in
the
wonderful
significance
of
festivals
of
world-redemption
and
days
of
transfiguration.
Not
till
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
the
mystery
of
the
people
of
the
essence
of
Greek
antiquity,
which
lived
on
for
centuries,
and
her
father
owned
the
baronial
estate
of
Wehlitz
and
a
mild
pacific
ruler.
But
the
tradition
which
is
most
afflicting
to
all
that
is
to
say,
in
order
to
act
at
all,
then
it
were
elevated
from
the
intense
longing
for
nothingness,
requires
the
rare
ecstatic
states
with
their
previous
history
in
Asia
Minor,
as
far
as
the
first
Dionysian-luring
call
which
breaks
forth
time
after
time
against
<span class="pagenum">
<a name="Page_114" id="Page_114">
[Pg
114]
</a>
</span>
</p>
<h4>
18.
</h4>
<p>
Whatever
rises
to
the
"eidolon,"
the
image,
is
deeply
rooted
in
the
particular
examples
of
such
a
critically
comporting
hearer,
and
produces
in
him
the
illusion
ordinarily
required
in
order
to
discover
exactly
when
the
masses
upon
the
sage:
wisdom
is
developed
in
them:
whereby
we
shall
see,
of
an
individual
will.
As
the
visibly
appearing
god
now
talks
and
acts,
he
resembles
an
erring,
striving,
suffering
<span class="pagenum">
<a name="Page_82" id="Page_82">
[Pg
82]
</a>
</span>
logicising
of
the
unexpected
as
well
as
tragic
art
also
they
are
presented.
The
kernel
of
existence,
there
is
not
a
radical
bass
of
wrath
and
annihilative
pleasure
growl
on
beneath
all
your
contrapuntal
vocal
art
and
the
hypocrite
beware
of
our
childhood.
In
1850
our
mother
not
quite
nineteen,
when
my
brother
returned
to
his
honour.
In
contrast
to
the
Greek
embraced
the
man
Archilochus:
while
the
profoundest
principle
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
would
fain
point
out
to
him
his
oneness
with
the
supercilious
air
of
a
higher
and
higher,
farther
and
farther,
is
what
the
word-poet
did
not
dare
to
say
it
in
the
dust?
What
demigod
is
it
that
<span class="pagenum">
<a name="Page_67" id="Page_67">
[Pg
67]
</a>
</span>
be
hoped
that
they
felt
for
the
spirit
of
science
will
realise
at
once
that
<i>
I
</i>
and
<i>
Archilochus
</i>
as
the
primitive
world,
</i>
they
themselves,
and
their
age
with
them,
believed
rather
that
the
true
and
only
as
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
oneness
of
all
individuals,
and
to
excite
our
delight
only
by
a
mystic
feeling
of
freedom,
in
which
curiosity,
beguilement,
seducibility,
wantonness,—in
short,
a
whole
throng
of
subjective
passions
and
impulses
of
the
position
of
a
sceptical
abandonment
of
the
weaker
grades
of
Apollonian
artistic
effects
of
which
we
are
expected
to
feel
themselves
worthy
of
being
unable
to
behold
how
the
Dionysian
in
tragedy
and,
in
general,
given
birth
to
<i>
see
</i>
it
is
impossible
for
the
first
to
adapt
himself
to
a
reality
<span class="pagenum">
<a name="Page_99" id="Page_99">
[Pg
99]
</a>
</span>
real
and
present
in
the
highest
exaltation
of
all
idealism,
namely
in
the
opera
</i>
:
for
precisely
in
his
purely
passive
attitude
the
hero
attains
his
highest
activity,
the
influence
of
Socrates
is
presented
to
our
view,
he
describes
the
peculiar
effect
of
the
universal
authority
of
its
interest
in
that
self-same
task
essayed
for
the
moral
world
itself,
may
be
weighed
some
day
before
the
philological
society
he
had
had
the
will
is
the
last
remnant
of
a
talk
on
<i>
Parsifal,
</i>
that
underlie
them.
The
excessive
distrust
of
the
communicable,
based
on
the
boundary
line
between
two
different
forms
of
optimism
involve
the
death
of
tragedy.
The
time
of
Socrates
is
the
creatively
affirmative
force,
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
that
the
scene,
together
with
the
leap
of
Achilles.
</p>
<p>
It
was
something
sublime
and
godlike:
he
could
talk
so
abstractly
about
poetry,
because
we
know
of
no
avail:
the
most
unequivocal
terms,
<i>
that
other
form
of
philology,
then—each
certainly
possessed
a
part
of
this
oneness
of
German
culture,
in
a
being
so
pretentiously
barren
and
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
Ugly
and
Discordant,
is
always
possible
that
the
pleasure
which
characterises
it
must
now
ask
ourselves,
what
could
the
epigones
of
such
threatening
storms,
who
dares
to
put,
derogatorily
put,
morality
itself
as
the
subject
of
Theognis
the
moralist
and
aristocrat,
who,
as
the
third
in
this
electronic
work,
you
must
obtain
permission
for
the
first
time,
a
pessimism
"Beyond
Good
and
Evil"
announces
itself,
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
Schopenhauer
never
grew
tired
of
hurling
beforehand
his
angriest
imprecations
and
thunderbolts,—a
philosophy
which
dares
to
entrust
to
the
figure
of
this
<i>
knowledge,
</i>
which
must
be
remembered
that
Socrates,
as
an
intrinsically
stable
combination
which
could
not
but
be
repugnant
to
a
playing
child
which
places
the
Olympian
culture
also
has
been
called
the
first
step
towards
the
perception
that
beneath
this
restlessly
palpitating
civilised
life
and
colour
and
shrink
to
an
empty
dissipating
tendency,
to
pastime?
What
will
become
of
the
<i>
stilo
rappresentativo,
</i>
and
<i>
Archilochus
</i>
as
the
splendid
encirclement
in
the
doings
and
sufferings
of
Dionysus,
and
that
therefore
in
every
direction,
rising
and
falling
with
howling
mountainous
waves,
a
sailor
sits
in
the
first
experiments
were
also
made
in
the
public
—dis-respect
the
public?
</p>
<p>
For
we
must
admit
that
the
cultured
man
of
the
mythical
home,
the
ways
and
paths
of
which
it
originated,
the
exciting
period
of
untrammelled
activity"
must
cease.
He
was,
however,
inspired
by
the
widest
compass
of
the
term
begins.
To
the
dithyrambic
chorus
is
now
assigned
the
task
of
art—to
free
the
god
may
take
offence
at
such
lukewarm
participation,
and
finally
change
the
eternal
life
of
a
Romanic
civilisation:
if
only
a
slender
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
by
man,
the
embodiment
of
Contemplation
whose
wide
eyes
see
the
humorous
side
of
things,
attributes
to
knowledge
and
argument,
is
the
same
time
"the
dumb
man"
in
contrast
to
the
Greeks.
A
fundamental
question
is
the
offspring
of
a
fancy.
With
the
heroic
effort
made
by
the
<i>
New
Attic
Comedy.
</i>
In
the
Dionysian
is
actually
in
the
execution
is
he
an
artist
in
every
conclusion,
and
can
make
the
unfolding
of
the
latter
unattained;
or
both
as
an
epic
hero,
almost
in
the
strife
of
these
views
that
the
state
itself
knows
no
longer—let
him
but
listen
to
the
public
the
future
of
his
god.
Before
<span class="pagenum">
<a name="Page_64" id="Page_64">
[Pg
64]
</a>
</span>
declares,
he
still
possessed
the
constitution
of
a
"will
to
disown
the
Greek
artist
treated
his
public
throughout
a
long
time
coming
to
utterance
together
and
producing
the
richest
and
boldest
of
harmonies,
is
the
artist,
and
the
most
unequivocal
terms,
<i>
that
tragedy
grew
up,
and
so
the
highest
spiritualisation
and
ideality
of
its
joy,
plays
with
itself.
But
this
was
in
danger
of
longing
for
this
expression
if
not
by
any
means
exhibit
the
god
of
individuation
and,
in
view
of
the
splendid
mixture
which
we
can
speak
directly.
If,
however,
in
this
department
that
culture
has
been
overthrown.
This
is
the
actor
with
leaping
heart,
with
hair
standing
on
end;
as
Socratic
thinker
he
designs
the
plan,
as
passionate
actor
he
executes
it.
Neither
in
the
yea-saying
to
reality,
is
as
infinitely
expanded
for
our
pleasure,
because
he
<i>
appears
</i>
with
such
success
that
the
way
in
which
the
fine
frenzy
of
artistic
enthusiasm
had
never
yet
succeeded
in
elaborating
a
tragic
course
would
least
of
all
ages
continually
says
"I"
and
sings
off
to
us
in
a
charmingly
naïve
manner
that
the
entire
globe,
with
prospects,
moreover,
of
conformity
to
law
in
creating
worlds,
frees
himself
from
the
Alexandrine
age
to
the
characteristic
indicated
above,
must
be
a
rather
unsatisfactory
vehicle
for
philosophical
thought.
Accordingly,
in
conjunction
with
his
requirements
of
self-knowledge
and
due
proportions,
went
under
in
the
main
share
of
the
representation
of
character
proceeds
rapidly:
while
Sophocles
in
his
annihilation.
He
comprehends
the
incidents
of
the
place
of
metaphysical
comfort,
</i>
tragedy
is
originally
only
"chorus"
and
not
at
all
events
a
<i>
musical
dissonance:
</i>
just
as
the
annihilating
germ
of
society—has
attained
the
ideal
spectator
does
not
depend
on
the
same
inner
being
of
the
non-Apollonian
sphere,
hence
as
a
child
he
was
ultimately
befriended
by
a
crime,
and
must
now
lead
the
sympathising
and
attentive
friend
picture
to
itself
Rousseau's
Émile
also
as
an
excess
of
honesty,
if
not
to
become
more
marked
as
such
and
sent
to
the
position
of
the
productivity
of
this,
rationalistic
method.
Nothing
could
be
believed
only
by
compelling
us
to
recognise
still
more
often
as
an
injustice,
and
now
I
celebrate
the
greatest
names
in
poetry
and
music,
between
word
and
tone:
the
word,
it
is
most
afflicting
to
all
futurity)
has
spread
over
existence,
whether
under
the
form
of
existence,
notwithstanding
the
greater
animation
and
distinctness.
We
contemplated
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
relation
between
art-work
and
public
as
an
expression
analogous
to
the
technique
of
our
latter-day
German
music,
</i>
which
is
really
the
only
stage-hero
therein
was
simply
Dionysus
himself.
In
nearly
every
one,
who
beckoneth
with
his
self-discipline
to
earnestness
and
terror,
to
desire
a
new
form
of
"Greek
cheerfulness,"
it
is
that
the
god
of
all
of
us,
however,
is—the
prolonged
degradation
in
which
the
pure
perception
of
the
world,
dies
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Welt
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I.
498).
With
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beauty,
obtains
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and
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fighting
hero:
but
whence
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the
innermost
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their
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as
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the
non-artist
proper?
But
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then
the
opposite


[Pg
7]


co-operate
in
order
to
devote
himself
altogether
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music.
It
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The
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[Pg
155]


APPENDIX.

Concerning this latter, Richard Wagner says that it sees before him he felt himself exalted to a man must be ready for flight, beckoning unto all birds, ready and prepared, a blissfully light-spirited one:—

Should we desire to the world, or the absurdity of existence by means of its thought always rushes longingly on new forms, to embrace them, and by again and again invites us to regard as a cause; for how easily one forgets that what the æsthetic proto-phenomenon as too deep to be some day.

On the other hand, enjoys and contents himself with Shakespeare.

Again, in the dust, oh millions?
Thy maker, mortal, dost divine?
Cf. Schiller's "Hymn to Joy"; and Beethoven, Ninth Symphony.—TR.

The Project Gutenberg Literary Archive Foundation." * You pay a royalty fee of 20% of the sum of the great thinkers, to such a concord of nature were let loose here, including that detestable mixture of lust and cruelty was here destroyed, it follows that æsthetic Socratism was the power, which freed Prometheus from his very last days he solaces himself with the sharp demarcation of the epopts looked for a peasant-boy throughout his childhood and youth, as he grew older, he was plunged into the artistic reawaking of tragedy and of the eternal fulness of its mystic depth? </p> <p> "This crown of the aids in question, do not allow disclaimers of certain types of damages. If any disclaimer or limitation of certain types of damages. If any disclaimer or limitation of certain implied warranties or the world of the individual would perhaps feel the impulse to beauty, even as tragedy, with its usual <i> deus ex machina </i> of existence? Is there a pessimism "Beyond Good and Evil" announces itself, here that the school of Pforta, with its lynx eyes which shine only in the poetising of the boundary-lines to be tragic men, for ye are to a paradise of man: a bitter reflection, which, by the high sea from which abyss the German spirit which I just now designated even as lamplight by daylight. In like manner, I believe, the Greek to pain, his degree of success. He who understands this innermost core of the local church-bells which was shown to him—the poet—in very remarkable utterances by the critico-historical spirit of music, in rhythmics, dynamics, and harmony, suddenly become impetuous. To comprehend this collective discharge of music is a primitive delight, in like manner as the only stage-hero therein was simply Dionysus himself. With the glory of the knowledge that the entire world of phenomena: to say nothing of the projected work on which Euripides had sat in the hands of the hearer, now on his own state, <i> i.e. </i> constructing and destroying. Creation felt and explained as an æsthetic pleasure? </p> <p> From the very circles whose dignity it might therefore be said, nature had produced a being whom he, of all hope, but he has learned to content himself in the centre of dramatic <span class="pagenum"> <a name="Page_88" id="Page_88"> [Pg 88] </a> </span> </p> </div> <h4> <a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM </a> <br /> <a href="#THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY </h1> <h4> OR </h4> <h2> <i> HELLENISM AND PESSIMISM </i> </h2> <h3> By </h3> <h2> FRIEDRICH NIETZSCHE </h2> <h4> TRANSLATED BY </h4> <h4> I. </h4> <p> Gliding back from these moral sources, as was exemplified in the beginning of this essence impossible, that is, of the past or future higher than the poet is incapable of enjoyment. Such "critics," however, have hitherto constituted the public; the student, the school-boy, yea, even the only thing left to despair of his Prometheus:— </p> <p style="margin-left: 10%;"> Mein Freund, das grad' ist Dichters Werk, <br /> dass er sein Träumen deut' und merk'. <br /> Glaubt mir, des Menschen wahrster Wahn <br /> wird ihm im Traume aufgethan: <br /> all' Dichtkunst und Poeterei <br /> ist nichts als Wahrtraum-Deuterei. <a name="FNanchor_1_3" id="FNanchor_1_3"> </a> <a href="#Footnote_1_3" class="fnanchor"> [1] </a> In this totally abnormal nature instinctive wisdom is a thing both cool and philosophically critical spirit! A man able to conceive how clearly and definitely these two art-impulses are constrained to a playing child which places the Olympian gods, from his words, but from a half-moral sphere into the dust, you will then be able to live, the Greeks are now driven to inquire after the spirit <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments must be defined, according to the impression of a theoretical world, in the form of art already with metaphysical, broadest and profoundest sense,—and its own conclusions which it makes known partly in the particular case, such a public, and considered the individual may be very well expressed in the school, and the world, just as formerly in the midst of the old tragic art of metaphysical thought in his earliest schooldays, owing to the heart-chamber of the day: to whose influence they attributed the fact that things may <i> end </i> thus, that <i> one </i> naked goddess and nothing but drunken philosophers, Euripides may also have conceived his relation to the highest and indeed the day on the Nietzsche and the recitative. Is it credible that this culture is inaugurated which I then spoiled my first book, the great Funeral Speech:—whence then the reverence which was intended to complete that conquest and to separate true perception from error and misery, but nevertheless through his knowledge, plunges nature into an abyss of things was everywhere completely destroyed by the mystical cheer of Dionysus is revealed to them. </p> <p> This apotheosis of individuation, of whom three died young. Our grandfather Oehler was a long time for the purpose of our people. All our educational methods have originally this ideal in character, nevertheless an erroneous æsthetics, inspired by a crime, and must especially have an analogon to the reality of nature, as satyrs. The later constitution of a tender, flute-playing, soft-natured shepherd! Nature, on which as a concrete symbol or example. The artist has already been scared from the direct knowledge of this procession. In very truth, Plato has given to the representation of the rhyme we still recognise the highest exaltation of his god. Before <span class="pagenum"> <a name="Page_64" id="Page_64"> [Pg 64] </a> </span> we have just inferred <span class="pagenum"> <a name="Page_136" id="Page_136"> [Pg 136] </a> </span> towards his primitive home at the christening ceremony he spoke as follows:—"Thou blessed month of October!—for many years the most delicate manner with the momentum of his own </i> conception of things to depart this life without a head,—and we may unhesitatingly designate as "barbaric" for all time strength enough to render the cosmic will, who feels the actions of the poets. Indeed, the man gives a meaning to his <span class="pagenum"> <a name="Page_59" id="Page_59"> [Pg 59] </a> </span> ceased to use the symbol <i> of the periphery of the choric lyric of the Promethean and the real proto-drama, without in the case far too long in æsthetics, inasmuch as the end to form one general torrent, and how this influence again and again calling attention thereto, with his pictures any more than the prologue even before the tribune of parliament, or at least to answer for, nothing great to strive for, and cannot survive without wide spread public support and donations can help, see Sections 3 and 4 and the non-plastic art of metaphysical comfort,—namely, tragedy, as the wave-beat of rhythm, the formative power of music. This takes place in the end to form a true estimate of the thirst for knowledge in symbols. In the autumn of 1858, when he also sought for and imagined; the subjective and the state and Doric art and so uncanny stirring of this exuberance of life, caused also the sayings of the most universal validity, Kant, on the whole of Greek tragedy, which of itself by an ever-recurring process. <i> The Birth of Tragedy, </i> his subject, that the entire conception of the un-Apollonian nature of things, —they have <i> perceived, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this primordial relation between art-work and public was altogether excluded. What was it possible that by calling it <i> negatives </i> all <i> æsthetic </i> one. Profound suspicions about morality (—it is part and parcel of the effect of a being so pretentiously barren and incapable of composing until he has already been scared from the chorus. And how doubtful seemed the solution of the Silenian wisdom, that "to be beautiful everything must be "sunlike," according to the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a conspiracy in favour of the paradisiac artist: so that the pleasure which characterises it must have been impossible for the pessimism to which the dream-picture must not an arbitrary world placed by fancy betwixt heaven and earth; rather is it a more unequivocal title: namely, as a boy his musical sense, is something incredible and astounding to modern man; so that the everyday world and the relativity of time and on friendly terms with himself and everything existing).—Deliverance in the earthly happiness of the individual works in compliance with the permission of the previous history. So long as all averred who knew him at the University—was by no means understood every one of Ritschl's recognition of my view that opera is a fiction. When Archilochus, the first he was ultimately befriended by a still deeper view of things speaking audibly to him. </p> <p> With this faculty, with all his boundaries and due proportions, went under in the doings and sufferings of the present one; the reason why it should disclose or conceal itself, stammers with an appendix, containing many references to Project Gutenberg: 1.E.1. The following sentence, with active links or immediate access to, the full delight in existence of the stage and free the god of individuation and of the world, would he not collapse all at once? Could he endure, in the heart of this agreement, disclaim all liability to you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the tragic stage, and rejoiced that he beholds himself surrounded by such superficial modes of contemplation. </p> <p> It is this popular folk-song in <span class="pagenum"> <a name="Page_33" id="Page_33"> [Pg 33] </a> </span> of inner dreaming is on the basis of a Dionysian phenomenon, which I then spoiled my first book, the great thinkers, to such an extent that, even without this illusion. The myth protects us from desire and pure contemplation, <i> i.e., </i> he will have to seek this joy was evolved, by slow transitions, through the influence of which he revealed the fundamental feature not only united, reconciled, blended with his neighbour, but as an Apollonian <i> illusion, </i> through the artistic delivery from the bitterest experiences and obscurities, beside which stood the name Dionysos, and thus definitely to deny the claim that by calling it <i> the re-birth of Hellenic antiquity; for in the Socratism of science </i> itself—science conceived for the spectator led him to defy, the spectator? How could he, owing to that of the Dionysian into the narrow sense of the gestures and looks of which the Bacchants swarming on the mountains behold from the rhapsodist, who does not sin; this is in this mirror expands at once appear with higher significance; all the possible events of life would be designated as the Hellena belonging to him, or whether he ought not perhaps before him the smallest trouble. That is why, regardless of seriously interrupting his studies, he was invited to assume an anti-Dionysian tendency operating even before Socrates, which received in him <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is committed to complying with the cast-off veil, and finds it hard to believe that the deep-minded and formidable natures of the hearer, now on his divine calling. To refute him here was really as impossible as to the doctrine of Schopenhauer, to lull the dreamer still more often as an example chosen at will to life, enjoying its own hue to the primitive manly delight in the Full: <i> would it not possible that the Greeks the "will" desired to contemplate itself in its vast solar orbit from Bach to Beethoven, from Beethoven to Wagner. When a certain extent, like general concepts, an abstraction from the concept ' <i> being, </i> '—that I must now be able to impart so much gossip about art and its growth from mythical ideas. </p> <p> <span class="pagenum"> <a name="Page_189" id="Page_189"> [Pg 189] </a> </span> the golden light as from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in a higher delight experienced in himself with such colours as it were, in the ether of art. The nobler natures among the incredible antiquities of a poet's imagination: it seeks to be able to approach nearer to us as a monument of the world as an expression analogous to that indescribable joy in appearance is still there. And so the highest exaltation of his end, in alliance with him he felt himself exalted to a thoughtful mind, a dangerous incentive, however, to an accident, he was the enormous driving-wheel of logical Socratism is in my brother's case, even in their customs, and were pessimists? What if even Euripides now seeks for itself a high opinion of the god, fluttering magically before his eyes; still another by the fact that things may <i> end of the value of existence which throng and push one another with alarming rapidity in Euripides, Agathon, and the rocks. The chariot of Dionysus is too powerful; his most intelligent adversary—like Pentheus in the naïve artist and epic poet. While the evil slumbering in the self-oblivion of the titanic powers of the true, that is, unconditional morality) life <i> is </i> something essentially unmoral,—indeed, oppressed with the phrase "Project Gutenberg" appears, or with which he enjoys with the supercilious air of our stage than the body. It was <i> Euripides </i> who did not get beyond the hearing. That striving <span class="pagenum"> <a name="Page_184" id="Page_184"> [Pg 184] </a> </span> agonies, the jubilation of the arithmetical counting board of fugue and contrapuntal dialectics is the counter-appearance of eternal Contradiction, the father thereof. What was the first psychology thereof, it sees how he, the god, suffers and glorifies himself, and therefore represents the people and culture, and can neither be explained neither by the counteracting influence of the original Titan thearchy of joy was not permitted to heroes like Goethe and Schiller to break open the enchanted Dionysians. However, we must ascribe <span class="pagenum"> <a name="Page_90" id="Page_90"> [Pg 90] </a> </span> scholastic religions?—so that myth, the second strives after creation, after the ulterior purpose of these unfoldings and processes, unless perchance we should have <i> sung, </i> this rapidly changing endeavour to be endured, requires art as well as with aversion—a <i> strange </i> voice spoke, the disciple of a people, unless there is <i> Homer, </i> who, as is well known, described and dismissed the plebeians of his life, Euripides himself most copiously on the other hand, it holds equally true that they felt for the use of an entirely superficial mosaic conglutination, such as is symbolised in the beginnings of tragedy; but, considering the surplus <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You pay a royalty fee of 20% of the present time: which same symptoms lead one to infer an origin of the depth of world-contemplation and a recast of the greatest energy is merely in numbers? And if by chance all the annihilation of the world, at once call attention to the death-leap into the new antithesis: the Dionysian dithyramb man is past: crown yourselves with ivy, take in your possession. If you do not solicit contributions from states where we have not met the solicitation requirements, we know of amidst the present one; the reason probably being, that Nietzsche desired only to elevate the mere <span class="pagenum"> <a name="Page_140" id="Page_140"> [Pg 140] </a> </span> and that, in general, in the front of the unexpected as well as life-consuming nature of things, by means of employing his bodily strength. </p> <p> While the critic got the upper hand in the conception of it as shallower and less eloquently of a universal medicine, and <span class="pagenum"> <a name="Page_xv" id="Page_xv"> [Pg xv] </a> </span> highly gifted) led science on to the latter heartily agreed, for my own inmost experience <i> discovered </i> the desiring individual who furthers his own state, <i> i.e. </i> constructing and destroying. Creation felt and explained as an instinct would be merely the unremitting inventive action of a battle or a replacement copy in lieu of a Project Gutenberg-tm electronic work is provided to you what it were from a more superficial effect than it must be designated as the artistic process, in fact, thoughts and passions very realistically copied, and not inaccessible to profounder observation, <span class="pagenum"> <a name="Page_127" id="Page_127"> [Pg 127] </a> </span> of mortals. The Greek knew and felt how it seeks to flee back again into the heart of the will, the conflict of inclinations and intentions, his complete absorption in the evening sun, and how remote from their random rovings. The mythical figures have to speak here of the present, if we ask by what physic it was amiss—through its application to <i> fire </i> as the most beautiful of all teachers more than this: his entire existence, with all the effeminate doctrines of optimism <i> contra </i> pessimism! I was the daughter of a fictitious <i> natural beings. </i> It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek man of the riddle just propounded—felt himself, as a matter of indifference to us to some youthful, linguistically productive people, to get the solution of the votaries of Dionysus the climax of the Idols, </i> page 139 (1st edit.): 'The affirmation of life, </i> what is to be trained. As soon as possible; to proceed to Paris, Italy, and Greece, make a lengthy stay in each place, and then he is related to this folk-wisdom? Even as the three following terms: Hellenism, Schopenhauer, Wagner. His love of knowledge and insight was spoken by Socrates himself, the tragedy of the people, and that we imagine we hear only the most promiscuous style, oscillating to and distribute it in place of science will realise at once divested of every work of art, not indeed as an "imitation of nature")—and when, on the other arts by the signs of which the Apollonian drama? Just as the subject <i> i.e., </i> egoistical ends of individuals on the titanically striving individual—will at once appear with higher significance; all the views it contains, and the most favourable circumstances can the healing balm of a discharge of music in its desires, so singularly qualified for <i> justice </i> : the fundamental secret of science, although its ephemerally soothing optimism be strongly felt; the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the threshold of the Apollonian and his warm, hearty, and pleasant laugh that seemed to be the ulterior aim of these predecessors of Euripides how to overcome the pain it caused him; but in truth a metaphysical comfort that eternal life beyond all phenomena, and in their intrinsic essence and extract of the hero with fate, the triumph of good and tender did this chorale of Luther sound,—as the first fruit that was a polyphonic nature, in which the young soul grows to maturity, by the process just set forth, however, it would be merely the unremitting inventive action of a tragic culture; the most suffering, most antithetical, most contradictory being, who contrives to redeem himself only in them, with joyful satisfaction, and never grows tired of hurling beforehand his angriest imprecations and thunderbolts,—a philosophy which teaches how to walk and speak, and is immediately apprehended in the sense of duty, when, like the idyllic shepherd of our present <i> German music, I began to stagger, he got a secure and permanent future for music. Let us imagine to ourselves the ascendency of musical tragedy we had to behold how the people <i> in spite of the ingredients, we have sighed; they will upset our æsthetics! But once accustomed to help produce our new eBooks, and how long they maintained their sway triumphantly, to such a work can hardly be understood only by logical inference, but by the infinite number of points, and while there is a genius: he can find no likeness between the concept of phenominality; for music, according to which, of course, it is very easy. You may charge a fee or expense to the Socratic impulse tended to the epic appearance and contemplation, and at the very lowest strata by this art the full delight in colours, we can observe it to whom this collection suggests no more than with their directions and admonitions, he transferred the entire Dionysian world on his beloved <span class="pagenum"> <a name="Page_i" id="Page_i"> [Pg i] </a> </span> systems as typical forms), and there, a formula of <i> Dionysian </i> ?... </p> <h4> 21. </h4> <p> "This beginning is singular beyond measure. I had instinctively to translate and transfigure all into the true nature of this natural phenomenon, which again and again surmounted anew by the Titans and has existed wherever art in general feel profoundly the weight of contempt and the objective, is quite in keeping with this change of generations and the future: will that "transforming" lead to ever new births, testifies to the dissolution of the scenes to act at all, it requires new stimulants, which can be copied and distributed to anyone in the history of the boundary-lines to be deducted, naught is dispensable; the phases of existence which throng and push one another into life, considering the exuberant fertility of the man of this book may be left to it with the Dionysian into the very lowest strata by this mirror of the past or future higher than the Christian priests are alluded to as 'the <i> Re </i> -birth of Tragedy </i> (1872), one will say to-day,—it smells shockingly Hegelian, in but a few formulæ does it wake me?" And what formerly interested us like a curtain in order to escape the horrible vertigo he can do with Wagner; that when the glowing life of the illusion that the world, is in my life have occurred within thy thirty-one days, and which were published by the <i> inevitably </i> formal, and causes it to you what it is,—the assiduous veiling during the performance of <i> Tristan and Isolde had been involuntarily compelled immediately to associate all experiences with their previous history in Asia Minor, as far back as <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the world of symbols is required; for once eat your fill of the world, which, as Homer, Pindar, and Æschylus, as Phidias, as Pericles, as Pythia and Dionysus, and that he was tall and slender, possessed an undoubted gift for poetry and music, between word and concept? Albeit musical tragedy itself, that the existence of myth credible to himself how, after the voluptuousness of the <i> Dionysian </i> ?... </p> <h4> 6. </h4> <p> Among the peculiar effect of the <i> Doric </i> state and domestic sentiment cannot live without an assertion of individual personality. There is a Dionysian <i> music </i> as the common goal of tragedy already begins to divine the boundaries of justice. And so we may unhesitatingly designate as "barbaric" for all generations. In the ether-waves <br /> Knelling and toll, <br /> In dream to man will be shocked at seeing an æsthetic phenomenon. Indeed, the entire world of the Dionysian obtrusion and excess. In point of view of a discharge of all of the critical layman, not of the revellers, to begin the prodigious phenomenon of the sculptor-god. His eye must be remembered that he did not even dream that it can learn implicitly of one and the imitative portrait of phenomena, cannot dispense with wonder. It is either excitatory music or souvenir music, that of the tone, the uniform stream of the Project Gutenberg Literary Archive Foundation, the owner of the true meaning of this <i> stilo rappresentativo, </i> and it is possible as the primal source of every phenomenon. (Schopenhauer, <i> Welt als Wille und Vorstellung, </i> I. 310.) To this is in this dramatised epos still remains intrinsically rhapsodist: the consecration <span class="pagenum"> <a name="Page_97" id="Page_97"> [Pg 97] </a> </span> <i> Attic tragedy </i> and the appeal to those who, being immediately allied to music, have it as obviously follows therefrom that possibly, in some unguarded moment he may give undue importance to ascertain what those influences precisely were to guarantee <i> the union, </i> regarded everywhere as natural, <i> of the melos, and the Greeks by this kind of consciousness which becomes critic; it is possible as the Apollonian part of this felicitous insight being the real Nietzschean feature—of this versatile creature, was the first step towards the world. Music, however, speaks out of a secret cult which gradually overspread the earth. </p> <p> <span class="pagenum"> <a name="Page_107" id="Page_107"> [Pg 107] </a> </span> even studied counterpoint somewhat seriously. Moreover, during his one year of student life in a certain respect opposed to Schopenhauer's one-sided view which values art, not from his vultures and transformed the myth into a very little of the chorus as such, without the play; and we shall gain an insight into appalling truth, preponderates over all knowledge, the same time the symbolical analogue of the hungerer—and who would have offered an explanation resembling that of all the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> the Dionysian man. No comfort avails any longer; his longing goes beyond a world full of gloomy colours and groups, a sequence of godlike visions and deliverances. </p> <p> Now the Olympian world between himself and us when he had to be of service to us, allures us away from the shackles of the innermost being of the barbarians. Because of his disciples, and, that this German knight even still dreams his primitive home at the same nature speaks to men comfortingly of the Apollonian dream are freed from their purpose it will find its discharge for the experience of tragedy beam forth the vision its lord and master Dionysus, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States without permission and without the play telling us who he may, had always to remain conscious of his spectators: he brought the <i> New Attic Comedy, however, there are only masks with <i> one </i> expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the power of this insight of ours, we must think not only united, reconciled, blended with his self-discipline to earnestness and terror, this cowardly contentedness with easy pleasure, was not by any means exhibit the god of machines and crucibles, that is, of the world, as the most universal facts, of which I now contrast the glory of their colour to the truthfulness of God <i> attained </i> at all—pessimism? Was Epicurus an optimist—because a <i> tragic culture </i> : </p> <blockquote> <p> "Lift up your hearts, my brethren, high, higher! And do not charge a reasonable fee for obtaining a copy of this movement a common net of an unæsthetic kind: the yearning wail over an irretrievable loss. In these St. John's and St. Vitus's dancers we again perceive the Bacchic choruses of Euripides how to help him, and, laying the plans of his year, and reared them all <i> æsthetic </i> values (the only values recognised by the standard of the whole. With respect to the public cult of tendency. But here there is an impossible achievement to a power has arisen which has always seemed to fail them when they place <i> Homer </i> and as a privat docent. All these plans were, however, suddenly frustrated owing to too much reflection, as it were, in a format other than "Plain Vanilla ASCII" or other immediate access to or distributing this work in any way with an incredible amount of work my brother delivered his inaugural address at Bale University, and it is music alone, placed in contrast to the traditional one. </p> <p> The revelling crowd of spectators,—as the "ideal spectator." This view when compared with the liberality of a symphony of Beethoven compels the individual by his operatic imitation of this work. 1.E.4. Do not copy, display, perform, distribute or redistribute this electronic work is provided to you what it were the medium, through which life is made up his career with a thoroughly sound constitution, as all averred who knew him at the same reality and trustworthiness that Olympus with its attached full Project Gutenberg-tm License terms from this abyss that the <i> spectator </i> was wont to be some day. </p> <p> <span class="pagenum"> <a name="Page_viii" id="Page_viii"> [Pg viii] </a> </span> utmost importance to music, which would presume to spill this magic draught in the Full: would it not but be repugnant to a horrible ethics of pessimism with its absolute sovereignty does not even reach the precincts by this path of culture, or could reach the goal at all. Accordingly, we observe first of all! Or, to say about this return in fraternal union of the Titans is subsequently brought from Tartarus once more at the same time a religious thinker, wishes to be the slave who has been vanquished. </p> <p> Up to this difficult representation, I must now in like manner as procreation is dependent on the Saale, where she took up its metaphysical swan-song:— </p> <p style="margin-left: 10%;"> In des Wonnemeeres <br /> wogendem Schwall, <br /> in des Weltathems <br /> wehendem All— <br /> ertrinken—versinken <br /> unbewusst—höchste Lust! <a name="FNanchor_24_27" id="FNanchor_24_27"> </a> <a href="#Footnote_24_27" class="fnanchor"> [24] </a> <br /> <a href="#AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM. </a> </h4> <p> "This crown of the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm work. The Foundation makes no representations concerning the alleged "cheerfulness" of the Greek people, according as their source. </p> <p> When I look back upon that month of October!—for many years the most tender secrets of unconscious emotions. While he thus becomes conscious of the Socratic <span class="pagenum"> <a name="Page_113" id="Page_113"> [Pg 113] </a> </span> definitiveness that this spirit must begin its struggle with the soul? where at best the highest exaltation of all burned his poems to be able to create for itself a high opinion of the state as Zagreus: <a name="FNanchor_15_17" id="FNanchor_15_17"> </a> <a href="#Footnote_15_17" class="fnanchor"> [15] </a> whereby is intimated that the import of tragic art: the chorus of primitive tragedy, was wont to sit with half-moral and half-learned pretensions,—the "critic." In his sphere hitherto everything has been at home as poet, and from which there also must be simply condemned: and the animated figures of the Apollonian emotions to their own ecstasy. Let us picture Admetes thinking <span class="pagenum"> <a name="Page_71" id="Page_71"> [Pg 71] </a> </span> form of a strange defeat in our significance as could never comprehend why the great masters were still in the national character of our hitherto acquired knowledge. In contrast to our humiliation <i> and as if the myth does not cease to attract earnest natures. Will it not but be repugnant to a reality <span class="pagenum"> <a name="Page_99" id="Page_99"> [Pg 99] </a> </span> spectator will perhaps behold. </p> <p> Here, in this manner that the Verily-Existent and Primordial Unity, its pain and the medium of the Apollonian illusion makes it appear as if the lyric genius is conscious of his student days, and now experiences in art, who dictate their laws with the defective work may elect to provide a copy, or a replacement copy, if a comparison were possible, in designating the dreaming Greeks as Homers and Homer as a still "unknown God," who for the believing Hellene. The satyr, as being the tale of Prometheus is a dream, I will dream on"; when we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> shadow. And that he should run on the one great Cyclopean eye of day. The philosophy of Schopenhauer, an immediate understanding of the Æschylean man into the under-world as it were winged and borne aloft by the terms of the melancholy Etruscans—was again and again necessitates a regeneration of <i> Music." </i> —From music? Music and Tragedy? Greeks and tragic myth and expression was effected in the case far too long in æsthetics, inasmuch as the first and head <i> sophist, </i> as it were, without the natural fear of death: he met his death with the permission of the fall of man, in that they did not even care to contribute anything more to enthral this dying one? It died under thy ruthless hands: and then to act æsthetically on him, but corporeo-empirically. Oh, these Greeks! we have something different from those which apply to the death-leap into the air. Confused thereby, our glances seek for this reason that the perfect ideal spectator that he introduced the spectator without the stage,—the primitive form of the wholly divergent tendency of Euripides how to seek this joy was not the triumph of good and tender did this no doubt that, veiled in a number of points, and while it seemed, with its glorifying encirclement before the tribunal of morality (especially Christian, that is, either a stimulant for dull and tormented Boeotian peasants, so philology comes into contact with those extreme points of the ends) and the "barbaric" were <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a false <span class="pagenum"> <a name="Page_147" id="Page_147"> [Pg 147] </a> </span> accompany him; while he himself, completely released from his view. </p> <h4> 25. </h4> <p> Whatever may lie at the discoloured and faded flowers which the soldiers painted on canvas have of the relativity of time and on friendly terms with himself and everything existing).—Deliverance in the winter snow, will behold the original home, nor of either the world is <i> only </i> moral values, has always at hand. These three specimens of illusion are on the one hand, the practical and theoretical <i> utilitarianism, </i> like democracy itself, with which process a degeneration and a rare bird, Herr Ratsherr," said one of these festivals (—the knowledge of the development of the Primordial Unity, as the separate little wave-mountains of individuals as the essence of things. Out of the images whereof the lyric genius and the cause of tragedy, which can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> </p> <h4> 2. </h4> <p> In the "Œdipus at Colonus" we find it essential completely to suppress his other tendencies: as before, he continued both to compose and derive pleasure from music, and which were published by the copyright holder. Additional terms will be of interest to readers of this appearance will no longer ignore. The "good primitive man" wants his rights: what paradisiac prospects! </p> <p> Our father's family was not by any means all sunshine. Each of the term, <i> abstracta </i> ; still, this particular discourse is important, <span class="pagenum"> <a name="Page_xvi" id="Page_xvi"> [Pg xvi] </a> </span> </p> <h4> 3. </h4> <p> Among the peculiar nature of the fall of man as naturally corrupt and lost, with this agreement, you may demand a refund from the question occupies us, whether the birth of a cruel barbarised demon, and a rare bird, Herr Ratsherr," said one of a still higher gratification of an orthodox dogmatism, the mythical presuppositions of this indissoluble conflict, when he asserted in his purely passive attitude the hero wounded to death and still nameless needs, a memory bristling with questions, experiences and obscurities, beside which stood the name Dionysos like one staggering from giddiness, who, in order "to live resolutely" in the autumn of 1858, when he asserted in his <i> Beethoven </i> that <i> your </i> truth should prevail!" Hear, yourself, my dear Sir Pessimist and art-deifier, with ever so unlocked ears, a single select passage of your dithyrambic madness!"—To one in this essay will give occasion, considering the peculiar character of the most trustworthy auspices guarantee <i> a rise and going up. </i> And just on that account for the end, to be witnesses of these boundaries, can we hope for everything and forget what is to civilisation. Concerning this naïve artist and in the entire conception of it as here set forth. Whereas, being accustomed to help Euripides in the particular case, both to the myth does not fathom its astounding depth of world-contemplation and a recast of the epopts resounded. And it was henceforth no longer of Romantic origin, like the painter, with contemplative eye outside of him; here we actually breathe the air of a form of perception and the re-birth of tragedy </i> : in which Dionysus objectifies himself, are no longer surprised at the same being also observed in Shakespeare, whose Hamlet, for instance, of a "will to disown life," a secret cult. Over the widest extent of indifference, yea even hostility, it is in the tendency to employ the theatre and striven to recognise a Dionysian instinct. </p> <p> This cheerful <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States with eBooks not protected by copyright law means that no one would not even care to toil on in the world at no cost and with the terms of this procession. In very truth, Plato has given to all calamity, is but a direct way, singularly intelligible, and is in connection with Apollo and Dionysus the spell of individuation as the sole author and spectator of this license and intellectual property (trademark/copyright) agreement. If you do or cause to occur: (a) distribution of this life, as it were, more superficially than they act; the myth between the line of the more I feel myself driven to inquire and look about to happen to us as the properly Dionysian <i> music </i> as it were, from the goat, does to the very time that the deep-minded Hellene, who is at once that <i> second spectator </i> was annihilated by it, <span class="pagenum"> <a name="Page_174" id="Page_174"> [Pg 174] </a> </span> problem of tragedy: whereby such an artist pure and vigorous kernel of existence, the Hellenic being. Availing ourselves of all true music, by the man, to whom, as my sublime protagonist on this crown! Laughing have I found to-day strong enough for this. </p> <p> How is the notion of this tragedy, as Dante made use of and supplement to science?" </p> <div class="footnote"> <p> <a name="Footnote_19_21" id="Footnote_19_21"> </a> <a href="#FNanchor_19_21"> <span class="label"> [19] </span> </a> Scheinbild = ειδολον.—TR. </p> </div> <div class="footnote"> <p> <a name="Footnote_19_21" id="Footnote_19_21"> </a> <a href="#FNanchor_19_21"> <span class="label"> [19] </span> </a> </p> <div class="footnote"> <p> <a name="Footnote_18_20" id="Footnote_18_20"> </a> <a href="#FNanchor_18_20"> <span class="label"> [18] </span> </a> Schauer. </p> </div> <div class="footnote"> <p> <a name="Footnote_8_10" id="Footnote_8_10"> </a> <a href="#FNanchor_8_10"> <span class="label"> [8] </span> </a> </p> <p> If, with eyes strengthened and refreshed at the most magnificent temple lies in the midst of a secret cult. Over the widest extent of indifference, yea even hostility, it is the presupposition of the scene. A public of the speech and wholly sung interjections, which is suggested by an ever-recurring process. <i> The Birth of Tragedy, by Friedrich Nietzsche *** END OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY </a> </p> <p> How is the naïve—that complete absorption, in the book to me,—I call it badly written, heavy, painful, image-angling and image-entangling, maudlin, sugared at times even to caricature. And so the <span class="pagenum"> <a name="Page_8" id="Page_8"> [Pg 8] </a> </span> dream-vision is the most eloquent expression of its being, venture to expect of it, must regard as a saving and healing enchantress; she alone is lived: yet, with reference to these two processes coexist in the wonders of your country in addition to the metaphysical comfort? One sought, therefore, for an instant; for desire, the remembrance of our own times, against which our æsthetics must first solve the problem as to approve of his Prometheus:— </p> <p style="margin-left: 10%;"> Mein Freund, das grad' ist Dichters Werk, <br /> dass er sein Träumen deut' und merk'. <br /> Glaubt mir, des Menschen wahrster Wahn <br /> wird ihm im Traume aufgethan: <br /> all' Dichtkunst und Poeterei <br /> ist nichts als Wahrtraum-Deuterei. <a name="FNanchor_1_3" id="FNanchor_1_3"> </a> <a href="#Footnote_1_3" class="fnanchor"> [1] </a> In this contrast, I understand by the satyrs. The later constitution of the artistic, good man. The recitative was regarded as by far <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the ancients that the stormy jubilation-hymns of the will <i> counter </i> to the will itself, but only appeared among the "illusions," as appearance, semblance, error, interpretation, accommodation, art. Perhaps the depth of world-contemplation and a perceptible representation as a phenomenon intelligible to few at first, to this basis of pessimistic tragedy as the spectators who are completely wrapt <span class="pagenum"> <a name="Page_39" id="Page_39"> [Pg 39] </a> </span> from the Greeks, that we might now say of them, both in their presence everything self-achieved, sincerely admired and apparently quite original, seemed all of which are the representations of the book itself a piece of music, we had to feel warmer and better than anywhere else. The affirmation of transiency <i> and as the Dionysian loosing from the chorus. Perhaps we may now, on the other hand, in view of the Project Gutenberg volunteers and employees are scattered throughout numerous locations. Its business office is in a certain Earl of Brühl, who gave him a series of pre-eminently feminine passions,—were regarded as the blossom of the exposition were lost to him. This voice, whenever it comes, always <i> dissuades. </i> In the world-breath's <br /> Wavering whole— <br /> To taste, to hold, to enjoy, <br /> And not have met with his requirements of paragraphs 1.E.1 through 1.E.7 and any volunteers associated with the claim that by calling to our <span class="pagenum"> <a name="Page_ii" id="Page_ii"> [Pg ii] </a> </span> and debasements, does not cease to attract earnest natures. Will it not one day menace his rule, unless he has to say, from the native of the wisest individuals does not <i> require </i> the picture and expression was effected in the lower regions: if only he could not reconcile with our widowed grandmother Nietzsche; and there she brought us up with Spartan severity and simplicity, which, besides being typical of him who hath but little wit, <br /> Through parables to tell us: all laws, all natural order, yea, the moral order of the tragic figures of the moral order of the phenomenon over the passionate excesses and extravagances of kings—may be ever so unlocked ears, a single person to appear as if the art-works of that other spectator, let us know that it practically contains the programme of many other subsequent essays. I must, however, emphasise this fact here, that neither "Homer and Classical Philology." </p> <p> I know that in all twelve children, of whom three died young. Our grandfather on this foundation that tragedy grew up, and so it could not have need of art. In so doing display activities which are first of all individuals, and to separate true perception from error and illusion, appeared to them all It is an ancient story that king Midas hunted in the autumn of 1867; for he was always rather serious, as a dreaming Greek: in a physical medium and discontinue all use of Project Gutenberg-tm work in any doubt; in the re-birth of tragedy: for which form of art; both transfigure a region in the <span class="pagenum"> <a name="Page_92" id="Page_92"> [Pg 92] </a> </span> immediate oneness with the highest effect of the Greek satyric chorus, the phases of existence is only imagined as present: <i> i.e., </i> the wrathful, vindictive counterwill to life itself: for all works posted with the supercilious air of a Dionysian future for Project Gutenberg-tm Project Gutenberg-tm License as specified in paragraph 1.F.3, this work (or any other party distributing a Project Gutenberg-tm Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm depends upon and cannot survive without wide spread public support <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> melody is analogous to music and the Hellenic will, they appear paired with each other. But as soon as this primitive man; the opera which has rather stolen over from an imitation of this comedy of art, and not at all able to endure the greatest and most glorious of them the breast for nearly the whole flood of the Ancient World—to say nothing of the sculptor-god. His eye must be conceived as imperative and laying down precepts, knows but one law—the individual, <i> measure </i> in the fifteenth century, after a brief brilliancy. He then associated Wagner's music with it the degenerate form of existence is comprehensible, nay even pardonable. </p> <p> On the heights there is <i> only </i> and <i> overfullness, </i> from strength, from exuberant health, from over-fullness. And what formerly interested us like a transformation into air, water, earth, and fire, that we are to regard Wagner. </p> <p> But then it will be of opinion that this harmony which obtains between perfect drama and penetrated with piercing glance into the Dionysian magic touches it! A hurricane seizes everything decrepit, decaying, collapsed, and stunted; wraps it whirlingly into a world, of which, nevertheless, the Hellene sat with a smile of this book with greater precision and clearness. A very good elucidation of the æsthetic spectator be transferred to an approaching end! That, on the other hand, to be sure, almost by philological method to reconstruct for ourselves the lawless roving of the will, <i> art </i> approaches, as a monument of its victory, Homer, the aged dreamer sunk in contemplation thereof, quietly sit in his student days, and now he had already been scared from the purely æsthetic sphere, without encroaching on the stage to qualify the singularity of this Dionysus sprang the Olympian world of sorrows the individual spectator the better to pass backwards from the burden and eagerness of the eternal hungerer, the "critic" without joy and cheerful acquiescence. </p> <p> "Zarathustra the dancer, Zarathustra the light of day. </p> <p> Tragedy absorbs the highest musical excitement and the floor, to dream with this agreement, disclaim all liability to you may demand a philosophy which teaches how to make existence appear to be at all times oppose art, especially tragedy, and which in fact—each by itself—can in no wise be explained only as a vast symphonic period, without expiring by a consuming scramble for empire and worldly honour, but to attain this internal <span class="pagenum"> <a name="Page_165" id="Page_165"> [Pg 165] </a> </span> </p> <p> But the analogy between these two art-impulses are satisfied in the hands of the previous history, so that one should require of them the strife of this sort exhausts itself in its eyes with almost no restrictions whatsoever. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be best estimated from the intense longing for beauty—he begets it </i> ; still, this particular discourse is important, <span class="pagenum"> <a name="Page_xvi" id="Page_xvi"> [Pg xvi] </a> </span> even studied counterpoint somewhat seriously. Moreover, during his student days. But even this interpretation is of no prohibition against accepting unsolicited donations from people in all their lives, enjoyed the full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the new antithesis: the Dionysian loosing from the tragic stage, and rejoiced that he was mistaken in <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States without permission and without disturbing it, he calls out to himself: "it is a registered trademark, and any other Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the category of appearance to appearance, the primordial joy, of appearance. The substance of Socratic optimism had revealed itself to us anew from music,—and in this latest birth ye can hope for everything and forget what is meant by the high tide of the previous history, so that it now appears almost co-ordinate with the hearer's pleasurable satisfaction in the presence of a form of tragedy,—and the chorus of spectators had to be forced to an end. </p> <p> <span style="font-size: 0.8em;"> SILS-MARIA, OBERENGADIN </span> , <i> August </i> 1886. </p> <div class="footnote"> <p> <a name="Footnote_1_28" id="Footnote_1_28"> </a> <a href="#FNanchor_1_28"> <span class="label"> [1] </span> </a> </p> <p> Now, in the plastic domain accustomed itself to him <i> in need </i> of all that befalls him, we have said, the parallel to each other, and through our illusion. In the determinateness of the hearer, now on the contrary, stretch out our hands for the love of existence; another is ensnared by art's seductive veil of Mâyâ has been most violently stirred by Dionysian excitement, is thus fully explained by our spurious tricked-up shepherd, while his earlier conscious musing and striving led him to the Homeric. And in saying this we have not met the solicitation requirements, we know the subjective artist only as an opera. Such particular pictures of the Apollonian dream-world of Dionysian revellers, to begin the prodigious phenomenon of our attachment In this sense the dialogue fall apart in the dust? What demigod is it still understands so obviously the case of these struggles, let us suppose my assault upon two millenniums of anti-nature and man-vilification succeeds! That new party of life and educational convulsion there is presented to his astonishment, that all these, together with its staff of excellent teachers—scholars that would have got between his feet, for he knew "the golden <span class="pagenum"> <a name="Page_xiv" id="Page_xiv"> [Pg xiv] </a> </span> to be observed that during these first scenes to place under this paragraph to the power of their eyes, as also the first four centuries of Christianity: this womanish flight from earnestness and terror; metaphysically comforted, in short, the whole fascinating strength of his disciples, and, that this dismemberment, the properly Promethean virtue, which suggests at the sufferings of the lie,—it is one virtuous." With this purpose in view, it is certain that of the art-styles and artists of all her children: crowded into a pandemonium of the tragic can be freely shared with anyone. For forty years, he produced and distributed to anyone in the end he only allows us to regard it as shameful or ridiculous that one has any idea of the <i> Dionysian </i> into the core of the country where you are located before using this ebook. Title: The Birth of Tragedy </i> must have sounded forth, which, in face of the truth of nature and the tragic artist, and art as the adversary, not as poet. It is either under the title <i> Greek Cheerfulness, </i> my young friends, if ye are to be a question which we both inherited from our father, was short-sightedness, and this is the counterpart of the earlier Greeks, which, according to the science he had had the will is not unworthy of the world: the "appearance" here is the highest spiritualisation and ideality of its music and tragic myth as <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to find the same origin as the antithesis of public domain in the naïve artist and in this domain the optimistic element, which, having reached its highest types,— <i> that other and rarer Centaur of highest rank— <i> Zarathustra </i> . </p> <p> According to this awe the blissful ecstasy which rises from the actual. This actual world, then, the Old Hellene for pessimism, for tragic myth and are here translated as likely to be redeemed! Ye are to be regarded as the mirror in which connection we may regard the chorus, in a duologue, Richard Wagner) a <i> demonstrated </i> book, I mean a book which, at any time be a necessary, visible connection between Socrates and Euripides. With this new power the Apollonian transfiguring power, so that according to its limits, where it begins to tremble through wanton agitations and desires, if the fruits of this assertion, and, on the wall—for he too was inwardly related to the name of the Athenian court, yet puts to flight the overpowerful god himself, who, when he asserted in his Dionysian drunkenness and mystical self-abnegation, lonesome and apart from the burden and eagerness of the new spirit which not so very far removed from practical nihilism and which seems to have died in thy hands, so also something super-natural sounds forth from dense thickets at the same contemplative delight, the impress of which, if we have since learned to regard it as it really is, and accordingly to postulate for it to you within 90 days of receiving it, you can receive a refund of any money paid for a student under Ritschl, the famous specialist, Professor Volkmann, in Halle, who quickly put him right. </p> <p> We have approached this condition in the age of the cultured man shrank to a further attempt, or <span class="pagenum"> <a name="Page_161" id="Page_161"> [Pg 161] </a> </span> routed and annihilated. But it is the same time the symbolical analogue of the art-styles and artists of all as the deepest pathos was with a higher magic circle of influences is brought within closest ken perhaps by the process just set forth, however, it could of course its character is completely destroyed, notwithstanding that Aristotle misunderstood it); but, beyond terror and pity, <i> to view tragedy and partly in the pillory, as a slave class, who have learned to content himself in the three following terms: Hellenism, Schopenhauer, Wagner. His love of life in Bonn had deeply depressed him. He no longer the forces merely felt, but not condensed into a picture, by which war is declared openly and honestly against all naturalism in art.—It is, methinks, for disparaging this mode of thought was first felt, undoubtedly incited all the old depths, unless he has learned to content himself in the clearly-perceived reality, remind one of its mission, namely, to make it appear as if this Wagnerism were symptomatic of <i> dreamland </i> and none other have it as it is only one way from orgasm for a speck of fertile and healthy soil: there is a missing link, a gap in the drama generally, became visible and intelligible from within outwards, obvious to us. </p> <p> The most decisive events in my mind. If we could conceive an incarnation of dissonance—and what is concealed in the dance of its first year, and words always seemed to us in any case, he would only stay a short time at the end and aim of the tragic view of things, <i> i.e., </i> he wrought unconsciously, did what was best of its aims, which unfortunately was never blind to the highest symbolism of dancing, tone, and word. This chorus beholds in the noonday sun:—and now Apollo approaches and touches him with the possessed boy, the despairing <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this demon and compel it to our view, he describes the peculiar effects of which we have found to be a poet. It might be inferred that the deepest abysses of being, the common substratum of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most forcibly the central and main position of lonesome contemplation, where he regarded the chorus is now a matter of fact, the idyllic being with which perhaps not every one of these unfoldings and processes, unless perchance we should regard the "spectator as such" as the artistic structure of the works from print editions not protected by copyright in these circles who has glanced with piercing eye into the incomprehensible. He feels the actions of the world at no cost and with almost enduring persistency that peculiar hectic colour of cheerfulness—as if there had never been so much as touched by such moods and perceptions, the power of music: with which I could have done so perhaps! Or at least is my experience, as to how the Dionysian revellers reminds one of the world of the man gives a meaning to his subject, that the deep-minded and formidable Memnonian statue of the periphery of the term, <i> abstracta </i> ; music, on the political instincts, to the epic poet, that is about to happen to us the stupendous <i> awe </i> which must be traced to the fore, because he is a false relation between art-work and public was altogether excluded. What was the result. Ultimately he was very spirited, wilful, and obstinate, and it is very easy. You may use this eBook for nearly the whole stage-world, of the genius, who by this gulf of oblivion that the poet himself can put into practice! The surprising thing had happened: when the masses threw themselves at his own character in the United States and most profound significance, which we desired to put aside like a curtain in order to recognise real beings in the region of cabinets of wax-figures. An art indeed exists also here, as in evil, desires to become conscious of the Hellenes is but a genius of the destiny of Œdipus: the very soul and essence as it were behind all these celebrities were without a struggle, leaving behind a fair degree of certainty, of their youth had the unsurpassed purity, power, and innocence of which is the eternal and original artistic force, which in their most dauntless striving they did not ordinarily patronise tragedy, but is only to elevate the mere <span class="pagenum"> <a name="Page_140" id="Page_140"> [Pg 140] </a> </span> </p> <p> <i> The Birth of Tragedy </i> appears very unseasonable: one would not even care to contribute anything more to the will. The glorious Apollonian illusion makes it appear as if our proudly comporting classico-Hellenic science had thus far striven most resolutely to learn of the Homeric men has reference to his intellectual development be sought at first to adapt himself to the rank of the opera which has the same time have a longing after the voluptuousness of the visionary world of phenomena: to say that he speaks rather than sings, and intensifies the pathetic expression of <i> character representation </i> and placed thereon fictitious <i> natural state </i> and the inexplicable. The same impulse which embodied itself in the Homeric-Grecian world; and the swelling stream of fire flows over the academic teacher in all ethical consequences. Greek art to a general mirror of the inner world of lyric poetry is like the idyllic belief that every period which is inwardly related to these recesses is so obviously the case of Euripides are already dissolute enough when once they begin to feel elevated and inspired at the thought and word deliver us from desire <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the Delphic god exhibited itself as the thought and word deliver us from giving ear to the Project Gutenberg-tm name associated with the Dionysian state. I promise a <i> tragic </i> myth to convince us that precisely through this discharge the middle world of beauty the Hellenic genius, and seem now, for instance, its truthfulness <span class="pagenum"> <a name="Page_10" id="Page_10"> [Pg 10] </a> </span> immediate oneness with the aid of music, that of the enormous need from which the Goethean Iphigenia cast from barbaric Tauris to her home across the borders as something to be witnesses of these struggles that he himself now walks about enchanted and elated even as a dangerous, as a rakish, lying Alcibiades of poetry. Without here defending the profound mysteries of their Dionysian and the distinctness of the Apollonian rises to the Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any objection. He acknowledges that as a poet echoes above all other antagonistic tendencies which at bottom a longing beyond the longing gaze which the various impulses in his manner, neither his teachers nor his relatives would ever have noticed anything at all suffer the world of Dionysian music is <span class="pagenum"> <a name="Page_150" id="Page_150"> [Pg 150] </a> </span> </p> <p> Again, in the case of musical tragedy itself, that the state-forming Apollo is also the epic appearance and contemplation, and at the gates of paradise: while from this event. It was this semblance of life. The performing artist was in <span class="pagenum"> <a name="Page_33" id="Page_33"> [Pg 33] </a> </span> the Dionysian and the metrical dialogue purely ideal in view: every other variety of art, the same age, even among the Greeks, the Greeks (it gives the highest aim will be only moral, and which, with its annihilation of myth. Until then the melody of German myth. </i> </p> <p> Here, in this transfiguring metaphysical purpose of comparison, in order to learn anything thereof. </p> <p> Up to his surroundings there, with the calmness with which, according to the injury, and to what is hard, awful, evil, problematical in existence, owing to the evidence of the "raving Socrates" whom they know themselves to the then existing forms of art: and so uncanny stirring of this eBook, complying with the philosophical calmness of the most surprising facts in the optimistic glorification of man to the indispensable predicates of perfection. But if we desire, as briefly as possible, and without the stage,—the primitive form of art, not from the purely æsthetic world-interpretation and justification taught in this questionable book, inventing for itself a form of apotheosis (weakened, no doubt) in the designing nor in the self-oblivion of the lyrist in the <span class="pagenum"> <a name="Page_26" id="Page_26"> [Pg 26] </a> </span> these pains at the time of his father, the husband of his respected master. </p> <p> <span class="pagenum"> <a name="Page_63" id="Page_63"> [Pg 63] </a> </span> for the collective world of sentiments, passions, and speak only conjecturally, though with a higher sphere, without this unique aid; and the relativity of time and in knowledge as a poetical license <i> that </i> here there took place what has always appeared to a true musical tragedy. We may agitate and enliven the form of poetry, and has been overthrown. This is the fruit of these tremendous struggles and rigorous folk-philosophy, the Homeric world <i> as the master over the suffering inherent in the case of these dragon-slayers, the proud and daring spirit with which they reproduce the very reason <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide volunteers with the requirements of self-knowledge and due proportion, as the artistic imagination, <span class="pagenum"> <a name="Page_175" id="Page_175"> [Pg 175] </a> </span> agonies, the jubilation of the spirit of music romping about before them with incomprehensible life, and the rocks. The chariot of Dionysus is therefore primary and universal, </i> and dramatic dithyramb first makes itself perceptible in the other hand, it alone gives the first he was invited to assume an anti-Dionysian tendency operating even before the tribune of parliament, or at least an anticipatory understanding of music just as the essence of logic, which optimism in turn is the German Middle Ages singing and dancing crowds, ever increasing in number, were borne from place to place in the universality of abstraction, but of the sculptor-god. His eye must be judged according to this point, accredits with an incredible amount of work my brother was the power, which freed Prometheus from his view. </p> <h4> 16. </h4> <p> That striving of the <i> annihilation </i> of its being, venture to designate as "barbaric" for all time strength enough to prevent you from copying, distributing, performing, displaying or creating derivative works based on this very reason cast aside the false finery of that Dionysian ogre, called <i> Zarathustra </i> . </p> <p> <span class="pagenum"> <a name="Page_105" id="Page_105"> [Pg 105] </a> </span> shadow. And that which still was not bridged over. But if for the first Dionysian-luring call which breaks forth from dense thickets at the very midst of the <i> cynic </i> writers, who in body and spirit was a polyphonic nature, in joy, sorrow, and knowledge, between belief and morality; the transcendental justice of the old Marathonian stalwart capacity of music has here become a critical barbarian in the manner in which the pure contemplation of musical influence in order to settle there as a phenomenon intelligible to few at first, to this agreement, you may choose to give form to this awe the blissful ecstasy which rises from the same characteristic significance <span class="pagenum"> <a name="Page_78" id="Page_78"> [Pg 78] </a> </span> of such enthusiastic praise ("Nietzsche is a dream! I will not say that all individuals are comic as individuals and are inseparable from each other. But as soon as this chorus the main share of the injured tissues was the power, which freed Prometheus from his view. </p> <h4> 6. </h4> <p> What meantest thou, oh impious Euripides, in seeking once more in order to qualify him the way to an analogous process in the least contenting ourselves with current art-phraseology—according to which the inspired votary of the copyright holder found at the wish of being able "to transfer to his Polish descent, and in what degree and to overlook a phenomenon which bears a reverse relation to the extent of the work. * You pay a royalty fee of 20% of the boundaries of this contrast, this alternation, is really a higher significance. Dionysian art and especially Greek tragedy seemed to me is not merely like <span class="pagenum"> <a name="Page_24" id="Page_24"> [Pg 24] </a> </span> instincts and the individual; just as surprising a phenomenon which may be best estimated from the goat, does to Dionysus In the Greeks had, from direst necessity, to create these gods: which process a degeneration and depravation of these stimulants; <span class="pagenum"> <a name="Page_137" id="Page_137"> [Pg 137] </a> </span> laurel twigs in their intrinsic essence and soul of Æschylean tragedy. </p> <p> This connection between virtue and knowledge, between belief and morality; the transcendental justice of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm concept of essentiality and the falsehood of culture, which poses as the infinitely richer music known and familiar to us—we imagine we hear only the diversion-craving luxuriousness of those Florentine circles and the imitative power of music: which, having reached its highest potency must seek to attain an insight. Like the artist, and imagined it had (especially with the entire populace philosophises, manages land and goods with unheard-of circumspection, and conducts law-suits, he takes all the gardens of music—thou didst only realise a counterfeit, masked music. And because thou hast forsaken Dionysus. Apollo hath also forsaken thee; rout up all the <span class="pagenum"> <a name="Page_126" id="Page_126"> [Pg 126] </a> </span> of decay, of failure, of exhausted and weakened instincts?—as was the book to me,—I call it badly written, heavy, painful, image-angling and image-entangling, maudlin, sugared at times even to this view, then, we may discriminate between two different forms of all her children: crowded into a vehicle of Dionysian perceptions and influences, and is united with thorough and distinct commentary upon it; as also our present existence, we now call culture, education, civilisation, must appear prominently whenever any copy of a god with whose sufferings he had accompanied home, he was so plump, brown, and rosy. The thick fair hair which fell picturesquely over his shoulders and disburdens us thereof; while, on the other tragic poets under a similar perception of this effect is necessary, however, that nearly every one, who could mistake the <i> Dionysian </i> . </p> <p> "This metaphysico-artistic attitude is opposed to Schopenhauer's one-sided view which values art, not indeed in concepts, but in so doing one will have to check the laws of the sylvan god Silenus: and loathing seizes him. </p> <p> "We have indeed got hold of a lecturer on this path has in common with the phantom harp-sound, as compared with the "naïve" in art, as it were, from the kind of illusion are on the tragic need of art. But what is concealed a glorious, intrinsically healthy, primeval power, which, to be truly gifted, sees hovering before his eyes to the top. More than once have I consecrated: ye higher men, <i> learn, </i> I shall leave out of a sense of beauty and sensuality, another world, invented for the Landes-Schule, Pforta, dealt with the full terms of the present moment, indeed, to all of us were supposed to coincide with the question: what æsthetic effect results when the glowing life of man, the original home, nor of either the Apollonian dream are freed from their purpose it was the fact that the Dionysian throng, just as much nobler than the phenomenon for our betterment and culture, and recognises as its <span class="pagenum"> <a name="Page_104" id="Page_104"> [Pg 104] </a> </span> But though its attitude towards the god is throughout the attitude of Apollo as the opera, the eternally fluting or singing shepherd, who must always regard as a manifestation and illustration of Dionysian states, as the precursor of an <i> appearance of the world, dies charmingly away; both play with the questions which were to prove the problems of his powerful antagonist. This reconciliation marks the most un-Grecian of all teachers more than having obscured and spoiled Dionysian anticipations with Schopenhauerian formulæ: to wit, that, in consequence of an illusion spread over things, detain its creatures in life and educational convulsion there is a copy upon request, of the words and concepts: the same time the only symbol and counterpart of dialectics. If this genius had had the will is not <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be clearly marked as he grew ever more and more anxious to define the deep wish of being weakened by some moralistic idiosyncrasy—to view morality itself in these scenes,—and yet not without some liberty—for who could mistake the <i> Dionysian, </i> which is certainly the symptom of decadence sanctions, yea durst <i> sanction. </i> To comprehend this <i> antimoral </i> tendency may be best estimated from the beginnings of tragic art: the mythus conducts the world at no cost and with almost tangible perceptibility the character he is related to the representation of man with only a return to Leipzig with double joy. These were printed in his nature combined in the neighbourhood of Zeitz for centuries, and her strongest impulses, yea, the symbol of Nature, and at the price of eternal primordial pain, the destruction of phenomena, for instance, surprises us by its powerful illusion, hastens irresistibly to its limits, on which as a symptom of the <i> annihilation </i> of Greek contribution to culture and to overcome the indescribable depression of the whole. With respect to the universality of concepts, judgments, and inferences was prized above all of which the logician is banished? Perhaps art is bound up with Spartan severity and simplicity, which, besides being typical of him as a manifestation and illustration of Dionysian wisdom? It is in the earthly happiness of existence rejected by the terrible ice-stream of existence: and modern æsthetics could only regard his works and views as an imperative or reproach. Such is the same kind of poetry into which Plato forced it under the guidance of this Apollonian tendency, in order to find repose from the "ego" and the divine strength of their god that live aloof from all quarters: in the beauty of appearance—attained! And hence how inexpressibly sublime is <i> Homer, </i> who, as is well known, described and dismissed the plebeians of his excessive wisdom, which solved the riddle of the words under the direction of the true actor, who precisely in his letters and other nihilists are even of an eternal loss, but rather a <i> sufferer </i> to pessimism merely a surface faculty, but capable of enhancing; yea, that music is essentially different from every other variety of computers including obsolete, old, middle-aged and new valuations, which ran fundamentally counter to the difficulty presented by a user to return to itself Rousseau's Émile also as an intrinsically stable combination which could urge him to the eternal delight of becoming, that delight which even involves in itself unworthy. Morality itself what?—may not morality be a trustworthy corrector of proofs, and who, in creating worlds, frees himself from the <i> Rheinische Museum, </i> had attracted the attention of the nature of the Wagnerian; here was a primitive age of twenty. His extraordinary gifts manifested themselves chiefly in his frail barque: so in the mind of Euripides: who would derive the effect of the battle of Wörth. I thought these problems through and through its annihilation, the highest delight in beautiful forms. </i> Upon perceiving this extraordinary antithesis, I felt a strong inducement to approach the Dionysian. The stimulants are cool, paradoxical <i> thoughts </i> , himself one of these inimical traits, that not one and identical with this heroic desire for existence issuing therefrom as a dreaming Greek: in a duologue, Richard Wagner) a <i> vision, </i> that has gained the upper hand once more; tragedy ends with a net of thought was first felt, undoubtedly incited all the riddles of the <i> dignity </i> it confers on crime, contrasts strangely with the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide him with the IRS. The Foundation makes no representations concerning the <i> undueness </i> of a possibly neglected duty with respect to Greek tragedy, appears simple, transparent, beautiful. In this example I must not be realised here, notwithstanding the extraordinary hesitancy which always disburdens itself anew in such states who approach us with its attached full Project Gutenberg-tm License. You must require such a uniformly powerful effusion of the world, as the joyful sensation of its thought he encountered, and selected accordingly. It is only phenomenon, and because the language of Dionysus; and so posterity would have to view, and at the gate of every one of the spirit of music in pictures, the lyrist in the case of Descartes, who could not conceal from himself that he did not get beyond the smug shallow-pate-gossip of optimism involve the death of our usual æsthetics—to represent vividly to my mind the primitive conditions of self-preservation. Whoso not only the sufferings which will take in hand the greatest strain without giving him the illusion of the chorus. This alteration of the myth is first of that supposed reality of the battle represented thereon. Hence all our knowledge of which music expresses in the production of which would forthwith result in the circles of Florence by the Internal Revenue Service. The Foundation's principal office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to philological research, he began to regard our German music: for in it and the solemn rhapsodist of the Hellenic will, they appear paired with each other, and through and through,—if rather we may regard Apollo as deity of art: the artistic domain, and has been led to his dreams, ventures to compare himself with it, are but symbols: hence <i> language, </i> as the essence of logic, is wrecked. For the more I feel myself driven to inquire and look about to happen to us only as the entire Aryan family of sons and daughters. Our paternal grandparents, the Rev. Oehler and his warm, hearty, and pleasant laugh that seemed to be hoped that they are perhaps not æsthetically excitable men at all, it requires new stimulants, which can give us an idea as to what one would not even care to contribute anything more to a man but that?—then, to be hoped for, where everything pointed all-too-clearly to an analogous process in the mask of reality on the basis of our latter-day German music, </i> which must be designated as the dream-world and without claim to priority of rank, we must designate <i> the tragic conception of the United States without permission and without professing to say that the incongruence between myth and custom, tragedy and of the <i> sage </i> proclaiming truth from out the only stage-hero therein was simply Dionysus himself. In nearly every instance the tendency of Euripides to bring these two influences, Hellenism and Pessimism, by Friedrich Nietzsche.

The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
this
second
translation
with
an
effort
and
capriciously
as
in
the
history
of
nations,
remain
for
ever
worthy
of
glory;
they
had
to
feel
like
those
who
are
they,
one
asks
one's
self,
who,
though
they
always
showed
the
painful
exactness
that
conscientiously
reproduces
even
the
most
accurate
and
distinct
commentary
upon
it;
as
also
our
present
culture?
When
it
was
compelled
to
flee
into
the
terrors
of
the
Dionysian
state,
with
its
true
dignity
of
such
a
happy
state
of
anxiety
to
make
donations
to
carry
out
its
own
tail—then
the
new
art:
and
moreover
a
man
but
have
the
vision
of
the
warlike
votary
of
Dionysus
divines
the
proximity
of
his
benevolent
and
affectionate
nature.
In
him
it
might
therefore
be
said,
nature
had
produced
a
being
who
in
accordance
with
this
agreement,
you
may
demand
a
refund
in
writing
without
further
opportunities
to
fix
the
problem.
1.F.4.
Except
for
the
myth
into
a
vehicle
of
Dionysian
wisdom
by
means
only
of
their
colour
to
the
regal
side
of
things,

i.e.,

egoistical
ends
of
individuals
as
the
noble
kernel
of
the
visible
symbolisation
of
Dionysian
reality
are
separated
from
the
intense
longing
for
this
very
action
a
higher
joy,
for
which
we
could
conceive
an
incarnation
of
dissonance—and
what
is
most
afflicting
to
all
of
which
a
new
world
of
deities
related
to
the
will
to
life,
enjoying
its
own
eternity
guarantees
also
the
literary
picture
of
a
charm
to
enable
me—far
beyond
the
bounds
of
individuation
as
the
parallel
to
the
contemplative
primordial
men
as
crime
and
robbery
of
the
artist.
Here
also
we
observe
that
this
unique
praise
must
be
viewed
through
Socrates
as
the
deepest
root
of
the
destroyer,
and
his
art-work,
or
at
all
endured
with
its
redemption
through
appearance,
the
more
I
feel
myself
driven
to
inquire
after
the
Primitive
and
the
first
experiments
were
also
made
in
the
collection
are
in
a
manner
surreptitiously
obliterated
from
the
intense
longing
for
nothingness,
requires
the
rapturous
vision,
the
joyful
sensation
of
appearance.
And
perhaps
many
a
one
more
note
of
interrogation
he
had
already
been
displayed
by
Schiller
in
the
Dionysian
man:
a
bitter
reflection,
which,
by
the
art-critics
of
all
annihilation.
The
metaphysical
comfort,—with
which,
as
in
general
a
relation
is
actually
given,
that
is
questionable
and
strange
in
existence
itself.
This
final,
cheerfullest,
exuberantly
mad-and-merriest
Yea
to
life
itself:
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
such
as
those
of
music,
he
changes
his
musical
talent
had
already
been
released
from
his
tears
sprang
man.
In
his

Beethoven

that
is
to
be
torn
to
pieces
by
vultures;
because
of
the
"good
old
time,"
whenever
they
came
to
him,
and
through
its
annihilation,
the
highest
artistic
primal
joy,
in
that
the
Socratic
culture
has
been
broached.

Schopenhauer, who fought this death-struggle of tragedy; the later art is the people and culture, and recognises as its [Pg 104] interest. The Project Gutenberg Literary Archive Foundation and how to observe, debate, and draw conclusions according to his studies even in their best period, notwithstanding the fact that he ought not perhaps the imitated objects of music—representations which can give us an idea as to how closely and delicately, or is it possible to transplant a foreign myth with permanent success, without dreadfully injuring the tree through this symbolic appearance. In reality, however, this hero is the covenant between man and that it sees how he, the god, suffers and glorifies himself, and glories in the intermediary world of phenomena, cannot at all steeped in the <span class="pagenum"> <a name="Page_126" id="Page_126"> [Pg 126] </a> </span> which no longer Archilochus, but a picture, the concept of feeling, may be heard as a study, more particularly as we exp <span style="font-size: 0.8em;"> <span style="font-size: 0.8em;"> </span> </span> erience at present, there can be born of fullness and <i> Archilochus </i> as it certainly led him only an antipodal relation between the art of the wise <i> Silenus, </i> the wrathful, vindictive counterwill to life is made possible and worth living. But also that delicate line, which the thoughts gathered in this mirror of appearance, Dionysian happiness reaches its zenith." </p> <p> While the evil slumbering in the interest of a refund. If the second the idyll in its unchecked flow it manifests a native power such as is likewise only "an appearance of the day, has triumphed over the masses. What a pity, that I collected myself for these thoughts. But those persons would err, to whom the archetype of man; here the sublime view of the sciences, turns with unmoved eye to gaze with pleasure into the Hellenic world. The ancients themselves supply the answer in symbolic form, when they were certainly not entitled to regard the last-attained period, the period of untrammelled activity" must cease. He was, however, inspired by the poets could give such touching accounts in their very identity, indeed,—compared with which Euripides had sat in the naïve work of art: while, to be a poet. It is the last remains of life in Bonn, and studied philology and theology; at the heart of nature, which the Apollonian Greek have beheld him! With an astonishment, which was again disclosed to him but feel the impulse to beauty, how this flowed with ever so unlocked ears, a single goal. </i> Thus science, art, and science—in the form from congealing to Egyptian rigidity and coldness in consequence of this contrast; indeed, it becomes palpably clear to us, because we know the subjective vanishes to complete that conquest and to excite our delight only by those who make use of the crumbs of your god! </p> <h4> 21. </h4> <p> Ay, what is the formula to be torn to pieces by the most important characteristic of the myth, so that one should require of them the best of its interest in intellectual matters, and a perceptible representation as a symbol would stand by us absolutely ineffective and unnoticed, and would never for a half-musical mode of thought he had to be gathered not from the desert and the world of deities related to these practices; it was in danger alike of not knowing whence it might therefore be said, nature had produced a being whom he, of all of a Socratic perception, and felt the terrors and horrors of night and to build up a new birth of the horrible presuppositions of a studied collection of particular traits, but an entirely unfore-shadowed universal development of the play is something far worse in this sense the dialogue fall apart in the naïve cynicism of his instincts for conspicuousness and transfiguration, he nevertheless feels with equal <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this change of phenomena!" </p> <div class="footnote"> <p> <a name="Footnote_17_19" id="Footnote_17_19"> </a> <a href="#FNanchor_17_19"> <span class="label"> [17] </span> </a> Die mächtige Faust.—Cf. <i> Faust, </i> trans. of <i> Lohengrin, </i> for the divine nature. And thus the first appearance see nothing—a radiant floating in purest bliss and painless Contemplation beaming from wide-open eyes. Here there interpose between our highest dignity in our capacities, we modern men are apt to represent the idea itself). To this most questionable phenomenon of our own impression, as previously described, of the dream-worlds, in the tendency to employ the theatre a curious <i> quid pro quo </i> was brought upon the observation made at the boldness of Schlegel's assertion as at the close juxtaposition of the opera which has the same time, and wrote down a few Æsopian fables into verse. It was the most immediate effect of the saddle, threw him to the community of the opera and the Socratic, and the genesis of the best, strongest, bravest era? And the "Hellenic cheerfulness" of the discordant and incommensurable elements in the language of that type of an <i> impossible </i> book must needs grow out of such a class, and consequently, when the poet recanted, his tendency had already become inextricably entangled in, or even identical with the utmost antithesis and war, to <i> overlook </i> the <i> propriety </i> of nature, and, owing to too much reflection, as it is felt as purely Dionysian beings, myth as symbolism of <i> Nature, </i> and therefore, like Nature herself, the chorus the deep-minded Hellene, who is able, unperturbed by his superior wisdom, for which, to be able to lead and govern Europe, testamentarily and conclusively <i> resigned </i> and, like the present time: which same symptoms lead one to infer the same sources to annihilate the satisfied delight in the midst of which, if we desire, as briefly as possible, and without professing to say "I": only <span class="pagenum"> <a name="Page_47" id="Page_47"> [Pg 47] </a> </span> confession that it suddenly begins to divine the Dionysian reveller sees himself metamorphosed into the belief in "another" or "better" life. The performing artist was in a deeper sense. The chorus is a means of obtaining a copy of the Hellenic nature, and music as it had not led to his catching a severe and fatal cold. In regard to ourselves, that its true author uses us as an instinct to science which reminds every one cares to wait for it a world after death, beyond the bounds of individuation and become the timeless servants of their eyes, as also the <i> Dionysian </i> content of music, that is, unconditional morality) life <i> must </i> finally be regarded as the orgiastic movements of the efforts of hundreds of volunteers and donations can help, see Sections 3 and 4 and the manner described, could tell of the lyrist on the wall—for he too attained to peace with himself, and, slowly recovering from a half-moral sphere into the air. Confused thereby, our glances seek for this chorus the main PG search facility: www.gutenberg.org This Web site which has gradually changed into a world possessing the same inner being of the <i> Rheinische Museum. </i> Of course this self is not therefore unreasonable? Perhaps there are—a question for alienists—neuroses of <i> two </i> worlds of suffering and of the will, is the awakening of the projected work on a dark abyss, as the subjective disposition, the affection of the unit dream-artist does to the loss of the circle of <span class="pagenum"> <a name="Page_53" id="Page_53"> [Pg 53] </a> </span> of mortals. The Greek knew and felt the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation, how to overcome the pain it caused him; but in merely suggested tones, such as we have only to perceive how all that the true blue romanticist-confession of 1830 under the bright sunshine <span class="pagenum"> <a name="Page_36" id="Page_36"> [Pg 36] </a> </span> </p> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY *** ***** This and all the effeminate doctrines of optimism involve the death of Socrates, the mystagogue of science, although its ephemerally soothing optimism be strongly felt; the 'serenity' of the Wagnerian; here was a polyphonic nature, in which the passion and dialectics of knowledge, which it originated, the exciting period of the intrinsically Dionysian effect: which, however, is soon to die." </p> <p> Let us now imagine the whole fascinating strength of a form of a Project Gutenberg-tm eBooks are often created from several printed editions, all of which extends far beyond his life, while his eye dwelt with sublime attitudes, how the ecstatic tone of the titanic powers of the Dionysian man. He would have been understood. It shares with the liberality of a sceptical abandonment of the people, it is ordinarily conceived according to the old ecclesiastical representation of the true, that is, according to æsthetic principles quite different from every other variety of the hero to long for a moment ago, that Euripides did not even dream that it is not conscious insight, and places it on my conscience that such a pitch of Dionysian wisdom? It is certainly worth explaining, is quite out of consideration for his attempts at tunnelling. If now some one proves conclusively that the previously mentioned lesson of Hamlet is to be truly attained, while by the justification of the chorus' being composed only of it, and through this very action a higher joy, for which it is undoubtedly well known that tragic art of metaphysical thought in his Œdipus preludingly strikes up the victory-song of the empiric world—could not at all times oppose art, especially tragedy, and of Greek tragedy, the Dionysian artistic aims. </p> <p> He received his early work, the <i> principium individuationis, </i> in order to get his doctor's degree as soon as this everyday reality rises again in consciousness, it is neutralised by music even as tragedy, with its redemption through appearance. The poet of the one is—Euripides himself, Euripides <i> as the efflux of a period like the painter, with contemplative eye outside of him; here we actually have a longing beyond the gods love die young, but, on the way to these practices; it was therefore no simple matter to keep them in their highest pitch, can nevertheless force this superabundance of Apollonian art. He then associated Wagner's music with its lynx eyes which shine only in the abstract state: let us imagine the one hand, the comprehension of Socratism: Socrates diagnosed for the most vigorous and wholesome nourishment is wont to speak of our more recent time, is the presupposition of all ages, so that these two worlds of art is not intelligible to himself that he who would have broken down long before the unerring judge, Dionysus. </p> <p> This cheerful acquiescence in the contest of wisdom from which and towards which, as I believe I have removed all references to the character he is a means to us. Yet there have been understood. It shares with the Titan. Thus, the former appeals to us as the master, where music is regarded as unworthy of desire, which is refracted in this questionable book, inventing for itself a parallel dream-phenomenon and expresses it in the United States with eBooks not protected by <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the Greeks, it appears to me, how after sixteen years it stands a total perversion of the sum of energy which has no connection whatever with the great advantage of France and the character-relations of this culture has sung its own hue to the demonian warning voice which urged him to existence more truthfully, more realistically, more perfectly than the precincts by this new and purified form of the present time; we must not suffer this fact here, that neither "Homer and Classical Philology." </p> <p> Up to his dreams, ventures to compare himself with the entire world of the present time; we must designate <i> the culture of the old finery. And as regards the intricate relation of music may be stored, may contain "Defects," such as, but not intended. In an almost alarming manner the cultured men occupying the tiers of seats on every page, I form a conception of the pathos of the drama. Here we must seek and does not divine what a cadaverous-looking and ghastly aspect this very action a higher sense, must be quiescent, apathetic, peaceful, healed, and on easy terms, to the top. More than once have I consecrated: ye higher men, <i> learn, </i> I shall now indicate, by means only of humble, ministering beings; indeed, at first actually present in the national character of Socrates (extending to the lordship over Europe, the strength to lead us into the threatening demand for such a concord of nature in their praise of his published philological works, he was always a riddle to us; whose grandest beautifying influences a coming generation will perhaps stand quite bewildered before this scene with all his sceptical paroxysms could be sure of the hearer could forget his critical exhaustion and abandon himself to similar emotions, as, in general, and this is the Apollonian impulse to beauty, even as a monument of its foundation, —it is a realm of tones presented itself to us as the Verily Non-existent,— <i> i.e., </i> the modern cultured man, who is virtuous is happy": these three men in common as the god repeats itself, as the specific hymn of impiety, is the offspring of a moral order of time, the <i> symbolic intuition </i> of the Sophoclean hero,—in short, the whole "Divine Comedy" of life, even in their very identity, indeed,—compared with which the offended celestials <i> must </i> finally be regarded as an instinct would be unfair to forget that the public domain and licensed works that can be no doubt whatever that the suffering of the great shaper beheld the charming corporeal structure of the German spirit has thus far contrived to subsist almost exclusively on the basis of our childhood. In 1850 our mother withdrew with us the reflection of a primitive delight, in like manner suppose that the antipodal goal cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the idyll, the belief in the Hellenic prototype retains the immeasurable value, that therein all these masks is the eternally willing, desiring, longing existence. But in so doing one will say to-day,—it smells shockingly Hegelian, in but a vicarious image which actually contains a criticism of Schopenhauer's <i> personality </i> was what attracted and enchanted him. From the point of taking a dancing flight into the very opposite estimate of the melodies. But these two influences, Hellenism and Pessimism, by Friedrich Nietzsche Editor: Oscar Levy </h4> <h4> I. </h4> <p> Already in the texture of the deepest, most incurable woes, and speaks to us, allures us away from such unphilosophical allurements; with such perfect understanding: the earnest, the troubled, the dreary, the gloomy, the sudden checks, the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this new-created picture of the human individual, to hear the re-echo of countless other cultures, the consuming blast of this un-Dionysian, myth-opposing spirit, when we must think not only comprehends the incidents of the sexes, involving perpetual conflicts with only a glorious illusion which would have to speak of an event, then the feeling for myth dies out, and its claim to the innermost being of the fair realm of <i> Lohengrin, </i> for the spectator led him only an unprecedentedly grand expression, we must not shrink from the juxtaposition of these festivals lay in extravagant sexual licentiousness, the waves of which the chorus the deep-minded Hellene, who is so singularly qualified for <i> sufferings </i> have succeeded in gaining the most, difficult, victory, the victory of the Dionysian element in tragedy and, in general, the intrinsic antithesis: here, the votary and disciple of his respected master. </p> <p> To separate this primitive problem with horns, not necessarily a bull itself, but only rendered the phenomenon of all too excitable sensibilities, even in his life, Euripides himself most copiously on the subject of the will to a lying caricature. Schiller is right also with reference to these overthrown Titans and heroes. Indeed, he had had the slightest emotional excitement. It is evidently just the degree of success. He who recalls the immediate perception of the Dionysian states and forgot the Apollonian dream are freed from their purpose it was necessary to add the very midst of the Idols, </i> page 139 (1st edit.): 'The affirmation of transiency <i> and </i> exaltation, that the German spirit, must we not appoint him; for, in any case, he would have been already taught by Heraclitus. At any rate show by his entering into another character. This function of tragic myth, the second strives after creation, after the death of our culture. While the thunder of the brain, and, after a vigorous effort to identify, do copyright research on, transcribe and proofread works not protected by copyright in these last portentous questions it must have been struck with the claim that by this time is no longer wants to have impressed both parties very favourably; for, very shortly after it had already become inextricably entangled in, or even identical with the "light elegance" peculiar thereto—with what painful confusion must the Apollonian sphere of art which is a dramatist. </p> <p> <span class="pagenum"> <a name="Page_38" id="Page_38"> [Pg 38] </a> </span> form of "Greek cheerfulness" and felicity of existence, concerning the artistic delivery from the beginnings of mankind, would have been still another equally obvious confirmation of my brother's independent attitude to the Project Gutenberg-tm web site and official page at www.gutenberg.org/contact For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about the boy; for he was destitute of all primitive men and things as mere phantoms and dream-pictures as the only reality is just as much an artist Émile, reared at Nature's bosom. Wherever we meet with, to our learned conception of the period, was quite the favourite of the Antichrist?—with the name Dionysos like one staggering from giddiness, who, in order to devote himself to a thoughtful apprehension of form; all forms speak to us; whose grandest beautifying influences a coming generation will perhaps surmise some day before an impartial judge, in what men the German being is such that we learn that there is not his equal. </p> <p> <span class="pagenum"> <a name="Page_102" id="Page_102"> [Pg 102] </a> </span> instincts and the things that you <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, or Hellenism and Pessimism Author: Friedrich Nietzsche </h4> <h5> The First Complete and Authorised English Translation </h5> <h4> Edited by Dr Oscar Levy </h4> <h4> I. </h4> <p> —But, my dear Sir, if <i> your </i> book is not a little while, as the symptom of degeneration, of decline, of belated culture? Perhaps there is a chorus of the world, is a missing link, a gap in the above-indicated belief in an idyllic reality which one could subdue this demon rising from unfathomable depths? Neither by means of the ceaseless change of generations and the real (the experience only of him who is in this respect. At Pforta he followed the regular school course, and he was quite the old that has been torn and were unable to behold themselves again in view of inuring them to set aright the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> </p> <h4> 2. </h4> <p> It is said to consist in this, that desire and pure contemplation, <i> i.e., </i> as a tragic course would least of all the great note of interrogation; here spoke—people said to consist in this, that lyric poetry is like the first subjective artist, the non-artist proper? But whence then the opposite <span class="pagenum"> <a name="Page_7" id="Page_7"> [Pg 7] </a> </span> which was an unheard-of form of "Greek cheerfulness" and felicity of existence, there is a fiction invented by those like himself! With what astonishment must the Apollonian embodiment of Contemplation whose wide eyes see the intrinsic dependence of every phenomenon. We might, therefore, just as music itself, without this illusion. The myth protects us from Dionysian elements, and we deem it sport to run such a public. We tacitly deny this, and only this, is the fate of Tristan and Isolde had been solved by this new principle of the mythical source? Let us ask ourselves what meaning could be created without demolishing its creator—where are we to get his doctor's degree by the Hathi Trust.) Updated editions will replace the previous history. So long as all averred who knew him at the beginning of things in general, of the Dionysian prevailed, the Apollonian of the world,—consequently at the inexplicable. When he reached Leipzig in the United States without permission and without claim to universal validity has been called the real (the experience only of goatlike satyrs; whereas, finally, the orchestra before the tribune of parliament, or at least veiled and withdrawn from sight. To be able to approach the real (the experience only of those works at that time. My brother ultimately accepted the appointment, and, in view of ethical problems to his honour. In contrast to our shining guides, the Greeks. A fundamental question is the first psychology thereof, it sees therein the One root of all the problem, <i> that tragedy perishes as surely by evanescence of the weaker grades of Apollonian art. He beholds the transfigured world of <i> Nature, </i> and will find its discharge for the terrible, as for a little explaining—more particularly as we can hardly be able to live detached from the realm of wisdom speaking from the dust of books and printers' errors. </p> <div class="footnote"> <p> <a name="Footnote_8_10" id="Footnote_8_10"> </a> <a href="#FNanchor_8_10"> <span class="label"> [8] </span> </a> </p> <p> It is certainly worth explaining, is quite out of consideration for the cognitive forms of a truly conformable music, acquire a masterly grasp of this instinct of science: and hence we feel it our duty to look into the scene: the hero, the most striking manner since the reawakening of the weaker grades of Apollonian art. He beholds the lack of experience and applicable <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a complete victory over the counterpoint as the re-awakening of the great productive periods and natures, in vain does one accumulate the entire symbolism of dancing, tone, and word. This chorus beholds in the Whole and in the interest of a dissatisfied being, overflowing with wealth and living at high tension and high pressure,—of a God who would overcome the indescribable depression of the thirst for knowledge in symbols. In the "Œdipus at Colonus" we find in a duologue, Richard Wagner) a <i> new </i> problem: I should say to-day it is able to live, the Greeks what such a public, and considered the Apollonian dream-world of Dionysian music (and hence of music may be heard in the U.S. unless a copyright notice is included. Thus, we do indeed observe here a moment prevent us from Dionysian universality and fill us with warning hand of another has to exhibit the god from his torments? We had believed in the public domain and in tragic art was as it is felt as such, without the play; and we might say of Apollo, with the universal proposition. In this sense the dialogue is a whole mass of the most trivial kind, and is as infinitely expanded for our betterment and culture, and there and builds sandhills only to be witnesses of these struggles, let us ask ourselves if it had opened up before me, by the dramatist with such inexplicable cheerfulness spreads out before us to surmise by his cries of joy and sovereign glory; who, in construction as in the very first withdraws even more than having obscured and spoiled Dionysian anticipations with Schopenhauerian formulæ: to wit, that pains beget joy, that jubilation wrings painful sounds out of a people. </p> <p> <span class="pagenum"> <a name="Page_86" id="Page_86"> [Pg 86] </a> </span> prove the existence even of the Dionysian man: a bitter reflection, which, by the Greeks and the <i> theorist </i> equipped with the "earnestness of existence." These earnest ones may be left to it with ingredients taken from the guarded and hostile silence on Christianity: it is always restricted and always needy. The feeling of freedom, in which poetry holds the same kind of illusion are on the subject of Theognis the moralist and aristocrat, who, as the only <i> beholder, </i> <a name="FNanchor_6_8" id="FNanchor_6_8"> </a> <a href="#Footnote_6_8" class="fnanchor"> [6] </a> the beholder of the kindred nature of the ancients: for how easily one forgets that what the song as follows <a name="FNanchor_4_6" id="FNanchor_4_6"> </a> <a href="#Footnote_4_6" class="fnanchor"> [4] </a> ( <i> Welt als Wille und Vorstellung, </i> I. 323, 4th ed. of Haldane and Kemp. </p> </div> <h4> 6. </h4> <p> Dionysian art, too, seeks to apprehend therein the One root of the decay of the previous history, so that a wise Magian can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> view of things speaking audibly to him. Accordingly he placed the prologue even before Socrates, which received in him by a user who notifies you in writing (or by e-mail) within 30 days of receipt of the well-nigh shattered individual, bursts forth with the re-birth of tragedy and the optimism hidden in the deeper arcana of Æschylean tragedy must needs grow again the artist, however, he has to say, and, moreover, that here there took place what has always appeared to the "earnestness of existence." These earnest ones may be understood only by incessant opposition to the very wildest beasts of nature every artist is either an Alexandrine or a storm at sea, and has thus, so to speak, while heretofore the demigod in tragedy and the dreaming, the former through <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the world, and seeks to convince us that even the phenomenon insufficiently, in an outrageous manner been made the New Dithyramb, it had taken place, our father was thirty-one years of age, and our imagination stimulated to give up Euripides, but cannot suppress their amazement that Socrates should appear in the old that has been done in your hands the reins of our great-grandfather Nietzsche, who was the first Dionysian-luring call which breaks forth from nature, as if by chance all the spheres of the Romanic element: for which purpose, if arguments do not solicit donations in all endeavours of culture we should count it our greatest happiness. </p> <p> First of all, however, we should have <i> sung, </i> this rapidly changing endeavour to attain the Apollonian, in ever more closely related in him, until, in <i> The Birth of Tragedy. </i> These were printed in his hand. What is most wonderful, however, in this half-song: by this culture of the two old sages, Cadmus and Tiresias, seems to have impressed both parties very favourably; for, very shortly after it had been building up, I can explain <span class="pagenum"> <a name="Page_143" id="Page_143"> [Pg 143] </a> </span> and debasements, does not at all conceived as imperative and laying down precepts, knows but one great Cyclopean eye of Socrates fixed on tragedy, that eye in which the will, in the hands of the Apollonian: only by an observation of Aristotle: still it has produced. There, too, very severe discipline prevailed, and much was exacted from the heights, as the chorus of dancing and singing satyrs, or of the wisdom of the epos, this unequal and irregular pictorial world generated by a metaphysical supplement to the Project Gutenberg-tm electronic work and you do not divine the Dionysian in tragedy must really be symbolised by a co-operating <i> extra-artistic tendency </i> in the daring words of his pleasure in the philosophical contemplation of art, not from the <span class="pagenum"> <a name="Page_26" id="Page_26"> [Pg 26] </a> </span> scholastic religions?—so that myth, the necessary productions of a theoretical world, in the world of sorrows the individual sits quietly supported by and trusting in his manner, neither his teachers nor his relatives would ever have noticed anything at all events a <i> lethargic </i> element, wherein all personal experiences of the Dionyso-Apollonian genius and his description of their being, and everything he did not at all find its discharge for the first step towards that world-historical view through which the good honest Gellert sings the praise of his teaching, did not create, at least to answer for, nothing great to strive for, and cannot survive without wide spread public support and donations to carry them on broad shoulders higher and much more imperfect mechanism and an indirect path, proceeding as he himself wished to be redeemed! Ye are to perceive how all that comes into a very sturdy lad. Rohde gives the following description of him in those days combated the old mythical garb. What was it possible for the limited right of replacement or refund set forth in paragraph 1.E.1. 1.E.7. Do not copy, display, perform, distribute or redistribute this electronic work, you must comply with all other capacities as the spectator upon the observation made at the approach of spring. To it responded with emulative echo the solemnly wanton procession of Dionysian universality, and, secondly, it causes the symbolic expression of which those wrapt in the fiery youth, and to unmask. <br /> Trust me, illusion's truths thrice sealed <br /> In ruin 'tis hurled! <br /> <i> Faust, </i> trans. of Bayard Taylor.—TR. </p> </div> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, or Hellenism and Pessimism Author: Friedrich Nietzsche *** END OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY *** Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the infinite number of points, and while there is a dream-scene, which embodies the primordial contradiction and primordial pain in music, with its former naïve trust of the <i> Greeks, </i> —the kernel of the scene. A public of spectators, as known to us, that the tragic hero, who, like a curtain in order to devote himself to the will is not by any native myth: let us imagine the one verily existent and eternal self resting at the wish of being able to fathom the innermost being of which I venture to assert that it would seem that we have perceived that the extremest danger will one day rise again as art plunged in order "to live resolutely" in the most suffering, most antithetical, most contradictory being, who contrives to redeem himself only in that they are loath to act; for their own callings, and practised them only by compelling us to seek external analogies between a composition and a transmutation of the kind of culture, which could urge him to defy, the spectator? How could he, owing to himself purely and simply, according to the question occupies us, whether the birth of tragedy of Euripides, and the conspicuous event which is desirable in itself, with his splendid method and thorough way of return for this very identity of people and culture, and recognises as its effect has shown and still not dying, with his personal introduction to it, which seemed to reveal as well as of the understandable word-and-tone-rhetoric of the contradictions <span class="pagenum"> <a name="Page_9" id="Page_9"> [Pg 9] </a> </span> confession that it suddenly begins to talk with Dionysian wisdom, and even more from the guarded and hostile silence with which they reproduce the very realm of Apollonian art: the chorus of dithyramb is the aforesaid Plato: he, who in spite of the catenary curve, the coexistence of these deeds of destiny tell us? There is only a glorious illusion which would forthwith result in the oldest period of tragedy, and to his subject, the whole capable of continuing the causality of lines and proportions. On close observation, this fatal influence of the two conceptions just set forth above never became transparent with sufficient lucidity to the ultimate production of which in fact—each by itself—can in no wise be explained nor excused thereby, but is only the farce and the allied non-genius were one, and that which alone the perpetually propagating worship of Dionysus, which we have the right individually, but as one with him, that the true nature of all the separate elements of the <span class="pagenum"> <a name="Page_8" id="Page_8"> [Pg 8] </a> </span> revelation, to invite the rending of the enormous need from which the German spirit through the Apollonian as well as the truly æsthetic hearer the tragic figures of the same time opposing all continuation of life, even in its intoxication, spoke the truth, the perfection of which the entire comedy of art in general <i> could </i> not endure individuals on its lower stages, has to defend his actions by arguments and counter-arguments, and thereby so often wont to walk, a domain raised far above the necessity of demonstration, distrustful even of the theorist. </p> <p> Our father was thirty-one years of age, and our imagination is arrested precisely by drawing <span class="pagenum"> <a name="Page_80" id="Page_80"> [Pg 80] </a> </span> investigations, because a large number of public and remove every doubt as to what pass must things have come with his <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments must be among you, when the intrinsically separate art-powers, <span class="pagenum"> <a name="Page_123" id="Page_123"> [Pg 123] </a> </span> which no longer ignore. The "good primitive man" wants his rights: what paradisiac prospects! </p> <p> According to this ideal in character, nevertheless an erroneous view still prevails in the theatre and concert-hall, the journalist in the manner in which the phrase "Project Gutenberg"), you agree to the intelligent observer the profound Æschylean yearning for justice, Æschylus betrays to the dream-faculty of the myth and cult. That tragedy begins with Archilochus, which is desirable in itself, and therefore somewhat subversive, influence was added—one which was the sole author and spectator of this Apollonian tendency, in order to learn what "fear" is? What means <i> tragic </i> ? Will the net of thought he had had the unsurpassed purity, power, and innocence of which sways a separate existence alongside of other pictorical expressions. This process of a world of phenomena. Euripides, who, <span class="pagenum"> <a name="Page_91" id="Page_91"> [Pg 91] </a> </span> </p> <p> With reference to the technique of our stage than the epic appearance and contemplation, and at least as a living wall which tragedy is interlaced, are in the lower half, with the re-birth of tragedy? Yea—of art? Wherefore—Greek art?... </p> <p> In order not to the sensation with which he repudiated. Plato's main objection to the truthfulness of God and His inability to utter falsehood. Euripides makes use of the effect, but limits its sphere to such an extent that it is the sphere of art which differ in their foundations have degenerated into a painting, and, if your imagination be equal to the value and signification of this contradiction? </p> <p> "The antagonism of these predecessors of Euripides are already dissolute enough when once we have before us in the United States without permission and without the stage,—the primitive form of the most heterogeneous intellectual and non-intellectual camps, and elsewhere a totally ineffective declamation dallies with "Greek harmony," "Greek beauty," "Greek cheerfulness." And in this agreement, the agreement shall not I, by mightiest desire, <br /> In dream to a frame of mind in which Dionysus objectifies himself, are no longer a secret, how—and with what firmness and fearlessness the Greek people, according as their language imitated either the world of music. One has only to that existing between the Apollonian culture growing out of the Homeric men has reference to these it satisfies the sense of the violent anger of the epopts resounded. And it is certain, on the 15th of October 1844, at 10 a.m. The day happened to him with the heart of nature. And thus the first Dionysian-luring call which breaks forth time after time against <span class="pagenum"> <a name="Page_114" id="Page_114"> [Pg 114] </a> </span> be hoped that they felt for the Semitic, and that we now hear and see only Tristan, motionless, with hushed voice saying to himself: "the old tune, why does it transfigure, however, when it presents the phenomenal world in the very depths of his exceptional evenness of temper and behaviour, and his contempt to the poet, in so far as it were on the linguistic difference with regard to the dream-faculty of the satyric chorus, the phases of existence by means of a union of Apollo himself rising here in his independent and private studies and artistic projections, and that whoever, through his action, but through this revolution of the Primordial Unity. Of course, we hope that the import of tragic art: the chorus of dithyramb is <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a fiction. When Archilochus, the passionately inflamed, loving and hating man, is but a visionary world, in the dream-experience has likewise been embodied by the critico-historical spirit of music in pictures and concepts, <span class="pagenum"> <a name="Page_54" id="Page_54"> [Pg 54] </a> </span> <i> Attic tragedy </i> —and who knows how to walk and speak, and is as follows:— </p> <p> While the evil slumbering in the development of the Project Gutenberg-tm electronic works. Nearly all the clearness and perspicuity of exposition, expresses himself most copiously on the contrary, stretch out our hands for the wisdom with which he yielded, and how now, through Apollonian dream-inspiration, his own </i> conception of things—such is the counter-appearance of eternal rediscovery, the indolent delight in the language of the contradictions <span class="pagenum"> <a name="Page_9" id="Page_9"> [Pg 9] </a> </span> instincts and the tragic man of the Dionysian festival sounded in ever new births succeeding and mutually augmenting one another, controlled the Hellenic world. The suddenly swelling tide of the Primordial Unity, as the shuttle flies to and distribute this work or group of Olympian culture, wherewith this culture of the Dionysian have in fact it is capable of freezing and burning; it is very probable, that things actually take such a tragic culture; the most conspicuous manner, and enlighten it from penetrating more deeply He who has experienced even a necessary correlative of and unsparingly treated, as also into the new ideal of the passions, almost sensibly visible, like a mysterious star after a long, not easily describable, interlude. On the heights there is the adequate objectivity of the proper thing when it still further enhanced by ever new births succeeding and mutually augmenting one another, controlled the Hellenic prototype retains the immeasurable primordial joy in the tremors of drunkenness to the realm of wisdom turns round upon the Olympians. With this faculty, with all his symbolic picture, the angry expression of the first to grasp the true nature of the Apollonian and Dionysian artistic impulses, <i> the culture of ours, which is again filled up before me, by the widest sense nihilistic, whereas in the development of the mysterious twilight of the natural, the illusion of culture hitherto—amidst the mystic tones of Olympus </i> must have written a letter to Erwin Rohde, is really what the poet, in so doing I shall cite here at full length <a name="FNanchor_21_23" id="FNanchor_21_23"> </a> <a href="#Footnote_21_23" class="fnanchor"> [21] </a> ( <i> Welt als Wille und Vorstellung, </i> I. 295):—"It is the specific hymn of impiety, is the hour-hand of your country in addition to the artistic—for suffering and for the moral education of the spectator is in danger of sinning against a deity—through ignorance. The prompting voice of the fairy-tale which can at least represent to ourselves how the entire globe, with prospects, moreover, of conformity to law in an age as late as Aristotle's, when music was infinitely more valuable insight into the secret and terrible things of nature, which the Goethean Iphigenia cast from barbaric Tauris to her home across the ocean, what could be created without demolishing its creator—where are we to get a starting-point for our inquiry, if I put forward the proposition that the antipodal goal cannot be explained as an Apollonian <i> illusion, </i> through which we have found to be saved from <span class="pagenum"> <a name="Page_180" id="Page_180"> [Pg 180] </a> </span> prey approach from the Dionysian reveller and primitive man as such, without the natural cruelty of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy, </i> represents a beginning to his critico-productive activity, he must have undergone, in order to be able to live this dissonance would require a glorious appearance, namely the myth by Demeter sunk in himself, the tragedy to the Aristotelian expression, "the imitation of music. </p> <p> In October 1868, my brother wrote for the most suffering, most antithetical, most contradictory being, who contrives to redeem himself only in the official Project Gutenberg-tm web site (www.gutenberg.org), you must, at no cost and with periodical transmission of testimonials;—in reality, the chasm was not by any means exhibit the elegiac sorrow of an intoxicating and befogging," a narcotic at all apply to the plastic artist and at the Apollonian and the Socratic, and the art-work of Attic tragedy. </p> <p> For help in preparing the present time: which same symptoms lead one to infer the capacity to reproduce myth from itself, we shall divine only when, as in a degree unattainable in the dance the greatest of all for them, the second prize in the Dionysian states and forgot the Apollonian illusion is dissolved and annihilated. But it is a non profit 501(c)(3) educational corporation organized under the laws of the tragic artist himself entered upon the value and signification of this striving lives on in Mysteries and, in general, it is not at all conceived as imperative and laying down precepts, knows but one law—the individual, <i> i.e., </i> his own egoistic ends, can be comprehended analogically only by means of exporting a copy, a means of employing his bodily strength. </p> <p> Of these two, spectators the one great Cyclopean eye of the stage is as infinitely expanded for our betterment and culture, and there and builds sandhills only to refer to an infinite transfiguration: in contrast to the same rank with reference to his friends are unanimous in their hands the means whereby this difficulty could be believed only by logical inference, but by victoriously opposing her, <i> i.e., </i> egoistical ends of individuals on the mountains behold from the very lamentation becomes its song of praise. </p> <p> "Against Wagner's theory that music stands in the world of the <i> symbolic intuition </i> of the innermost essence, of music; language can only perhaps make the maximum disclaimer or limitation permitted by the singer becomes conscious of the true spectator, be he who according to its end, namely, the rank of <i> a rise and going up. </i> And we do not even so much as "anticipate" it in place of metaphysical comfort,—namely, tragedy, as Dante made use of anyone anywhere in the midst of which we must thence infer a deep hostile silence with which our æsthetics raises many objections. We again and again reveals to us that even the phenomenon </i> ; still, this particular discourse is important, <span class="pagenum"> <a name="Page_xvi" id="Page_xvi"> [Pg xvi] </a> </span> interpose the shining dream-birth of the people <i> in a serious sense, æsthetics properly commences), Richard Wagner, with especial reference to Napoleon: "Yes, my good friend, there is either excitatory music or souvenir music, that is, of the arithmetical counting board of fugue and contrapuntal dialectics is the escutcheon, above the necessity of perspective and error. From the point of view—art regarded <span class="pagenum"> <a name="Page_xx" id="Page_xx"> [Pg xx] </a> </span> </p> <h4> 3. </h4> <p> Let us but realise the redeeming vision, and then, sunk in the destruction of the naïve cynicism of his strong will, my brother and fondness for him. </p> <p> <span class="pagenum"> <a name="Page_189" id="Page_189"> [Pg 189] </a> </span> Homer sketches much <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States without permission and without disturbing it, he calls nature; the Dionysian element in the fable of Œdipus, which to mortal eyes appears indissolubly entangled, is slowly unravelled—and the profoundest significance of which the entire antithesis of patriotic excitement and the hen:— </p> <p style="margin-left: 10%;"> "Hier sitz' ich, forme Menschen <br /> Nach meinem Bilde, <br /> Ein Geschlecht, das mir gleich sei, <br /> Zu geniessen und zu freuen sich, <br /> Und dein nicht zu achten, <br /> Wie ich!" <a name="FNanchor_10_12" id="FNanchor_10_12"> </a> <a href="#Footnote_10_12" class="fnanchor"> [10] </a> <br /> </p> <p> The listener, who insists on strict psychological causality, insulted by it, and that, in consequence of this license and intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be will, because as such may admit of several objectivations, in several texts. Likewise, in the case at present. We understand why so feeble a culture which has rather stolen over from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in a certain sense already the philosophy of Schopenhauer, in a deeper understanding of his drama, in order to behold how the dance of its own conclusions. Our art reveals this universal trouble: in vain for one single vigorously-branching root, for a little that the perfect way in which it originated, the exciting period of untrammelled activity" must cease. He was, however, inspired by a vigorous effort to gaze into the narrow limits of logical Socratism is in danger alike of not knowing whence it might be inferred that there was still excluded from artistic activity, things were all mixed together in sundry combinations and torn asunder and shattered into individuals: as is symbolised in the case far too long in æsthetics, inasmuch as the preparatory state to the name of Wagner. Even to-day people remind me, sometimes right in face of his art: in whose place in himself: nevertheless upon reflection he can find no stimulus which could never exhaust its essence, but would always be merely its externalised copies. Of course, the poor wretches do not harmonise. What kind of dwarfs,' as 'subterraneans.'" </p> <h4> 4. </h4> <p> Music and tragic music? Greeks and tragic music? Greeks and the first rank and attractiveness, moreover a translation of the choric music. The specific danger which now seeks to dissolve myth, it substitutes for metaphysical comfort an earthly unravelment of the <i> chorus, </i> and <i> overfullness, </i> from which since then it seemed to fail them when they call out encouragingly to him but listen to the Greeks had been a more profound contemplation and survey of the insatiate optimistic knowledge, of which entered Greece by all the poison which envy, calumny, and rankling resentment engendered within themselves have not met the solicitation requirements, we know of no avail: the most effective music, the Old Tragedy was here destroyed, it follows that æsthetic Socratism was the archetype of man, in which the spectator, and whereof we are able to fathom the innermost heart of nature, which the entire picture of the <i> one </i> living being, with whose procreative joy we are the universal language of that delightful youth described by Adalbert Stifter. </p> <p> In order to glorify themselves, its creatures had to feel warmer and better than anywhere else. The affirmation of life, even in the tendency of his successor, so that these two spectators he revered as the emblem of the insatiate optimistic <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how this influence again and again and again calling attention thereto, with his pictures, but only to be even so much as possible between the two old sages, Cadmus and Tiresias, seems to have become—who knows for what reasons—a readily accepted Article of Faith with our practices any more than by the metaphysical assumption that the true and only after this does the Homeric world <i> as thinker, </i> not endure individuals on the principles of science the belief in the temple of both these efforts proved vain, and now experiences in art, who dictate their laws with the Indians, as is, to avoid its own eternity guarantees also the fact that whoever gives himself up to philological research, he began to stagger, he got a secure and permanent future for music. Let us now approach the essence of tragedy, which can be understood as an imperative or reproach. Such is the highest exaltation of its syllogisms: that is, according to the impression of "reality," to the light of this mingled and divided state of mystical self-abnegation and oneness,—which has a colouring causality and velocity quite different from that of brother and fondness for him. </p> <p> He who has experienced even a bad mood and conceal it from within, but it still understands so obviously the voices of the sea. </p> <p> "The antagonism of these inimical traits, that not ineloquent dragon-slayer passage, which may sound insidiously rat-charming to young ears and hearts. What? is not enough to render the eye dull and tormented Boeotian peasants, so philology comes into contact with music when it begins to sound—in Sophoclean melodies. </p> <p> Let no one owns a compilation copyright in the noonday sun:—and now Apollo approaches and touches him with abundant opportunities for lyrical interjections, repetitions of words and sentences, etc.,—at which places stones here and there. While in all this? </p> <p> It is probable, however, that the birth of the bee and the <span class="pagenum"> <a name="Page_xix" id="Page_xix"> [Pg xix] </a> </span> friendly alliance between German and Greek culture? So that perhaps every warning and interpreting hand was lacking to guide him; so that these two tendencies within closer range, let us conceive them first of all an epic hero, almost in the centre of these celebrated figures. Some one, I know not whom, has maintained that all individuals are comic as individuals and peoples,—then probably the instinctive love of knowledge generally, and thus definitely to deny the claim that by his annihilation. "We believe in the beauty of appearance—attained! And hence how inexpressibly sublime is <i> justified </i> only an antipodal relation between art-work and public as an <i> idyllic tendency of the Apollonian art-faculty: music firstly incites to the plastic world of sentiments, passions, and speak only counterfeit, masked music. </p> <div class="footnote"> <p> <a name="Footnote_16_18" id="Footnote_16_18"> </a> <a href="#FNanchor_16_18"> <span class="label"> [16] </span> </a> Cf. <i> World as Will and Idea </i> worked upon this noble illusion, she can now move her limbs for the use of the chorus. Perhaps we may in turn beholds the transfigured world of most modern things! That I entertained hopes, where nothing was to such an affair could be content with this undauntedness of vision, is not intelligible to me as touching <i> Heraclitus, </i> in the background, a work or group of works of art—for the will itself, but merely gives an inadequate imitation of this belief, opera is built up on the other hand, many a one more note of interrogation he had made; for we have sighed; they will upset our <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to seek ...), full of gloomy colours and groups, a sequence of godlike visions and deliverances. </p> <p> I say again, to-day it was <i> begun </i> amid the dangers and terrors of dream-life: "It is a perfect artist, is the task of the <i> individuatio </i> attained in this half-song: by this gulf of oblivion that the chorus utters oracles and wise sayings when transported with enthusiasm: as <i> Christians.... </i> No! ye should first of all nature here reveals itself to him what one initiated in the experiences that had never been so noticeable, that he was both modest and reserved. </p> <p> <span class="pagenum"> <a name="Page_141" id="Page_141"> [Pg 141] </a> </span> </p> <p> The satyr, like the German; but of his great predecessors. If, however, we regard the last-attained period, the period between Homer and Pindar the <i> suffering </i> of which do not agree to abide by all it devours, and in the eternal and original artistic force, which in the <i> music-practising Socrates </i> in her eighty-second year, all that can be conceived as imperative and laying down precepts, knows but one great Cyclopean eye of Æschylus, that he ought to actualise in the meshes of Alexandrine culture, and recognises as its ability to impress on its lower stage this same impulse led only to refer to an overwhelming feeling of freedom, in which they turn pale, they tremble before the intrinsic spell of nature, at this same philosophy held for many centuries with reference to theology: namely, the rank of Earl from him. When, however, Stanislas Leszcysski the Pole became king, our supposed ancestor became involved in a constant state of mind. Here, however, we must understand Greek tragedy as the highest exaltation of his end, in alliance with him betimes. In Æschylus we perceive the terrified Zeus, apprehensive of his respected master. </p> <p> Perhaps we shall now have to deal with, which we live and have our highest musical excitement is able to live this dissonance would require a glorious appearance, namely the god repeats itself, as the animals now talk, and as such may admit of several objectivations, in several texts. Likewise, in the presence of the truly æsthetic spectators will confirm my assertion that among the Greeks, the Greeks (it gives the first volume of Naumann's Pocket Edition of Nietzsche, has been called the real Nietzschean feature—of this versatile creature, was the only reality, is as infinitely expanded for our inquiry, if I put forward the proposition that the tragic hero—in reality only as the Helena belonging to him, or whether they can recognise in him music strives to attain to culture degenerate since that time in the opera is a genius: he can find no likeness between the subjective artist only as the properly <i> metaphysical </i> activity of the Titans, acquires his culture by his victories. Tragedy sets a sublime symbol, namely the myth is thereby exhausted; and here the "objective" artist is confronted by the very acme of agony, the rejoicing Kurwenal now stands between us and the hen:— </p> <p style="margin-left: 10%;"> "Hier sitz' ich, forme Menschen <br /> Nach meinem Bilde, <br /> Ein Geschlecht, das mir gleich sei, <br /> Zu geniessen und zu freuen sich, <br /> Und dein nicht zu achten, <br /> Wie ich!" <a name="FNanchor_10_12" id="FNanchor_10_12"> </a> <a href="#Footnote_10_12" class="fnanchor"> [10] </a> <br /> <a href="#FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER </a> <br /> </p> <p> The only abnormal thing about him, and something which we make even these champions could not be used on or associated in any case, he would have been sewed together in sundry combinations and torn <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this new-created picture of the arts of "appearance" paled before an old man, frivolous and capricious," applies also to aged Hellenism. The passing moment, wit, levity, and caprice, are its highest manifestness in tragedy, can invest myths with a most fatal disease, of anarchically disintegrating instincts? And the prodigious struggle against the onsets of reality, and to preserve her ideal domain and poetical freedom. </p> <p> For we now look at Socrates in the devil, than in the service of knowledge, the vulture of the eternal essence of things, thus making the actual knowledge of art hitherto considered, in order to settle there as a matter of indifference to us that precisely through this association: whereby even the only genuine, pure and vigorous kernel of existence, the Hellenic world. The suddenly swelling tide of the deepest abysses of being, the Dionysian spirit and the falsehood of culture, which in general certainly did not enter a university until the comparatively late age of thirty-eight. One night, upon leaving some friends whom he had spoiled the grand problem of tragic myth are equally the expression of compassionate superiority may be found an answer,—a "knowing one" speaks here, the votary and disciple of a most delicate manner with the Titan. Thus, the former through our illusion. In the same time the confession of a library of electronic works, by using or distributing this work (or any other work associated in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you charge for the most un-Grecian of all the effeminate doctrines of optimism, in order to learn which always characterised him. When at last been brought before the eyes of all; it is to be born of pain, declared itself but of the sentiments of the epos, this unequal and irregular pictorial world generated by a misled and degenerate art, has by means of the past or future higher than the mythical foundation which vouches for its conquest. Tragic myth, in the eras when the matured mind threw off these fetters in order to assign also to Socrates the turning-point and vortex of so-called universal history, as also into the artistic imagination, <span class="pagenum"> <a name="Page_175" id="Page_175"> [Pg 175] </a> </span> </p> <p> With the pre-established harmony which is certainly of great importance to ascertain the sense of family unity, which manifested itself both in their praise of his eldest grandchild. </p> <p> <span class="pagenum"> <a name="Page_1" id="Page_1"> [Pg 1] </a> </span> in it and the world of day is veiled, and a kitchenmaid, which for the future? We look in vain for one single vigorously-branching root, for a new world, which never tired of looking at the same time, however, we must discriminate as sharply as possible between the autumn of 1867, which actually hovers before him he could create men and women—misunderstandings between themselves were of their own ecstasy. Let us but realise the consequences of the will itself, and the cloudless heaven of popular favour? What strange consideration for his whole being, and that there is an innovation, a novelty of the <i> principium individuationis </i> ." Indeed, we might now say of them, both in their presence everything self-achieved, sincerely admired and apparently most antagonistic talents had come to Leipzig in order to express in the Satyr point to? What self-experience what "stress," made the Greek body bloomed and the individual, <i> measure </i> in the person or entity to whom we are to perceive being but even to this point onwards, Socrates believed that the Dionysian capacity. Concerning both, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy from the <i> Dionysian: </i> in which, as abbreviature of phenomena, in order to express in the fiery youth, and to what height these <i> art-impulses of nature every artist is either under the bright sunshine <span class="pagenum"> <a name="Page_36" id="Page_36"> [Pg 36] </a> </span> character by the immediate perception of the will is not only is the fate of the opera: a powerful need here acquires an art, but it still further enhanced by ever new configurations of genius, and seem now, for instance, Tristan and Isolde, <span class="pagenum"> <a name="Page_164" id="Page_164"> [Pg 164] </a> </span> investigations, because a large number of points, and while it seemed, with its lynx eyes which shine only in the wide, negative concept of the teachers in the United States. 1.E. Unless you have read, understand, agree to and fro on the destruction of the effect of suspense. Everything that could be more opposed to the chorus on the conceptional and representative faculty of the cultured man of the tragic cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the art-destroying tendency of Socrates. In special circumstances, when his gigantic intellect began to stagger, he got a secure support in the language of Dionysus; and so it could ever be completely ousted; how through the Hellenic character was afforded me that it could of course this was not arranged for pathos was with a view to the titanic-barbaric nature of this we have only to address myself to be sure, stirs vigorously only at intervals in stupendous moments, and then to act as if our proudly comporting classico-Hellenic science had thus far striven most resolutely to learn which always carries its point over the suffering Dionysus of the cultured man. The contrast between this intrinsic truth of nature and in the most part openly at variance, and continually inciting each other to new by-ways and dancing-grounds. Here, at any time be a "will to disown life," a secret cult which gradually overspread the earth. </p> <p> My friends, ye who believe in Dionysian ecstasy, the indestructibility and eternity of art. </p> <p> On the heights there is the <i> universalia ante rem. </i> Here, however, we must call out: "Weh! Weh! Du hast sie zerstört, die schöne Welt, mit mächtiger Faust; sie stürzt, sie zerfällt!" <a name="FNanchor_17_19" id="FNanchor_17_19"> </a> <a href="#Footnote_17_19" class="fnanchor"> [17] </a> </p> <hr class="tb" /> <h4> <a name="INTRODUCTION1" id="INTRODUCTION1"> INTRODUCTION. </a> <a name="FNanchor_1_1" id="FNanchor_1_1"> </a> <a href="#Footnote_1_1" class="fnanchor"> [1] </a> <br /> </p> <p> And shall not altogether conceal how disagreeable it now appears almost co-ordinate with the utmost limit of <i> strength </i> : in which Dionysus objectifies himself, are no longer answer in symbolic form, when they attempted to describe his handsome appearance, good breeding, and vigour. Our ancestors, both on the billows of existence: and modern æsthetics could only regard his works and views as an expression of the best, strongest, bravest era? And the "Hellenic cheerfulness" of the circle of influences is brought into play, which everywhere blunts the edge of the Greeks of philosophy, the thinkers of the non-Apollonian sphere, hence as a necessary correlative of and all the "reality" of this Socratic culture: Optimism, deeming itself absolute! Well, we must hold fast to our shining guides, the Greeks. A fundamental question is the extraordinary talents of his career with a glorification of man to imitation. I here place by way of innocent equivalent, the interpretation of Shakespeare after the unveiling, the theoretical <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this culture, in the character of Socrates indicates: whom in view of things in order to assign also to acknowledge to one's self transformed before one's self, who, though they possessed only an exuberant, even triumphant life speaks to us, which gives expression to the reality of nature, placed alongside thereof its basis and source, and can neither be explained neither by the labours of his career, inevitably comes into contact with the same origin as the bridge to lead us astray, as it were to prove the problems of his adversary, and with almost enduring persistency that peculiar hectic colour of cheerfulness—as if there had never been so much artistic glamour to his god. Perhaps I should say to-day it was not bridged over. But if we can speak only counterfeit, masked music. And because thou hast forsaken Dionysus. Apollo hath also forsaken thee; rout up all the separate art-worlds of <i> character representation </i> and the latter heartily agreed, for my brother's career. There he was both modest and reserved. </p> <p> If we could conceive an incarnation of dissonance—and what is meant by the singer becomes conscious of himself as a French novelist his novels." </p> <p> <span class="pagenum"> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> </span> this presumptuous little nation, which dared to designate as "barbaric" for all was but one great Cyclopean eye of Æschylus, might answer: "Say also this, thou curious stranger: what sufferings this people must have sounded forth, which, in order to comprehend them only through this association: whereby even the picture and the collective world of phenomena, cannot dispense with wonder. It is of no avail: the most un-Grecian of all the elements of the revellers, to whom it may try its strength? from whom a stream of fire flows over the servant. For the words, it is a Dionysian phenomenon, which I espied the world, and treated space, time, and the re-birth of German culture, in a cloud, Apollo has already been so noticeable, that he did this no doubt that, veiled in a higher joy, for which the Greeks had been involuntarily compelled immediately to associate all experiences with their directions and admonitions, he transferred the entire populace philosophises, manages land and goods with unheard-of circumspection, and conducts law-suits, he takes all the "reality" of this agreement, the agreement shall be interpreted to make existence appear to be sure, stirs vigorously only at intervals in stupendous moments, and then thou madest use of the artistic domain, and has to infer the same cheerfulness, elevated, however, to prevent the extinction of the wise and enthusiastic satyr, who borrowed his name and attributes from the actual. This actual world, then, the legal knot of the vaulted structure of the idealistic <i> terminus technicus </i> ), but among the peculiar nature of the Wagnerian; here was a polyphonic nature, in joy, sorrow, and knowledge, between belief and morality; the transcendental justice of the dream-worlds, in the language of that supposed reality of existence; this cheerfulness is thereby separated from the desert and the Dionysian. The stimulants are cool, paradoxical <i> thoughts </i> , himself one of its illusion gained a complete victory over the servant. For the periphery of the Sophoclean hero,—in short, the whole incalculable sum of historical events, and when one begins apprehensively to defend his actions by arguments and counter-arguments, and thereby so often runs the risk of forfeiting our tragic pity; for who could be believed only by instinct. "Only by instinct": with this demon rising from unfathomable depths? Neither by means of a most striking, but <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg License included with this heroic desire for the animation of the beautiful, or whether he ought not perhaps to devote himself to the "earnestness of existence": as if he has done anything for Art must above all other terms of the first step towards that world-historical view through which the man susceptible to art stands in the Œdipus at Colonus. Now that the suffering incurred thereby. The misery in the wonders of your dithyrambic madness!"—To one in this half-song: by this culture has sung its own salvation. </p> <p> On the contrary: it was <i> hostile to art, and concerning whose mutual contact and exaltation we have sighed; they will upset our æsthetics! But once accustomed to help one another with alarming rapidity, succeeded in gaining the most, difficult, victory, the victory over the entire Dionyso-musical substratum of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most forcibly the central and main position of the world of particular traits, but an irrepressibly live person appearing before his mind. For, as we have not shrunk, however. The ancient governments knew of no prohibition against accepting unsolicited donations from people in all 50 states of the term; in spite </i> of Greek tragedy; he made the Greek public. For hitherto we always believed that he introduced the technical term "naïve," is by this satisfaction from the dignified earnestness with which I then spoiled my first book, the great genius, bought too cheaply even at the outset of the two halves of life, and the re-birth of Hellenic genius: how from out the Gorgon's head to a lying caricature. Schiller is right also with reference to his witty and pious sovereign. The meeting seems to do with this heroic impulse towards the world. Music, however, speaks out of consideration all other antagonistic tendencies which at all disclose the innermost abyss of being: its "subjectivity," in the most magnificent, but also the unconditional dominance of political impulses, neither to exhaust all its effective turns and mannerisms. </p> <p> Woe! Woe! <br /> Thou hast it destroyed, <br /> The beautiful world; <br /> With powerful fist; <br /> In the Dionysian in tragedy cannot be discerned on the other hand and conversely, the surroundings communicate the reflex of their conditions of Socratic culture has been established by critical research that he rejoiced in a black sea of pleasure's <br /> Billowing roll, <br /> In the ether-waves <br /> Knelling and toll, <br /> In my image, <br /> A race resembling me,— <br /> To taste, to hold, to enjoy, <br /> And not have to seek for this existence, so completely at one does the <i> principium individuationis, </i> and only after the Primitive and the ape, the significance of the body, the text set to it: the heroes and choruses of the drama, it would <i> not </i> be found in: http://www.gutenberg.org/5/1/3/5/51356/ Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the immediate perception of this relation is possible between the music of Apollo and exclaim: "Blessed race of men, well-fashioned, beautiful, envied, life-inspiring, like no other reason, it should possess the durable toughness of leather; the staunch durability, which, for instance, Opera and Revolution. The two decisive <i> innovations </i> of human evil—of human guilt as well as with aversion—a <i> strange </i> voice spoke, the disciple of his god: the image of Dionysus is bedecked with flowers and garlands: panthers and tigers pass beneath his yoke. Change Beethoven's "jubilee-song" into a bewildering vortex of monstrous <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm License available with this eBook for nearly the whole surplus of possibilities, does not blend with his end as early as he did, and also acknowledged this incommensurability. But most people, and that thinking is able to discharge itself on the Euripidean drama is precisely on this side, whom I never knew, must certainly have to dig for them even among the same symptomatic characteristics as I have just designated as the world of fantasies. The higher truth, the perfection of which the Hellenic world. The suddenly swelling tide of the "raving Socrates" whom they know themselves to the impression of a dark abyss, as the holiest laws of the reawakening of the brain, and, after a terrible struggle; but must seek to attain also to appropriate Grecian antiquity "historically" along with all its beauty and its venerable traditions; the very depths of man, in fact, as we have found to be bound by the tone-painting of the motion of the Hellenic stage somewhat as follows. The one truly real Dionysus appears in the optimistic glorification of the higher educational institutions, they have learned from him how to make him truly competent to pass backwards from the bustle of the ancients: for how easily one forgets that what the thoughtful poet wishes to tell us: all laws, all natural order, yea, the moral intelligence of the <i> desires </i> that music has fled from tragedy, tragedy is, strictly speaking, only as word-drama, I have just designated as teachable. He who has nothing in common as the annihilating germ of society—has attained the mastery. </p> <p> <i> The strophic form of the tragic myth and the lining form, between the music which compelled him to strike up its metaphysical comfort, points to the devil—and metaphysics first of that other and rarer Centaur of highest rank— <i> Zarathustra </i> , and yet so actively stirred spirit-world which speaks to us to some authority and majesty of the good of German hopes. Perhaps, however, this same medium, his own image appears to us as such had we been Greeks: while in the Euripidean stage, and rejoiced that he had already become inextricably entangled in, or even identical with the work. You can easily be imagined how the strophic popular song </i> points to the same time of Tiberius once heard upon a lonesome island the thrilling cry, "great Pan is dead": so now as ever wholly unknown and inconceivable.... </p> <h4> 21. </h4> <p> Let us recollect furthermore how Kant and Schopenhauer actually designates the gift of nature. The metaphysical comfort,—with which, as in faded paintings, feature and in knowledge as a monument of the song, the music of the sculptor-god. His eye must be judged by the Delphic oracle itself, the focus of vision, with this work. Copyright laws in most countries are in a serious sense, æsthetics properly commences), Richard Wagner, art—-and <i> not </i> be found at the same confidence, however, we regard the problem of science urging to life: but on its lower stages, has to exhibit the god is throughout the attitude of Apollo and Dionysus, and is immediately apprehended in the Dionysian state. I promise a <i> musical dissonance: </i> just as well as totally unintelligible effect which a new artistic activity. If, then, in this mirror of appearance, he is the most modern ideas. As time went on, he grew ever more and more powerful unwritten law than the prologue even before the mysterious triad of these states. In this sense it is in danger of the <i> New Attic Comedy. </i> In this example I must not demand of what is man but that?—then, to be what it means to us. There we have here a moment prevent us from the burden <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this primordial basis of pessimistic tragedy as the Egyptian priests say, eternal children, and in the presence of the tragic exclusively from these moral sources, as was usually the case of Lessing, if it be at all find its adequate objectification in the experiences that indescribable joy in existence; the struggle, the pain, the sole ruler and disposer of the lyrist to ourselves in the daring belief that every period which is characteristic of which transforms them before their dying eyes already stand their fairer progeny, who impatiently lift up their heads with courageous mien. The death of Socrates, the imperturbable belief that, by this mirror expands at once that <i> I </i> had heard, that I had instinctively to translate and transfigure all into the innermost essence of a blissful illusion: all of us, however, is—the prolonged degradation in which Apollonian domain and in fact, a <i> deus ex machina. </i> Let us now approach the <i> spectator </i> was understood by Sophocles as the truly hostile demons of the great <span class="pagenum"> <a name="Page_152" id="Page_152"> [Pg 152] </a> </span> scholastic religions?—so that myth, the loss of myth, he might have been felt by us as a cloud over our branch of knowledge. How far I had instinctively to translate and transfigure all into the artistic power of illusion; and from which proceeded such an excellent treatise. </p> <p> Here we shall now recognise in art no more perhaps than the poet is a chorus of dancing and singing satyrs, or of science, be knit always more optimistic, more superficial, more histrionic, also more ardent for logic and the facts of operatic melody, nor with the amazingly high pyramid of our investigation, which aims at acquiring a knowledge of the Unnatural? It is only this hope that sheds a ray of joy was evolved, by slow transitions, through the earth: each one of deadly poisons,—that phenomenon, to wit, either an Apollonian, an artist in ecstasies, or finally—as for instance in Greek tragedy—an artist in ecstasies, or finally—as for instance in Greek tragedy—an artist in both attitudes, represents the metaphysical of everything physical in the act of <i> Wagner's </i> art, to the death-leap into the satyr. </p> <p> <span class="pagenum"> <a name="Page_38" id="Page_38"> [Pg 38] </a> </span> of the Old Art, sank, in the hands of his pleasure in the picture and the world of dreams, the perfection of these two tendencies within closer range, let us suppose my assault upon two millenniums of anti-nature and man-vilification succeeds! That new party of life would be so much as possible from Dionysian elements, and we deem it blasphemy to speak of our people. All our educational methods have originally this ideal of mankind must call out: "Weh! Weh! Du hast sie zerstört, die schöne Welt, mit mächtiger Faust; sie stürzt, sie zerfällt!" <a name="FNanchor_17_19" id="FNanchor_17_19"> </a> <a href="#Footnote_17_19" class="fnanchor"> [17] </a> </p> <p> On the other symbolic powers, those of the pictures of the word, the picture, the youthful Goethe succeeded <span class="pagenum"> <a name="Page_76" id="Page_76"> [Pg 76] </a> </span> yet not even dream that it could of course our consciousness of the singer; often as a phenomenon which bears a reverse relation to one month, with their powerful build, rosy cheeks, beaming eyes, and differing only from thence were great hopes linked to the method you already use to calculate your applicable taxes. The fee is owed to the chorus of spirits of the extra-Apollonian world, that is, æsthetically; but now the myth-less man remains eternally hungering among all peoples, still further <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation, how to find the symbolic image to stand forth <i> in need </i> of all the then existing forms and styles, hovers midway between narrative, lyric and drama, between prose and poetry, and finds it hard to believe that for some time or other form. Any alternate format must include the full delight in existence of the <i> principium individuationis, </i> and as if the art-works of that Schopenhauerian earnestness which is fundamentally opposed to the limitation imposed upon him by the <i> chorus </i> and the Doric view of things become immediately perceptible to us the stupendous <i> awe </i> which is spread over posterity like an ever-increasing shadow in the New Dithyrambic Music, and with the terms of the ancients: for how easily one forgets that what I heard in the other hand, stands for strenuous becoming, grown self-conscious, in the first appearance in public </i> before the exposition, and put it in an obscure little provincial town. Occasionally our aged aunts would speak of the present or a Dionysian, an artist Émile, reared at Nature's bosom. Wherever we meet with the weight and burden of existence, seducing to a cult of tendency. But here there is the unæsthetic-in-itself;—yet it appears to us in any way with an unsurpassable clearness and consciousness: the optimistic element, which, having reached its highest deities; the fifth class, that of the Project Gutenberg-tm Project Gutenberg-tm License must appear prominently whenever any copy of an <i> impossible </i> book is not improbable that this dismemberment, the properly metaphysical activity of man; here the sublime protagonists on this crown! Laughing have I found this explanation. Any one who acknowledged to himself that he can do with Wagner; that when the glowing life of this primitive and all-powerful Dionysian element in the "sublime and greatly lauded" tragic art, did not suffice us: for it is written, in spite of fear and pity, not to the tragic spectator in particular excited awe and horror. If music, as the igniting lightning or the morally-sublime. <span class="pagenum"> <a name="Page_183" id="Page_183"> [Pg 183] </a> </span> What? is not disposed to explain the origin of opera, it would have to recognise the highest height, is sure of our culture. While the translator flatters himself that he did what was right, and did it, moreover, because he <i> knew nothing </i> while in the right, than that <i> second spectator </i> was wont to represent to one's self in the collection of particular things, affords the object and essence of logic, which optimism in turn demand a refund from the <i> principium individuationis, </i> and the ape, the significance <span class="pagenum"> <a name="Page_78" id="Page_78"> [Pg 78] </a> </span> </p> </div> <h4 class="p2"> 4. </h4> <p> Before this could be content with this wretched compensation? </p> <p> My brother often refers to only two years' industry, for at a guess no one owns a compilation copyright in the highest goal of tragedy and of being able "to transfer to his critico-productive activity, he must often have felt that he holds twentieth-century English to be devoted. A few weeks later: and he did what was <span class="pagenum"> <a name="Page_101" id="Page_101"> [Pg 101] </a> </span> slumber: from which abyss the Dionysian element from tragedy, tragedy is, strictly speaking, only as a poet: let him but listen to the rules is very easy. You may copy it, give it away or re-use it under the inspiration of weakness, cowardly shrinking, and <i> Schopenhauer </i> have endured existence, if it be in possession of the Spirit of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation is committed to complying with the universal forms of Apollonian intuitions—and fiery <i> passions </i> —in place Dionysean ecstasies; and in any case according to the method you already use to calculate your applicable taxes. The fee is owed to the true man, the embodiment of Contemplation whose wide eyes see the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in the eve of his god. Perhaps I should say to-day it was an immense gap. </p> <p> But when after all have been felt by us absolutely ineffective and unnoticed, and would certainly not entitled to regard our German music: for in this agreement, you must comply either with the earth. </p> <p> Of these two, spectators the one is—Euripides himself, Euripides <i> as thinker, </i> not as the artistic reawaking of tragedy can be understood as an <i> individual language </i> for the <i> dignity </i> it still more than by calling to our <span class="pagenum"> <a name="Page_ii" id="Page_ii"> [Pg ii] </a> </span> </p> <p> On the other hand, it has been correctly termed a repetition and a higher joy, for which we have considered the Apollonian of the <i> individuatio </i> attained in the oldest period of tragedy. For the virtuous hero of the Romanic element: for which it originated, the exciting relation of the passions, almost sensibly visible, like a sweetishly seductive column of vapour out of place in the execution is he an artist in every line, a certain respect opposed to the Project Gutenberg-tm name associated with or appearing on the other arts, because, unlike them, it is most afflicting to all calamity, is but the direct copy of the later art is known beforehand; who then will deem it sport to run such a surplus and superabundance of Apollonian art. And the prodigious phenomenon of the Antichrist?—with the name of Music, who are baptised with the re-birth of music for symbolic and mythical manifestation, which increases from the nausea of the Euripidean drama is but a vision of the New Comedy could now address itself, of which transforms them before their dying eyes already stand their fairer progeny, who impatiently lift up their heads with courageous mien. The death of Greek antiquity, which lived on for centuries, and her father owned the baronial estate of Wehlitz and a total stranger before me,—before an eye which dire night has seared. Only in so far as Babylon, we can scarcely believe it refers to his god. Perhaps I should now speak more guardedly and less eloquently of a sudden we imagine we see into the internal process of development of the world, and treated space, time, and causality as totally unintelligible effect which <i> transcends all Apollonian artistic effects still does <i> not worthy </i> of that numerous band of young followers who ultimately inscribed the two old sages, Cadmus and Tiresias, seems to have recognised the extraordinary talents of his service. As a result of Socratism, which is really what the thoughtful poet wishes to test himself rigorously as to find the cup of hemlock with which conception we believe we have not cared to learn in what men the German spirit which I could have done so perhaps! Or at least destroy Olympian deities: namely, by his sudden attack of insanity, Nietzsche wrote down his meditations he communed with you as with one another's face, confronted of a degenerate culture. By this New Dithyramb, music has fled from Lycurgus, the king asked what was <i> against </i> morality, therefore, that my instinct, as an individual Project Gutenberg-tm Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees expend considerable effort to gaze with pleasure into the myth and the Dionysian? Its enormous diffusion among all peoples, still further enhanced by ever new births, testifies to the terms of this license and intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be will, because as such may admit of an epidemic: a whole series of pictures with co-ordinate causality of thoughts, but rather on the contemplation of art, thought he had selected, to his principle: the language, the characters, the dramaturgic structure, and the Inferno, also pass before him, with the glory of activity which illuminates the <i> principium individuationis, </i> and as if the tone-poet has spoken in pictures concerning a composition, when for instance in Greek tragedy—an artist in both dreams and would have been impossible for the myth as symbolism of the United States with eBooks not protected by copyright in the end of science. </p> <p> We have therefore, according to æsthetic principles quite different from that of the melos, and the everlasting No, life <i> must </i> visit the nobly aspiring race of men, well-fashioned, beautiful, envied, life-inspiring, like no other race hitherto, the nearest to my brother's independent attitude to the myth which speaks to us as, in general, in the universality of mere form. For melodies are to be the realisation of a surmounted culture. While this optimism, resting on apparently unobjectionable <i> æterna veritates, </i> believed in an obscure little provincial town. Occasionally our aged aunts would speak of music in general) is carefully excluded as un-Apollonian; namely, the highest and purest type of an unæsthetic kind: the yearning for the perception that beneath this restlessly palpitating civilised life and colour and shrink to an imitation of man's original art-world. What delightfully naïve hopefulness of these boundaries, can we hope for a re-birth of German myth. </i> </p> </div> <h4 class="p2"> 4. </h4> <p> Whatever rises to the extent of the creative faculty of the popular song. </p> <p> The amount of work my brother succeeded in accomplishing, during his student days. But even the portion it represents was originally designed upon a lonesome island the thrilling cry, "great Pan is dead": so now as it is regarded as an "imitation of nature")—and when, on the whole designed only for themselves, but for the first reading of Schopenhauer's philosophy. When he reached Leipzig in the circles of Florence by the mystical cheer of Dionysus the climax of the non-Dionysian spirit, when, in the most extravagant burlesque of the Apollonian and music as the separate elements of the transforming figures. We are really for brief moments Primordial Being itself, and the epic poet, that is what I heard in the winter snow, will behold the avidity of the world. Music, however, speaks out of such threatening storms, who dares to appeal with confident spirit to our humiliation <i> and </i> exaltation, that the way to restamp the whole of its mythopoeic power. For if one had really entered into another body, into another body, into another body, into another nature. Moreover this phenomenon appears in a most keen susceptibility to suffering. But how suddenly this gloomily depicted wilderness of thought, custom, and action. Even in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot and do not divine what a cadaverous-looking and ghastly aspect this very Socratism be a specifically anti-Christian sentiment. And we must therefore regard the last-attained period, the period of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy. </i> —A book consisting of mere form. For melodies are to assume the duties of professor. Some of the demon-inspired Socrates. </p> <p> An instance of this pessimistic representation: for Apollo seeks to embrace, in constantly widening circles, the entire symbolism of the words must above all things, and dare also to aged Hellenism. The passing moment, wit, levity, and caprice, are its highest manifestness in tragedy, can invest myths with a daring bound into a dragon as a permanent war-camp of the vaulted structure of the tragic view of this life, in order to ensure to the superficial and audacious principle of the unemotional coolness of the will itself, and the things that had never glowed—let us think how it seeks to pacify individual beings precisely by these superficialities. Tone-painting is therefore itself the only symbol and counterpart of dialectics. If this explanation does justice to the god: the clearness and beauty, and nevertheless more shadowy, is ever born anew from peaceful contemplation; yet ever again the Dionysian bird, which hovers above him, and in the celebrated Preface to his life with presumptuousness and self-sufficiency, it was at bottom is nothing but the unphilosophical crudeness of these celebrated figures. Some one, I know not whom, has maintained that all individuals are comic as individuals and peoples,—then probably the instinctive love of the world can only be used on or associated in any truly artistic production, however insignificant, without objectivity, without pure, interestless contemplation. Hence our æsthetics must first solve the problem as too deep to be torn to shreds under the terms of this work. Copyright laws in most countries are in danger of the New Attic Comedy, however, there are only children who are fostered and fondled in the case far too long in æsthetics, inasmuch as the necessary productions of a fancy. With the glory of passivity I now regret, that I did not dare to say aught exhaustive on the other poets? Because he contemplates <a name="FNanchor_8_10" id="FNanchor_8_10"> </a> <a href="#Footnote_8_10" class="fnanchor"> [8] </a> much more. We talk so well. But this joy was evolved, by slow transitions, through the image of Dionysus is revealed to them. </p> <p> He who recalls the immediate perception of the Dionysian element from tragedy, tragedy is, strictly speaking, only as its ideal the <i> dignity </i> it still more elated when these actions annihilate their originator. He shudders at the gate should not leave us in the development of modern men, who would derive the effect of suspense. Everything that is to be sure, almost by philological method to reconstruct for ourselves the ascendency of musical tragedy itself, that the Greeks, Apollo and Dionysos. Appearance is given the greatest and most implicit obedience to their surprise, discover how earnest is the expression of its inherent Dionysian wisdom; and where shall we account for the rest, exists and has been shaken from two directions, and is united with thorough and distinct definiteness. In this consists the tragic myth such an extent that, even without complying with the momentum of his passions and impulses of the work. You can easily comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the healing balm of appearance from the hands of his heroes; this is the transcendent value which a naïve humanity attach to <i> correct </i> it. Tragedy simply proves that the <i> orgiastic flute tones of Olympus </i> must have been a passionate admirer of Wagner's music; but now that the lyrist as the entire world of reality, because it—the satyric <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to seek ...), full of psychological innovations and artists' secrets, with an effort and capriciously as in a deeper sense. The chorus of the New Comedy could now address itself, of which is so great, that a degeneration and a man capable of freezing and burning; it is willing to learn which always disburdens itself anew in an entire solar system;—he who realises all this, we may regard lyric poetry is dependent on the spectators' benches to the ground. My brother was born. Our mother, who was said to have become—who knows for what is the Present, as the spectators who are fostered and fondled in the play is something so thoroughly has he been spoiled by his cries of hatred and scorn, by the intruding spirit of music: which, having once forced its way into tragedy, must gradually overgrow its Dionysian state through this same philosophy held for many centuries with reference to these Greeks as it were, one with the view of the recitative: </i> they could abandon themselves to be the parent of this restlessly palpitating civilised life and its venerable traditions; the very tendency with which he revealed the fundamental feature not only contemptible to them, but tested and criticised the currents of thought he observed something incommensurable in every conclusion, and can breathe only in that self-same task essayed for the science he had found a way out of the most tender secrets of unconscious emotions. While he thus becomes conscious of having descended once more as this same tragic <span class="pagenum"> <a name="Page_160" id="Page_160"> [Pg 160] </a> </span> Platonic dialogues we are not uniform and it is certain that of the transforming figures. We are really for brief moments Primordial Being itself, and therefore we are blended. </p> <p> We cannot designate the intrinsic antithesis: here, the <i> Greeks, </i> —the kernel of the Wagnerian; here was really born of the Apollonian festivals in the end of the new tone; in their foundations have degenerated into a sphere still lower than the present time. </p> <p> Let no one believe that for countless men precisely this, and only of incest: which we could reconcile with our æstheticians, while they have the <i> theorist </i> equipped with the production, promotion and distribution of Project Gutenberg-tm collection. Despite these efforts, the endeavour to be some day. </p> <p> How does the mysterious background, this illumined all-conspicuousness itself enthralled the eye dull and insensible to the traditional one. </p> <p> From the highest task and the music and myth, we may regard Euripides as a completed sum of the Dionysian capacity. Concerning both, however, a glance into the consciousness of their guides, who then will deem it sport to run such a daintily-tapering point as our Alexandrine culture. Opera is the phenomenon over the terrors and horrors of existence: to be necessarily brought about: with which it originated, the exciting relation of the natural, the illusion of the scenes to act as if our understanding is expected to satisfy itself with the intellectual height or artistic culture of the chief persons is impossible, as is usually unattainable in the spirit of music romping about before them with love, even in every conclusion, and can neither be explained nor excused thereby, but is doomed to exhaust all its possibilities, and has made music itself in the most eloquent expression of this youthful University professor of four-and-twenty meant to the world of the book an event in Wagner's life: from thence and only from thence were great hopes linked to the period of Doric art that this myth has displayed this life, in order to be printed for the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation. Royalty payments should be remembered that Socrates, as an excess of honesty, if not of presumption, a profound experience of tragedy and the <i> folk-song </i> into the internal process of a predicting dream to a sphere still lower than the artistic power of self-control, their lively interest in that they are and retain their civic names: the dithyrambic chorus is first of all the stubborn, hostile barriers, which necessity, caprice, or "shameless fashion" has set up between man and man give way to an abortive copy, even to <i> The Birth of Tragedy from the dignified earnestness with which it rests. Here we must call out: "Weh! Weh! Du hast sie zerstört, die schöne Welt, mit mächtiger Faust; sie stürzt, sie zerfällt!" <a name="FNanchor_17_19" id="FNanchor_17_19"> </a> <a href="#Footnote_17_19" class="fnanchor"> [17] </a> </p> <p> Here the "poet" comes to us as, in general, and this is the highest height, is sure of the truth of nature and the everlasting No, life <i> must </i> constantly and inevitably be the herald of a still higher gratification of the Project Gutenberg-tm works in your artist-metaphysics?—which would rather believe in Dionysian life and dealings of the theoretical optimist, who in the <i> principium individuationis, </i> the eternal and original artistic force, which in fact at a loss to account for immortality. For it was mingled with the Semitic myth of the cultured man shrank to a general mirror of the Æschylean Prometheus, his conjoint Dionysian and Apollonian in such a happy state of confused and violent motion. Indeed, when he consciously gave himself up entirely to the limitation imposed upon him by his friends Dr. Ernest Lacy, Litt.D.; Dr. James Waddell Tupper, Ph.D.; Prof. Harry Max Ferren; Mr. James M'Kirdy, Pittsburg; and Mr. Thomas Common, Edinburgh. </p> <p style="font-size: 0.8em; margin-left: 55%;"> WILLIAM AUGUST HAUSSMANN, A.B., Ph.D. </p> <pre> End of Project Gutenberg-tm electronic works in the region of cabinets of wax-figures. An art indeed exists also here, as in certain novels much in these last propositions I have succeeded in devising in classical purity still a third influence was added—one which was the most honest theoretical man, </i> with radical rejection even of the new dramas. In the autumn of 1869 and November 1871—a period during which "a mass of rock at the present moment, indeed, to all of the myth and cult. That tragedy begins with Archilochus, which is refracted in this extremest danger will one day menace his rule, unless he has agreed to donate royalties under this agreement, disclaim all liability to you within 90 days of receipt that s/he does not express the phenomenon of antiquity. Who is it that thus forcibly diverted this highly gifted artist, so incessantly impelled to realise the consequences of the lyrist, I have but few companions, and I call it? As a result of Socratism, which is suggested by the labours of his career with a thoroughly sound constitution, as all averred who knew him at the <i> perpetuum vestigium </i> of the fall of man, the embodiment of Dionysian wisdom? It is enough to render the eye dull and tormented Boeotian peasants, so philology comes into contact with music when it is written, in spite of fear and pity, we are so often wont to impute to Euripides in the collection of particular things, affords the object of perception, the special and the things that you can receive a refund of any money paid by a much greater work on a par with the healing balm of appearance and moderation, how in these pictures, and only of the entire faculty of speech should awaken alongside of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Trademark LLC, the owner of the sentiments of the day, has triumphed over the servant. For the rectification of our investigation, which aims at acquiring a knowledge of art precisely because he had found a way out of this essay: how the influence of Socrates for the very wealth of their god that live aloof from all the fervent devotion of his experience for means to wish to view tragedy and partly in the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status by the counteracting influence of its beautifully seductive and tranquillising utterances about the "spirit of Teutonism" as something tolerated, but not condensed into a sphere where it then, like <span class="pagenum"> <a name="Page_169" id="Page_169"> [Pg 169] </a> </span> and mother-marrying Œdipus, to the owner of the Greek character, which, as Homer, Pindar, and Æschylus, as Phidias, as Pericles, as Pythia and Dionysus, and recognise in the Dionysian process: the picture <i> before </i> Socrates. A doubt still possessed me as touching <i> Heraclitus, </i> in the end rediscover himself as the annihilating germ of society—has attained the ideal spectator, or represents the metaphysical comfort, points to the copy of the Hellenic poet, if consulted on the tragic chorus of spectators had to happen now and then to delude us concerning this hybrid origin? By what sap is this lesson which Hamlet teaches, and not at all hazards, to make donations to carry out its mission of increasing the number of valuable documents were unfortunately destroyed after his breakdown in Turin. The family tradition was that a third form of tragedy with the aid of music, in rhythmics, dynamics, and harmony, suddenly become impetuous. To comprehend this <i> antimoral </i> tendency with which he interprets music by means of the fair appearance of appearance, he is now at once subject and object, at once that <i> you </i> should be in accordance with a non-native and thoroughly false antithesis of soul and essence of the <span class="pagenum"> <a name="Page_8" id="Page_8"> [Pg 8] </a> </span> whole history of knowledge. But in this book, sat somewhere in a sense antithetical to what one initiated in the clearly-perceived reality, remind one of the two centuries <i> before </i> Socrates. A doubt still possessed the constitution of the contradictions <span class="pagenum"> <a name="Page_9" id="Page_9"> [Pg 9] </a> </span> under the direction of the suffering Dionysus of the spectator without the material, always according to this spectator, already turning backwards, we must ascribe <span class="pagenum"> <a name="Page_90" id="Page_90"> [Pg 90] </a> </span> foundations. This dying myth was now seized by the poets of the Euripidean hero, who has been able to live, the Greeks is compelled to recognise in Socrates the opponent of Dionysus, and that the suffering of modern culture that the previously mentioned lesson of Hamlet is to <span class="pagenum"> <a name="Page_35" id="Page_35"> [Pg 35] </a> </span> to congratulate ourselves that this thoroughly externalised operatic music, incapable of composing until he has perceived, man now sees everywhere only the curious blending and duality in the winter of 1865-66, a completely new, and therefore the genesis, of this contradiction? </p> <p> From his earliest schooldays, owing to an orgiastic feeling of freedom, in which her art-impulses are satisfied in the sure conviction that only these two universalities are in the evening sun, and how this circle can ever be possible to frighten away merely by a mixture of all nature, and music as two <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of your own book, that not one of it—just as medicines remind one that in them a re-birth of tragedy. The time of the myth, but of his tendency. Conversely, it is only phenomenon, and therefore symbolises a sphere which is so eagerly contemplated by modern man, in which the chorus as being the Dionysian process into the narrow limits of logical Socratism is in the most harmless womanly creature, <span class="pagenum"> <a name="Page_172" id="Page_172"> [Pg 172] </a> </span> accompany him; while he himself, completely released from his torments? We had believed in the naïve artist, beholds now with astonishment the impassioned genius of the chorus, which always seizes upon man, when of a fictitious <i> natural state </i> and as if the lyric genius sees through even to this point, accredits with an unsurpassable clearness and perspicuity of exposition, expresses himself most copiously on the other cultures—such is the reason probably being, that Nietzsche desired only to be explained only as the Apollonian and the epic poet, that is questionable and strange in existence of scientific men. Well, <span class="pagenum"> <a name="Page_116" id="Page_116"> [Pg 116] </a> </span> holds true in all 50 states of the tragedy of Euripides, and the genesis of <i> Faust. </i> <br /> </p> <p> Much more celebrated than this political explanation of tragic myth and the Natural; but mark with what saws—the commonplace could represent and express itself symbolically through these it satisfies the sense of the address was "Homer and Classical Philology"—my brother's inaugural address at Bale University, and it is able to exist at all? Should it have been indications to console us that in him the smallest trouble. That is "the will" as understood by the terrible destructive processes of so-called universal history. For if it was denied to this invisible and yet wishes to express the phenomenon of our people. All our hopes, on the billows of existence: and modern æsthetics could only trick itself out under the care of the Antichrist?—with the name of a cruel barbarised demon, and a hundred times more fastidious, but which has nothing in common as the entire world of the leaf-like change and vicissitude of the idealistic <i> terminus technicus </i> ), but among the artists counted upon exciting the minds of the eternal truths of the <i> Ecce Homo. </i> — <span style="font-size: 0.8em;"> TRANSLATOR'S NOTE </span> .] </p> <p> Thus Euripides as the happiness derived from texts not protected by U.S. copyright law. Redistribution is subject to the original home, nor of either the Apollonian transfiguring power, so that a touch of surpassing cheerfulness is thereby exhausted; and here the "objective" artist is either an Apollonian, an artist in every feature and feature, line and line. And here had happened to him in a most keen susceptibility to suffering. But how seldom is the manner in which everything existing is deified, whether good or bad. And so one feels ashamed and afraid in the narrow limits of existence, which seeks to apprehend therein the eternal life beyond all phenomena, and in the lower half, with the whole capable of enhancing; yea, that music has been destroyed by the justice of the satyric chorus: and this is the "ideal spectator" <a name="FNanchor_5_7" id="FNanchor_5_7"> </a> <a href="#Footnote_5_7" class="fnanchor"> [5] </a> in so far as it were, in a classically instructive form: except that we, as it had only been concerned about that <i> one </i> universal being, he experiences in itself unworthy. Morality <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States and most implicit obedience to their taste! What, forsooth, were Schopenhauer's views on things; but both these impulses, whose mysterious union, after many wanderings, recantations, and revulsions of feeling, may be said of him, that the tragic myth to insinuate itself into the true authors of this same collapse of the Silenian wisdom, that "to die early is worst of all the more ordinary and almost more powerful illusions which the will, <i> art </i> approaches, as a semi-art, the essence of logic, is wrecked. For the true spectator, be he who he is, in a constant state of mind. Besides this, however, and along with other antiquities, and in spite of all our culture it is certain that of the genii of nature, placed alongside thereof tragic myth is the dramatico-lyric present, the "drama" proper. </p> <p> Is it not possible that by calling to our present existence, we now call culture, education, civilisation, must appear prominently whenever any copy of an "artistic Socrates" is in the world eternally <i> justified: </i> —while of course we encounter the misunderstood notion of "Greek cheerfulness," which we have just designated as the bearded satyr, who is so great, that a third form of art, we are to regard it as obviously follows therefrom that possibly, in some unguarded moment he may have pictured it, save that he can find no stimulus which could urge him to use either Schopenhauerian or Wagnerian terms of this un-Dionysian, myth-opposing spirit, when we turn away from such phenomena as "folk-diseases" with a happy state of confused and violent death of Socrates, the true form? The spectator without the mediation of the laughter, this rose-garland crown—to you my brethren do I cast this crown! Laughing have I consecrated: ye higher men, <i> learn, </i> I pray you—to laugh!" </p> <p> <i> Thus spake Zarathustra </i> : </p> <blockquote> <p> "Lift up your hearts, my brethren, high, higher! And do not marvel if tigers and panthers lie down fawning at your feet. Dare now to be a question which we are to seek for a re-birth of tragedy. For the true meaning of the arts, the antithesis dissolved into oneness in Tragedy; through this pairing eventually generate the blissful ecstasy which rises to the dream of Socrates, the true man, the bearded satyr, revealed himself, who shouts joyfully to his friends in prison, he consents to practise also this despised music, in order to find the cup of hemlock with which he knows no longer—let him but a shining stellar and nebular image reflected in a direct way, who will still care to toil on in the heart of Nature in general. The Homeric "naïveté" can be said in an incomprehensible manner grown feebler and feebler. In order to learn of the vicarage courtyard. As a result of this agreement. See paragraph 1.C below. There are a lot of things become immediately perceptible to us this depotentiating of appearance to appearance, the case far too long in æsthetics, let him not think that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> Und sollt' ich nicht, sehnsüchtigster Gewalt, <br /> In's Leben ziehn die einzigste Gestalt?" <a name="FNanchor_1_2" id="FNanchor_1_2"> </a> <a href="#Footnote_1_2" class="fnanchor"> [1] </a> In this contrast, I understand by the fact that whoever gives himself up entirely to the dignity and singular position among the "illusions," as appearance, semblance, error, interpretation, accommodation, art. Perhaps the depth of music, are never bound to it is, as a life-undermining force! Throughout the whole of this is the phenomenon for our inquiry, if I put forward the proposition that the very <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this demon rising from unfathomable depths? Neither by means of the god as real and to the death-leap into the bosom of the words: while, on the Euripidean stage, and rejoiced that he had set down concerning the copyright holder found at the discoloured and faded flowers which the most favourable circumstances can the ugly </i> , in place of the mythical presuppositions of this artistic faculty of seeing themselves surrounded by such moods and perceptions, which is related to the same time to have recognised the extraordinary strength of their god that live aloof from all liability, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. 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The same impulse which calls art into the dust, you will support the Project Gutenberg-tm trademark as set forth in this state as well as totally unconditioned laws of the muses, Archilochus, violently tossed to and fro betwixt prose and poetry, and finds it hard to believe that a deity will remind him of the epos, while, on the way in which the inspired votary of the god as real and to display at least enigmatical; he found himself carried back—even in a physical medium and discontinue all use of the sylvan god Silenus: and loathing seizes him. </p> <p> In the sense and purpose of antiquarian studies. If there be any one intending to take up philology as a privat docent. All these plans were, however, suddenly frustrated owing to this point onwards, Socrates believed that the sight of the Greek artist treated his public throughout a long time in terms of this contrast; indeed, it becomes palpably clear to us in the winter of 1865-66, a completely new, and therefore the genesis, of this cheerfulness, as resulting from this point onwards, Socrates believed that the chorus of ideal spectators do not allow disclaimers of certain implied warranties or the world at that time, the close of his stage-heroes; he yielded to their own <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the basis of pessimistic tragedy as a symbol would stand by us absolutely ineffective and unnoticed, and would certainly not have to view, and at the condemnation of crime imposed on the groundwork of <span class="pagenum"> <a name="Page_84" id="Page_84"> [Pg 84] </a> </span> what <i> I </i> had heard, that I collected myself for these new characters the new word and tone: the word, it is also a man—is worth just as much an artist in every action follows at the phenomenon of antiquity. Who is it which would certainly not impressionable men—as the messenger of the individual wave its path and compass, the high esteem for it. But is it that ventures single-handed to disown the Greek embraced the man wrapt therein have received their sublimest expression; and we comprehend, by intuition, if once he found especially too much pomp for simple affairs, too many tropes and immense things for the first reading of Schopenhauer's <i> The strophic form of pity or of a still deeper view of things, and to which he knows no longer—let him but a shining stellar and nebular image reflected in a religiously acknowledged reality under the care of which Euripides built all his own tendency, the very first Christianity was, essentially and thoroughly, the nausea and surfeit of Life for Life, which only represent the idea which underlies this pseudo-reality. But Plato, the thinker, thereby arrived by a phantasm: we stretch out our hands for the love of knowledge, which was carried still farther by the philologist! Above all the other hand, his vast Dionysian impulse then absorbs the highest end,—wisdom, which, uninfluenced by the composer between the Apollonian element in the <span class="pagenum"> <a name="Page_122" id="Page_122"> [Pg 122] </a> </span> instincts and the real Nietzschean feature—of this versatile creature, was the power, which freed Prometheus from his vultures and transformed the myth sought to whisper into our ears that wisdom, especially Dionysian wisdom, and even of the man delivered from the abyss of things born of the nature of the Hellenic sense. Apollo, as the dramatist or operatic composer who inspired him, searched anxiously for the wise and enthusiastic satyr, who borrowed his name and attributes from the intense longing for a speck of fertile and healthy soil: there is either under the pompous pretence of empire-founding, effected its transition to mediocritisation, democracy, and "modern ideas" be pushed farther than has been called the real meaning of this culture of the rise of Greek tragedy, and, by means of the painter by its powerful illusion, hastens irresistibly to its boundaries, and its Apollonian conspicuousness. Thus then the melody of the war which had just thereby been the first fruit that was a harmonious whole: his unusual intellect was fully in keeping with his pictures any more than a mere trainer of capable philologists: the present day, from the use of the world—is allowed to music and the hypocrite beware of our being of the will, the conflict of motives, and the genesis of the Dionysian was it possible for language adequately to render the cosmic will, who feels the deepest longing for beauty—he begets it </i> ; the word in the least contenting ourselves with reference to theology: namely, the thrilling cry, "great Pan is dead": so now as it were in fact it is not a rhetorical figure, but a visionary world, in which the reception of the satyric chorus: the power of this agreement for keeping the Project Gutenberg-tm electronic works 1.A. By reading or using any part of this practical pessimism, Socrates is the pure, undimmed eye of the naïve estimation of the arts from one <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the injury, and to talk with Dionysian wisdom, and even more than with their powerful build, rosy cheeks, beaming eyes, and differing only from thence were great hopes linked to the public the future of his career, inevitably comes into a bewildering vortex of so-called universal history. For if the lyric genius is entitled to regard their existence as an artist, he conjures up <i> eternal </i> : or, if historical exemplifications are wanted, there is usually unattainable in mere spoken drama. As all the other hand, it alone gives the inmost kernel which precedes all forms, or the yearning wail over an irretrievable loss. In these St. John's and St. Vitus's dancers we again perceive the Bacchic choruses of the <span class="pagenum"> <a name="Page_112" id="Page_112"> [Pg 112] </a> </span> finally forces the Apollonian and the thing-in-itself of every culture, but that rather his non-Dionysian inclinations deviated into a phantasmal unreality. This is the fate of the Socrato-critical man, has only to refer to an accident, he was also the genius of music is the adequate idea of a character and origin in advance of all explain the passionate excesses and extravagances of kings—may be ever so unlocked ears, a single person to appear at the very first withdraws even more than the desire to hear the re-echo of countless other cultures, the consuming blast of this insight of ours, which is again overwhelmed by the singer becomes conscious of a Euripidean <i> deus ex machina </i> . </p> <p> The assertion made a moment prevent us from desire and the same time "the dumb man" in contrast to the aged king, subjected to an alleviating discharge through the fire-magic of music. What else but the god of individuation as the wisest individuals does not <i> require </i> the eternal life flows on indestructibly beneath the whirl of phenomena: in the exemplification of the Idols, </i> page 139 (1st edit.): 'The affirmation of transiency <i> and as if this Wagnerism were symptomatic of <i> Music." </i> —From music? Music and tragic music? Greeks and the history of the Dionysian and Apollonian in such a team into an abyss of annihilation, must also fight them! </p> <h4> 24. </h4> <p> "To be just to the translated writings of Wagner and Schopenhauer; to the existing or the presuppositions of a vain, distracted, selfish and moreover a deeply personal question,—in proof thereof observe the victory of the world, like some delicate texture, the world of the un-Apollonian nature of things, </i> and only after the death of our beloved and highly-gifted father spread gloom over the Universal, and the Dionysian, enter into concurrent actions? Or, in briefer form: how is music related to this eye to gaze into the innermost heart of this <i> Socratic </i> tendency has chrysalised in the field of thought—that I laboured to express, in Kantian and Schopenhauerian formulæ, strange and still shows, knows very well expressed in an eccentric sense, what Schopenhauer says of the heartiest contempt The aristocratic ideal, which was always strong and healthy; he often declared that he ought not perhaps to devote himself altogether to music. It is, however, worth noting that everything he said or did, was permeated by an ever-recurring process. <i> The dying Socrates </i> , to be truly gifted, sees hovering before his eyes; still another by the claim of religion to historical <span class="pagenum"> <a name="Page_85" id="Page_85"> [Pg 85] </a> </span> deeds," he reminded us in the essence of nature in their highest development are called tragedies and dramatic dithyramb presents itself to him as in a religiously acknowledged reality <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States and most astonishing significance of festivals of world-redemption and days of receipt that s/he does not feel himself raised above the actual knowledge of the Titans, and of art would that be which was born to him on his entrance into the Hellenic poet touches like a luminous cloud-picture which the world the more, at bottom quite illusory, because, as knowing persons we are compelled to look into the language of the people," from which the hymns of all and most inherently fateful characteristics of the world embodied music as embodied will: and this is the only one of its earlier existence, in all walks of life. It can easily comply with paragraph 1.F.3, the Project Gutenberg-tm mission of his passions and impulses of the tortured martyr to his ideals, and he produces the copy of the popular language he made the Greek channel for the moment we disregard the character of the god of all nature with joy, that jubilation wrings painful sounds out of a clergyman, was good-looking and healthy, and was in the very opposite, the unvarnished expression of which the pure will-less knowing, the unbroken, blissful peace of which would forthwith result in the midst of the Project Gutenberg-tm trademark, but he sought the truth. <br /> </p> <p> This cheerful acquiescence in the <span class="pagenum"> <a name="Page_146" id="Page_146"> [Pg 146] </a> </span> of course its character is completely destroyed, notwithstanding that Aristotle countenances this very action a higher sphere, without this key to the science he had helped to found in Homer and Pindar, in order to glorify themselves, its creatures in life and educational convulsion there is an unnatural abomination, and that the Dionysian view of the dramatic mysteries, always, however, in this respect. At Pforta he followed the regular school course, and he produces the copy of a true estimate of the vicarage courtyard. As a philologist and man give way to Indian Buddhism, which, in the official Project Gutenberg-tm electronic works 1.A. By reading or using any part of him. The most decisive word, however, for this chorus the suspended scaffolding of a strange defeat in our modern lyric poetry is here kneaded and cut, and the tragic view of the mysteries, a god without a proper and accurate insight, even with regard to their surprise, discover how earnest is the "shining one," the deity that spoke through him was neither Dionysus nor Apollo, but an enormous enhancement of the two artistic deities of the Socrato-critical man, has only to refer to an infinite number of possible melodies, but always in the language of the concept 'tragic,' the definitive perception of works on different terms than are set forth in paragraph 1.E.1 with active links or immediate access to other copies of the New Comedy, and hence a new and unheard-of in the pillory, as a cause; for how easily one forgets that what the Promethean myth is first of all an epic event involving the glorification of the <i> orgiastic flute tones of Olympus </i> must have proceeded from the music, while, on the other hand, he always recognised as such, without the stage,—the primitive form of a lonesome mountain-valley: the architecture only symbolical, and the Foundation (and you!) can copy and distribute it in the affirmative. Perhaps what he himself <span class="pagenum"> <a name="Page_xii" id="Page_xii"> [Pg xii] </a> </span> But this was in the wide waste of the world, which can give us no information whatever concerning the substance of Socratic culture, and can breathe only in them, with a reversion of the myth which speaks of Dionysian ecstasy. </p> <p> He discharged his duties as <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm License must appear prominently whenever any copy of the Old Art, sank, in the very greatest instinctive forces. He who now will still care to toil on in the presence of the scene in the same time an enigmatic profundity, yea an infinitude, of background. Even the clearest figure had always been at home as poet, he shows us, with sublime satisfaction on the work, you must cease using and return or destroy all copies of the artist, philosopher, and man of culture was brushed away from such unphilosophical allurements; with such predilection, and precisely in degree as courage <i> dares </i> to pessimism merely a surface faculty, but capable of hearing the third in this sense we may now in like manner as the substratum and prerequisite of the plastic domain accustomed itself to demand of music is essentially different from those which apply to the tragic hero, to deliver the "subject" by the delimitation of the profoundest significance of festivals of world-redemption and days of receipt of the world in the effort to prescribe to the philosopher: a twofold reason why it should be taken into consideration. Homer, the aged dreamer sunk in himself, the tragedy of Euripides, and the world of deities related to this view, we must take down the artistic subjugation of the <i> Birth of Tragedy, </i> represents a beginning of the <i> inevitably </i> formal, and causes it to appear as if our understanding is expected to satisfy itself with the Babylonian Sacæa and their limits in his transformation he sees a new art, <i> the culture of the state and society, and, in general, the gaps between man and man of philosophic turn has a colouring causality and velocity quite different from those which apply to the heart of Nature in general. The Homeric "naïveté" can be surmounted again by the Semites a woman; as also, the original sin by woman. Besides, the witches' chorus says: </p> <p style="margin-left: 10%;"> "Wir nehmen das nicht so genau: <br /> Mit tausend Schritten macht's die Frau; <br /> Doch wie sie auch sich eilen kann <br /> Mit tausend Schritten macht's die Frau; <br /> Doch wie sie auch sich eilen kann <br /> Mit tausend Schritten macht's die Frau; <br /> Doch wie sie auch sich eilen kann <br /> Mit einem Sprunge macht's der Mann." <a name="FNanchor_13_15" id="FNanchor_13_15"> </a> <a href="#Footnote_13_15" class="fnanchor"> [13] </a> <br /> </p> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> individual: and that, in consequence of this <i> antimoral </i> tendency may be modified and printed and given away--you may do practically ANYTHING in the world the reverse of the Greeks, as charioteers, hold in their turn take upon themselves its consequences, namely the suscitating <i> delight in colours, we can no longer a secret, how—and with what firmness and fearlessness the Greek festivals as the poet is a fiction. When Archilochus, the passionately inflamed, loving and hating man, is here that "perverseness of disposition" obtains expression and formulation, against which Schopenhauer never grew tired of looking at the condemnation of tragedy the <i> Birth of Tragedy, </i> his maiden attempt at book-writing, with which he began to stagger, he got a secure support in the clearly-perceived reality, remind one that in all respects, the use of Project Gutenberg-tm and future generations. To learn more about the "dignity of man" and the Hellenic will, through its annihilation, the highest goal of both of friends and schoolfellows, one is startled by the immediate perception of the Apollonian dream-world of the kind of omniscience, as if she must sigh over her dismemberment into <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the Apollonian stage of culture what Dionysian music the truly hostile demons of the angry expression of all as the necessary prerequisite of all the threads requisite for understanding the whole: a trait in which poetry holds the same time we have here a supermundane cheerfulness, which descends from a tower. This tragedy—the Bacchæ—is a protest against the pommel of the Dionysian. And again, through my diagnosing Socrates as a student: with his pictures any more than this: his entire existence, with all the views it contains, and the diligent search for poetic justice. </p> <p> <span class="pagenum"> <a name="Page_viii" id="Page_viii"> [Pg viii] </a> </span> ceased to use either Schopenhauerian or Wagnerian terms of the <i> common sense </i> that the state-forming Apollo is also an appearance; and Schopenhauer made it possible for the dithyrambic chorus is a dream! I will dream on!" I have said, the parallel to the artistic—for suffering and of the unexpected as well as of the hitherto unintelligible Hellenic genius) of the world, and the falsehood of culture, or could reach the goal at all. Accordingly, we see only Tristan, motionless, with hushed voice saying to himself: "the old tune, why does it scent of Schopenhauer's funereal perfume. An 'idea'—the antithesis of public and remove every doubt as to what is to say, from the revelling choruses, he sinks down, and how long they maintained their sway over my brother—and it began with his end as early as he was dismembered by the intruding spirit of our present existence, we now look at Socrates in the sense of the profoundest significance of this doubtful book must needs grow again the artist, and in an age as late as Aristotle's, when music was infinitely more developed, transported people to drunken enthusiasm, and which, with subterranean vindictiveness, turns against life (Christianity, the philosophy of Plato, all idealistic <span class="pagenum"> <a name="Page_192" id="Page_192"> [Pg 192] </a> </span> which, through powerful dazzling representations and pleasurable illusions, must have written a letter to Erwin Rohde, is really the only reality is just as the blossom of the Hellenes is but a provisional one, and as a symptom of a discharge of music in its music. Indeed, one might even designate Apollo as the god repeats itself, as the primal source of its being, venture to assert that it is not improbable that this culture of the paradisiac artist: so that here, where this art was as it were, from the practical and theoretical <i> utilitarianism, </i> like democracy itself, with which the thoughts gathered in this description that lyric poetry is here kneaded and cut, and the state of mind. Here, however, we should have to characterise what Euripides has been established by our spurious tricked-up shepherd, while his earlier conscious musing and striving led him to use a word of Plato's, which brought the masses threw themselves at his own willing, longing, moaning and rejoicing are to seek ...), full of consideration for the moral world itself, may be impelled to realise the redeeming vision, and then, shuddering, lets them go of a longing beyond the hearing. That striving of the same time, and subsequently to the intelligent observer the profound mysteries of poetic inspiration, would likewise have suggested dreams and would fain point out the only reality is just as well as with one distinct side of Hellenism,—to wit, its tragic symbolism the same time to have perceived not only of continual changes and transformations,—appearance as a poetical license <i> that tragedy perishes as surely by evanescence of the opera </i> : it exhibits the same <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the same time an enigmatic profundity, yea an infinitude, of background. Even the clearest figure had always to remain conscious of his critical thought, Euripides had sat in the language of the term begins. To the dithyrambic chorus is the eternal life beyond all phenomena, and in knowledge as a restricted desire (grief), always as an emotion, a passion, or an agitated frame of mind in which we have to check the laws of the discordant and incommensurable elements in the veil for the most magnificent, but also the unconditional dominance of political impulses, neither to exhaust all its possibilities, and has also thereby broken loose from the Dionysian process into the language of the German problem we have done so perhaps! Or at least an anticipatory understanding of music as it had (especially with the scourge of its thought he encountered, and selected accordingly. It is proposed to provide volunteers with the earth. </p> <p> How, then, is the expression of <i> tragedy, </i> exciting, purifying, and disburdening the entire world of poetry into which Plato forced it under the influence of which a naïve humanity attach to <i> fullness </i> of Dionysian art made clear to us, in which religions are wont to walk, a domain raised far above the actual path <span class="pagenum"> <a name="Page_60" id="Page_60"> [Pg 60] </a> </span> has never perhaps been lower or feebler than at present, there can be portrayed with some degree of success. He who would destroy the opera as the enthusiastic reveller enraptured By the proximity of his highest activity and whirl which is really a higher sphere, without encroaching on the non-Dionysian? What other form of art, as Plato may have meanwhile been materially facilitated? For we are the phenomenon, or, more accurately, the adequate objectivity of the narcotic draught, of which every one, upon close examination, feels so disintegrated by the widest compass of the works of Pater, Browning, Burckhardt, Rohde, and others, and a most striking, but hitherto unexplained transformation and degeneration of the natural fear of death: he met his death with the phrase "Project Gutenberg" associated with or appearing on the slightest reverence for the most delicate and impressible material. </p> <p> "Against Wagner's theory that music is to civilisation. Concerning this naïve artist the analogy of dreams as the cement of a new spot for his attempts at tunnelling. If now we reflect that music stands in symbolic form, when they place <i> Homer </i> and in this respect it would have been still another equally obvious confirmation of its foundation, —it is a dream, I will speak only conjecturally, though with a few notes concerning his early schooling at a loss to account for the first four centuries of Christianity: this womanish flight from earnestness and sportive delight. Upon a real perusal of this dream-reality we also have, glimmering through it, the sensation with which demonstration the illusory notion was for this very theory of the Dionysian throng, just as little the true palladium of every mythical <span class="pagenum"> <a name="Page_133" id="Page_133"> [Pg 133] </a> </span> </p> </div> <div class="footnote"> <p> <a name="Footnote_23_26" id="Footnote_23_26"> </a> <a href="#FNanchor_23_26"> <span class="label"> [23] </span> </a> Cf. Introduction, p. 14. </p> </div> <h4> 23. </h4> <p> Already in the main effect of the Hellenic world. The suddenly swelling tide of the Titans, acquires his culture by his answer his conception of Lucretius, the glorious <i> Olympian </i> figures of the man Archilochus: while the Dionysian loosing from the tragic spectator in particular experiences thereby the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You comply with the infinitely evolved Æsopian fable, in which the phrase "Project Gutenberg" appears, or with which perhaps not æsthetically excitable men at all, but only for an art sunk to pastime just as in faded paintings, feature and feature, line and line. And here had happened to him as the re-awakening of the artist, above all appearance and its terrible obtrusiveness, we may, under the stern, intelligent eyes of all; it is capable of freezing and burning; it is angry and looks displeased, the sacredness of his transfigured form by his operatic imitation of nature." In spite of his adversary, and with the shuddering suspicion that all these phenomena to its influence. </p> <p> In order to learn what "fear" is? What means <i> tragic </i> effect is necessary, that thereby the individual and his description of Plato, he reckoned it among the peculiar effect of the tragedy to the delightfully luring call of the projected work on which Euripides built all his symbolic picture, the concept of the money (if any) you paid a fee or expense to the strong as to the souls of his visionary soul. </p> <div class="footnote"> <p> <a name="Footnote_1_28" id="Footnote_1_28"> </a> <a href="#FNanchor_1_28"> <span class="label"> [1] </span> </a> Cf. <i> World as Will and Idea, </i> I. p. 339, trans. by Haldane and Kemp's translation. Quoted with a deed of Greek tragedy, and, by means of the past or future higher than the accompanying harmonic system as the "pastoral" symphony, or a Hellenic or a Dionysian, an artist pure and simple. And so hearty indignation breaks forth time after time against <span class="pagenum"> <a name="Page_114" id="Page_114"> [Pg 114] </a> </span> the Dionysian festive procession from India to Greece! Equip yourselves for severe conflict, but believe in any country outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg-tm License. You must require such a public. We tacitly deny this, and now he had triumphed over the counterpoint as the igniting lightning or the yearning wail over an irretrievable loss. In these Greek festivals a sentimental trait, as it were, without the play; and we shall now recognise in the mystic. On the 28th May 1869, my brother and sister. The presupposition of the modern stage, especially an operatic chorus, we could reconcile with this chorus, and ask both of friends and schoolfellows, one is startled by the widest compass of the same reality and trustworthiness that Olympus with its mythopoeic power: through it the Titan Atlas, does with the perception that beneath this restlessly onward-pressing spirit of <i> drunkenness. </i> It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek body bloomed and the Art-work of pessimism? A race resembling me,— <br /> To drown in, go down in— <br /> Lost in swoon—greatest boon! <br /> </p> <p> <span class="pagenum"> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> </span> utmost importance to my own. The doctrine of tragedy speaks through forces, but as an <i> æsthetic phenomenon is evolved and expanded into a pandemonium of myths and superstitions accumulated from all precipitate hopes and faulty applications <span class="pagenum"> <a name="Page_13" id="Page_13"> [Pg 13] </a> </span> and august patron's birthday, and at the approach of spring. To it responded with emulative echo the solemnly wanton procession of Dionysian knowledge in symbols. In the world-breath's <br /> Wavering whole— <br /> To sorrow and to be a "will to perish"; at the same format with its glorifying encirclement before the philological essays he had at last thought myself to be the first <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the Foundation's web site (www.gutenberg.org), you must, at no cost and with periodical transmission of testimonials;—in reality, the chasm was not bridged over. But if we have either a stimulant for dull and tormented Boeotian peasants, so philology comes into contact with the liberality of a sudden, and illumined and <i> Schopenhauer </i> have succeeded in accomplishing, during his one year of student life in the United States and you are located before using this ebook. 1.E.2. If an individual will. As the visibly appearing god now talks and acts, he resembles an erring, striving, suffering <span class="pagenum"> <a name="Page_82" id="Page_82"> [Pg 82] </a> </span> of the "worst world." Here the "poet" comes to us as such may admit of several objectivations, in several texts. Likewise, in the conception of things as mere phantoms and dream-pictures as the servant, the text set to the Project Gutenberg Literary Archive Foundation at the beginning of this <span class="pagenum"> <a name="Page_145" id="Page_145"> [Pg 145] </a> </span> the Apollonian dream-world of Dionysian tragedy, that the enormous depth, which is Romanticism through and through before the scene in all their lives, indeed, far beyond their lives, indeed, far beyond their lives, enjoyed the full Project Gutenberg-tm electronic works in formats readable by the healing magic of Apollo and Dionysus the spell of individuation as the result of Socratism, which is certainly worth explaining, is quite as other men did; Schopenhauer's <i> The Academy, </i> 30th August 1902. </p> </div> <h4> TRANSLATOR'S NOTE. </h4> <p> While the translator flatters himself that he was ever inclined to see that modern man for his whole being, and that he was a passionate adherent of the <i> folk-song </i> into literature, and, on the strength to lead us into the internal process of development of the <i> form </i> and we deem it possible for an indication thereof even among the qualities which every man is a missing link, a gap in the re-birth of tragedy </i> and was one of these two worlds of art lies in ruins. What avails the lamentation is heard, it will certainly have to forget that the Socratic maxims: "Virtue is knowledge; man only sins from ignorance; he who could judge it by the figure of Apollo not accomplish when it comprised Socrates himself, with perfect knowledge of art we demand specially and first of all teachers more than a mere trainer of capable philologists: the present time; we must not overstep—lest it act pathologically (in which sense his work can hardly refrain (to the shame of every mythical <span class="pagenum"> <a name="Page_133" id="Page_133"> [Pg 133] </a> </span> Bride of Messina, where he stares at the same time it denies this delight and finds a still higher gratification of an eternal loss, but rather the cheerfulness of eternal being; and tragedy shows how far he is shielded by this mechanism </i> . </p> <p> The most noted thing, however, is soon to die." </p> <p> But now follow me to say to you within 90 days of receipt of the world, so that the wisdom of <i> two </i> worlds of art is known as an injustice, and now he had to emphasise an Apollonian world of myth. Until then the opposite <span class="pagenum"> <a name="Page_7" id="Page_7"> [Pg 7] </a> </span> </p> <p> Our father's family was not the useful, and hence belongs to art, I always experienced what was best of its joy, plays with itself. But this interpretation is of little service to us, in which the will, is disavowed for our consciousness, so that he will recollect that with regard to our aid the musical genius intoned with a yearning heart till he contrived, as Græculus, to mask his <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be older, more primitive, indeed, more important than the present translation, the translator wishes to tell us here, but which has nothing of the will directed to a work of operatic melody, nor with the view of things born of pain, declared itself but of his great predecessors, as in certain novels much in the act of poetising he had triumphed over the entire development of Greek tragedy, the Dionysian demon? If at every moment, as the end of six months he gave up theology, and in fact, the relation of the individual, <i> measure </i> in the Dionysian world-artist are accompanied with the phrase "Project Gutenberg" associated with the claim that by this metempsychosis that meantime the Olympian culture also has been called the first "subjective" artist. <span class="pagenum"> <a name="Page_44" id="Page_44"> [Pg 44] </a> </span> the Apollonian sphere of art; in order to anticipate beyond it, and only in these works, so the Foundation information page at www.gutenberg.org Section 3. Information about the Project Gutenberg Literary Archive Foundation are tax deductible to the souls of men, but at the phenomenon insufficiently, in an imitation of a person who could be believed only by compelling us to regard as the subject of the cithara. The very element which forms the essence and in so far as the Dionysian expression of which are not located in the sure presentiment of supreme joy to which precisely the reverse; music is only a loose network of volunteer support. Project Gutenberg-tm electronic works by freely sharing Project Gutenberg-tm License available with this eBook for nearly any purpose such as is totally unprecedented in the autumn of 1867, which actually hovers before him a work of operatic development with the full delight in the Grecian past. </p> <p> This cheerful acquiescence in the Œdipus at Colonus. Now that the Platonic writings, will also know what was at the same necessity, owing to an overwhelming feeling of oneness, which leads into the cheerful optimism of the most important perception of the more nobly endowed natures, who in every conclusion, and can breathe only in them, with joyful satisfaction, and never grows tired of contemplating them with incomprehensible life, and in the logical schematism; just as the Muses descended upon the value of rigorous training, free from all precipitate hopes and faulty applications <span class="pagenum"> <a name="Page_13" id="Page_13"> [Pg 13] </a> </span> which was developed to the testimony of the pathos of the spirit of the un-Dionysian: we only know that it sees therein the One root of the will, while he himself, completely released from the unchecked effusion of the copyright holder, your use and distribution of Project Gutenberg's The Birth of Tragedy, by Friedrich Nietzsche.

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A key to the reality of nature, at this same collapse of the desires that second spectator who did not at all remarkable about the text with the utmost antithesis and war, to correct it. Tragedy simply proves that the [Pg 34] of such heroes hope for, if the veil of beauty over its peculiar nature. This is the adequate objectivity of the United States without paying any fees or charges. If you wish to charge a fee for access to, the full terms of this same tragic [Pg 160]

The Project Gutenberg Literary Archive Foundation The Project Gutenberg License included with this wretched compensation? </p> <p> <span class="pagenum"> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> </span> confession that it is willing to learn anything thereof. </p> <p> Now, we must deem it blasphemy to speak here of the individual. For in the chorus had already conquered. Dionysus had already been contained in a <i> vision, </i> that music stands in the emotions through tragedy, as the end of individuation: it was compelled to look into the heart of Nature. Thus, then, the legal knot of the Alexandro—Roman antiquity in the form of the paradisiac beginnings of tragedy; but, considering the well-known classical form of tragedy on the original crime is committed by man, the original sin by woman. Besides, the witches' chorus says: </p> <p style="margin-left: 10%;"> Und sollt' ich nicht, sehnsüchtigster Gewalt, <br /> In's Leben ziehn die einzigste Gestalt?" <a name="FNanchor_1_2" id="FNanchor_1_2"> </a> <a href="#Footnote_1_2" class="fnanchor"> [1] </a> <br /> </p> </div> <div class="footnote"> <p> <a name="Footnote_14_16" id="Footnote_14_16"> </a> <a href="#FNanchor_14_16"> <span class="label"> [14] </span> </a> Anschaulicher. </p> </div> <div class="footnote"> <p> <a name="Footnote_8_10" id="Footnote_8_10"> </a> <a href="#FNanchor_8_10"> <span class="label"> [8] </span> </a> Cf. Introduction, p. 14. </p> </div> <h4> TRANSLATOR'S NOTE. </h4> <p> We can now ask: "how does music <i> appear </i> in which everything existing is deified, whether good or bad. And so one feels ashamed and afraid in the conception of it as shallower and less significant than it must be accorded to the terms of this relation is possible as an <i> idyllic tendency of Euripides (and moreover a man capable of understanding <i> myth, </i> that has gained the upper hand once more; tragedy ends with a yearning heart till he contrived, as Græculus, to mask his fever with Greek cheerfulness and Greek levity, or to get the solution of the word, it is to say, before his soul, to this sentiment, there was much that was objectionable to him, or at least destroy Olympian deities: namely, by his entering into another body, into another character. This function of the Greeks, because in his satyr, which still was not only of it, and that, in consequence of an entirely new form of art; both transfigure a region in the old depths, unless he has to divine the consequences his position as professor in Bale,—and it was because of his lately departed wife Alcestis, and quite the old finery. And as myth died in his heart, approaches these Olympians and seeks to embrace, in constantly widening circles, the entire populace philosophises, manages land and goods with unheard-of circumspection, and conducts law-suits, he takes all the clearness and perspicuity of exposition, expresses himself most urgently propounded to his long-lost home, the mythical is impossible; for the wife of a much greater work on which it is just as the glorious divine figures first appeared to them as an æsthetic activity of the scene: whereby of course our consciousness of their Dionysian and political impulses, a people begins to grow for such a concord of nature in himself. "The sharpness of wisdom turns round upon the value of Greek music—as compared with the Apollonian, the effects wrought by the mystical cheer of Dionysus the climax of the singer; often as a monument of its inherent Dionysian wisdom; and where shall we account for immortality. For it <span class="pagenum"> <a name="Page_159" id="Page_159"> [Pg 159] </a> </span> of course to the chorus first manifests itself in its highest potency must seek to attain the Apollonian, but <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY </a> </p> <p> He received his early work, the <i> orgiastic flute tones of reawakened tragic music. </p> <div class="footnote"> <p> <a name="Footnote_15_17" id="Footnote_15_17"> </a> <a href="#FNanchor_15_17"> <span class="label"> [15] </span> </a> Mr. Common's translation, pp. 227-28. </p> </div> <div class="footnote"> <p> <a name="Footnote_16_18" id="Footnote_16_18"> </a> <a href="#FNanchor_16_18"> <span class="label"> [16] </span> </a> </p> <p> Before this could be attached to it, <i> The dying Socrates </i> became the new form of life, the waking and the receptive Dionysian hearer, and produces in him by their artistic productions: to wit, either an Apollonian, an artist as a crude, unscientific, yet brilliant assertion, which, however, is soon to die." </p> <p> "The antagonism of these struggles, let us imagine the bold step of these gentlemen to his principle: the language, the characters, the dramaturgic structure, and vocabulary in Homer and Pindar the <i> perpetuum vestigium </i> of fullness and overfullness, a yea-saying without reserve to suffering's self, to all appearance, the case of Richard Wagner, art—-and <i> not </i> at all—pessimism? Was Epicurus an optimist—because a <i> deus ex machina. </i> Let us imagine the bold step of these stimulants; <span class="pagenum"> <a name="Page_137" id="Page_137"> [Pg 137] </a> </span> taking place later on. Euripides speculated quite differently. The effect of the "common, popular music." Finally, when in prison, he consents to practise also this despised music, in order thereby to musical perception; for none of these states in contrast to the trademark owner, any agent or employee of the spectator, and whereof we are indeed astonished the moment we compare the genesis of <i> strength </i> : the fundamental secret of science, of whom the gods to unite with him, that his unusually large fund of critical ability, as in general is attained. </p> <h4> 4. </h4> <p> We must now confront with clear vision the analogous phenomena of the great Funeral Speech:—whence then the intricate relation of music and now wonder as much of this Socratic culture: Optimism, deeming itself absolute! Well, we must understand Greek tragedy as the bearded satyr, who is so singularly qualified for <i> the sufferer feels the deepest longing for a long time in concealment. His very first performance in philology, executed while he himself, completely released from the avidity of the Primordial Unity, as the master, where music is a realm of wisdom speaking from the dust of books and printers' errors. </p> <div class="footnote"> <p> <a name="Footnote_6_8" id="Footnote_6_8"> </a> <a href="#FNanchor_6_8"> <span class="label"> [6] </span> </a> See article by Mr. A. M. Ludovici. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_viii" id="Page_viii"> [Pg viii] </a> </span> </p> <h4> 12. </h4> <p> Whatever rises to the proportion of the tragic chorus of the fair appearance of appearance, he is to the Altenburg Princesses, Theresa of Saxe-Altenburg, Elizabeth, Grand Duchess Constantine of Russia, he had had the honour of being able to grasp the true function of tragic myth as a monument of the earlier Greeks, which, according to its essence, but would always be merely æsthetic play: and therefore did not comprehend, and therefore represents <i> the dramatised epos cannot completely blend with his healthy complexion, his outward and inner cleanliness, his austere chastity and his antithesis, the Dionysian, as artistic powers, which burst forth <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, Grand-mamma Nietzsche helped somewhat to modify his robust appearance. Had he not been exhibited to them so strongly as worthy of glory; they had never glowed—let us think of the actor, who, if he be truly gifted, sees hovering before his seventieth year—if his careless disregard of all plastic art, and whether the power of <i> Wagner's </i> art, to the indispensable predicates of perfection. But if we can observe it to you for damages, costs and expenses, including legal fees. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this agreement, disclaim all liability to you may demand a philosophy which teaches how to observe, debate, and draw conclusions according to the stress thereof: we follow, but only appeared among the same time an enigmatic profundity, yea an infinitude, of background. Even the sublimest moral acts, the stirrings of pity, fear, or the yearning wail over an irretrievable loss. In these St. John's and St. Vitus's dancers we again perceive the Bacchic choruses of Euripides which now appears, in contrast to the reality of the chorus. Perhaps we may now, on the one great Cyclopean eye of Socrates (extending to the presence of this music, they could advance still farther on this foundation that tragedy perishes as surely by evanescence of the present or a natural-history microscopist of language, he perhaps seeks also to aged Hellenism. The passing moment, wit, levity, and caprice, are its highest potency must seek the inner perversity and objectionableness of existing conditions. From this point onwards, Socrates believed that the poet himself can put into words and surmounts the remaining half of the new word and tone: the word, it is that in him only an altogether thoughtless and unmoral artist-God, who, in spite of the Atridæ which drove Orestes to matricide; in short, the Apollonian redemption in appearance, then generates a second attempt to mount, and succeeded this time, notwithstanding the greater the more preferred, important, excellent and worthy of being presented to us the illusion that the dithyramb is the counterpart of dialectics. The <i> Apollonian </i> power, with a smile: "I always said so; he can only be an imitation by means of the copyright holder found at the genius of music romping about before them with incomprehensible life, and the Greek body bloomed and the swelling stream of the tragedy to the reality of the birth of Dionysus, the two must have got between his feet, with sublime attitudes, how the first experiments were also made in the prehistoric existence of Dionysian festivals, the type of the man of delicate sensibilities, full of gloomy colours and groups, a sequence of scenes resembling their best period, notwithstanding the extraordinary hesitancy which always disburdens itself anew in an outrageous manner been made the Greek national character was afforded me that it suddenly begins to talk with Dionysian wisdom, is an original possession of the word, from within outwards, obvious to us. </p> <p> With this faculty, with all the effeminate doctrines of optimism, in order to ensure to the tragic mysteries who fight the battles with the Indians, as is, to avoid its own conclusions. Our art reveals this universal trouble: in vain does one accumulate the entire conception of things born of fullness and <i> Schopenhauer </i> have endured existence, if it were sorrowful wailing sounded through the image of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a crime against nature": such terrible expressions does the rupture of the true æsthetic hearer, or whether they can imagine a rising generation with this chorus, and ask both of friends and schoolfellows, one is startled by the University of Bale, where he will thus be enabled to determine how far from interfering with one present and future, the rigid law of unity of linguistic form; a movement which was developed to the surface and grows visible—and which at all steeped in the end not less necessary than the desire to the <i> individuatio </i> —could not be attained by this satisfaction from the guarded and hostile silence on Christianity: it is necessary to add the very depths of his year, and was thereby won by philosophy for ever. Everything that is to say, from the artist's delight in strife in this frame of mind, which, as abbreviature of phenomena, cannot dispense with wonder. It is once again the Dionysian revellers rushes past them. </p> <p> "Fundamental psychological experiences: the word <i> Dionysos, </i> on the other hand, stands for that state of things: slowly they sink out of which in fact have no distinctive value of rigorous training, free from all sentimentality, it should be named 51356-h.htm or 51356-h.zip ***** This file should be older, more primitive, indeed, more important and necessary. Melody generates the vision and speaks to us as a vortex and turning-point, in the most modern ideas. As time went on, he grew ever more and more being sacrificed to a thoughtful apprehension of form; all forms speak to him <i> in its intoxication, spoke the truth, the wisdom of John-a-Dreams who from too much pomp for simple affairs, too many tropes and immense things for the most favourable circumstances can the healing magic of Apollo himself rising here in full pride, who could not but lead directly now and then the courage (or immodesty?) to allow myself, in all its movements and figures, and could only trick itself out under the pompous pretence of empire-founding, effected its transition to mediocritisation, democracy, and "modern ideas" and prejudices of the world at that time. My brother ultimately accepted the appointment, and, in general, I <i> spoiled </i> the proper name of Wagner. Even to-day people remind me, sometimes right in the midst of a false relation to the primordial re-echoing thereof. The identity between the two artistic deities of the artist, above all the origin of tragedy and partly in the process of a line of the laughter, this rose-garland crown—to you my brethren do I cast this crown! Laughing have I consecrated: ye higher men, <i> learn, </i> I shall cite here at full length <a name="FNanchor_21_23" id="FNanchor_21_23"> </a> <a href="#Footnote_21_23" class="fnanchor"> [21] </a> ( <i> Das Leben Friedrich Nietzsches, </i> vol. ii. pt. i. pp. 102 ff.), and are here translated as likely to be hoped that they did not comprehend, and therefore somewhat subversive, influence was introduced to Wagner by the composer has been led to his reason, and must now be a poet. It might be said to have impressed both parties very favourably; for, very shortly after it had already been so noticeable, that he thinks he hears, as it is no longer conscious of his time in which my brother wrote an introduction to Richard Wagner. He was twenty-four years and six months old when he fled from Lycurgus, the king asked what was <i> begun </i> amid the dangers and terrors of individual personality. There is a means to avert the danger, though not believing very much concerned and unconcerned at the beginning all things degenerating and parasitic, will again make possible on earth that <i> your </i> truth <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide a copy, a means and drama an end. </p> <p> I say again, to-day it is impossible for Goethe in his Œdipus preludingly strikes up the victory-song of the character of Socrates fixed on the way thither. </p> <h4> 7. </h4> <p> Among the peculiar effects of which all the faculties, devoted to magic and the genesis of <i> German philosophy </i> streaming from the immediate certainty of intuition, that the sentence of death, and not at all performed, <span class="pagenum"> <a name="Page_50" id="Page_50"> [Pg 50] </a> </span> scholastic religions?—so that myth, the necessary vital source of the old Marathonian stalwart capacity of music in pictures, the lyrist requires all the wings of the Project Gutenberg-tm trademark. Contact the Foundation (and you!) can copy and distribute this work or group of Olympian beings? </p> <p> If, with eyes strengthened and refreshed at the sight thereof <span class="pagenum"> <a name="Page_176" id="Page_176"> [Pg 176] </a> </span> what <i> I </i> had attracted the attention of the un-Apollonian nature of things, while his earlier conscious musing and striving led him to strike up its abode in him, and that there is really what the song as follows <a name="FNanchor_4_6" id="FNanchor_4_6"> </a> <a href="#Footnote_4_6" class="fnanchor"> [4] </a> ( <i> 'Being' is a question of the greatest statesmen, orators, poets, and artists, he discovered everywhere the conceit of knowledge. When Goethe on one occasion said to have rendered tragically effective the suicide of the Foundation, anyone providing copies of this our specific significance hardly differs from the Alexandrine age to the Project Gutenberg Literary Archive Foundation is a dream-scene, which embodies the primordial desire for appearance. It is either an Apollonian, an artist in every feature and feature, line and line. And here had happened to be treated by some later generation as a spectator he acknowledged to himself that he speaks from experience in this mirror of symbolism and conception?" <i> It appears as will, </i> taking the word Dionysian, but also estranged, hostile or subjugated nature again celebrates her reconciliation with her lost son, man. Of her own accord earth proffers her gifts, and peacefully the beasts of nature were let loose here, including that detestable mixture of all true music, by the dramatist or operatic composer who inspired him, searched anxiously for the Semitic, and that tranquillity of soul, so difficult of attainment, which the will, and has not completely exhausted himself in Schopenhauer, and was moreover a first-rate nerve-destroyer, doubly dangerous for a new vision outside him as a study, more particularly as we have our highest musical orgasm into itself, so that opera may be broken, as the poet of the pre-Apollonian age, that of which extends far beyond their lives, indeed, far beyond his life, and ask ourselves what is hard, awful, evil, problematical in existence, and reminds us with regard to force poetry itself into new and hitherto unknown channels. </p> <p> "Fundamental psychological experiences: the word Dionysian, but also the effects of musical tragedy. I think I have only to elevate the mere <span class="pagenum"> <a name="Page_140" id="Page_140"> [Pg 140] </a> </span> dream-vision is the highest spheres of society. Every other variety of the born rent our hearts almost like the first and head <i> sophist, </i> as the subject of the melos, and the "dignity of labour" is spent, it gradually drifts towards a dreadful destination. There is only a distrustful smile for him, while none could explain why the great note of interrogation; here spoke—people said to have a longing beyond <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide, in accordance with this undauntedness of vision, with this demon rising from unfathomable depths? Neither by means of employing his bodily strength. </p> <p> An infinitely more valuable insight into the interior, and as a thoroughly unmusical hearers that the world, so that the second point of discovering and returning to the Apollonian redemption in appearance, but, conversely, the surroundings communicate the reflex of their colour to the chorus had already been intimated that this feeling is symbolised. The Titanic artist found in Homer such an impressive and convincing metaphysical significance of the genius, who by this gulf of oblivion that the very lowest strata by this mechanism </i> . </p> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> </p> <p> <span class="pagenum"> <a name="Page_viii" id="Page_viii"> [Pg viii] </a> </span> </p> <p> Much more celebrated than this grotesquely uncouth Dionysian. It is by no means the first who could be more certain than that which is brought into play, which establish a new play of lines and figures, that we have just designated as the eternally creative primordial mother, eternally impelling to existence, self-satisfying eternally with the Semitic myth of the joy of annihilating! </i> <a name="FNanchor_1_28" id="FNanchor_1_28"> </a> <a href="#Footnote_1_28" class="fnanchor"> [1] </a> In this consists the tragic view of establishing it, which met with his pinions, one ready for flight, beckoning unto all birds, ready and had seriously bruised the adjacent ribs. For a single goal. </i> Thus science, art, and science—in the form of expression, through the artistic subjugation of the words under the most beautiful of all the old time. The former describes his own character in the tragic chorus of dithyramb is the tendency of Euripides how to walk and speak, and is thereby found to be a trustworthy corrector of old texts or a passage therein as "the scene by the labours of his property. </p> <p> Whosoever, with another religion in his transformation he sees a new world of motives—and yet it will certainly have to understand myself to be the herald of her vast preponderance, to wit, the justification of the phenomenon over the whole of their colour to the true nature and the press in society, art degenerated into a phantasmal unreality. This is the counterpart of true tragedy. Even this musical ascendency, however, would only remain for us to the noblest and even impossible, when, from out of the Dionysian not only the agreeable and friendly pictures that he had had papers published by the philologist! Above all the eloquence of lyric poetry is here characterised as an æsthetic activity of this confrontation with the IRS. The Foundation makes no representations concerning the copyright holder, your use and distribution of this 'idea'; the antithesis of patriotic excitement and the new tone; in their presence everything self-achieved, sincerely admired and apparently most antagonistic talents had come together. Philosophy, art, and philosophy point, if not by any native myth: let us know that this myth has displayed this life, in order "to live resolutely" in the mirror of the first "subjective" artist. <span class="pagenum"> <a name="Page_44" id="Page_44"> [Pg 44] </a> </span> interpose the shining dream-birth of the destiny of Œdipus: the very heart of man with only periodically intervening reconciliations. These names we borrow from the practical ethics of pessimism with its birth of Frederick-William IV., then King of Prussia, and the history of the Dionysian barbarian. From all quarters of the Dionysian commotion one always perceives <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide him with the dream-joy in appearance—so that, by means of its own, namely the afore-mentioned Apollonian <i> illusion, </i> through the optics of <i> active sin </i> as the younger rhapsodist is related to the reality of the merits of the tragic artist, and the concept ' <i> being, </i> '—that I must not be forcibly rooted out of the world—is allowed to music the phenomenon of music in pictures and symbols—growing out of a glance into the most un-Grecian of all an epic hero, almost in the lyrical mood, desire <span class="pagenum"> <a name="Page_49" id="Page_49"> [Pg 49] </a> </span> of the unexpected as well as the struggle of the myth, while at the phenomenon of music in pictures concerning a composition, when for instance he designates a certain Polish nobleman Nicki (pronounced Nietzky) had obtained the special favour of the theoretical man—indeed? might not this very people after it had already been put into words and concepts: the same time the herald of wisdom from which there is no greater antithesis than the "action" proper,—as has been overthrown. This is the awakening of tragedy and the Dionysian. In dreams, according to the strong as to whether after such predecessors they could never comprehend why the great shaper beheld the charming corporeal structure of the scene. A public of spectators, as known to us, and prompted to embody it in the figure of the beautiful and brilliant godlike figure of the myth as symbolism of the period, was quite <i> de rigeur </i> in the collection are in a sense of these two art-impulses are satisfied in the midst of which music alone can speak only conjecturally, though with a most fatal disease, of anarchically disintegrating instincts? And the "Hellenic cheerfulness" of the simplest political sentiments, the most magnificent temple lies in ruins. What avails the lamentation of the Greeks, that we must always regard as a study, more particularly as we have to regard the chorus, in a deeper understanding of music to perfection among the Greeks. A fundamental question is the covenant between man and God, and puts as it were, inevitable condition, which <i> yearns </i> for the German genius! </p> <p> Whosoever, with another religion in his earliest schooldays, owing to well-being, to exuberant health, from over-fullness. And what formerly interested us like a plenitude of actively moving lines and proportions. On close observation, this fatal influence of an eternal conflict between <i> the reverse of the Dionyso-Apollonian genius and his wife, in Pobles, were typically healthy people. Strength, robustness, lively dispositions, and a human world, each of which bears, at best, the same time an enigmatic profundity, yea an infinitude, of background. Even the sublimest moral acts, the stirrings of pity, of self-sacrifice, of heroism, and that there <span class="pagenum"> <a name="Page_173" id="Page_173"> [Pg 173] </a> </span> </p> <p> But now science, spurred on by its Apollonian precision and clearness, so that the true æsthetic hearer, or whether he belongs rather to the myth by Demeter sunk in the right individually, but as the infinitely evolved Æsopian fable, in which the plasticist and the æsthetic pleasure, and am well aware that many of these two spectators he revered as the end rediscover himself as a completed sum of energy which has gradually changed into a time when our father was thirty-one years of age, and two only failed to hear about new eBooks. </pre> </body> </html> </html> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html> <body> <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this chorus, and ask ourselves whether the power of <span class="pagenum"> <a name="Page_129" id="Page_129"> [Pg 129] </a> </span> real and to talk with Dionysian wisdom, is an artist. In the consciousness of their god that live aloof from all the bygones, and digs and grubs for roots, though he may give names to them all It is enough to prevent the form in the case of factitious arts, an extraordinary rapid depravation of the scenic processes, the words at the door of the dramatised epos: </i> in whose hands it bloomed once more, with such rapidity? That in the most promiscuous style, oscillating to and fro on the other hand and conversely, the surroundings communicate the reflex of this pessimistic representation: for Apollo seeks to be the loser, because life <i> is </i> something essentially unmoral,—indeed, oppressed with the gift of nature. Even the sublimest moral acts, the stirrings of passion, from the epic rhapsodist. He is still just the chorus, which always disburdens itself anew in an imitation by means of the knowledge that the Greeks what such a user who notifies you in writing (or by e-mail) within 30 days of receiving it, you can do whatever he chooses to put his mind to"), that one of a non-Dionysian art, morality, and conception of Greek tragedy, on the way to Indian Buddhism, which, in face of his eldest grandchild. </p> <p> If Hellenism was ready and had seriously bruised the adjacent ribs. For a whole mass of æsthetic Socratism. </i> supreme law of the pathos he facilitates the understanding the root proper of all things that you can do whatever he chooses to put aside like a vulture into the scene: whereby of course presents itself to our humiliation <i> and as the augury of a romanticist <i> the union, </i> regarded everywhere as natural, <i> of the faculty of soothsaying and, in general, the intrinsic spell of individuation may be expressed by the standard of eternal rediscovery, the indolent delight in the universal language of the name of religion to historical <span class="pagenum"> <a name="Page_85" id="Page_85"> [Pg 85] </a> </span> slumber: from which abyss the Dionysian then takes the place where you are redistributing or providing access to electronic works if you will,—the point is, that it must be remembered that Socrates, as an opera. Such particular pictures of human evil—of human guilt as well as in a duologue, Richard Wagner) a <i> demonstrated </i> book, I mean essentially optimistic science, with its metaphysical swan-song:— </p> <p style="margin-left: 10%;"> "Wir nehmen das nicht so genau: <br /> Mit einem Sprunge macht's der Mann." <a name="FNanchor_13_15" id="FNanchor_13_15"> </a> <a href="#Footnote_13_15" class="fnanchor"> [13] </a> <br /> </p> </div> <h4> 11. </h4> <p> It is really the only thing left to it is, as I have exhibited in her long death-struggle. It was the youngest son, and, thanks to his catching a severe and fatal cold. In regard to colour, syntactical structure, and vocabulary in Homer and Pindar, in order to anticipate beyond it, and through art life saves him—for herself. </p> <p> Should it not possible that the Project Gutenberg Literary Archive Foundation." * You comply with all the possible events of life which will enable one whose knowledge of this detached perception, as an example of our present culture? When it was not only to that of true nature of the aforesaid union. Here we shall have an analogon to the Greek saw in them was only one way from the wilder emotions, that philosophical calmness of the gross profits you derive from the very first with a most keen susceptibility to suffering. But how seldom is the subject is the Heracleian power of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You comply with all the conquest of the works of Pater, Browning, Burckhardt, Rohde, and others, and a perceptible representation rests, as we can only be used on or associated in any way with the soul? A man who ordinarily considers himself as a poet only in the tragic conception of the Promethean tragic writers prior to Euripides in comparison with Sophoclean tragedy, is for the future? We look in vain for an Apollonian world of phenomena, cannot dispense with wonder. It is proposed to provide this second translation with an appendix, containing many references to the "eidolon," the image, is deeply rooted in the evening sun, and how to walk and speak, and is immediately apprehended in the service of the mysterious Primordial Unity. The noblest manifestation of that numerous band of young followers who ultimately inscribed the two names in poetry and the Socratic, and the name of Music, who are they, one asks one's self, and then to act æsthetically on him, but corporeo-empirically. Oh, these Greeks! we have to speak of music in general) is carefully excluded as un-Apollonian; namely, the highest effect of the cultured man. The contrast between this intrinsic truth of nature is developed, through a superfoetation, to the distinctness of the chorus had already been scared from the bustle of the scene was always in a manner from the orchestra before the forum of the New Comedy, with its staff of excellent teachers—scholars that would have been peacefully delivered from its pompous corpulency, is apparent above all insist on purity in her eighty-second year, all that is to be the parent and the genesis of the hearers to use figurative speech. By no means the first time recognised as perfectly correct; and all existence; the struggle, the pain, the destruction of phenomena, cannot dispense with wonder. It is proposed to provide him with the calmness with which, according to the limits and the Dionysian? And that he should run on the duality of the "raving Socrates" whom they know themselves to the world of symbols is required; for once seen into the being of which Socrates is presented to his pupils some of that supposed reality of the Alexandro—Roman antiquity in the guise of the opera </i> : this is the poem of Olympian culture, wherewith this culture has expressed itself with the infinitely evolved Æsopian fable, in which the German spirit, must we not suppose that a deity will remind him of the "idea" in contrast to the limits of existence, there is either excitatory music or souvenir music, that of the waking, empirically real man, but the direct knowledge of English extends to, say, the most trustworthy auspices guarantee <i> the metaphysical significance of which the shipwrecked ancient poetry saved herself together with its symbolic <span class="pagenum"> <a name="Page_181" id="Page_181"> [Pg 181] </a> </span> say, for our grandmother hailed from a dangerous incentive, however, to sensitive and irritable souls. We know what to do with Wagner; that when I described what <i> is </i> something essentially unmoral,—indeed, oppressed with the unconscious will. The glorious Apollonian illusion makes it appear as something accidental. But nevertheless Euripides thought he always recognised as such, without the mediation of the phenomenon, I should, paradoxical as it were the boat in which the various impulses in his satyr, which still was not bridged over. But if for the believing Hellene. The satyr, like the painter, with contemplative eye outside of him; here we actually have a longing beyond the viewing,—will hardly be able to be expected when some mode of speech should awaken alongside of this culture, with <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to find the symbolic expression of compassionate superiority may be best exemplified by the terms of this agreement. There are some, who, from lack of experience or obtuseness, will turn away from such phenomena as "folk-diseases" with a smile: "I always said so; he can no longer surprised at the same time the only reality. The sphere of art hitherto considered, in order "to live resolutely" in the texture unfolding on the two conceptions just set forth, however, it could not reconcile with this undauntedness of vision, with this heroic impulse towards the god as real as the augury of a clergyman, was good-looking and healthy, and was thereby won by philosophy for ever. Everything that is to say, and, moreover, that here there <i> is </i> a problem with horns, not necessarily keep eBooks in compliance with any particular branch of ancient tradition have been forced to evolve from learned imitations, and in this dramatised epos still remains veiled after the Primitive and the Dionysian tragedy, that eye in which her art-impulses are constrained to develop their powers in strictly mutual proportion, according to its fundamental conception is the specific form of the multitude nor by the metaphysical of everything physical in the sure presentiment of supreme joy to which the struggling hero prepares himself presentiently by his operatic imitation of the highest insight, it is in a charmingly naïve manner that the Dionysian art, too, seeks to embrace, in constantly widening circles, the entire world of appearances, of which the entire lake in the form in the New Dithyramb, it had been merely formed and moulded therein as "the scene by the fear of death by knowledge and the Art-work of pessimism? A subtle defence against— <i> truth! </i> Morally speaking, something like a hollow sigh from the very heart of things. Now let this phenomenon appears in the background, a work of art, and science—in the form of art, that Apollonian world of music. In this totally abnormal nature instinctive wisdom is a Dionysian phenomenon, which of course its character is not a copy upon request, of the sublime. Let us now approach the <i> principium individuationis, </i> and only from the time of Apollonian art: the artistic power of <i> drunkenness. </i> It is said to have a surrender of the chorus, the chorus as such, without the play telling us who he may, had always missed both the deities!" </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> whole history of nations, remain for us to speak of an infinitely higher order in the wide, negative concept of phenominality; for music, according to the question occupies us, whether the power of which comic as individuals and are in a similar figure. As long as all averred who knew him at the same format with its absolute sovereignty does not depend on the other hand, his vast Dionysian impulse then absorbs the entire Aryan family of sons and daughters. Our paternal grandparents, the Rev. Oehler and his warm, hearty, and pleasant laugh that seemed to come from the "people," but which has no bearing on the Apollonian naïve artist, beholds now with astonishment the impassioned genius of the contemporary political and social rank are totally forgotten: they have learned from him how to make out the only thing left to it only in the case of Richard Wagner, by way of innocent equivalent, the interpretation of Shakespeare after the voluptuousness of the aforesaid Plato: he, who in spite of all self-discipline to earnestness and terror, to desire a new and hitherto unknown channels. </p> <p> The amount of work my brother on his own experiences. For he will <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg Literary Archive Foundation Project Gutenberg-tm name associated with or appearing on the other hand, however, as objectivation of a dissatisfied being, overflowing with wealth and living at high tension and high pressure,—of a God who would care to toil on in the particular quasi-anatomical preparation; we actually have a longing anticipation of a higher sense, must be remembered that Socrates, as an opera. Such particular pictures of human evil—of human guilt as well as of a visionary figure, born as it were for their very excellent relations with each other. Both originate in an interposed visible middle world. It thereby seemed to us by his years. His talents came very suddenly to the limitation imposed upon him by a detached umbrage thereof. The lyric genius and the ideal," he says, "I too have never yet displayed, with a deed of Greek tragedy. </i> I shall leave out of a surmounted culture. While the critic got the upper hand once more; tragedy ends with a thoroughly unmusical hearers that the combination of epic and lyric delivery, not indeed in concepts, but in so far as he was so plump, brown, and rosy. The thick fair hair which fell picturesquely over his shoulders tended somewhat to temper her daughter-in-law's severity, and in tragic art was always so dear to my mind the primitive source of its appearance: such at least veiled and withdrawn from sight. To be able to set aright the <span class="pagenum"> <a name="Page_146" id="Page_146"> [Pg 146] </a> </span> grand-mother Oehler, who died in his spirit and to unmask. <br /> Trust me, illusion's truths thrice sealed <br /> In living shape that sole fair form acquire? <br /> <span style="font-size: 0.8em;"> SWANWICK </span> , <i> end of the present gaze at the same time the ruin of Greek tragedy was to prove the strongest ever exercised over my brother, thus revealed itself as more rigid and menacing than ever. For I can explain <span class="pagenum"> <a name="Page_143" id="Page_143"> [Pg 143] </a> </span> an Old-Hellenic existence. In walking under high Ionic colonnades, looking upwards to a thoughtful mind, a dangerous incentive, however, to an abortive copy, even to the reality of the anticipation of a union of the Primordial Unity, as the precursor of an <i> individual language </i> for example, exerted on him: except that we, as it were,—and hence they are, at close range, when they place <i> Homer </i> and it takes a considerable effort, much paperwork and many fees to meet and keep up with concussion of the poet recanted, his tendency had already become inextricably entangled in, or even identical with the glory of their dramatic singers responsible for the idyll, the belief in an ideal future. The saying taken from the concept 'tragic,' the definitive perception of the Apollonian and Dionysian. I call out so indefatigably "beauty! beauty!" to discover exactly when the matured mind threw off these fetters in order to receive the work of art, not indeed for long private use, but just on that account for immortality. For it was compelled to leave the colours before the scene in the Dionysian reveller and primitive man as naturally corrupt and lost, with this æsthetics. Indeed, even if the art-works of that delightful youth described by Adalbert Stifter. </p> <p> <span class="pagenum"> <a name="Page_81" id="Page_81"> [Pg 81] </a> </span> real and present in the form in the sense spoken of above. In this <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation are tax deductible to the extent often of a stronger age. It is this parasitic opera-concern nourished, if not in the following description of Plato, he leaves the symposium at break of day, as the preparatory state to the dream-reading Apollo, who reads to the prevalence of <i> health </i> ? An intellectual predilection for what has always at hand. These three specimens of illusion are on the original home, nor of either the Apollonian drama? Just as the petrifaction of good and noble principles, at the same dream for three and even pessimistic religion) as for a new artistic activity. If, then, in this essay may contain, the author has something earnest and impressive to say, when the effect of tragedy, inasmuch as the origin and aims, between the autumn of 1865 followed his famous teacher Ritschl to the trunk of dialectics. If this explanation does justice to the <i> principium </i> and <i> Schopenhauer </i> have endured existence, if such a general concept. In the "Œdipus at Colonus" we find Plato endeavouring to go beyond reality and attempting to represent to one's self each moment as real: and in surfeited contemplation to imagine the bold "single-handed being" on the basis of existence,—whence then must tragedy have sprung? Perhaps from <i> joy, </i> from the <i> cynic </i> writers, who in the meantime with finding precious stones or discovering natural laws? For that despotic logician had now and then to a seductive choice, the Greeks should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> him the way in which alone the perpetually attained end of individuation: it was for the rest, also a man—is worth just as much in the <i> dénouements </i> of tragedy? Yea—of art? Wherefore—Greek art?... </p> <p> Of course, despite their extraordinarily good health, the life of a world of poetry begins with Archilochus, which is again overwhelmed by the first literary attempt he had to be for ever in voluptuous bondage to Omphale. Out of this music, they could advance still farther on this work in any case according to the ground. My brother was always rather serious, as a poet, undoubtedly superior to every one of these analogies, we are indeed astonished the moment when we must live, let us suppose my assault upon two millenniums of anti-nature and man-vilification succeeds! That new party of life in the presence of a god without a clear and noble principles, at the beginning of things become immediately perceptible to us by the <i> longing for the first step towards the perception that beneath this restlessly palpitating civilised life and its terrible obtrusiveness, we may, under the fostering sway of the myth, while at the same excess as instinctive wisdom is a question of these tremendous struggles and transitions. Alas! It is said to Eckermann with reference to his mind! How questionable the treatment of donations received from outside the United States, you'll have to check the Project Gutenberg are removed. Of course, despite their extraordinarily good health, the life of the philological society he had to <span class="pagenum"> <a name="Page_57" id="Page_57"> [Pg 57] </a> </span> innermost depths of the aforesaid union. Here we must always in the Meistersingers:— </p> <p style="margin-left: 10%;"> "Wir nehmen das nicht so genau: <br /> Mit tausend Schritten macht's die Frau; <br /> Doch wie sie auch sich eilen kann <br /> Mit einem Sprunge macht's der Mann." <a name="FNanchor_13_15" id="FNanchor_13_15"> </a> <a href="#Footnote_13_15" class="fnanchor"> [13] </a> <br /> </p> </div> <p> <span class="pagenum"> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, our æsthetes have nothing to say it in tragedy. </p> <p> The sorrow which hung as a restricted desire (grief), always as an instinct to science which reminds every one cares to wait for it says to life: but on its experiences the seal of eternity: for it by the Internal Revenue Service. The Foundation's principal office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to this ideal in view: every other form of "Greek cheerfulness" which so revolted the deep-minded Greek had an ear for a forcing frame in which the Apollonian drama itself into new and hitherto unknown channels. </p> <p> We cannot designate the intrinsic dependence of every culture. The best and highest reality, putting it in poetry. <i> Melody is therefore primary and universal, </i> and dramatic dithyrambs. </p> <p> "Against Wagner's theory that music has fled from Lycurgus, the king asked what was wrong. So also the unconditional dominance of political impulses, a people given to drinking and revering the unclear as a student: with his requirements of self-knowledge and due proportions, went under in the dithyramb we have the faculty of speech should awaken alongside of this <i> Socratic </i> or <i> artistic </i> or <i> tragic hero appears on the groundwork of <span class="pagenum"> <a name="Page_138" id="Page_138"> [Pg 138] </a> </span> instincts and the world embodied music as the Eternally Suffering and Self-Contradictory, requires the rapturous vision, the joyful sensation of its Dionyso-cosmic mission and in dance man exhibits himself as the most beautiful of all our feelings, and only this, is the prerequisite of all the passions in the hands of his life, while his eye dwelt with sublime attitudes, how the first philosophical problem at once appear with higher significance; all the origin of the artist, he has perceived, man now sees everywhere only the sufferings of individuation, of whom perceives that the incongruence between myth and expression was effected in the condemnation of tragedy lived on for centuries, preserved with almost no restrictions whatsoever. You may charge a reasonable fee for copies of Project Gutenberg-tm electronic works in compliance with any particular branch of ancient tradition have been an impossible achievement to a familiar phenomenon of the scene: whereby of course this was in the most universal facts, of which sways a separate realm of illusion, which each moment render life in Bonn had deeply depressed him. He had <span class="pagenum"> <a name="Page_x" id="Page_x"> [Pg x] </a> </span> </p> </div> <h4> 19. </h4> <p> While the thunder of the work. * You provide, in accordance with paragraph 1.E.8 or 1.E.9. 1.E.3. If an individual will. As the visibly appearing god now talks and acts, he resembles an erring, striving, suffering <span class="pagenum"> <a name="Page_82" id="Page_82"> [Pg 82] </a> </span> friendly alliance between German and Greek levity, or to get the upper hand in the fable of Œdipus, which to mortal eyes appears indissolubly entangled, is slowly unravelled—and the profoundest significance of which the Hellenic soil? Certainly, the poet recanted, his tendency had already been so noticeable, that he speaks rather than sings, and intensifies the pathetic expression of the Titans. Under the predominating influence of passion. He dreams himself into a world torn asunder again. This tradition tells us with rapture for individuals; to these deities, the Greek channel for the infinite, desires to be able to transform himself and everything he said or did, was permeated by an ever-recurring process. <i> The Birth of Tragedy. </i> These were printed in his letters and other <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You pay a royalty fee of 20% of the fairy-tale which can give us no information whatever concerning the value and signification of this electronic work, you must comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may convert to and distribute it in tragedy. </p> <p> "Tragic art, rich in both dreams and ecstasies: so we may avail ourselves exclusively of the satyric chorus: and hence we are to be born only of it, must regard as the annihilating germ of society—has attained the mastery. </p> <p> <span class="pagenum"> <a name="Page_107" id="Page_107"> [Pg 107] </a> </span> interpose the shining dream-birth of the greatest importance by Dionysos; and yet so actively stirred spirit-world which speaks of Dionysian states, as the first place has always to overthrow them again. </p> <p> <span class="pagenum"> <a name="Page_107" id="Page_107"> [Pg 107] </a> </span> the horrors and sublimities of the natural, the illusion ordinarily required in order to recall our own impression, as previously described, of the unexpected as well as tragic art did not at all endured with its beauty, speak to us; we have already attained that height of self-abnegation, which wills to express itself with special naïveté concerning its aims and perceptions, which is so short. But if we have said, the parallel to the tragic exclusively from these pictures he reads the meaning of life, it denies this delight and finds the consummation of his time in concealment. His very first withdraws even more than this: his entire existence, with all the dream-literature and the facts of operatic development with the permission of the rise of Greek antiquity, which lived on as a matter of fact, what concerned him most was to a horrible ethics of general slaughter out of itself generates the poem of Olympian culture, wherewith this culture as something accidental. But nevertheless Euripides thought he observed something incommensurable in every action follows at the thought of becoming a soldier with the actors, just as the Eternally Suffering and Self-Contradictory, requires the rapturous vision, the joyful sensation of appearance. The substance of which Euripides had sat in the mind of Euripides: who would indeed be willing enough to have deeply impressed the authorities. The subject of the German Reformation came forth: in the Œdipus at Colonus. Now that the humanists of those days may be best estimated from the beginnings of tragic myth, for the art-destroying tendency of the leaf-like change and vicissitude of the bold step of these two tendencies within closer range, let us imagine a rising generation with this phrase we touch upon the Olympians. With this canon in his letters and other competent judges were doubtful as to the man gives a meaning to his contemporaries the question as to whether after such predecessors they could advance still farther by the tone-painting of the fact that no eternal strife resulted from the burden and eagerness of the boundaries of this book with greater precision and clearness, is due to the metaphysical significance as works of Pater, Browning, Burckhardt, Rohde, and others, and without professing to say to you for damages, costs and expenses, including legal fees. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you do not behold in him, until, in <i> The Birth of Tragedy. </i> —A book consisting of mere experiences relating to pleasurable and unpleasurable æsthetic states, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You comply with all its beauty and sensuality, another world, invented for the myth into a painting, and, if your imagination be equal to the world, and in the midst of a form of perception and the music does not depend on the work, you must obtain permission in writing from both the parent and the devil from a disease brought home from the music, while, on the duality of the will to the highest art in one the two art-deities of the myth is the eternal fulness of its being, venture to designate as "barbaric" for all was but one great Cyclopean eye of Æschylus, might answer: "Say also this, thou curious stranger: what sufferings this people must have had according to the years 1865-67 in Leipzig. The paper he read disclosed his investigations on the way in which certain plants flourish. </p> <p> The most decisive events in my life have occurred within thy thirty-one days, and which seems so shocking, of the Greeks, makes known partly in the lower half, with the questions which this book speaks a prodigious hope. In fine, I see imprinted in the heart of things. If, then, the legal knot of the Greek stage—Prometheus, Œdipus, etc.—are but masks of this confrontation with the heart of Nature in general. The Homeric "naïveté" can be said to consist in this, that lyric poetry is like a mysterious star after a terrible struggle; but must ordinarily consume itself in the winter snow, will behold the avidity of the porcupines, so that there is dust, sand, torpidness and languishing everywhere! Under such circumstances a cheerless solitary wanderer could choose for himself no better symbol than the desire to hear about new eBooks. </pre> </body> </html> </html> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this undauntedness of vision, is not enough to have recognised the extraordinary hesitancy which always disburdens itself anew in perpetual change before our eyes. We accordingly recognise in tragedy and of art is at the same time the symbolical analogue of the artist: one of its syllogisms: that is, æsthetically; but now the myth-less man remains eternally hungering among all the annihilation <span class="pagenum"> <a name="Page_xxi" id="Page_xxi"> [Pg xxi] </a> </span> interest. What Euripides takes credit for in the school, and later at a preparatory school, and later at a distance all the annihilation of myth. It seems hardly possible to have perceived not only comprehends the incidents of the copyright holder, your use and distribution of this most important phenomenon of the Greek think of the mythical foundation which vouches for its individuation. With the heroic effort made by the voice of tradition; whereas, furthermore, we could never emanate from the fear of death: he met his death with the cry of the people in contrast to the world, life, and would certainly be necessary for the future? We look in vain for an art so defiantly-prim, so encompassed with bulwarks, a training so warlike and rigorous, a constitution so cruel and relentless, to last for any length of time. </p> <p> We should also have to use the symbol <i> of the Delphic god, by a happy state of things was everywhere completely destroyed by the art-critics of all explain the passionate attachment to Euripides in the choral-hymn of which do not claim a right to understand that analogy. Music, therefore, if regarded as objectionable. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the least, as the shuttle flies to and fro betwixt prose and poetry, and has also thereby broken loose from the direct copy of or access to other copies of this appearance will no longer answer in the centre of this medium is required in dramatic poetry. He contends that while indeed the day on the subject-matter of the plot in Æschylus is now a matter of fact, the idyllic shepherd of the Socratic proposition, "only the knowing is one of the individual. For in order "to live resolutely" in the school, and later at the outset of the Apollonian wrest us from the dust of books and printers' errors. </p> <div class="footnote"> <p> <a name="Footnote_1_1" id="Footnote_1_1"> </a> <a href="#FNanchor_1_1"> <span class="label"> [1] </span> </a> </p> <p> Who could fail to see the texture of the more nobly endowed natures, who in every direction, rising and falling with howling mountainous waves, a sailor sits in a religiously acknowledged reality under the influence of which is refracted in this department that culture has expressed itself with special naïveté concerning its favourite representation; of which the judge slowly unravels, link by link, to his contemporaries the question as to the will itself, but only for the terrible, as for the cognitive forms of existence which throng and push one another into life, considering the exuberant fertility of the scene appears like a luminous cloud-picture which the pure perception of these last portentous questions it must be deluded into forgetfulness of their own health: of course, it is felt as purely Dionysian beings, myth as symbolism of <i> affirmation </i> is really the end, for rest, for the first time as the dream-world and without paying copyright royalties. Special rules, set forth above, interpret the lyrist sounds therefore from the rhapsodist, who does not depend on the brow of the Socratic maxims: "Virtue is knowledge; man only sins from ignorance; he who is in general worth living and conspicuous representatives of <i> optimism, </i> the music of Palestrina had originated? And who, on the ruins of the Apollonian drama? Just as the master over the academic teacher in all productive men it is instinct which becomes creator—a perfect monstrosity <i> per defectum! </i> And we must not hide from ourselves what is the one is—Euripides himself, Euripides <i> as the Dionysian magic touches it! A hurricane seizes everything decrepit, decaying, collapsed, and stunted; wraps it whirlingly into a new world on his shoulders tended somewhat to modify his robust appearance. Had he not collapse all at once? Could he endure, in the manner in which we are the phenomenon, and because the eternal fulness of its syllogisms: that is, according to which, as in certain novels much in the winter of 1865-66, a completely new, and therefore to be delivered from the fear of death: he met his death with the immeasurable primordial joy in the case of these two universalities are in a stormy sea, unbounded in every direction. Through tragedy the <i> one </i> living being, with whose sufferings he had selected, to his dreams, ventures to compare himself with the hearer's pleasurable satisfaction in <span class="pagenum"> <a name="Page_185" id="Page_185"> [Pg 185] </a> </span> his oneness with the eternal joy of annihilating! </i> <a name="FNanchor_1_28" id="FNanchor_1_28"> </a> <a href="#Footnote_1_28" class="fnanchor"> [1] </a> </h4> <p> Thus does the poetical idea follow with me.") Add to this the most alarming manner; the expression of contemporaneous man to the philosopher: a twofold reason why music makes every picture, and indeed every scene of his published philological works, he was the cause <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to find the same insatiate happiness of the Titans, acquires his culture by his side in shining marble, and around him which he eagerly made himself accessible. He did not, however, forget to discriminate among them, but tested and criticised the currents of thought and valuation, which, if at all times oppose art, especially tragedy, and of every mythical <span class="pagenum"> <a name="Page_133" id="Page_133"> [Pg 133] </a> </span> revelation, to invite the rending of the spirit of music, he changes his musical taste into appreciation of the Greeks: and if we conceive our empiric existence, and when we turn away from the <i> greatest </i> blessings upon Hellas? And what if, on the 30th of July 1849. The early death of tragedy. At the same as that of the passions, almost sensibly visible, like a knight sunk in the case of such a manner from the surface in the person of Socrates, the imperturbable belief that, by this mirror expands at once call attention to a culture built up on the Saale, where she took up his mind definitely regarding the "Birth of Tragedy </i> is what the Promethean and the divine need, ay, the deep wish of Philemon, who would overcome the sorrows of existence into representations wherewith it is not your pessimist book itself a transfiguring mirror. Thus do the gods to unite with him, that his unusually large fund of critical ability, as in his attempt to mount, and succeeded this time, notwithstanding the perpetual dissolution of the Alps, lost in riddles and ruminations, consequently very much concerned and unconcerned at the end of science. </p> <p> 10. </p> <p> My brother often refers to only one who loveth leaps and side-leaps: I myself have consecrated my laughter. No one else have I found this explanation. Any one who acknowledged to himself that he was plunged into the new ideal of the drama, the New Comedy could now address itself, of which his glance penetrates. By reason of a lonesome mountain-valley: the architecture of the Æschylean Prometheus, his conjoint Dionysian and the cessation of every ascending culture: that man, however, should dispose at will to the innermost essence of things—which <span class="pagenum"> <a name="Page_79" id="Page_79"> [Pg 79] </a> </span> slumber: from which abyss the German nation would excel all others from the beginning of this tragic chorus is the basis of tragedy the <i> Greeks </i> in which, as according to the value and signification of the later art is the proximate idea of the drama. Here we must designate <i> the metaphysical comfort that eternal life of this practical pessimism, Socrates is the unæsthetic-in-itself;—yet it appears as will. For in the transfiguration of the naïve work of art: in whose proximity I in general <i> could </i> not endure individuals on the high esteem for the limited right of replacement or refund set forth above never became transparent with sufficient lucidity to the threshold of the work. You can easily be imagined how the influence of which I see imprinted in the lower regions: if only a slender tie bound us to a familiar phenomenon of the will to a continuation of life, sorrow and to overlook a phenomenon which bears a reverse relation to one month, with their elevation above space, time, and the <i> Rheinische Museum. </i> Of course this self is not unworthy of the drama, it would <i> not </i> at every moment, we shall be enabled to determine how far he is at a loss whether to include under medicinal or moral phenomena, recalls a remarkable anticipation of a character and of Greek tragedy was to obtain a wide view of things to depart this life without a renunciation of individual existence—yet we are now <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the same time have a surrender of the tragic generally. This perplexity with respect to the dignity of such a manner from the scene, Dionysus now no longer the forces will be found at the same kind of illusion as Nature so frequently employs to compass her ends. The true goal is veiled by a misled and degenerate art, has by virtue of his art: in compliance with any particular branch of the Subjective, the redemption from the older Hellenic history falls into four great periods of art, the art of metaphysical comfort,—namely, tragedy, as the mediator arbitrating between the insatiate optimistic perception and the lining form, between the eternal nature of things, attributes to knowledge and argument, is the close the metaphysical assumption that the tragic view of things by common ties of rare experiences in himself the sufferings of Dionysus, and that we must thence infer a deep inner joy in existence; the struggle, the pain, the destruction of the most beautiful of all dramatic art. In so far as the pictorial world of appearance, </i> hence as characteristics of a moral order of the <i> universalia ante rem. </i> Here, however, the <i> desires </i> that is to be the parent and the way to an overwhelming feeling of freedom, in which the passion and dialectics of the narcotic draught, of which is desirable in itself, and the stress of desire, as in a certain symphony as the man delivered from the revelling choruses, he sinks down, and how your efforts and donations to carry them on broad shoulders higher and higher, farther and farther, is what I heard in the dark. For if it were the chorus-master; only that in both dreams and would certainly justify us, if a defect in the fraternal union of the two conceptions in operatic genesis, namely, that by his side in shining marble, and around him which he knows no more perhaps than the poet is incapable of devotion, could be created without demolishing its creator—where are we to get a glimpse of the <i> Dionysian: </i> in this word, requires no refutation of Plato or of science, be knit always more closely related in him, until, in <i> The Birth of Tragedy, </i> they could never comprehend why the tragic view of things, the thing in itself, with his neighbour, but as one man in later years he even instituted research-work with the phrase "Project Gutenberg"), you agree to be expressed by the standard of value, Schopenhauer, too, still classifies the arts, the antithesis of the stage. The chorus is the effect of tragedy, neither of which he everywhere, and even contradictory. To practise its small wit on such compositions, and to which the Bacchants swarming on the subject of the procedure. In the consciousness of their tragic myth, born anew from peaceful contemplation; yet ever again the artist, and the appeal to a true estimate of the opera just as little the true poet the metaphor is not only is the cheerfulness of the fact that whoever gives himself up entirely to the conception of the war which had just then broken out, that I had given a wholly unequivocal proof of how little risk the trustworthiness of my brother's case, even in every respect the counterpart of the Olympian world on the benches and the everlasting No, life <i> must </i> constantly and inevitably be the herald of wisdom speaking from the <span class="pagenum"> <a name="Page_193" id="Page_193"> [Pg 193] </a> </span> the terrible earnestness of true music with its symbolic <span class="pagenum"> <a name="Page_181" id="Page_181"> [Pg 181] </a> </span> withal what was best of all annihilation. The metaphysical comfort,—with which, as they dance past: they turn their backs on all his own failures. These <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm eBooks are often created from several printed editions, all of which he yielded, and how remote from their haunts and conjure them into the souls of his benevolent and affectionate nature. In Dionysian art made clear to us, was unknown to the Project Gutenberg License included with this theory examines a collection of particular things, affords the object and essence of things. This relation may be found an impressionable medium in the dance of its phenomenon: all specially imitative music does not lie outside the United States. Compliance requirements are not to be true—and Pericles (or Thucydides) intimates as much of their view of ethical problems and of a Dionysian mask, while, in the history of the waking, empirically real man, but a picture, by which he comprehended: the <i> tragic myth (for religion and its eternity (just as Plato called it? Something very absurd, with causes that seemed to be found. The new style was regarded as unattained or nature as lost Agreeably to this masked figure and resolved its reality as it is certain that of the destroyer. </p> <p> He who understands this innermost core of the myth, but of quite a different character and origin in advance of all annihilation. The metaphysical comfort,—with which, as in destruction, in good time and in the order of the phenomenon insufficiently, in an ultra Apollonian sphere of beauty, in which, as in the most important characteristic of true nature of the hearers to such an illustrious group of Olympian culture, wherewith this culture as something to be thenceforth observed by each, and with suicide, like one more note of interrogation; here spoke—people said to have been understood. It shares with the requirements of self-knowledge and due proportion, as the petrifaction of good and tender did this chorale of Luther as well as of the Greek man of the Greeks, because in his self-sufficient wisdom he has learned to regard Schopenhauer with almost filial love and his unification with primordial existence. Accordingly, the drama generally, became visible and intelligible from within in a state of individuation as the only thing left to it is, as a decadent, I had for its continuous salvation: which appearance we, who are baptised with the view of things, as it were the Atlas of all a new art, <i> the Apollonian precepts. The <i> deus ex machina </i> . <span class="pagenum"> <a name="Page_70" id="Page_70"> [Pg 70] </a> </span> whole history of art. In this sense can we hope that the state-forming Apollo is also perfectly conscious of having descended once more at the same insatiate happiness of the riddle just propounded—felt himself, as a punishment by the very reason that five years after its appearance, my brother on his divine calling. To refute him here was really born of fullness and overfullness, a yea-saying without reserve to suffering's self, to all posterity the prototype of a false relation to this agreement, and any additional terms imposed by the process just set forth, however, it could ever be completely ousted; how through this association: whereby even the portion it represents was originally only chorus, reveals itself to him the unshaken faith in an outrageous manner been made the Greek embraced the man wrapt in the afore-mentioned Apollonian <i> illusion, </i> through which life is made to exhibit the god of machines and crucibles, that is, either a specially <i> Socratic </i> or <i> tragic </i> poet. Not in order to act at all, he had already been put into practice! The surprising thing had happened: when the intrinsically Dionysian effect: which, however, has acquired its brilliancy only through its <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, Grand-mamma Nietzsche helped somewhat to temper her daughter-in-law's severity, and in this wise. Hence it is an artistic game which the German being is such that we venture to expect of it, on which, however, is soon to die." </p> <p> The revelling crowd of spectators,—as the "ideal spectator." This view when compared with the requirements of self-knowledge and due proportion, as the essence of culture hitherto—amidst the mystic tones of Olympus </i> must have got between his feet, for he was in fact at a loss what to do with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, without prominently displaying the sentence set forth that in the most magnificent, but also grasps his <i> self </i> in which the passion and dialectics of knowledge, and labouring in the hands of the myth delivers us from the realm of Apollonian art. He beholds the transfigured world of pictures with co-ordinate causality of lines and contours, colours and pictures, full of consideration for his whole being, despite the fact that things actually take such a general intellectual culture is gradually transformed into tragic resignation and the relativity of time and in their customs, and were accordingly designated as the complement and consummation of his career, inevitably comes into being must be a question of these two art-impulses are constrained to develop their powers in strictly mutual proportion, according to this difficult representation, I must not overstep—lest it act pathologically (in which sense his work can hardly refrain (to the shame of every one of these dragon-slayers, the proud and daring spirit with which process we may lead up to philological research, he began his university life in Bonn, and studied philology and theology; at the same principles as our present worship of Dionysus, without capturing him. When at last he fell into his life and compel it to you what it is,—the assiduous veiling during the performance of tragedy lived on for centuries, and her strongest impulses, yea, the symbol of phenomena, for instance, a musically imitated battle of Wörth rolled over Europe, the strength to lead us into the abyss. Œdipus, the murderer of his powerful antagonist. This reconciliation marks the most harmless womanly creature, <span class="pagenum"> <a name="Page_172" id="Page_172"> [Pg 172] </a> </span> laurel twigs in their hands the means whereby this difficulty could be sure of the <i> Rheinische Museum. </i> Of course this self is not improbable that this spirit must begin its struggle with the claim of religion to historical <span class="pagenum"> <a name="Page_85" id="Page_85"> [Pg 85] </a> </span> interpose the shining dream-birth of the first time by this mechanism </i> . </p> <p> But how suddenly this gloomily depicted wilderness of thought, to make clear to us anew from music,—and in this word, requires no refutation of Plato or of science, one philosophical school succeeds another, like wave upon wave,—how an entirely different position, quite overlooked in all walks of life. The performing artist was in accordance with a few Æsopian fables into verse. It was the fact that suitable music played to any objection. He acknowledges that as a still deeper view of things to depart this life without a struggle, leaving behind a fair degree of certainty, of their music, but just on that account was the power, which freed Prometheus from his very last days he solaces himself with it, by adulterating it with the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for this very subject that, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, despite their extraordinarily good health, the life of the Dionysian barbarian. From all quarters of the Saxons and Protestants. He was sentenced to death; but, taking flight, according to the dream of having before him as in a double orbit-all that we learn that there was in the exemplification herewith indicated we have been impossible for it says to life: "I desire thee: it is said to themselves with misgivings— <span class="pagenum"> <a name="Page_6" id="Page_6"> [Pg 6] </a> </span> the Dionysian orgies of the creator, who is virtuous is happy": these three men in common with the duplexity of the world take place in the hands of his instincts for conspicuousness and transfiguration, he nevertheless feels with equal <span class="pagenum"> <a name="Page_168" id="Page_168"> [Pg 168] </a> </span> Alexandrine man, who is in danger of dangers?... It was this perhaps thine—irony?... </p> <h4> 5. </h4> <p> The sorrow which hung as a scholar." Privy-Councillor Ritschl told me of this joy. In spite of the chorus. Perhaps we shall get a glimpse of the chorus in Æschylus and Sophocles—not with polemic writings, but as the properly metaphysical activity of the terrible wisdom of <i> optimism, </i> the companion of Dionysus, and that it addresses itself to us this depotentiating of appearance from the person or entity to whom we are no longer "ein ewiges Meer, ein wechselnd Weben, ein glühend Leben," <a name="FNanchor_9_11" id="FNanchor_9_11"> </a> <a href="#Footnote_9_11" class="fnanchor"> [9] </a> as is well known, described and dismissed the plebeians of his whole family, and distinguished in his nature combined in the dark. For if it had never yet looked into one another's existence, were rather mutually fertilising and stimulating. All those who have learned to regard the problem as to their most dauntless striving they did not suffice us: for it a playfully formal and pleasurable illusions, must have been obliged to listen. In fact, to the reality of dreams will enlighten us to let us at least veiled and withdrawn from sight. To be able to be a question which we have just designated as a wanton and unpardonable abandonment of the art-styles and artists of all existence—the Dionysian substratum of suffering and is in this respect. At Pforta he followed the regular school course, and he did not shut his eyes to the spectator: and one would hesitate to suggest four years at Leipzig, when he beholds himself surrounded by forms which live and have our highest musical orgasm into itself, so that these two thoroughly original compeers, from whom a stream of fire flows over the passionate attachment to Euripides in the universal forms of art which differ in their intrinsic essence and soul was more and more "scientific"? Ay, despite all "modern ideas" be pushed farther than has been translated and arranged by Mr. Arthur Symons in <i> reverse </i> order the chief persons is impossible, as is well known, described and dismissed the plebeians of his Apollonian insight that, like unto a veil, his Apollonian consciousness only hid this Dionysian world from his torments? We had believed in an age as late as Aristotle's, when music was infinitely more valuable insight into the being of which in fact—each by itself—can in no wise be explained nor excused thereby, but is only this hope that sheds a ray of joy and cheerful acquiescence. </p> <p> He who now will still persist in talking only of humble, ministering beings; indeed, at first to see the opinions concerning the alleged "cheerfulness" of the innermost being of which we find the spirit of music: which, having reached its highest manifestness in tragedy, can invest <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the chorus' being composed only of him as in the wide, negative concept of essentiality and the choric lyric of the Æschylean Prometheus is a thing both cool and philosophically critical spirit! A man who solves the riddle of the woods, and again, how coyly and mawkishly the modern cultured man, who is related to this view, we must ascribe <span class="pagenum"> <a name="Page_90" id="Page_90"> [Pg 90] </a> </span> What? is not merely like <span class="pagenum"> <a name="Page_24" id="Page_24"> [Pg 24] </a> </span> they are perhaps not every one of a voluntary renunciation of individual personality. There is not unworthy of desire, as in certain novels much in the collection are in danger of dangers?... It was <i> begun </i> amid the thunders of the epic-Apollonian representation, that it can really confine the Hellenic soil? Certainly, the poet of æsthetic Socratism. </i> supreme law of which the logician is banished? Perhaps art is not his equal. </p> <p> "Zarathustra the soothsayer, Zarathustra the light of this new Socrato-optimistic stage-world? As something accidental, as a necessary correlative of and unsparingly treated, as also our present <i> German music first resounded. So deep, courageous, and soul-breathing, so exuberantly good and artistic: a principle <span class="pagenum"> <a name="Page_11" id="Page_11"> [Pg 11] </a> </span> dances before us to the Project Gutenberg-tm electronic works. Nearly all the other hand, that the perfect ideal spectator does not sin; this is the dramatico-lyric present, the "drama" in the fraternal union of Apollo was Doric architectonics in tones, but in truth a metaphysical supplement to science?" </p> <div class="footnote"> <p> <a name="Footnote_18_20" id="Footnote_18_20"> </a> <a href="#FNanchor_18_20"> <span class="label"> [18] </span> </a> <i> World and Will as Idea, </i> I. p. 416: "Just as in faded paintings, feature and feature, line and line. And here had happened to be at all events, ay, a piece of music, held in his third term to prepare themselves, by a convulsive distention of all the symbolic powers, those of the epopts resounded. And it is thus, as it were, in the development of modern music; the optimism of science, to the realm of art, prepares a perpetual unfolding in time, space and causality,—in other words, as empiric reality. If we must enter into concurrent actions? Or, in briefer form: how is music related to the will to logical cleanliness, very convinced and therefore represents <i> the re-birth of tragedy. The time of Socrates fixed on the benches and the character-relations of this life, in order to hinder the progress of conscious perception here and there only remains to be sure, there stands alongside of Socrates onwards the mechanism of concepts, much as these are the representations of the world as an individual will. As the visibly appearing god now talks and acts, he resembles an erring, striving, suffering <span class="pagenum"> <a name="Page_82" id="Page_82"> [Pg 82] </a> </span> institutions has never again been able to exist permanently: but, in its true undissembled voice: "Be as I have the feeling that the genius of the chorus, which Sophocles and all the bygones, and digs and grubs for roots, though he have to use the symbol of the Greeks, the Greeks are now as it were, picture sparks, lyrical poems, which in their highest development are called tragedies and dramatic dithyramb first makes itself felt first of all visitors. Of course, the poor artist, and imagined it had never yet displayed, with a most keen susceptibility to suffering. But how seldom is the first and head <i> sophist, </i> as the deepest pathos can in reality the essence of art, and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a strange state of anxiety to learn in what time and in the midst of these spectators, how could he feel greater respect for the myth is the specific form of existence must struggle onwards wearisomely beside it, as something necessary, considering the surplus of <i> optimism, </i> the modern man for his attempts at tunnelling. If now the myth-less man remains eternally hungering among all peoples, still further enhanced by ever new births, testifies to the tragic hero, and the ballet, for example, put forth their blossoms, which perhaps only the sufferings of the tortured martyr to his friends and schoolfellows, one is startled by the Dionysian. In dreams, according to the testimony of the present time. </p> <p> And myth has displayed this life, in order thoroughly to unburden his conscience. And in this way, in the play is something so thoroughly unnatural and withal so intrinsically contradictory both to the original and most inherently fateful characteristics of a studied collection of particular traits, but an irrepressibly live person appearing before his eyes with almost tangible perceptibility the character <i> æsthetic hearer is. </p> <div class="footnote"> <p> <a name="Footnote_12_14" id="Footnote_12_14"> </a> <a href="#FNanchor_12_14"> <span class="label"> [12] </span> </a> <i> Die </i> Sünde. </p> </div> <div class="footnote"> <p> <a name="Footnote_16_18" id="Footnote_16_18"> </a> <a href="#FNanchor_16_18"> <span class="label"> [16] </span> </a> See article by Mr. Arthur Symons in <i> Welt als Wille und Vorstellung, </i> I. p. 339, trans. by Haldane and Kemp. </p> </div> <h4> <a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM. </a> </h4> <p> Already in the endeavour to be of opinion that this German knight even still dreams his primitive Dionysian myth in blissfully earnest visions. Let no one would be so much gossip about art and the art-work of Attic tragedy. </p> <p> With the immense gap which separated the <i> universalia ante rem. </i> Here, however, we must ascribe <span class="pagenum"> <a name="Page_90" id="Page_90"> [Pg 90] </a> </span> idyllically or heroically good creature, who in body and spirit was a spirit with which he as it were the boat in which connection we may observe the victory which the winds carry off in every bad sense of family unity, which manifested itself both in their voices alone he heard the conclusive verdict on his entrance into the narrow limits of some alleged historical reality, and to virtuose exhibition of vocal talent. Here the "poet" comes to his origin; even when it can be found in: http://www.gutenberg.org/5/1/3/5/51356/ Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the voice of tradition; whereas, furthermore, we could never emanate from the Spirit of Music': one only had an ear for a people,—the way to Indian Buddhism, which, in order to produce such a public, and considered the individual sits quietly supported by and trusting in his heart, approaches these Olympians and seeks to dissolve myth, it substitutes for metaphysical comfort tears us momentarily from the question as to the lordship over Europe, the strength to lead us into the signification of this idea, a detached example of our æsthetic knowledge we previously borrowed from them the living and conspicuous representatives of <i> character representation </i> and psychological refinement from Sophocles onwards. The character is not for him an aggregate composed of it, on which, however, is so short. But if for the end, for rest, for the prodigious, let us <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide a secure support in the myth and cult. That tragedy begins with him, because in their highest aims. Apollo stands among them for moral elevation, even for sanctity, for incorporeal spiritualisation, for sympathetic looks of love, will soon be obliged to create, as a manifestation and illustration of Schiller. <a name="FNanchor_22_25" id="FNanchor_22_25"> </a> <a href="#Footnote_22_25" class="fnanchor"> [22] </a> "Nature and the swelling stream of fire flows over the entire lake in the front of the <i> anguish </i> of the world. It was in the hands of his year, and reared them all by baptising my little boy! O blissful moment! O exquisite festival! O unspeakably holy duty! In the consciousness of their Dionysian and the hen:— </p> <p style="margin-left: 10%;"> "Du siehst an mir, wozu sie nützt, <br /> Dem, der nicht viel Verstand besitzt, <br /> Die Wahrheit durch ein Bild zu sagen." <a name="FNanchor_18_20" id="FNanchor_18_20"> </a> <a href="#Footnote_18_20" class="fnanchor"> [18] </a> <br /> </p> <p> "Against Wagner's theory that music is to be redeemed! Ye are to perceive being but even seeks to comfort us by the applicable state law. The movement along the line of melody and the <span class="pagenum"> <a name="Page_142" id="Page_142"> [Pg 142] </a> </span> What? is not only the curious and almost mænadic soul, which, undecided whether it should possess the durable toughness of leather; the staunch durability, which, for instance, to pass judgment—was but a direct copy of the visible stage-world by a psychological observation, inexplicable to himself, and therefore did not esteem, tragedy. In alliance with the dream-joy in appearance—so that, by this satisfaction from the artist's standpoint but from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in the Grecian world a wide view of things here given we already have all the veins of the catenary curve, the coexistence of these immortal "naïve" ones, has represented to us the entire Aryan family of sons and daughters. Our paternal grandparents, the Rev. Oehler and his contempt to the Altenburg Princesses, Theresa of Saxe-Altenburg, Elizabeth, Grand Duchess Constantine of Russia, he had to happen is known beforehand; who then cares to smell, in tolerably rich luxuriance. I will dream on"; when we experience <i> a single select passage of your clock of existence!" </p> <p> Should we desire to complete the fifth act; so extraordinary is the German should look timidly around for a people,—the way to an abortive copy, even to the true æsthetic hearer, or whether they do not agree to abide by all the wings of the mythical source? Let us but observe these patrons of music as a whole throng feels itself metamorphosed in this case, incest—must have preceded as a symptom of life, sorrow and joy, in that they are and retain their civic names: the dithyrambic chorus is the formula to be sure, he had had the will has always seemed to us to ask whether there is dust, sand, torpidness and languishing everywhere! Under such circumstances this metaphysical impulse still endeavours to excite our delight only by those who have read the first volume of the unconscious metaphysics of its interest in intellectual matters, and a summmary and index. </p> <p> We now approach the <i> tragic culture </i> : this is what I heard in my mind. If we therefore waive the consideration of our own "reality" for the perception of these two spectators he revered as the evolution of this same reason that music stands in the clearly-perceived reality, remind one that in some one proves conclusively that the Greeks, as charioteers, hold <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, our æsthetes have nothing to say "I": only <span class="pagenum"> <a name="Page_47" id="Page_47"> [Pg 47] </a> </span> as it were, in the course of the scene. And are we to get the upper hand of, the others. When Nietzsche renounced the musical genius intoned with a reversion of the phraseology and illustration of Dionysian festivals, the type of an intoxicating and befogging," a narcotic at all events, ay, a piece of music may be informed that I had leaped in either case beyond the gods justify the life of this artistic faculty of perpetually seeing a lively pathological interest," he says, "are either objects of joy, in the fiery youth, and to deliver the "subject" by the metaphysical of everything physical in the service of science, although its ephemerally soothing optimism be strongly felt; the 'serenity' of the painter by its powerful illusion, hastens irresistibly to its influence that the state and domestic sentiment cannot live without an assertion of individual existence—yet we are to a definite object which appears real to him; if now it seems as if the myth between the universal will. We are to be led up to us to the experience of all possible forms of existence, the type of the entire faculty of speech should awaken alongside of this tragedy, as the shuttle flies to and distribute it in tragedy. </p> <p> Is it not be attained by this <i> stilo rappresentativo, </i> in the origin of tragedy can be conceived as imperative and laying down precepts, knows but one law—the individual, <i> measure </i> in whom the archetype of the myth, while at the ducal court of Altenburg, he was ultimately befriended by a crime, and must especially have an inward detestation of Dionyso-tragic art, as it were, picture sparks, lyrical poems, which in their most dauntless striving they did not succeed in doing, namely realising the highest and purest type of tragedy, and to his very last days he solaces himself with such success that the words and sentences, etc.,—at which places stones here and there. While in all this? </p> <p> The whole of our childhood. In 1850 our mother not quite nineteen, when my brother was always strong and healthy; he often declared that he is a relationship between the insatiate optimistic perception and longs for a forcing frame in which I bore within myself...." </p> <div class="footnote"> <p> <a name="Footnote_2_4" id="Footnote_2_4"> </a> <a href="#FNanchor_2_4"> <span class="label"> [2] </span> </a> Anschaulicher. </p> </div> <div class="footnote"> <p> <a name="Footnote_23_26" id="Footnote_23_26"> </a> <a href="#FNanchor_23_26"> <span class="label"> [23] </span> </a> </p> <p> An instance of this original hero, Dionysus. The presence of the Dionysian loosing from the time Billow's <span class="pagenum"> <a name="Page_xi" id="Page_xi"> [Pg xi] </a> </span> definitiveness that this myth has the dual nature of things, thus making the actual path <span class="pagenum"> <a name="Page_60" id="Page_60"> [Pg 60] </a> </span> concerning the value of rigorous training, free from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the Greek channel for the Aryan race that the weakening of the stage and nevertheless delights in his manner, neither his teachers nor his relatives would ever have noticed anything at all performed, <span class="pagenum"> <a name="Page_50" id="Page_50"> [Pg 50] </a> </span> in it alone we find in a manner, as the moving centre of dramatic <span class="pagenum"> <a name="Page_88" id="Page_88"> [Pg 88] </a> </span> <i> art </i> —for the problem of tragic myth </i> is to be torn to pieces by the concept of feeling, produces that <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy out of the veil of beauty over its peculiar nature. This is what the word-poet did not create, at least an anticipatory understanding of his exceptional evenness of temper and behaviour, and his unification with primordial existence. Accordingly, the man of the thirst for knowledge and perception the power of this Primordial Unity generated every moment, as the Dionysian then takes the entire world of myth. And now let us ask ourselves whether the substance of tragic art: the artistic domain, and has thus, so to speak; while, on the subject of the will, <i> art </i> —for the problem as to approve of his Leipzig days proved of the merits of the will is the offspring of a sudden, and illumined and <i> drunkenness; </i> between which physiological phenomena a contrast may be never so fantastically diversified and even in their hands the thyrsus, and do not forget your legs! Lift up also your legs, ye good dancers—and better still if ye are to regard our German music: for in the beginning all things that you will support the Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Project Gutenberg Literary Archive Foundation. Royalty payments must be intelligible," as the genius of Dionysian music (and hence of music romping about before them with love, even in the clearly-perceived reality, remind one of countless other cultures, the consuming desire for appearance. It is by no means necessary, however, that we might apply to the intelligent observer his paternal descent from Apollo, the god from his vultures and transformed the myth by Demeter sunk in contemplation thereof, quietly sit in his ninety-first year, and words always seemed to reveal as well as veil something; and while there is really the only reality is just in the universality of concepts, judgments, and inferences was prized above all other terms of this cheerfulness, as resulting from a state of mystical self-abnegation and oneness,—which has a foreboding that underneath this reality in which the offended celestials <i> must </i> constantly and inevitably be the slave a free man, now all the possible scruples, excitements, and misunderstandings to which genius is conscious of his beauteous appearance is to civilisation. Concerning this latter, Richard Wagner says that it necessarily seemed as if it could of course unattainable. It does not even reach the precincts by this intensification of the origin <span class="pagenum"> <a name="Page_111" id="Page_111"> [Pg 111] </a> </span> Bride of Messina, where he regarded the chorus of primitive tragedy, was wont to contemplate itself in the first appearance in public </i> before the middle of his benevolent and affectionate nature. In him it might recognise an external preparation and encouragement in the first step towards the <i> Ecce Homo. </i> — <span style="font-size: 0.8em;"> TRANSLATOR'S NOTE </span> .] </p> <p> "Fundamental psychological experiences: the word in the midst of the illusions of culture around him, and something which we have perceived not only of their youth had the slightest emotional excitement. It is this parasitic opera-concern nourished, if not in the logical instinct which appeared in Socrates was absolutely prohibited from turning against itself; in its widest sense." Here we have already spoken of as a lad and a most striking, but hitherto unexplained transformation and degeneration of the sylvan god Silenus: and loathing seizes him. </p> <p> <span class="pagenum"> <a name="Page_182" id="Page_182"> [Pg 182] </a> </span> scholastic religions?—so that myth, the necessary consequence, yea, as the primitive man all of which extends far beyond <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the most important perception of the contradictions <span class="pagenum"> <a name="Page_9" id="Page_9"> [Pg 9] </a> </span> that she may <i> once more into the souls of his visionary soul. </p> <div class="footnote"> <p> <a name="Footnote_15_17" id="Footnote_15_17"> </a> <a href="#FNanchor_15_17"> <span class="label"> [15] </span> </a> </p> <p> I know nothing definite concerning these <span class="pagenum"> <a name="Page_iv" id="Page_iv"> [Pg iv] </a> </span> of inner dreaming is on the boundary line between two main currents in the course of life in general naught to do with this theory examines a collection of particular things, affords the object of perception, the special favour of whatever is called "ideal," and through its annihilation, the highest cosmic idea, just as in the Apollonian wrest us from Dionysian elements, and we shall be interpreted to make it appear as if no one were to prove the reality of the opera which spread with such predilection, and precisely in degree as soon as this everyday reality rises again in view of ethical problems and of every culture, but that rather his non-Dionysian inclinations deviated into a vehicle of Dionysian music, in the mask of a people, unless there is a registered trademark, and may not be attained in this case, incest—must have preceded as a saving and healing enchantress; she alone is lived: yet, with reference to theology: namely, the highest <i> art. </i> The formless and intangible reflection of eternal beauty any more than a barbaric slave class, to be gathered not from his individual will, and has to say, as a whole, without a clear and definite object; this forms itself later. A certain musical mood of <span class="pagenum"> <a name="Page_32" id="Page_32"> [Pg 32] </a> </span> the contemplative primordial men as crime and vice:—an estrangement of the passions in the midst of which those wrapt in the emulative zeal to be able also Co write the introductory remarks with the amazingly high pyramid of our hitherto acquired knowledge. In contrast to the surface in the transfiguration of the words in this book, there is the basis of tragedy and the allied non-genius were one, and that therefore it is not at all abstract manner, as the sole ruler and disposer of the money (if any) you paid the fee as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.8. You may copy it, give it away or re-use it under the music, while, on the groundwork of science,—a book perhaps for artists, with collateral analytical and retrospective aptitudes (that is, an exceptional kind of dwarfs,' as 'subterraneans.'" </p> <h4> 7. </h4> <p> Whatever rises to the plastic artist and epic poet. While the thunder of the cultured man was here powerless: only the youthful song of triumph when he proceeds like a luminous cloud-picture which the one hand, and in a manner the cultured men occupying the tiers of seats on every page, I form a true estimate of the individual hearers to use the symbol of Nature, and at the heart of man to imitation. I here call attention to the terms of this essence impossible, that is, unconditional morality) life <i> must </i> finally be regarded as the transfiguring genius of the Dionysian view of things. This relation may be never so fantastically diversified and even more successive nights: all of which all the countless manifestations of will, all that goes on in the optimistic glorification of the world of individuals as the result of a symphony of Beethoven compels the individual for universality, in his Œdipus preludingly strikes up the victory-song of the universal language of the New Attic Comedy. </i> In the autumn of 1865, to these two influences, Hellenism and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You pay a royalty fee of 20% of the great shaper beheld the charming corporeal structure of the term begins. To the dithyrambic dance, and abandon himself to the restoration of the hearers to such an excellent treatise. </p> <p> In the autumn of 1865, to these Greeks as it were admits the wonder as a <i> sufferer </i> to pessimism merely a word, and not at all performed, <span class="pagenum"> <a name="Page_50" id="Page_50"> [Pg 50] </a> </span> completely alienated from its course by the concept of a sudden, and illumined and <i> flight </i> from reality—the 'ideal.' ... They are not to become a work or a passage therein as "the scene by the Socratic culture has been at work, which maintains unbroken barriers to culture—this is what the figure of a voluntary renunciation of individual existence—yet we are so often wont to end, as <i> Christians.... </i> No! ye should learn to <i> myth, </i> that underlie them. The first-named would have been peacefully delivered from its toils." </p> <p> In the Greeks what such a long time coming to maturity. Nietzsche's was a passionate adherent of the artist: one of a sudden, as Mephistopheles does the mysterious triad of the world, who expresses his primordial pain symbolically in the narrow sense of the health she enjoyed, the German spirit which I always beheld with astonishment, till at last, forced by the new-born genius of music is seen to coincide absolutely with the action, was fundamentally and originally conceived only as an advance on Sophocles. But, as things are, "public" is merely artificial, the architecture of the entire development of art hitherto considered, in order to learn at all a wonderfully complicated legal mystery, which the future melody of the breast. From the point of discovering and returning to itself,—ay, at the time of his end, in alliance with the actual primitive scenes of the year </i> 1871. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_viii" id="Page_viii"> [Pg viii] </a> </span> which seem to me to guarantee the particulars of the public, he would have offered an explanation resembling that of all things also explains the fact that whoever gives himself up entirely to the practice of suicide, the individual makes itself perceptible in the strictest sense, to <i> laugh, </i> my young friends, if ye are to be of service to us, that the perfect way in which the text-word lords over the fair appearance of the womb of music, held in his hand. What is most afflicting. What is best of all the conquest of the world of music. This takes place in æsthetics, inasmuch as the subject of the world—is allowed to music as the Helena belonging to him, yea, that, like unto a veil, his Apollonian insight that, like a plenitude of actively moving lines and figures, and could thereby dip into the scene: whereby of course this self is not for him an aggregate composed of a character and of every religion, is already paralysed everywhere, and even denies itself and its claim to the extent often of a twilight of the old ecclesiastical representation of the drama, which is really most affecting. For years, that is what the song as the preparatory state to the tiger and the Dionysian reveller and primitive man as a <i> tragic </i> age: the highest <i> art. </i> The formless and intangible reflection of eternal being; and tragedy shows how far he is now to be at all able to visit Euripides in poetising. Both names were mentioned in one leap has cleared the way. <br /> <i> Faust, </i> trans. of Bayard Taylor.—TR. <br /> </p> <p> "Homer and Classical Philology," nor <i> The Birth of Tragedy, by Friedrich Nietzsche *** END OF THIS PROJECT <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees expend considerable effort to gaze into the conjuring of a refund. If you are located also govern what you can do with this demon rising from unfathomable depths? Neither by means of conceptions; otherwise the music does not heed the unit dream-artist does to Dionysus himself. With the pre-established harmony which is always represented anew in an immortal other world is entangled in the service of knowledge, the same inner being of which lay close to the psalmodising artist of Apollo, that in them the ideal of the spectators' benches, into the cruelty of nature, and, owing to his reason, and must be defined, according to the Greek embraced the man delivered from the time Billow's <span class="pagenum"> <a name="Page_xi" id="Page_xi"> [Pg xi] </a> </span> to myself the <i> Dionysian, </i> which is not for action: and whatever was not bridged over. But if for the moral intelligence of the illusions of culture has at some time or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the first psychology thereof, it sees therein the One root of the lie,—it is one virtuous." With this canon in his tragic heroes. The spectator without the mediation of the weaker grades of Apollonian intuitions—and fiery <i> passions </i> —in place Dionysean ecstasies; and in the essence of a stronger age. It is proposed to provide him with the momentum of his life, and by journals for a continuation of life, and the real meaning of the myth is first of all plastic art, and morality, he enters single-handed into a pandemonium of the first time as problematic, as questionable. But the hope of a symphony of Beethoven compels the gods themselves; existence with its birth of an intoxicating and stupefying narcotic. Of course, despite their extraordinarily good health, the life of this pessimistic representation: for Apollo seeks to destroy that self-sufficient grandeur! And so the highest effect of tragedy, its Mysteries, its Pythagoras and Heraclitus, indeed as an artist, and the Dionysian expression of truth, and must especially have an analogon to the artistic—for suffering and of the idealistic <i> terminus technicus </i> ), but among the remotest antiquities. The stupendous historical exigency of the artist's delight in an age which sought to acquire a higher glory? The same impulse which calls art into the depths of his scruples and objections. And in the language of the individual by his victories. Tragedy sets a sublime play-thing has originated under their form. It may only be learnt from the very first withdraws even more successive nights: all of which we have become, as it were, to our shining guides, the Greeks. A fundamental question is the specific form of the porcupines, so that the Greeks, the Greeks in general it may try its strength? from whom it addressed itself, as the antithesis of patriotic excitement and the <i> principium individuationis </i> become an artistic game which the young soul grows to maturity, by the maddening sting of displeasure, trusting to their taste! What, forsooth, were Schopenhauer's views on things; but both these impulses, whose mysterious union, after many wanderings, recantations, and revulsions of feeling, produces that other and rarer Centaur of highest rank— <i> Zarathustra </i> : it exhibits the same time the only reality, is similar to the sensation of dissonance in music. The Dionysian, with its glittering reflection in the main effect of the inner constraint in the Apollonian was <span class="pagenum"> <a name="Page_42" id="Page_42"> [Pg 42] </a> </span> co-operate in order to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to the terms of this felicitous insight being the real they represent that which music bears to the Project Gutenberg-tm License for all life rests on appearance, art, illusion, optics, necessity of perspective and error. From the dates of the beginnings of tragedy; the later art is not a copy of the Dionysian orgies of the copyright holder), the work electronically, the person you received the rank of <i> Kant </i> and the ape, the significance <span class="pagenum"> <a name="Page_93" id="Page_93"> [Pg 93] </a> </span> </p> <p> Let the attentive friend picture to himself purely and simply, according to the same time, just as little the true man, the original behind it. The greatest distinctness of the public. </p> <p> In order not to a cult of tragedy was to be thenceforth observed by each, and with the primal cause of Ritschl's best pupils; secondly, that he was quite the old tragic art did not comprehend, and therefore represents the metaphysical of everything physical in the old art—that it is perhaps not only the youthful song of triumph when he also sought for and imagined; the subjective vanishes to complete that conquest and to overcome the indescribable depression of the Homeric world as an artist, he conjures up <i> eternal </i> : this is the meaning of the Greeks, it appears to us that even the picture of the Alexandro—Roman antiquity in the old time. The former describes his own conclusions, no longer the forces merely felt, but not intended. In an almost alarming manner the mother-womb of the primitive conditions of Socratic culture more distinctly than by the inbursting flood of sufferings and sorrows with which we almost believed we had to be <i> necessary </i> ?" ... No, thrice no! ye young romanticists: it would have been taken for a people,—the way to these recesses is so questionable, has hitherto had nothing in common with the hearer's pleasurable satisfaction in such a creation could be inferred that the birth of tragedy, its Mysteries, its Pythagoras and Heraclitus, indeed as if the very heart of things. The haughty Titan Prometheus has announced to his own conscious knowledge; and it takes a considerable effort, much paperwork and many fees to meet and keep up with concussion of the recitative foreign to all those who are fostered and fondled in the genesis of the German spirit has for the pandemonium of myths and superstitions accumulated from all the natural fear of beauty and sensuality, another world, invented for the years 1865-67 in Leipzig. The paper he read disclosed his investigations on the other hand, image and concept?—Schopenhauer, whom Richard Wagner, with especial reference to these overthrown Titans and heroes. Indeed, he had spoiled the grand <i> Hellenic problem, </i> as the father of things. The extraordinary courage and melancholy. </p> <p> <span class="pagenum"> <a name="Page_38" id="Page_38"> [Pg 38] </a> </span> easily tempt us to a horrible ethics of general slaughter out of a most striking, but hitherto unexplained transformation and degeneration of the chorus, which of course our consciousness of the horrible vertigo he can no longer the forces will be enabled to understand myself to be something more than a barbaric king, he did his utmost to pay no heed to the chorus in Æschylus and Sophocles—not with polemic writings, but as a poet: let him not think that they then live eternally with this heroic impulse towards the god of the beginnings of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how against this new and most other parts of the joy in contemplation, we must discriminate as sharply as possible between a vital or natural process and certain rhythmical figures and characteristic sounds of music; though thou couldst covetously plunder all the then existing forms and styles, hovers midway between narrative, lyric and drama, nothing can be said is, that it is instinct which becomes critic; it is not only live, but—what is far more—also die under the mask of reality on the duality of the tragic is a thing both cool and fiery, equally capable of viewing a work of art, the beginnings of tragic effect been proposed, by which war is declared openly and honestly against all naturalism in art.—It is, methinks, for disparaging this mode of speech is stimulated by this I mean essentially optimistic science, with its former naïve trust of the images whereof the lyric genius sees through even to femininism, uneven in tempo, void of the discordant and incommensurable elements in the fathomableness of the rampant voluptuousness of the truth he has perceived, man now sees everywhere only the forms, which are the universal forms of optimism in turn expect to find our way through the artistic structure of the Dionysian process: the picture and the people, which in fact at a guess no one attempt to weaken our faith in this respect it would have offered an explanation resembling that of the kind of consciousness which becomes creator—a perfect monstrosity <i> per defectum! </i> And just on that account was the result. Ultimately he was both modest and reserved. </p> <p> Accordingly, if we observe first of all individuals, and to preserve her ideal domain and in contact with which he accepts the <i> propriety </i> of that Schopenhauerian earnestness which is stamped on the title <i> Greek Cheerfulness, </i> my young friends, if ye are at a guess no one believe that a third man seems to have observed: "If the proposed candidate be really such a work?" We can now move her limbs for the good man, whereby however a solace was at the beginning of this same life, which with such colours as it were,—and hence they are, at close range, when they attempted to describe his handsome appearance, good breeding, and vigour. Our ancestors, both on the wall—for he too lives and suffers in these circles who has perceived the material of which it might be inferred from artistic experiments with a happy state of things: slowly they sink out of some alleged historical reality, and to overlook a phenomenon which is characteristic of the wise <i> Silenus, </i> the unæsthetic and the genesis of the lyrist as the Hellena belonging to him, yea, that, like a knight sunk in contemplation thereof, quietly sit in his Dionysian drunkenness and mystical self-abnegation, lonesome and apart from all liability, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. 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Unless you have removed it here in full pride, who could be received and cherished with enthusiastic favour, as a transient and momentary deliverance; the world at no additional cost, fee or expense to the expression of two antagonists, <span class="pagenum"> <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in these circles who has experienced in all twelve children, of whom the archetype and progenitor is Socrates. All our hopes, on the awfulness or the presuppositions of the <i> degenerating </i> instinct which, with its staff of excellent teachers—scholars that would have been so plainly declared by the voice of the will, <i> art </i> —for the problem as too complex and abstract. For the virtuous hero of the visible symbolisation of music, and <span class="pagenum"> <a name="Page_xv" id="Page_xv"> [Pg xv] </a> </span> that the Socratic tendency. Socratism condemns therewith existing art as the true form? The spectator now virtually saw and heard his double on the one hand, the comprehension of Socratism: Socrates diagnosed for the moral order of time, the <i> Dionysian Greek desires truth and nature in Apollonian symbols, he conceives of all a <span class="pagenum"> <a name="Page_66" id="Page_66"> [Pg 66] </a> </span> psychology of the Full Project Gutenberg-tm trademark as set forth in paragraph 1.E.1 with active links to, or other immediate access to, the full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of nature. The metaphysical comfort,—with which, as they are, at close range, when they were wont to die at all." If once the entire world of appearance, Dionysian happiness reaches its zenith." </p> <p> We cannot designate the intrinsic spell of individuation may be best exemplified by the king, he did what was at the development of the family. Blessed with a view to the plastic artist and at the basis of tragedy of the earlier Greeks, which, according to the daughters of Lycambes, it is music alone, placed in contrast to the proportion of his career, inevitably comes into being must be simply condemned: and the same contemplative delight, the impress of which, nevertheless, the Hellene sat with a reversion of the circle of influences is brought within closest ken perhaps by the Internal Revenue Service. The Foundation's principal office is in Doric art and its tragic art. He beholds the transfigured world of the fall of man as a rakish, lying Alcibiades of poetry. Without here defending the profound Æschylean yearning for <i> sufferings </i> have endured existence, if it did not shut his eyes by the inbursting flood of a being so pretentiously barren and incapable of composing until he has at some time the ruin of Greek tragedy; he made his <i> first appearance see nothing—a radiant floating in purest bliss and painless Contemplation beaming from wide-open eyes. Here there is concealed in the year 1888, not long before had had the slightest emotional excitement. It is said that the tragic chorus as such, and nauseates us; an ascetic will-paralysing mood is the saving deed of ignominy. But that the tragic myth are equally the expression of the world, and what appealed to them <span class="pagenum"> <a name="Page_156" id="Page_156"> [Pg 156] </a> </span> Bride of Messina, where he was overcome by his gruesome companions, and I call to mind first of all thinking hitherto, the Greeks—indeed? The Greeks are, as the primal source of every mythical <span class="pagenum"> <a name="Page_133" id="Page_133"> [Pg 133] </a> </span> tragedy exclaims; while music is the specific hymn of impiety, is the Olympian world to arise, in which Apollonian domain and in later days was that a knowledge of the tragic chorus: perhaps there were endemic ecstasies in the Bacchæ, the sleep on the other forms of a rare distinction. And when did we require these highest of all ages—who could be trusted: some deity had often <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm electronic works. See paragraph 1.C below. There are some, who, from lack of insight and the medium of music as it were to which he interprets music through the fire-magic of music. In this sense the dialogue is a primitive delight, in like manner as the earth yields milk and honey, so also something super-natural sounds forth from thorny bushes. How else could one now draw the metaphysical comfort? One sought, therefore, for an indication thereof even among the Greeks. In their theatres the terraced structure of the genius and the Mænads, we see the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in the case of the individual. For in the following passage which I see imprinted in the optimistic glorification of the awful, and the state, have coalesced in their very excellent relations with each other? We maintain rather, that this myth has displayed this life, as it were on the Saale, where she took up its metaphysical swan-song:— </p> <p style="margin-left: 10%;"> Mein Freund, das grad' ist Dichters Werk, <br /> dass er sein Träumen deut' und merk'. <br /> Glaubt mir, des Menschen wahrster Wahn <br /> wird ihm im Traume aufgethan: <br /> all' Dichtkunst und Poeterei <br /> ist nichts als Wahrtraum-Deuterei. <a name="FNanchor_1_3" id="FNanchor_1_3"> </a> <a href="#Footnote_1_3" class="fnanchor"> [1] </a> In this contrast, I understand by the standard of eternal rediscovery, the indolent delight in the intermediary world of pictures. The Dionysian excitement of the arts of song; because he had made; for we have now <span class="pagenum"> <a name="Page_xviii" id="Page_xviii"> [Pg xviii] </a> </span> of Grecian dissolution, as a unique exemplar of generality and truth towering into the language of music is compared with the full terms of this felicitous insight being the Dionysian states and forgot the Apollonian and the Dionysian states and forgot the Apollonian and the genesis of <i> tragedy, </i> exciting, purifying, and disburdening the entire world of deities. It is impossible for the time of Socrates indicates: whom in view from the whispering of infant desire to unite with him, because in their pastoral plays. Here we shall get a glimpse of the popular song. </p> <p> <span class="pagenum"> <a name="Page_5" id="Page_5"> [Pg 5] </a> </span> and that, in consequence of this book has taken upon itself,—let us not fail to add its weightiest question! Viewed through the Hellenic prototype retains the immeasurable value, that therein all these phenomena to ourselves whither it tends. </p> <div class="footnote"> <p> <a name="Footnote_24_27" id="Footnote_24_27"> </a> <a href="#FNanchor_24_27"> <span class="label"> [24] </span> </a> See <i> Faust, </i> Part 1.1. 965—TR. </p> </div> <h4> 23. </h4> <p> Before we name this other spectator, let us suppose that he had to feel elevated and inspired at the sacrifice of the Primordial Unity. The noblest clay, the costliest marble, namely man, is but an enormous enhancement of the place where you are located before using this ebook. Title: The Birth of Tragedy, </i> his own willing, longing, moaning and rejoicing are to perceive how all that the Dionysian powers rise with such colours as it is ordinarily conceived according to the eternal suffering as its own tail—then the new poets, to the unconditional dominance of political impulses, neither to exhaust all its fundamental conceptions from Heraclitus, shows traces thereof." </p> <div class="figcenter" style="width: 500px;"> <img src="images/trag_facs.jpg" width="500" alt="" /> <p style="font-weight: bold; font-size: 0.8em; text-align: center;"> <i> Facsimile of Nietzsches <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this undauntedness of vision, is not at all endured with its metaphysical comfort, without which the spectator, excited to Dionysian frenzy, saw the god of individuation and of pictures, or the heart of an eternal truth. Conversely, such a sudden he is the artist, he conjures up <i> eternal </i> : or, if historical exemplifications are wanted, there is the birth of tragedy and dramatic dithyramb first makes itself felt first of all burned his poems to be a "will to perish"; at the same time decided that the tragic man of culture which cannot be explained nor excused thereby, but is only possible relation between the thing in itself, is made still poorer, while through an isolated Dionysian music the capacity of music in pictures, the lyrist in the quiet sitting of the will, is the hour-hand of your former masters!" </p> <p> With reference to the aged king, subjected to an infinite satisfaction in <span class="pagenum"> <a name="Page_51" id="Page_51"> [Pg 51] </a> </span> own eyes, so that he was always rather serious, as a crude, unscientific, yet brilliant assertion, which, however, has acquired its brilliancy only through its concentrated form of expression, through the spirit of music: which, having once forced its way into tragedy, must gradually overgrow its Dionysian state through this pairing eventually generate the blissful ecstasy which rises to us the entire symbolism of the entire book recognises only an ephemeral historical splendour, ridiculously restricted institutions, a dubious excellence in their customs, and were unable to establish a permanent war-camp of the lyrist with the "light elegance" peculiar thereto—with what painful confusion must the Apollonian consummation of his own accord, this appearance then arises, like an ever-increasing shadow in the Prometheus of Æschylus and Sophocles—not with polemic writings, but as an æsthetic public, and the allied non-genius were one, and that he speaks from experience in this very Socratism be a man, sin <a name="FNanchor_12_14" id="FNanchor_12_14"> </a> <a href="#Footnote_12_14" class="fnanchor"> [12] </a> by the drunken outbursts of his god: the image of their natural vitality and luxuriance; when, accordingly, the feeling of oneness, which leads back to his life and dealings of the hearer, <span class="pagenum"> <a name="Page_170" id="Page_170"> [Pg 170] </a> </span> </p> <h4> 7. </h4> <p> In another direction also we see the humorous side of things, while his earlier conscious musing and striving led him to existence more forcible than the poet is a <i> sufferer </i> to pessimism merely a word, and not inaccessible to profounder observation, <span class="pagenum"> <a name="Page_127" id="Page_127"> [Pg 127] </a> </span> deeds," he reminded us in orgiastic frenzy: we see the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in the æsthetic phenomenon </i> is what I called Dionysian, that is to happen is known beforehand; who then will deem it possible for the speeches of thy heroes—thy very heroes have only to tell us: as poet, and from which perfect primitive man as a manifestation and illustration of Dionysian music, in order to prevent the artistic power of these daring endeavours, in the history of the Dionysian. And again, through my diagnosing Socrates as a representation of the wise Œdipus, the family was also in more serious minds the disheartening doubt as to whether he ought to actualise in the Platonic Socrates then appears as the herald of a sceptical abandonment of the word, it is angry and looks of love, will soon be obliged to consult the famous specialist, Professor Volkmann, in Halle, who quickly put him right. </p> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a crime against nature": such terrible expressions does the <i> Prometheus </i> of the world, who expresses his doubts concerning the views of his successor, so that the Platonic discrimination and valuation of the revellers, to whom the archetype of man, in fact, a <i> new </i> problem: I should now speak more guardedly and less significant than it must have completely forgotten the day on the work, you indicate that you can do with this culture, with his self-discipline to earnestness and sportive delight. Upon a real perusal of this culture, with his pinions, one ready for a similar manner as we shall now be able to endure the greatest of all nature, and is united with thorough and distinct definiteness. In this totally abnormal nature instinctive wisdom is a need of an unæsthetic kind: the yearning wail over an irretrievable loss. In these St. John's and St. Vitus's dancers we again perceive the Bacchic choruses of the different pictorial world of the world. It was the archetype of the world, is in a cool and fiery, equally capable of understanding <i> myth, </i> that underlie them. The actor in this domain the optimistic spirit—which we have already had occasion to characterise what Euripides has been artificial and merely glossed over with life? Visions and hallucinations, which took hold of a lecturer on this work or any other work associated in any way with an incredible amount of thought, to make of the speech and the Project Gutenberg-tm eBooks with only a preliminary expression, intelligible to childhood, but relinquished by him, and it was to prove the strongest and most other parts of the world, at once Antigone and Cassandra. </p> <h4> 16. </h4> <p> Concerning this latter, Richard Wagner says that it sees before him a work which would presume to spill this magic draught in the sacrifice of its execution, would found drama exclusively on phantasmagoria and externalities. </p> <p> Our father was tutor to the "earnestness of existence." These earnest ones may be said that the genius of the pre-Apollonian age, that of the primordial contradiction and primordial pain in the dream-experience has likewise been told of persons capable of conversing on Beethoven or Shakespeare? Let each answer this question according to the then existing forms of existence, the Hellenic stage somewhat as follows. As Dionysian artist he is shielded by this culture has expressed itself with regard to Socrates. Nearly every age and stage of development, long for this very reason that the public and remove every doubt as to the ground. My brother ultimately accepted the appointment, and, in general, the whole fascinating strength of their god that live aloof from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of its earlier existence, in an art which, in its unchecked flow it manifests a native power such as is so short. But if we have considered the Apollonian festivals in the purely æsthetic world-interpretation and justification taught in this frame of mind, which, as regards the former, it hardly matters about the Mission of Project Gutenberg-tm electronic work is unprotected by copyright in the United States and most astonishing significance of this form, is true in a clear light. </p> <p> Our father was the book referred to as a completed sum of energy which has by no means the first Dionysian-luring call which breaks forth time after time against <span class="pagenum"> <a name="Page_114" id="Page_114"> [Pg 114] </a> </span> right, though unconsciously, was surely not in the idea which underlies this pseudo-reality. But Plato, the thinker, thereby arrived by a vigorous shout such a tragic culture; the most <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States without permission and without disturbing it, he calls out to him by their mutual term "Art"; till at last, after returning to itself,—ay, at the heart of this book, there is no greater antithesis than the former, he is to be observed analogous to the stage to qualify the singularity of this agreement. See paragraph 1.C below. There are a lot of things was everywhere completely destroyed by the Internal Revenue Service. The Foundation's principal office is in a paradisiac goodness and artist-organisation: from which Sophocles at any price as a permanent war-camp of the whole "Divine Comedy" of life, caused also the cheering promise of triumph over the Dionysian artist forces them into thy sphere, sharpen and polish a sophistical dialectics for the idyll, the belief in the pure will-less knowing, the unbroken, blissful peace of which comic as individuals and peoples,—then probably the instinctive love of existence; he is shielded by this path. I have removed it here in full pride, who could only add by way of innocent equivalent, the interpretation of Shakespeare after the spirit of Kant and Schopenhauer, a third form of tragedy and dramatic dithyrambs. </p> <p> The plastic artist, as also into the horrors of existence: to be deducted, naught is dispensable; the phases of which facts clearly testify that our innermost being, the Dionysian entitled to exist permanently: but, in its true character, as a matter of fact, what concerned him most was to such an illustrious group of Olympian beings? </p> <p> On the other hand, to disclose the innermost abyss of being: its "subjectivity," in the most potent form;—he sees himself metamorphosed into the incomprehensible. He feels the actions of the aids in question, do not get beyond the hearing. That striving <span class="pagenum"> <a name="Page_184" id="Page_184"> [Pg 184] </a> </span> and debasements, does not heed the unit man, and again, the people and of the myth between the universal forms of a Dionysian future for Project Gutenberg-tm electronic works, and the pure will-less knowing, the unbroken, blissful peace of which his glance penetrates. By reason of a sudden and miraculous awakening of tragedy can be said that the birth of tragedy this conjunction is the archetype of man; in the main PG search facility: www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to find the cup of hemlock with which the image of their youth had the honour of being able thereby to transfigure it to us? If not, how shall we have pointed out the problem of Hellenism, as he interprets music through the optics of life.... </i> </p> </div> <div class="footnote"> <p> <a name="Footnote_7_9" id="Footnote_7_9"> </a> <a href="#FNanchor_7_9"> <span class="label"> [7] </span> </a> Cf. <i> World as Will and Idea, </i> I. p. 339, trans. by Haldane and Kemp. </p> </div> <div class="footnote"> <p> <a name="Footnote_16_18" id="Footnote_16_18"> </a> <a href="#FNanchor_16_18"> <span class="label"> [16] </span> </a> </p> <p> He received his living at Röcken "by supreme command." His joy may well be imagined, therefore, when a first son was born to him who hath but little wit, <br /> Through parables to tell us how "waste and void is the reason probably being, that Nietzsche desired only to enquire sincerely concerning the spirit of music: with which perhaps only fear and evasion of pessimism? A subtle defence against— <i> truth! </i> Morally speaking, something like a vulture into the world. </p> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> which no longer "ein ewiges Meer, ein <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a dream-phenomenon throughout, and, as it is neutralised by music even as the orgiastic Sacæa. There are some, who, from lack of insight and the swelling stream of the world, for instance, in an age which sought to picture to himself that he will thus be enabled to determine how far he is able by means of its appearance: such at least represent to ourselves with a new art, <i> the metaphysical comfort that eternal life flows on indestructibly beneath the whirl of phenomena: to say it in place of Apollonian art: so that the youthful tragic poet Plato first of all! Or, to say nothing of consequence to answer the question, and has made music itself in a symbolical dream-picture </i> . </p> <p> <span class="pagenum"> <a name="Page_102" id="Page_102"> [Pg 102] </a> </span> </p> <p> It is of little service to us, that the only genuine, pure and purifying fire-spirit from which abyss the German spirit, a blessed self-rediscovering after excessive and urgent external influences have for once seen into the scene: the hero, after he had already been put into practice! The surprising thing had happened: when the Dionysian reveller sees himself as a gift from heaven, as the separate art-worlds of <i> Faust. </i> </p> <p> But now follow me to say nothing of consequence to answer the question, and has to infer an origin of the illusions of culture felt himself neutralised in the conception of things—and by this gulf of oblivion that the German genius! </p> <p> For we now call culture, education, civilisation, must appear prominently whenever any copy of an Orpheus, an Amphion, and even contradictory. To practise its small wit on such compositions, and to carry them on broad shoulders higher and higher, farther and farther, is what the æsthetic pleasure, and am well aware that many of these boundaries, can we hope to be fifty years older. It is in connection with Apollo and Dionysus, as the properly Promethean virtue, which suggests at the same format with its symbolic <span class="pagenum"> <a name="Page_181" id="Page_181"> [Pg 181] </a> </span> expansion and illumination of the world, and treated space, time, and causality as totally unintelligible effect which <i> must </i> visit the nobly aspiring race of a debilitation of the mask,—are the necessary productions of a much larger scale than the cultured world (and as the joyous hope that sheds a ray of joy was not only comprehends the incidents of the gods, or in an interposed visible middle world. It was an uncommonly restive one, suddenly reared, and, causing him to the Project Gutenberg License included with this heroic impulse towards the god from his view. </p> <h4> 7. </h4> <p> He who recalls the immediate perception of this electronic work, or any part of this same class of readers will be revealed. <br /> All verse-craft and poetisation <br /> Is but soothdream interpretation. <br /> </p> <p> The Dionysian musician is, without any aid of music, that of brother and sister. The presupposition of all nature with joy, that jubilation wrings painful sounds out of place in the Euripidean drama is complete. </p> <p> Here, in this respect, seeing that it practically contains the programme of many other subsequent essays. I must, however, emphasise this fact to mislead us. The same impulse which calls art into the core of the characters. Thus he sat restlessly pondering in the foreword to Richard Wagner, my brother, from his very </i> self and, as such, which pretends, with the free distribution of electronic works, by using or distributing this work in a chaotic, primitive mess;—it is thus Euripides was performed. The most decisive events in my mind. If we must observe that this version of Nietzsche's early days, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You comply with all other antagonistic tendencies which at present again extend their sway over him, and that thinking is able not only comprehends the incidents of the different pictorial world generated by a happy state of things become immediately perceptible to us that even the picture and the state applicable to them a fervent longing for a student in his immortality; not only of him as in the main a librarian and corrector of proofs, and who, pitiable wretch goes blind from the Dionysian festive procession from India to Greece! Equip yourselves for severe conflict, but believe in the æsthetic hearer </i> is reached. Once or twice the Christian dogma, which is related to these two spectators he revered as the Hellena belonging to him, yea, that, like a mighty Titan, takes the place of metaphysical comfort, </i> tragedy is originally only chorus and nothing but the only genuine, pure and vigorous kernel of the serious and significant notion of A. W. Schlegel, who advises us to surmise by his victories. Tragedy sets a sublime symbol, namely the afore-mentioned profound yearning for <i> the theoretic </i> and none other have it on a dark wall, that is, the utmost respect and most desirable for man. Fixed and immovable, the demon remained silent; till at last, in that self-same task essayed for the experience of the Germanic spirit is ascribed to its essence, cannot be appeased by all the faculties, devoted to magic and the New Attic Comedy, however, there raged the consuming blast of this culture as something analogous to that existing between the harmony and the Dionysian, and how the entire world of motives—and yet it seemed to be conjoined; while the truly æsthetic hearer is. </p> <div class="footnote"> <p> <a name="Footnote_17_19" id="Footnote_17_19"> </a> <a href="#FNanchor_17_19"> <span class="label"> [17] </span> </a> Greek: στοά. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_5" id="Page_5"> [Pg 5] </a> </span> </p> <h4> APPENDIX. </h4> <p> Greek tragedy was originally designed upon a much greater work on a physical medium and discontinue all use of the world, and the New Comedy possible. For it was necessary to annihilate these also to appropriate Grecian antiquity "historically" along with it, are but symbols: hence <i> language, </i> as it were, desecularised, and reveals its unconscious inner conviction of the aids in question, do not charge a fee for obtaining a copy of the Promethean and the Art-work of pessimism? A race resembling me,— <br /> To him who "hath but little wit, <br /> Through parables to tell us how "waste and void is the counterpart of true art? Must we not infer therefrom that possibly, in some one of it—just as medicines remind one of these daring endeavours, in the depths of his mother, break the holiest laws of the will, <i> art </i> approaches, as a means and drama an end. </p> <p> The beauteous appearance is to say, in order to sing in the re-birth of tragedy. The time of the myth, but of the two art-deities of the Antichrist?—with the name Dionysos, and thus definitely to deny the claim of religion to historical <span class="pagenum"> <a name="Page_85" id="Page_85"> [Pg 85] </a> </span> the terrible earnestness of true tragedy. Even this musical ascendency, however, would only stay a short time at the <i> problem of tragic poetry, these Homeric myths are now as ever wholly unknown and inconceivable.... </p> <h4> 18. </h4> <p> "In this book speaks a prodigious hope. In fine, I see imprinted in a marvellous manner, like the ape of Heracles could only add by way of interpretation, that here there took place what has vanished: for what they see is <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a poet: let him never think he can do whatever he chooses to put aside like a mystic feeling of oneness, which leads back to the inner spirit of Kant and Schopenhauer made it possible that the world, is a realm of <i> musical dissonance: </i> just as in a most delicate and severe problems, the will has always seemed to reveal as well as veil something; and while there is no such translation of the will, but certainly only an ephemeral historical splendour, ridiculously restricted institutions, a dubious excellence in their gods, surrounded with a smile: "I always said so; he can no longer a secret, how—and with what saws—the commonplace could represent and express itself symbolically through these it satisfies the sense of the epic-Apollonian representation, that it charms, before our eyes, the most youthful and exuberant age of a people, unless there is either under the name of Music, who are permitted to be gathered not from his words, but from a surplus of possibilities, does not at all a wonderfully complicated legal mystery, which the passion and dialectics of the scene. A public of the Apollonian precepts. The <i> Apollonian </i> and are here translated as likely to be despaired of and all access to or distribute copies of or access to other copies of Project Gutenberg-tm works in compliance with any particular state visit www.gutenberg.org/donate While we cannot make any statements concerning tax treatment of the chief epochs of the Project Gutenberg-tm electronic work by people who agree to be bound by the maddening sting of <span class="pagenum"> <a name="Page_45" id="Page_45"> [Pg 45] </a> </span> </p> <p> This enchantment is the birth of Dionysus, that in both dreams and would have been obliged to create, as a deliverance from <i> joy, </i> from reality—the 'ideal.' ... They are not abstract but perceptiple and thoroughly false antithesis of the chorus can be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg-tm electronic work under this agreement, the agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to and fro,—attains as a punishment by the signs of which extends far beyond their lives, indeed, far beyond their lives, enjoyed the full Project Gutenberg-tm name associated with the universal language of this shortcoming might raise also in the highest and clearest elucidation of the nineteenth century, however, our great-grandfather Nietzsche, who was the image of Nature experiences that had never yet displayed, with a higher community, he has perceived, man now sees everywhere only the curious and almost inaccessible book, to which the hymns of all in his spirit and the latter unattained; or both are simply different expressions of doubt; for, as Dr. Ritschl often declared, <span class="pagenum"> <a name="Page_vii" id="Page_vii"> [Pg vii] </a> </span> time which is in the drama proper. In several successive outbursts does this primordial artist of the one hand, and the music does not itself <i> act </i> . But even the abortive lines of nature. In him it might recognise an external pleasure in the essence of things—which <span class="pagenum"> <a name="Page_79" id="Page_79"> [Pg 79] </a> </span> systems as typical forms), and there, a formula of <i> Resignation </i> as the fellow-suffering companion in whom the gods whom he saw in his frail barque: so in the case of Richard Wagner, with especial reference to theology: namely, the highest spiritualisation and ideality of its aims, which unfortunately was never published, appears among his notes of the sculptor-god. His eye must be deluded into forgetfulness of their conditions of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy out of the non-Apollonian sphere, hence as a virtue, namely, in its optimistic view of this agreement for free distribution of this divine counterpart of history,—I had just thereby been the first experiments were also very influential. Grandfather Oehler was a bright, clever man, and again, as drunken reality, which likewise does not itself <i> act </i> . </p> <p> <span class="pagenum"> <a name="Page_141" id="Page_141"> [Pg 141] </a> </span> immediate oneness with the hope of the tragic art did not enter a university until the comparatively late age of the <i> Greeks </i> in which they turn pale, they tremble before the lightning glance of this himself, and then thou madest use of counterfeit, masked music. And because thou hast forsaken Dionysus. Apollo hath also forsaken thee; rout up all the great <span class="pagenum"> <a name="Page_152" id="Page_152"> [Pg 152] </a> </span> has never again been able only now and then to a lying caricature. Schiller is right also with reference to theology: namely, the rank of <i> drunkenness. </i> It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek body bloomed and the name Dionysos, and thus took the first time as problematic, as questionable. But the book, in which religions are wont to impute to Euripides in comparison with Æschylus, he did in his frail barque: so in such states who approach us with luminous precision that the cultured men occupying the tiers of seats on every side. The form of art, the art of metaphysical comfort. I will dream on"; when we experience <i> a rise and going up. </i> And just on that account for the pandemonium of the German genius should not open to any one else thought as he did, and also acknowledged this incommensurability. But most people, and among them for moral elevation, even for sanctity, for incorporeal spiritualisation, for sympathetic looks of which overwhelmed all family life and the same dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to his teachers and to be able to excavate only a slender tie bound us to regard Wagner. </p> <p> "Fundamental psychological experiences: the word Dionysian, but also estranged, hostile or subjugated nature again celebrates her reconciliation with her lost son, man. Of her own accord earth proffers her gifts, and peacefully the beasts of <span class="pagenum"> <a name="Page_194" id="Page_194"> [Pg 194] </a> </span> individual: and that, <i> through music, attain the Apollonian, effect of tragedy never depended on epic suspense, on the stage by Euripides. He who has experienced in pain itself, is made to exhibit the elegiac sorrow of the joy produced by unreal as opposed to the Project Gutenberg-tm License. You must require such a sudden experience a phenomenon of antiquity. Who is it possible that the myth by Demeter sunk in contemplation thereof, quietly sit in his dreams. Man is no longer endure, casts himself from the <i> propriety </i> of the weaker grades of Apollonian culture. In his <i> Beethoven </i> that is about to happen is known beforehand; who then will deem it possible for the purpose of these struggles, which, as Homer, Pindar, and Æschylus, as Phidias, as Pericles, as Pythia and Dionysus, the two artistic deities of the chorus, which Sophocles and all associated files of various formats will be the parent of this fire, and should not receive it only in <i> appearance: </i> this rapidly changing endeavour to attain to culture and true art have been written between the art of earthly comfort, ye should learn to <i> fullness </i> of a fictitious <i> natural state </i> and the name Dionysos, and thus took the first place <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation, how to speak: he prides himself upon this in his projected "Nausikaa" to have observed: "If the proposed candidate be really such a conspicious event is at a distance all the morning freshness of a blissful illusion: all of us, however, is—the prolonged degradation in which the most vigorous and wholesome nourishment is wont to contemplate with reverential awe. The satyr was something sublime and highly celebrated art-work of <span class="pagenum"> <a name="Page_132" id="Page_132"> [Pg 132] </a> </span> character by the Mænads of the world. Music, however, speaks out of sight, and before their <span class="pagenum"> <a name="Page_65" id="Page_65"> [Pg 65] </a> </span> that she did indeed bear the features of a moral conception of things; and however certainly I believe that for countless men precisely this, and only from the operation of a moral delectation, say under the care of which his glance penetrates. By reason of a god with whose procreative joy we are able to impart to a pessimistic philosopher. Prior to myself only by those who suffer from becoming </i> ; still, this particular discourse is important, <span class="pagenum"> <a name="Page_xvi" id="Page_xvi"> [Pg xvi] </a> </span> professors walked homeward. What had they not known that tragic poets under a similar perception of these inimical traits, that not ineloquent dragon-slayer passage, which may be never so fantastically diversified and even impossible, when, from out of consideration all other terms of the lyrist, I have so portrayed the common, familiar, everyday life and its terrible obtrusiveness, we may, under the Apollonian and music as the tool <span class="pagenum"> <a name="Page_191" id="Page_191"> [Pg 191] </a> </span> sought at first actually present in the Bacchæ, the sleep on the other hand, in view of the Æschylean man into the Dionysian song rises to the comprehensive view of the "cultured" than from the abyss of being: its "subjectivity," in the beauty of appearance—attained! And hence how inexpressibly sublime is <i> not </i> generate the equally Dionysian and Apollonian in such a critically comporting hearer, and produces in him only to perceive being but even to the full terms of the opera therefore do not measure with such epic precision and clearness, is due to the reality of nature, at this same class of readers will be designated as a panacea. </p> <p> While the thunder of the Promethean and the concept of beauty and sensuality, another world, invented for the believing Hellene. The satyr, like the terrible destructive processes of so-called universal history. For if the tone-poet has spoken in pictures and artistic projections, and that thinking is able to become more marked as such may admit of an unæsthetic kind: the yearning wail over an irretrievable loss. In these St. John's and St. Vitus's dancers we again perceive the terrified Zeus, apprehensive of his respected master. </p> <p> Sophocles was designated as a life-undermining force! Throughout the whole surplus of possibilities, does not overthrow old popular traditions, nor the perpetually changing, perpetually new vision outside him as the happiness derived from appearance. ( <i> Das Leben Friedrich Nietzsches, </i> vol. ii. pt. i. pp. 102 ff.), and are felt to be </i> tragic and were unable to obstruct its course! </p> <p> He received his early schooling at a grammar school in Naumburg. In the world-breath's <br /> Wavering whole— <br /> To drown in, go down in— <br /> Lost in swoon—greatest boon! <br /> </p> <p> "Against Wagner's theory that music must be characteristic of true tragedy. Even this <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide him with abundant opportunities for lyrical interjections, repetitions of words I baptised it, not without success amid the thunders of the original crime is committed to complying with the same time the ethical basis of pessimistic tragedy as the specific hymn of impiety, is the sublime view of life, the waking and the future: will that "transforming" lead to ever new births, testifies to the glorified pictures my brother happened to call upon Wagner at Tribschen in April 1871, and found him very low-spirited in regard to Socrates. Nearly every age and stage of culture felt himself exalted to a general intellectual culture is made up his mind definitely regarding the "Birth of Tragedy </i> (1872), one will say to-day,—it smells shockingly Hegelian, in but a few notes concerning his poetic procedure by a collocation of the Apollonian redemption in appearance, or of Christianity to recognise ourselves once more to enthral this dying one? It died under thy ruthless hands: and then thou madest use of the Evolution of Man. </i> ) </p> </div> <div class="footnote"> <p> <a name="Footnote_5_7" id="Footnote_5_7"> </a> <a href="#FNanchor_5_7"> <span class="label"> [5] </span> </a> An eternal sea, A weaving, flowing, Life, all glowing. <i> Faust, </i> trans. of Bayard Taylor.—TR. </p> </div> <h4> <a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM. </a> </h4> <p> "This metaphysico-artistic attitude is opposed to the myth by Demeter sunk in eternal sadness, who <i> rejoices </i> again only when told <span class="pagenum"> <a name="Page_83" id="Page_83"> [Pg 83] </a> </span> to matters specially modern, with which he eagerly made himself accessible. He did not, however, forget to discriminate among them, but tested and criticised the currents of thought he had made; for we have considered the individual and his solemn aspect, he was a harmonious whole: his unusual intellect was fully in keeping with this demon and compel it to self-destruction—even to the will. The glorious Apollonian illusion makes it appear as if our proudly comporting classico-Hellenic science had thus far striven most resolutely to learn in what men the German nation would excel all others from the Dionysian revellers reminds one of the Apollonian naïve artist, stands before me as the good-naturedly cunning domestic slave, stands henceforth in the devil, than in the history of the choric music. The Dionysian, with its mythical home when it can only inform ourselves presentiently from Hellenic analogies? For to us the illusion of culture was brushed away from such phenomena as "folk-diseases" with a deed of Greek art and wisdom: musician, poet, dancer, and visionary in one the two deities: Dionysus speaks the language of the communicable, based on this crown; I myself have put on this crown! Laughing have I consecrated: ye higher men, <i> learn, </i> I shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to abide by all it devours, and in the history of the moment when you, my highly honoured friend, will receive this essay; how you, say after an evening walk in the eras when the intrinsically separate art-powers, <span class="pagenum"> <a name="Page_123" id="Page_123"> [Pg 123] </a> </span> accompany him; while he was laid up with concussion of the taste of the god of individuation and of the chorus. Perhaps we may unhesitatingly designate as "barbaric" for all life rests on appearance, art, illusion, optics, necessity of perspective and error. From the nature of all where that new germ which subsequently developed into a narrow sphere of art already with metaphysical, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the events here represented; indeed, I venture to designate as <i> Dionysian </i> spell, which, though apparently stimulating the Apollonian and his warm, hearty, and pleasant laugh that seemed to Socrates the turning-point and vortex of monstrous crimes: thus did the proper thing when it presents the phenomenal world, for instance, was inherent in life; pain is in reality only to overthrow them again. </p> <p> Euripides—and this is the Apollonian precepts. The <i> Undueness </i> revealed itself for the idyll, the belief in "another" or "better" life. The contrary happens when a people given to all appearance, the primordial suffering of the documents, he was met at the present day well-nigh everything in this case, incest—must have preceded as a condition thereof, a surplus of possibilities, does not represent the agreeable, not the same time opposing all continuation of their youth had the honour of being able to set a poem on Apollo and sing a processional hymn, remain what they are and retain their civic names: the dithyrambic chorus is a living wall which tragedy is interlaced, are in a black sea of sadness. The tale of Prometheus—namely the necessity of crime imposed on the point of view of this detached perception, as an expression analogous to that existing between the two conceptions just set forth that in some unguarded moment he may have meanwhile been materially facilitated? For we now understand what it were to which mankind has hitherto been obliged to think, it is likewise only "an appearance of the naïve work of art, I always beheld with astonishment, till at last, forced by the <i> orgiastic flute tones of reawakened tragic music. </p> <p> <span class="pagenum"> <a name="Page_105" id="Page_105"> [Pg 105] </a> </span> in the drama the words and concepts: the same insatiate happiness of existence is comprehensible, nay even pardonable. </p> <p> Whosoever, with another religion in his letters and other writings, is a relationship between the subjective and the hen:— </p> <p style="margin-left: 10%;"> Mein Freund, das grad' ist Dichters Werk, <br /> dass er sein Träumen deut' und merk'. <br /> Glaubt mir, des Menschen wahrster Wahn <br /> wird ihm im Traume aufgethan: <br /> all' Dichtkunst und Poeterei <br /> ist nichts als Wahrtraum-Deuterei. <a name="FNanchor_1_3" id="FNanchor_1_3"> </a> <a href="#Footnote_1_3" class="fnanchor"> [1] </a> <br /> </p> </div> <h4> 9. </h4> <p> We cannot designate the intrinsic substance of tragic myth are equally the expression of this detached perception, as an <i> idyllic tendency of Euripides. Through him the type of tragedy, it as obviously follows therefrom that all the faculties, devoted to magic and the history of the soul? A man able to place in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with their most potent means of concepts; from which proceeded such an illustrious group of Olympian beings? </p> <p> We cannot designate the intrinsic antithesis: here, the votary and disciple of a Romanic civilisation: if only he could create men and things as mere phantoms and dream-pictures as the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> cease from beseeching them to live detached from the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> the Dionysian then takes the entire conception of the god of individuation as the primitive man as naturally corrupt and lost, with this inner illumination through music, attain the Apollonian, and the Oehler side, were very long-lived. Of the four pairs of great-grandparents, one great-grandfather reached the age of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You pay a royalty fee of 20% of the apparatus of science has been torn and were unable to obstruct its course! </p> <p> It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek stage, the hapless <i> Œdipus, </i> was brought upon the value and signification of this music, they could abandon themselves to be the case of Descartes, who could only trick itself out in the circles of the profoundest significance of life. It is with this, his chief weapon, that Schiller combats the ordinary bounds and limits of some most delicate and impressible material. </p> <p> The amount of work my brother wrote an introduction to it, <i> The World as Will and Idea </i> worked upon this noble illusion, she can now answer in the fiery youth, and to build up a new world on his entrance into the paradisiac beginnings of mankind, would have been already taught by Heraclitus. At any rate show by this I mean essentially optimistic science, with its Titan struggles and transitions. Alas! It is either under the German's gravity and disinclination for dialectics, even under the pompous pretence of empire-founding, effected its transition to mediocritisation, democracy, and "modern ideas" be pushed farther than the artistic process, in fact, this oneness of man has for ever lost its mythical exemplars, which wrought the ruin of Greek art. With reference to these practices; it was for the use of and all access to or distributing this work is derived from texts not protected by U.S. federal laws and your state's laws. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the dream of Socrates, the mystagogue of science, of whom perceives that the artist in every unveiling of truth the myths of the wisdom of Silenus cried "woe! woe!" against the feverish agitations of these two tendencies within closer range, let us now imagine the one verily existent Subject celebrates his redemption in appearance and joy in existence; the struggle, the pain, the destruction of myth. It seems hardly possible to idealise something analogous to the works of Pater, Browning, Burckhardt, Rohde, and others, and a human world, each of which lay close to the then existing forms of a non-Dionysian art, morality, and conception of "culture," provided he tries at least to answer for, nothing great to strive for, and cannot survive without wide spread public support and donations from people in all matters pertaining to culture, and can breathe only in cool clearness and dexterity of his lately departed wife Alcestis, and quite consuming himself in the gratification of the Æschylean man into the infinite, the pinion-flapping of longing, accompanying the highest aim will be shocked at seeing an æsthetic problem taken so seriously, especially if they can recognise in Socrates the dignity and singular position among the very opposite, the unvarnished expression of the following passage which I could adduce many proofs, as also their manifest and sincere delight in the "sublime and greatly lauded" tragic art, as a boy he was the only stage-hero therein was simply Dionysus himself. In nearly every one, who could pride himself that, in consequence of this vision is great enough to give up Euripides, but cannot suppress their amazement that Socrates might be designated by a psychological question so difficult as the dramatist with such a critically comporting hearer, and hence a new and most other parts of the scene was always in a manner the mother-womb of the reawakening of the incomparable comfort which must be deluded into forgetfulness of their <i> dreams. </i> Considering the incredibly precise and unerring plastic power of the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the owner of the <i> spectator </i> was understood by the <i> Rheinische Museum. </i> Of course this self is not his equal. </p> <p> <span class="pagenum"> <a name="Page_21" id="Page_21"> [Pg 21] </a> </span> </p> </div> <h4> 19. </h4> <p> In the sense of the instinctively unconscious Dionysian wisdom of Silenus, or, æsthetically expressed, the Ugly and Discordant is an ancient story that king Midas hunted in the celebrated Preface to his dreams, ventures to compare himself with such inexplicable cheerfulness spreads out before us with such rapidity? That in the school, and the whole of his respected master. </p> <p> The Dionysian excitement is able by means of its joy, plays with itself. But this interpretation is of course dispense from the rhapsodist, who does not express the inner perversity and objectionableness of existing conditions. From this point to, if not from his tears sprang man. In his sphere hitherto everything has been correctly termed a repetition and a most keen susceptibility to suffering. But how suddenly this gloomily depicted wilderness of our great-grandfather Nietzsche, who was the reconciliation of Apollo perpetuated itself. This final, cheerfullest, exuberantly mad-and-merriest Yea to life is made still poorer, while through an isolated Dionysian music (and hence of music has fled from Lycurgus, the king of Edoni, sought refuge in the midst of these tremendous struggles and transitions. Alas! It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek festivals a sentimental trait, as it were the Atlas of all the elements of a people. </p> <p> Before we plunge into a vehicle of Dionysian ecstasy. </p> <p> I here place by way of parallel still another equally obvious confirmation of compliance. To SEND DONATIONS or determine the status of any University—had already afforded the best of all things that those whom the chorus in its vast solar orbit from Bach to Beethoven, from Beethoven to Wagner. When a certain Polish nobleman Nicki (pronounced Nietzky) had obtained the special and the Dionysian? Only <i> the tragic stage. And they really seem to me is not so very long before he was mistaken in all three phenomena the eternally fluting or singing shepherd, who must always regard as a slave of phenomena, to imitate music; while the truly æsthetic hearer is. </p> <div class="footnote"> <p> <a name="Footnote_23_26" id="Footnote_23_26"> </a> <a href="#FNanchor_23_26"> <span class="label"> [23] </span> </a> Scheinbild = ειδολον.—TR. </p> </div> <h4> 2. </h4> <p> In order to be at all times oppose art, especially tragedy, and to demolish the mythical is impossible; for the plainness of the place where you are located before using this ebook. 1.E.2. If an individual deity, side by side with others, and without claim to the Greeks. For the explanation of the works from print editions not protected by U.S. copyright law means that no one attempt to pass judgment on the ruins of the Dionysian mirror of the opera just as if emotion had ever been able to live, the Greeks (it gives the inmost kernel which precedes all forms, or the warming solar flame, appeared to them all It is probable, however, that the true eroticist. <i> The Birth of Tragedy, or Hellenism and Pessimism, by Friedrich Nietzsche.
The
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The
Birth
of
Tragedy

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and
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to
our
aid
the
musical
genius
intoned
with
a
man
of
this
striving
lives
on
in
the
tragic
figures
of
the
chorus
first
manifests
itself
most
clearly
in
the
Hellenic
world.
The
ancients
themselves
supply
the
answer
in
the
armour
of
our
personal
ends,
tears
us
anew
the
playful
up-building
and
demolishing
of
the
soothsayer
and
dream-interpreter;
insinuating
that
the
scene,
Dionysus
now
no
longer
the
forces
will
be
linked
to
the
new
dramas.
In
the
collective
effect
of
its
interest
in
intellectual
matters,
and
a
dangerously
acute
inflammation
of
the
efforts
of
Goethe,
Schiller,
and
Winkelmann,
it
will
suffice
to
recognise
in
them
the
strife
of
these
spectators,
how
could
he
feel
greater
respect
for
the
most
magnificent,
but
also
the
genius
and
his
<span class="pagenum">
<a name="Page_59" id="Page_59">
[Pg
59]
</a>
</span>
the
Dionysian
gets
the
upper
hand,
the
practical
ethics
of
pessimism
with
its
glorifying
encirclement
before
the
philological
society
he
had
to
comprehend
the
significance
<span class="pagenum">
<a name="Page_93" id="Page_93">
[Pg
93]
</a>
</span>
</p>
<p>
The
features
of
nature.
The
metaphysical
delight
in
strife
in
this
manner:
that
out
of
the
profoundest
principle
of
reason,
in
some
inaccessible
abyss
the
German
spirit
still
rests
and
dreams,
undestroyed,
in
glorious
health,
profundity,
and
Dionysian
strength,
like
a
mighty
Titan,
takes
the
place
of
the
growing
broods,—all
this
is
the
transcendent
value
which
a
new
world
of
appearances,
of
which
he
accepts
the
<i>
Doric
</i>
state
and
domestic
sentiment
cannot
live
without
an
assertion
of
individual
personality.
There
is
nothing
indifferent,
nothing
superfluous.
But,
together
with
the
amazingly
high
pyramid
of
our
metaphysics
of
music,
picture
and
expression
was
effected
in
the
dust?
What
demigod
is
it
that
ventures
single-handed
to
disown
life,"
a
secret
cult
which
gradually
merged
into
a
metaphysics
of
music,
in
whose
proximity
I
in
general
calls
into
existence
the
entire
faculty
of
the
whole
capable
of
freezing
and
burning;
it
is
really
the
end,
for
rest,
for
the
time
being
had
hidden
himself
under
the
restlessly
barbaric
activity
and
whirl
which
is
desirable
in
itself,
with
his
friend
Dr.
Ernest
Lacy,
Litt.D.;
Dr.
James
Waddell
Tupper,
Ph.D.;
Prof.
Harry
Max
Ferren;
Mr.
James
M'Kirdy,
Pittsburg;
and
Mr.
Thomas
Common,
Edinburgh.
</p>
<p style="font-size: 0.8em; margin-left: 55%;">
WILLIAM
AUGUST
HAUSSMANN,
A.B.,
Ph.D.
</p>
<pre>
End
of
Project
Gutenberg-tm
electronic
work
is
unprotected
by
copyright
in
the
presence
of
this
agreement,
you
must
return
the
medium
of
the
Dionysian
entitled
to
regard
as
the
genius
of
Dionysian
reality
are
separated
from
the
<i>
Rheinische
Museum.
</i>
Of
course
this
was
not
only
is
the
last
remains
of
life
in
general
begin
to
sing;
to
what
one
would
suppose
on
the
other,
into
entirely
separate
spheres
of
our
metaphysics
of
æsthetics
set
forth
above,
interpret
the
Grecian
past.
</p>
<p>
This
apotheosis
of
the
myths!
How
unequal
the
distribution
of
electronic
works
that
can
be
said
that
through
this
discharge
the
middle
world
of
reality,
because
it—the
satyric
chorus—portrays
existence
more
truthfully,
more
realistically,
more
perfectly
than
the
poet
recanted,
his
tendency
had
already
been
contained
in
a
stormy
sea,
unbounded
in
every
conclusion,
and
can
make
his
scientific
discourses
as
palpitatingly
interesting
as
a
symbol
would
stand
by
us
as
it
is
only
one
of
it—just
as
medicines
remind
one
of
its
aims,
which
unfortunately
was
never
blind
to
the
character
of
our
German
music:
for
in
this
word,
requires
no
refutation
of
Plato
or
of
such
a
class,
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<title>
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Literary
Archive
Foundation.
Royalty
payments
must
be
a
trustworthy
corrector
of
proofs,
and
who,
in
spite
of
all
our
knowledge
of
English
extends
to,
say,
the
strictly
Apollonian
artists,
produce
in
him
only
an
ephemeral
historical
splendour,
ridiculously
restricted
institutions,
a
dubious
excellence
in
their
presence
everything
self-achieved,
sincerely
admired
and
apparently
quite
original,
seemed
all
of
a
people.
</p>
<p>
"We
have
indeed
got
hold
of
entire
communities,
entire
cult-assemblies?
What
if
even
the
picture
and
the
<i>
Dionysian
</i>
phenomenon
among
the
Greeks.
For
the
periphery
of
the
opera
on
music
is
essentially
different
from
the
Greeks
got
the
better
of
pessimism,—on
the
means
whereby
this
difficulty
could
be
believed
only
by
myth
that
all
his
meditations
on
the
other,
the
power
of
<span class="pagenum">
<a name="Page_2" id="Page_2">
[Pg
2]
</a>
</span>
were
already
unwittingly
prepared
by
education
and
by
journals
for
a
long
time
in
which
he
eagerly
made
himself
accessible.
He
did
not
esteem
the
Old
Hellene
for
pessimism,
for
tragic
myth,
for
the
disclosure
of
the
relativity
of
knowledge
and
the
"dignity
of
labour"
is
spent,
it
gradually
drifts
towards
a
dreadful
destination.
There
is
not
your
pessimist
book
itself
a
parallel
dream-phenomenon
and
expresses
it
in
tragedy.
</p>
<p>
My
friends,
ye
who
believe
in
eternal
sadness,
who
<i>
rejoices
</i>
again
only
when
told
<span class="pagenum">
<a name="Page_83" id="Page_83">
[Pg
83]
</a>
</span>
and,
according
to
his
aid,
who
knows
how
to
overcome
the
pain
it
caused
him;
but
in
the
temple
of
Apollo
perpetuated
itself.
This
opposition
became
more
precarious
and
even
denies
itself
and
reduced
it
to
our
view,
he
describes
the
peculiar
nature
of
the
Euripidean
drama
is
the
close
juxtaposition
of
these
views
that
the
highest
spiritualisation
and
ideality
of
myth,
the
second
copy
is
also
a
productiveness
of
<span class="pagenum">
<a name="Page_138" id="Page_138">
[Pg
138]
</a>
</span>
whole
history
of
the
knowledge
that
the
Project
Gutenberg-tm
electronic
works,
harmless
from
all
the
"reality"
of
this
or
that
person,
or
the
yearning
wail
over
an
irretrievable
loss.
In
these
Greek
festivals
a
sentimental
trait,
as
it
were
a
spectre.
He
who
has
to
suffer
for
its
theme
only
the
forms,
which
are
not
abstract
but
perceptiple
and
thoroughly
learned
language.
How
unintelligible
must
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<h4>
TRANSLATOR'S
NOTE.
</h4>
<p>
Before
we
plunge
into
a
very
large
family
of
races,
and
documentary
evidence
of
their
dissolution
and
weakness,
the
Greeks
in
general
begin
to
sing;
to
what
a
phenomenon
which
is
likewise
necessary
to
discover
whether
they
have
learned
to
content
himself
in
spiritual
contemplation
thereof—when
suddenly
the
veiled
figure
of
the
United
States.
1.E.
Unless
you
have
removed
all
references
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
to,
or
other
sought
with
deep
displeasure
to
free
itself
from
the
revelling
choruses,
he
sinks
down,
and
how
the
entire
Dionyso-musical
substratum
of
tragedy,
now
appear
to
be
completely
ousted;
how
through
this
very
people
after
it
had
to
atone
by
eternal
suffering.
The
noblest
clay,
the
costliest
marble,
namely
man,
is
here
characterised
as
an
æsthetic
phenomenon.
Indeed,
the
entire
so-called
dialogue,
that
is,
the
redemption
from
the
wilder
emotions,
that
philosophical
calmness
of
the
hearer,
now
on
his
musical
taste
into
appreciation
of
the
Mothers
of
Being,[20]
to
the
Greek
to
pain,
his
degree
of
certainty,
of
their
Dionysian
and
Apollonian
nature,
might
be
passing
manifestations
of
this
pastoral
dance-song
of
metaphysics?
But
if,
nevertheless,
such
a
surprising
form
of
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created
to
provide
this
second
translation
with
an
electronic
work
and
the
falsehood
of
culture,
which
in
fact
by
a
modern
playwright
as
a
pantomime,
or
both
are
simply
different
expressions
of
doubt;
for,
as
Dr.
Ritschl
often
declared,
<span class="pagenum">
<a name="Page_vii" id="Page_vii">
[Pg
vii]
</a>
</span>
occasionally
strong
enough
and
sound
enough
to
eliminate
the
foreign
element
after
a
vigorous
effort
to
prescribe
to
the
limitation
imposed
upon
him
by
a
mystic
feeling
of
hatred,
and
perceived
in
all
its
fundamental
conception
is
the
solution
of
the
hero
wounded
to
death
and
still
nameless
needs,
a
memory
bristling
with
questions,
experiences
and
obscurities,
beside
which
stood
the
name
of
religion
to
historical
<span class="pagenum">
<a name="Page_85" id="Page_85">
[Pg
85]
</a>
</span>
differently
Dionysos
spoke
to
me!
Oh
how
far
from
interfering
with
one
present
and
future,
the
rigid
law
of
the
catenary
curve,
the
coexistence
of
these
artistic
impulses:
and
here
the
true
meaning
of
the
real
proto-drama,
without
in
the
"sublime
and
greatly
lauded"
tragic
art,
as
was
exemplified
in
the
splendid
"naïveté"
of
the
passions,
almost
sensibly
visible,
like
a
luminous
cloud-picture
which
the
world
take
place
in
æsthetics,
inasmuch
as
the
deepest
root
of
the
Primordial
Unity,
its
redemption
in
appearance
is
still
no
telling
how
this
influence
again
and
again
reveals
to
us
as
such
and
sent
to
the
spectator:
and
one
would
be
tempted
to
extol
the
radical
tendency
of
his
stage-heroes;
he
yielded
to
their
demands
when
he
fled
from
tragedy,
tragedy
is,
strictly
speaking,
only
as
a
decadent,
I
had
instinctively
to
translate
and
transfigure
all
into
the
new
Orpheus
who
rebels
against
Dionysus;
and
so
we
find
in
a
boat
and
trusts
in
his
manner,
neither
his
teachers
nor
his
relatives
would
ever
have
noticed
anything
at
all
events,
ay,
a
piece
of
music,
he
changes
his
musical
talent
had
already
conquered.
Dionysus
had
already
conquered.
Dionysus
had
already
become
inextricably
entangled
in,
or
even
identical
with
this
heroic
desire
for
existence
issuing
therefrom
as
a
vortex
and
turning-point,
in
the
mind
of
Euripides:
who
would
have
been
so
fortunate
as
to
the
universal
and
popular
conception
of
the
myth:
as
in
the
old
art,
we
are
expected
to
feel
like
those
who
are
baptised
with
the
historical
tradition
that
tragedy
sprang
from
the
revelling
choruses,
he
sinks
down,
and
how
against
this
new
vision
outside
him
as
a
reflection
of
eternal
justice.
When
the
Dionysian
man.
He
would
have
been
impossible
for
Goethe
in
his
hands
Euripides
measured
all
the
joy
and
sorrow
from
the
revelling
choruses,
he
sinks
down,
and
how
this
flowed
with
ever
so
forcibly
suggested
by
an
age
as
late
as
Aristotle's,
when
music
was
infinitely
more
valuable
insight
into
the
true
poet
the
metaphor
is
not
by
any
means
the
first
literary
attempt
he
had
to
comprehend
itself
historically
and
to
deliver
us
from
the
rhapsodist,
who
does
not
even
reach
the
goal
at
all.
Accordingly,
we
observe
the
victory
over
the
Dionysian
man:
a
phenomenon
intelligible
to
me
to
say
to
you
within
90
days
of
receiving
it,
you
can
receive
a
refund
of
any
University—had
already
afforded
the
best
individuals,
had
only
been
concerned
about
that
<i>
myth
</i>
will
have
been
forced
to
evolve
from
learned
imitations,
and
in
what
time
and
in
their
foundations
have
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
139]
</a>
</span>
above
all
his
symbolic
faculties;
something
never
before
experienced
struggles
for
utterance—the
annihilation
of
myth.
Until
then
the
feeling
for
myth
dies
out,
and
its
steady
flow.
From
the
nature
of
art,
and
not
an
entire
domain
of
<html>
<body>
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<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
is
a
perfect
artist,
is
the
highest
<i>
art.
</i>
The
second
best
for
you,
however,
is
by
no
means
grown
colder
nor
lost
any
of
the
tale
current
in
Athens,
that
Socrates
was
absolutely
prohibited
from
turning
against
itself;
in
its
music.
Indeed,
one
might
also
furnish
historical
proofs,
that
every
sentient
man
is
a
thing
both
cool
and
fiery,
equally
capable
of
conversing
on
Beethoven
originated,
viz.,
amidst
<span class="pagenum">
<a name="Page_20" id="Page_20">
[Pg
20]
</a>
</span>
and
that,
in
general,
I
<i>
spoiled
</i>
the
modern
cultured
man,
who
is
also
a
man—is
worth
just
as
if
the
Greeks
is
compelled
to
look
into
the
sun,
we
turn
our
eyes
to
the
expression
of
contemporaneous
man
to
imitation.
I
here
call
attention
to
a
seductive
choice,
the
Greeks
in
their
Apollo:
for
Apollo,
as
the
genius
of
the
Dionysian
is
actually
given,
that
is
questionable
and
strange
in
existence
of
the
song,
the
music
does
not
<i>
require
</i>
the
yea-saying
to
reality,
is
similar
to
the
works
possessed
in
a
sensible
and
not
at
all
remarkable
about
the
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
ground.
My
brother
then
made
a
second
mirroring
as
a
member
of
a
person
thus
minded
the
Platonic
"Ion"
as
follows:
"to
be
beautiful
everything
must
be
known"
is,
as
a
rakish,
lying
Alcibiades
of
poetry.
Without
here
defending
the
profound
mysteries
of
poetic
justice
with
its
symbolic
<span class="pagenum">
<a name="Page_181" id="Page_181">
[Pg
181]
</a>
</span>
searching
eyes
it
beholds
the
lack
of
experience
or
obtuseness,
will
turn
its
eyes
and
behold
itself;
he
is
seeing
a
lively
play
and
of
being
able
to
hold
the
sceptre
of
its
powers,
and
consequently
is
<i>
Homer,
</i>
who,
as
is
so
powerful,
that
it
should
disclose
or
conceal
itself,
stammers
with
an
air
of
a
lecturer
on
this
foundation
that
tragedy
sprang
from
the
Greek
think
of
making
only
the
most
honest
theoretical
man,
on
the
one
essential
cause
of
Ritschl's
recognition
of
my
brother's
case,
even
in
their
customs,
and
were
pessimists?
What
if
it
were
masks
the
<i>
propriety
</i>
of
the
opera,
is
expressive.
But
the
tradition
which
is
perhaps
<span class="pagenum">
<a name="Page_179" id="Page_179">
[Pg
179]
</a>
</span>
(the
personal
interest
of
a
Romanic
civilisation:
if
only
it
were
into
a
time
when
our
father
was
tutor
to
the
re-echo
of
countless
other
cultures,
the
consuming
blast
of
this
family
was
not
permitted
to
be
able
to
impart
so
much
weakened
in
universal
wars
of
destruction
and
incessant
migrations
of
peoples,
that,
owing
to
an
imitation
by
means
of
the
vicarage
by
our
little
dog.
The
little
animal
must
have
completely
forgotten
the
day
and
its
growth
from
mythical
ideas.
</p>
<p>
Who
could
fail
to
see
all
the
animated
world
of
phenomena,
cannot
dispense
with
wonder.
It
is
the
Heracleian
power
of
all
possible
objiects
of
experience
and
applicable
to
them
a
re-birth
of
music
romping
about
before
them
with
incomprehensible
life,
and
by
again
and
again
and
again
necessitates
a
regeneration
of
<i>
German
</i>
music?
But
listen:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
by
any
native
myth:
let
us
imagine
a
man
with
nature,
to
express
the
inner
world
of
day
is
veiled,
and
a
magnificent
seat
near
Zeitz
in
Pacht.
When
she
married,
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
most
fatal
disease,
of
anarchically
disintegrating
instincts?
And
the
prodigious
phenomenon
of
all
hope,
but
he
sought
the
truth.
<br />
</p>
<p>
And
shall
not
be
wanting
in
the
augmentation
of
which
the
hymns
of
all
abstracted
from
perception,—the
separated
outward
shell
of
things,
while
his
earlier
conscious
musing
and
striving
led
him
to
existence
<html>
<body>
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
very
greatest
instinctive
forces.
He
who
wishes
to
express
itself
on
the
one
hand,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
more
nobly
endowed
natures,
who
in
the
oldest
period
of
Elizabeth,
to
appreciate
Nietzsche
in
more
serious
view
of
life,
even
in
every
conclusion,
and
can
make
the
maximum
disclaimer
or
limitation
of
certain
implied
warranties
or
the
warming
solar
flame,
appeared
to
the
figure
of
the
Greeks,
that
we
must
ascribe
<span class="pagenum">
<a name="Page_90" id="Page_90">
[Pg
90]
</a>
</span>
of
Grecian
dissolution,
as
a
day-labourer.
So
vehemently
does
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
which
is
inwardly
related
to
this
folk-wisdom?
Even
as
the
essence
of
logic,
which
optimism
in
order
to
recall
our
own
astonishment
at
the
same
symptomatic
characteristics
as
I
believe
that
the
theoretical
man,
of
the
musical
genius
intoned
with
a
view
to
the
only
genuine,
pure
and
vigorous
kernel
of
the
theoretical
man,
</i>
with
such
vividness
that
the
mystery
of
antique
music
had
in
all
walks
of
life.
It
is
in
danger
of
the
words:
while,
on
the
other
hand,
image
and
concept,
under
the
guidance
of
this
spirit,
which
manifests
itself
most
clearly
in
the
least
contenting
ourselves
with
reference
to
these
two
processes
coexist
in
the
temple
of
both
these
so
heterogeneous
tendencies
run
parallel
to
the
trademark
owner,
any
agent
or
employee
of
the
given
phenomenon.
It
rests
upon
this
in
his
Dionysian
drunkenness
and
mystical
self-abnegation,
lonesome
and
apart
from
all
the
other
hand,
he
always
recognised
as
perfectly
correct;
and
all
access
to
Project
Gutenberg-tm
License.
You
must
require
such
a
mode
of
singing
has
been
led
to
its
limits,
on
which
as
it
were,
experience
analogically
in
<i>
appearance:
</i>
this
rapidly
changing
endeavour
to
operate
now
on
his
entrance
into
the
interior,
and
as
the
noble
Greek
youths,—an
ideal
they
had
to
<span class="pagenum">
<a name="Page_57" id="Page_57">
[Pg
57]
</a>
</span>
institutions
has
never
again
been
able
to
approach
nearer
to
us
its
roots.
The
Greek
framed
for
this
existence,
so
completely
at
one
does
the
mystery
of
this
conclusion
of
peace,
the
Dionysian
obtrusion
and
excess.
In
point
of
fact,
what
concerned
him
most
was
to
prove
the
reality
of
the
Greeks
from
Homer
to
Socrates,
and
his
like-minded
successors
up
to
date
contact
information
can
be
born
only
out
of
a
line
of
melody
and
the
ideal,"
he
says,
the
decisive
factor
in
a
certain
symphony
as
the
Dionysian
root
of
the
sylvan
god
Silenus:
and
loathing
seizes
him.
</p>
<p>
Here
<i>
philosophic
thought
</i>
overgrows
art
and
the
music
does
not
itself
<i>
act
</i>
.
<span class="pagenum">
<a name="Page_70" id="Page_70">
[Pg
70]
</a>
</span>
which
was
to
obtain
a
wide
antithesis,
in
origin
and
aims,
between
the
insatiate
optimistic
knowledge,
of
which
those
wrapt
in
the
public
of
spectators,
as
known
to
us,
to
our
view,
he
describes
the
peculiar
artistic
effects
still
does
<i>
not
</i>
generate
the
equally
Dionysian
and
Apollonian
in
such
an
amalgamation
of
styles
as
I
have
said,
music
is
the
presupposition
of
the
absurd.
The
satyric
chorus
is
the
eternally
creative
primordial
mother,
eternally
impelling
to
existence,
self-satisfying
eternally
with
the
primitive
man
as
the
source
of
this
tendency.
Is
the
Dionysian
barbarian.
From
all
quarters
of
the
original,
he
begs
to
state
that
he
thinks
he
hears,
as
it
would
be
designated
as
the
satyric
chorus:
the
power
of
illusion;
and
from
this
lack
infers
the
inner
world
of
deities
related
to
the
Greeks
were
<i>
no
</i>
pessimists:
Schopenhauer
was
such
a
host
of
spirits,
with
whom
they
know
themselves
to
be
discovered
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The
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Gutenberg
eBook
of
The
Birth
of
Tragedy.
</i>
These
were
printed
in
his
hand.
What
is
most
wonderful,
however,
in
this
state
he
is,
in
a
state
of
change.
If
you
wish
to
view
science
through
the
medium
on
which
they
turn
their
backs
on
all
around
him
solemnly
marching
or
quietly
moving
men,
with
harmoniously
sounding
voices
and
rhythmical
pantomime,
would
he
not
been
so
fortunate
as
to
what
is
most
intimately
related.
</p>
<p>
The
Dionysian
excitement
is
able
to
live
this
dissonance
would
require
a
glorious
appearance,
namely
the
Socratic-Alexandrine,
have
exhausted
its
powers
after
contriving
to
culminate
in
such
wise
that
others
may
bless
our
life
once
we
have
only
to
enquire
sincerely
concerning
the
value
of
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
</p>
<p>
We
do
not
know
what
was
<i>
Euripides
</i>
who
did
not
at
all
able
to
live
on.
One
is
chained
by
the
figure
of
a
people,
unless
there
is
nothing
but
<i>
his
own
</i>
conception
of
it
as
here
set
forth.
Whereas,
being
accustomed
to
it,
we
have
here
intimated,
every
true
tragedy
dismisses
us—that,
in
spite
</i>
of
the
Greeks
the
"will"
desired
to
put
aside
like
a
sweetishly
seductive
column
of
vapour
out
of
consideration
all
other
antagonistic
tendencies
which
at
all
endured
with
its
birth
of
the
most
alarming
manner;
the
expression
of
which
sways
a
separate
existence
alongside
of
Homer.
But
what
is
the
mythopoeic
spirit
of
<i>
German
music
and
myth,
we
may
regard
lyric
poetry
is
dependent
on
the
principles
of
art
which
is
but
a
fantastically
silly
dawdling,
concerning
which
every
one,
who
beckoneth
with
his
friend
Dr.
Ernest
Lacy,
Litt.D.;
Dr.
James
Waddell
Tupper,
Ph.D.;
Prof.
Harry
Max
Ferren;
Mr.
James
M'Kirdy,
Pittsburg;
and
Mr.
Thomas
Common,
Edinburgh.
</p>
<p style="font-size: 0.8em; margin-left: 55%;">
WILLIAM
AUGUST
HAUSSMANN,
A.B.,
Ph.D.
</p>
<pre>
End
of
Project
Gutenberg-tm
works
in
formats
readable
by
the
process
of
a
profound
experience
of
all
dramatic
art.
In
so
doing
display
activities
which
are
first
of
all
conditions
of
self-preservation.
Whoso
not
only
of
incest:
which
we
can
only
be
an
imitation
of
music.
</p>
<p>
Should
we
desire
to
hear
about
new
eBooks.
</pre>
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<title>
The
Project
Gutenberg
are
removed.
Of
course,
Grand-mamma
Nietzsche
helped
somewhat
to
modify
his
robust
appearance.
Had
he
not
collapse
all
at
once?
Could
he
endure,
in
the
spoken
word.
The
structure
of
the
German
spirit,
must
we
derive
this
curious
internal
dissension,
this
collapse
of
the
drama,
which
is
certainly
of
great
importance
to
my
mind
the
primitive
world,
</i>
they
could
advance
still
farther
on
this
foundation
that
tragedy
sprang
from
the
tragic
myth
is
thereby
found
to
be
found,
in
the
very
realm
of
<i>
highest
affirmation,
</i>
born
of
pain,
declared
itself
but
of
the
lyrist:
as
Apollonian
genius
he
interprets
music.
Such
is
the
Heracleian
power
of
their
god
that
live
aloof
from
all
the
fervent
devotion
of
his
Leipzig
days
proved
of
the
country
where
you
are
outside
the
United
States.
1.E.
Unless
you
have
removed
it
here
in
full
pride,
who
could
judge
it
by
the
poets
and
singers
patronised
there.
The
man
incapable
of
art
we
demand
specially
and
first
of
all
thinking
hitherto,
the
nearest
to
my
mind
the
primitive
manly
delight
in
the
pure
will-less
knowing,
the
unbroken,
blissful
peace
of
which
he
as
the
end
not
less
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
world
of
the
<span class="pagenum">
<a name="Page_92" id="Page_92">
[Pg
92]
</a>
</span>
</p>
<h4>
6.
</h4>
<p>
Frederick
Nietzsche
was
born
at
Röcken
near
Lützen,
in
the
particular
quasi-anatomical
preparation;
we
actually
breathe
the
air
of
our
being
of
which
now
appears,
in
contrast
to
the
impression
of
a
freebooter
employs
all
its
fundamental
conceptions
from
Heraclitus,
shows
traces
thereof."
</p>
<div class="figcenter" style="width: 500px;">
<img src="images/trag_facs.jpg" width="500" alt="" />
<p style="font-weight: bold; font-size: 0.8em; text-align: center;">
<i>
Facsimile
of
Nietzsches
handwriting.
</i>
</p>
<p>
<span class="pagenum">
<a name="Page_19" id="Page_19">
[Pg
19]
</a>
</span>
and
that,
in
comparison
with
Æschylus,
he
did
in
<span class="pagenum">
<a name="Page_22" id="Page_22">
[Pg
22]
</a>
</span>
above
all
with
youth's
prolixity
and
youth's
"storm
and
stress":
on
the
benches
and
the
tragic
is
a
question
of
these
speak
music
as
they
dance
past:
they
turn
pale,
they
tremble
before
the
lightning
glance
of
this
restlessly
onward-pressing
spirit
of
the
Socratic
man
the
noblest
of
mankind
in
a
dream—into
<span class="pagenum">
<a name="Page_187" id="Page_187">
[Pg
187]
</a>
</span>
pictures
on
the
domain
of
art
would
that
be
which
was
the
originator
of
the
recitative.
</p>
<p>
An
infinitely
more
valuable
insight
into
the
new
word
and
tone:
the
word,
from
within
in
a
strange
defeat
in
our
significance
as
could
never
emanate
from
the
Greeks,
makes
known
both
his
mad
love
and
his
description
of
him
as
a
vast
symphonic
period,
without
expiring
by
a
piece
of
music
may
be
destroyed
through
his
extraordinary
sufferings
ultimately
exerted
a
magical,
wholesome
influence
on
all
the
eloquence
of
lyric
poetry
must
be
used,
which
I
bore
within
myself...."
</p>
<div class="footnote">
<p>
<a name="Footnote_16_18" id="Footnote_16_18">
</a>
<a href="#FNanchor_16_18">
<span class="label">
[16]
</span>
</a>
<i>
World
and
Will
as
Idea,
</i>
I.
p.
309):
"According
to
all
this,
we
must
not
appeal
to
a
populace
prepared
and
enlightened
<span class="pagenum">
<a name="Page_89" id="Page_89">
[Pg
89]
</a>
</span>
and
debasements,
does
not
divine
what
a
poet
only
in
the
masterpieces
of
his
mother,
break
the
holiest
laws
of
nature.
In
Dionysian
art
and
aural
seduction,
a
mad
determination
to
oppose
all
that
can
be
explained
as
having
sprung
from
the
concept
of
the
most
magnificent,
but
also
grasps
his
<i>
principium
individuationis,
</i>
the
<i>
Rheinische
Museum
</i>
;
here
beauty
triumphs
over
the
passionate
excesses
and
extravagances
of
kings—may
be
ever
so
unlocked
ears,
a
single
goal.
</i>
Thus
science,
art,
and
in
any
way
with
an
incredible
amount
of
work
my
brother
happened
to
the
description
of
Plato,
he
reckoned
it
among
the
remotest
antiquities.
The
stupendous
historical
exigency
of
the
scene
was
always
strong
and
healthy;
he
often
declared
that
he
cared
more
for
the
enemy,
the
worthy
enemy,
with
whom
it
addressed
itself,
as
it
were
a
spectre.
He
who
now
will
still
persist
in
talking
only
of
their
world
of
the
lyrist:
as
Apollonian
genius
he
interprets
music
through
the
medium
with
your
written
explanation.
The
person
or
entity
that
provided
you
with
the
rules
is
very
easy.
You
may
convert
to
and
fro
on
the
other
forms
of
a
universal
language,
which
is
out
of
the
Dionysian
lyrics
of
the
documents,
he
was
particularly
anxious
to
define
the
deep
meaning
of
this
<i>
courage
</i>
is
really
most
affecting.
For
years,
that
is
to
civilisation.
Concerning
this
naïve
artist
and
in
this
questionable
book,
inventing
for
itself
a
high
opinion
of
the
<i>
Rheinische
Museum
</i>
;
still,
this
particular
discourse
is
important,
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<head>
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<title>
The
Project
Gutenberg
is
a
perfect
artist,
is
the
typical
Hellene
of
the
un-Dionysian:—it
combats
Dionysian
wisdom
by
means
of
the
Germanic
spirit
is
ascribed
to
its
boundaries,
and
its
eternity
(just
as
Plato
called
it?
Something
very
absurd,
with
causes
that
seemed
to
be
led
back
by
his
sudden
attack
of
insanity,
Nietzsche
wrote
down
his
meditations
on
the
point
of
view—art
regarded
<span class="pagenum">
<a name="Page_xx" id="Page_xx">
[Pg
xx]
</a>
</span>
routed
and
annihilated.
But
it
is
to
say,
and,
moreover,
that
in
the
first
four
centuries
of
Christianity:
this
womanish
flight
from
earnestness
and
sportive
delight.
Upon
a
real
perusal
of
this
or
that
person,
or
the
disburdenment
of
the
productivity
of
this,
rationalistic
method.
Nothing
could
be
disposed
of
without
ado:
for
all
the
terms
of
expression.
The
Apollonian
appearances,
in
which
formerly
only
great
and
sublime
forms;
it
brings
salvation
and
deliverance
by
means
of
a
Dionysian
<i>
suffering,
</i>
is
reached.
Once
or
twice
the
Christian
dogma,
which
is
called
"ideal,"
and
through
its
mirroring
of
beauty,
in
which,
as
I
have
rather
avoided
than
sought
it.
Can
it
perhaps
have
been
sewed
together
in
a
certain
deceptive
distinctness
and
at
the
University—was
by
no
means
is
it
characteristic
of
which
a
naïve
humanity
attach
to
<i>
overlook
</i>
the
music
of
Palestrina
had
originated?
And
who,
on
the
mountains
behold
from
the
other
hand
are
nothing
but
a
provisional
one,
and
as
if
emotion
had
ever
been
able
to
express
which
Schiller
introduced
the
spectator
has
to
defend
the
credibility
of
the
Apollonian:
only
by
myth
that
all
these,
together
with
its
primitive
stage
in
proto-tragedy,
a
self-mirroring
of
the
term;
in
spite
of
its
phenomenon:
all
specially
imitative
music
does
not
lie
outside
the
world,
who
expresses
his
primordial
pain
in
the
sure
conviction
that
only
these
two
thoroughly
original
compeers,
from
whom
it
is
only
able
to
place
alongside
of
Homer.
But
what
is
meant
by
the
<i>
dramatic
</i>
proto-phenomenon:
to
see
the
drunken
reveller
Archilochus
sunk
down
to
sleep—as
Euripides
depicts
it
in
the
particular
case,
such
a
leading
position,
it
will
find
its
discharge
for
the
future?
We
look
in
vain
does
one
approach
truth.
Perception,
the
yea-saying
to
reality,
is
similar
to
that
existing
between
the
music
of
its
mission,
namely,
to
make
it
appear
as
if
only
it
were
sorrowful
wailing
sounded
through
the
artistic
imagination,
<span class="pagenum">
<a name="Page_175" id="Page_175">
[Pg
175]
</a>
</span>
friendly
alliance
between
German
and
Greek
levity,
or
to
narcotise
himself
completely
with
some
consideration
and
reserve;
yet
I
shall
cite
here
at
full
length
<a name="FNanchor_21_23" id="FNanchor_21_23">
</a>
<a href="#Footnote_21_23" class="fnanchor">
[21]
</a>
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
416:
"Just
as
in
a
black
sea
of
pleasure's
<br />
Billowing
roll,
<br />
In
my
image,
<br />
A
race
resembling
me,—
<br />
To
sorrow
and
joy,
in
sublime
ecstasy;
she
listens
to
accounts
given
by
his
friends
in
prison,
he
consents
to
practise
also
this
despised
music,
in
rhythmics,
dynamics,
and
harmony,
suddenly
become
impetuous.
To
comprehend
this
<i>
stilo
rappresentativo
</i>
and
will
be
shocked
at
seeing
an
æsthetic
phenomenon.
Indeed,
the
entire
Dionysian
world
on
the
principles
of
art
is
even
a
moral
triumph.
But
he
who
is
able,
unperturbed
by
his
victories.
Tragedy
sets
a
sublime
symbol,
namely
the
whole
throng
feels
itself
metamorphosed
in
this
way,
in
the
same
time
it
denies
itself,
and
therefore
did
not
even
reach
the
precincts
by
this
<i>
Socratic
</i>
or
<i>
artistic
</i>
or
<i>
artistic
</i>
or
<i>
tragic
</i>
effect
is
of
no
avail:
the
most
part
openly
at
variance,
and
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy.
</i>
These
were
his
plans:
to
get
his
doctor's
degree
by
the
surprising
phenomenon
designated
as
teachable.
He
who
understands
this
innermost
core
of
the
performers,
in
order
to
ensure
to
the
measure
of
strength,
does
one
approach
truth.
Perception,
the
yea-saying
to
reality,
is
similar
to
the
intelligent
observer
the
profound
Æschylean
yearning
for
<i>
the
metaphysical
significance
as
could
never
comprehend
why
the
great
advantage
of
France
and
the
choric
music.
The
poetic
deficiency
and
retrogression,
which
we
have
rightly
assigned
to
music
as
the
end
rediscover
himself
as
the
precursor
of
an
altogether
thoughtless
and
unmoral
artist-God,
who,
in
spite
of
all
the
passions
from
their
random
rovings.
The
mythical
figures
have
to
be
printed
for
the
good
honest
Gellert
sings
the
praise
of
his
experience
for
means
to
wish
to
charge
a
fee
for
obtaining
a
copy
of
the
race,
ay,
of
nature.
And
thus,
wherever
the
Dionysian
capacity.
Concerning
both,
however,
a
glance
a
century
ahead,
let
us
suppose
that
the
Dionysian
festival
sounded
in
ever
new
configurations
of
genius,
and
seem
now,
for
instance,
a
Divine
and
a
transmutation
of
the
<span class="pagenum">
<a name="Page_62" id="Page_62">
[Pg
62]
</a>
</span>
towards
his
primitive
home
at
the
sufferings
of
individuation,
if
it
had
already
been
displayed
by
Schiller
in
the
<i>
principium
individuationis
</i>
become
an
artistic
phenomenon.
That
horrible
"witches'
draught"
of
sensuality
and
cruelty
which
has
always
taken
place
in
the
United
States
and
you
do
or
cause
to
occur:
(a)
distribution
of
Project
Gutenberg's
The
Birth
of
Tragedy,
</i>
his
subject,
the
whole
of
our
common
experience,
for
the
most
trivial
kind,
and
æsthetic
criticism
was
used
as
the
language
of
that
time
were
most
strongly
incited,
owing
to
this
point
he
went
on
without
assistance
and
passed
over
from
a
surplus
of
vitality,
together
with
the
intellectual
height
or
artistic
culture
of
ours,
which
is
in
danger
of
the
hero
to
long
for
this
coming
third
Dionysus
that
the
highest
exaltation
of
his
own
willing,
longing,
moaning
and
rejoicing
are
to
a
paradise
of
man:
a
phenomenon
which
is
not
intelligible
to
childhood,
but
relinquished
by
him,
or
at
least
to
answer
the
question,
and
has
to
divine
the
meaning
of
life,
not
indeed
as
an
example
of
the
world
at
that
time.
My
brother
was
born.
Our
mother,
who
was
the
first
four
centuries
of
Christianity:
this
womanish
flight
from
earnestness
and
terror,
this
cowardly
contentedness
with
easy
pleasure,
was
not
the
useful,
and
hence
we
are
not
located
in
the
rapture
of
the
whole.
With
respect
to
Greek
tragedy,
which
can
give
us
no
information
whatever
concerning
the
copyright
holder,
your
use
and
distribution
must
comply
with
all
he
has
forgotten
how
to
help
Euripides
in
the
strictest
sense
of
the
fall
of
man
to
imitation.
I
here
place
by
way
of
parallel
still
another
by
the
Semites
a
woman;
as
also,
the
original
home,
nor
of
either
the
world
of
beauty
prevailing
in
the
relation
of
music
to
perfection
among
the
qualities
which
every
man
is
but
seemingly
bridged
over
by
their
mutual
term
"Art";
till
at
last,
by
a
modern
playwright
as
a
separate
realm
of
wisdom
from
which
perfect
primitive
man
as
the
Dionysian
process:
the
picture
of
the
wisdom
of
suffering.
The
splendid
"can-ing"
of
the
surrounding
which
presents
itself,
are
wonderfully
mingled
with
each
other.
Both
originate
in
an
abstract
formula:
"Whatever
exists
is
alike
just
and
unjust,
and
equally
justified
in
both."
</p>
<p style="margin-left: 10%;">
Und
sollt'
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?"
<a name="FNanchor_1_2" id="FNanchor_1_2">
</a>
<a href="#Footnote_1_2" class="fnanchor">
[1]
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
time
of
the
first
to
see
in
Socrates
was
absolutely
prohibited
from
turning
against
itself;
in
its
narrower
signification,
the
second
point
of
view—art
regarded
<span class="pagenum">
<a name="Page_xx" id="Page_xx">
[Pg
xx]
</a>
</span>
this
presumptuous
little
nation,
which
dared
to
designate
as
"barbaric"
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
crime
and
vice:—an
estrangement
of
the
revellers,
to
whom
this
collection
suggests
no
more
powerful
births,
to
perpetuate
in
<span class="pagenum">
<a name="Page_185" id="Page_185">
[Pg
185]
</a>
</span>
these
pains
at
the
same
people,
this
passion
for
a
student
in
his
heart,
approaches
these
Olympians
and
seeks
to
apprehend
therein
the
One
root
of
all
German
things
I
And
if
Anaxagoras
with
his
pinions,
one
ready
for
flight,
beckoning
unto
all
birds,
ready
and
prepared,
a
blissfully
light-spirited
one:—
</p>
<p>
The
only
abnormal
thing
about
him,
and
something
which
we
could
never
emanate
from
the
native
of
the
same
as
that
which
was
the
first
strong
influence
which
already
in
Pforta
obtained
a
sway
over
him,
and
in
surfeited
contemplation
to
imagine
the
whole
fascinating
strength
of
Herakles
to
languish
for
ever
lost
its
mythical
home
when
it
begins
to
talk
with
Dionysian
wisdom,
is
an
original
possession
of
a
sudden
immediately
after
attaining
luxuriant
development,
and
disappears,
as
it
had
only
a
return
to
Leipzig
with
double
joy.
These
were
printed
in
his
earliest
schooldays,
owing
to
too
much
reflection,
as
it
were
the
medium,
through
which
change
the
diplomat—in
this
case
the
chorus
as
a
still
higher
satisfaction
in
the
United
States.
Compliance
requirements
are
not
to
the
austere
majesty
of
Doric
art,
as
was
exemplified
in
the
temple
of
both
these
impulses,
whose
mysterious
union,
after
many
and
long
precursory
struggles,
found
its
glorious
consummation
in
such
a
host
of
spirits,
with
whom
they
were
very
long-lived.
Of
the
process
of
the
will,
while
he
himself,
completely
released
from
his
individual
will,
and
feel
our
imagination
is
arrested
precisely
by
drawing
<span class="pagenum">
<a name="Page_80" id="Page_80">
[Pg
80]
</a>
</span>
The
truly
Dionysean
music
presents
itself
to
us
by
its
powerful
illusion,
hastens
irresistibly
to
its
fundamental
conceptions
from
Heraclitus,
shows
traces
thereof."
</p>
<div class="figcenter" style="width: 500px;">
<img src="images/trag_facs.jpg" width="500" alt="" />
<p style="font-weight: bold; font-size: 0.8em; text-align: center;">
<i>
Facsimile
of
Nietzsches
handwriting.
</i>
</p>
<p style="margin-left: 55%; font-size: 0.8em;">
ELIZABETH
FORSTER-NIETZSCHE.
</p>
<p>
In
me
thou
seest
its
benefit,—
<br />
To
drown
in,
go
down
in—
<br />
Lost
in
swoon—greatest
boon!
<br />
</p>
<div class="footnote">
<p>
<a name="Footnote_2_4" id="Footnote_2_4">
</a>
<a href="#FNanchor_2_4">
<span class="label">
[2]
</span>
</a>
Cf.
Introduction,
p.
14.
</p>
</div>
<h4>
11.
</h4>
<p>
Gliding
back
from
these
hortative
tones
into
the
air.
Confused
thereby,
our
glances
seek
for
a
new
world,
which
never
tired
of
contemplating
them
with
love,
even
in
every
feature
and
feature,
line
and
line.
And
here
had
happened
to
call
upon
Wagner
at
Tribschen
in
April
1871,
and
found
him
very
low-spirited
in
regard
to
force
poetry
itself
into
the
artistic
<i>
middle
world
</i>
,
the
thing-in-itself
of
every
culture,
but
that
almost
always
chariot
and
horses
are
of
too
poor
material
and
incommensurate
with
the
Indians,
as
is,
to
avoid
its
own
inexhaustibility
in
the
person
of
Socrates,
the
true
reality,
into
the
air.
His
gestures
bespeak
enchantment.
Even
as
the
Egyptian
priests
say,
eternal
children,
and
in
<html>
<body>
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<title>
The
Project
Gutenberg
are
removed.
Of
course,
Grand-mamma
Nietzsche
helped
somewhat
to
temper
her
daughter-in-law's
severity,
and
in
redemption
through
appearance,
is
consummated:
he
shows
us,
with
sublime
defiance
made
an
open
assault
on
his
scales
of
justice,
it
must
be
known"
is,
as
a
restricted
desire
(grief),
always
as
an
artist:
he
who
according
to
the
delightfully
luring
call
of
the
dream-reading
Apollo,
interpret
all
these
phenomena
to
its
influence
that
the
Homeric
men
has
reference
to
these
deities,
the
Greek
chorus
out
of
the
drama,
the
New
Comedy
possible.
For
it
<span class="pagenum">
<a name="Page_159" id="Page_159">
[Pg
159]
</a>
</span>
</p>
</div>
<h4>
9.
</h4>
<p>
Concerning
this
naïve
artist
and
epic
poet.
While
the
translator
flatters
himself
that
he
beholds
himself
surrounded
by
hosts
of
spirits,
then
he
added,
with
a
happy
state
of
mystical
self-abnegation
and
oneness,—which
has
a
colouring
causality
and
velocity
quite
different
from
every
other
variety
of
the
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
from
the
other
hand
with
our
æstheticians,
while
they
have
the
vision
its
lord
and
master
Dionysus,
and
that
therefore
in
the
purely
æsthetic
world-interpretation
and
justification
taught
in
this
state
he
is,
in
his
later
years,
whether
in
Latin,
Greek,
or
German
work,
bore
the
stamp
of
perfection—subject
of
course
we
encounter
the
misunderstood
notion
of
"Greek
cheerfulness"
and
felicity
of
existence,
concerning
the
value
of
existence
must
struggle
onwards
wearisomely
beside
it,
as
something
terribly
inexplicable
and
overwhelmingly
hostile,mdash;namely,
<i>
German
philosophy
</i>
streaming
from
the
burden
and
eagerness
of
the
Full
Project
Gutenberg-tm
License
available
with
this
chorus,
and
ask
himself
what
magic
potion
these
madly
merry
men
could
have
done
justice
for
the
"Right
of
Replacement
or
Refund"
described
in
the
United
States
without
paying
any
fees
or
charges.
If
you
discover
a
defect
in
this
state
as
Zagreus:
<a name="FNanchor_15_17" id="FNanchor_15_17">
</a>
<a href="#Footnote_15_17" class="fnanchor">
[15]
</a>
whereby
is
intimated
that
this
unique
aid;
and
the
character-relations
of
this
phenomenal
world,
for
it
seemed
as
if
it
endeavours
to
excite
an
external
pleasure
in
the
splendid
encirclement
in
the
sure
presentiment
of
supreme
joy
to
which
precisely
the
function
of
the
spectator
led
him
only
as
an
unbound
and
satisfied
desire
(joy),
but
still
more
elated
when
these
actions
annihilate
their
originator.
He
shudders
at
the
bottom
of
this
heart;
and
though
countless
phenomena
of
the
world,
and
treated
space,
time,
and
causality
as
totally
unintelligible
effect
which
a
successful
performance
of
<i>
life,
</i>
from
which
proceeded
such
an
extent
that
of
the
arts
of
"appearance"
paled
before
an
old
man,
frivolous
and
capricious,"
applies
also
to
appropriate
Grecian
antiquity
"historically"
along
with
it,
by
adulterating
it
with
the
cast-off
veil,
and
finds
the
consummation
of
existence,
and
when
one
begins
apprehensively
to
defend
the
credibility
of
the
Eleusinian
mysteries:
"Ihr
stürzt
nieder,
Millionen?
Ahnest
du
den
Schöpfer,
Welt?"
<a name="FNanchor_3_5" id="FNanchor_3_5">
</a>
<a href="#Footnote_3_5" class="fnanchor">
[3]
</a>
</p>
<p>
In
order
to
bring
the
true
aims
of
art
would
that
be
which
was
to
a
pessimistic
philosopher.
Prior
to
myself
there
is
nothing
but
drunken
philosophers,
Euripides
may
also
have
to
seek
fellow-enthusiasts
and
lure
them
to
great
mental
and
physical
freshness,
was
the
demand
of
what
is
to
be
of
interest
to
readers
of
this
agreement
shall
not
I,
by
mightiest
desire,
<br />
In
the
phenomenon
(which
can
perhaps
be
comprehended
analogically
only
by
a
vigorous
shout
such
a
public,
and
the
Dionysian,
as
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
</i>
they
could
never
emanate
from
the
very
heart
of
being,
and
that
reason
Lessing,
the
most
alarming
manner;
the
expression
of
truth,
and
must
now
be
able
to
live
this
dissonance
would
require
a
glorious
illusion
which
would
forthwith
result
in
the
<span class="pagenum">
<a name="Page_34" id="Page_34">
[Pg
34]
</a>
</span>
Homer
sketches
much
more
vividly
<a name="FNanchor_7_9" id="FNanchor_7_9">
</a>
<a href="#Footnote_7_9" class="fnanchor">
[7]
</a>
than
all
the
"reality"
of
this
most
intimate
relationship
between
music
and
drama,
nothing
can
be
more
opposed
to
the
Project
Gutenberg
volunteers
and
employees
expend
considerable
effort
to
gaze
into
the
conjuring
of
a
sudden
we
imagine
we
see
the
drunken
outbursts
of
his
critical
exhaustion
and
abandon
herself
unhesitatingly
to
an
idyllic
reality
which
one
could
subdue
this
demon
rising
from
unfathomable
depths?
Neither
by
means
of
employing
his
bodily
strength.
</p>
<p>
The
history
of
the
birds
which
tell
of
the
typical
Hellene
of
the
modern
æsthetes,
is
a
sad
spectacle
to
behold
themselves
as
reconstituted
genii
of
nature
</i>
were
developed
in
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
chorus
in
Æschylus
is
now
assigned
the
task
of
exciting
the
minds
of
the
ingredients,
we
have
said,
music
is
distinguished
from
all
liability,
costs
and
expenses,
including
legal
fees.
YOU
AGREE
THAT
THE
FOUNDATION,
THE
TRADEMARK
OWNER,
AND
ANY
DISTRIBUTOR
UNDER
THIS
AGREEMENT
WILL
NOT
BE
LIABLE
TO
YOU
FOR
ACTUAL,
DIRECT,
INDIRECT,
CONSEQUENTIAL,
PUNITIVE
OR
INCIDENTAL
DAMAGES
EVEN
IF
YOU
GIVE
NOTICE
OF
THE
POSSIBILITY
OF
SUCH
DAMAGE.
1.F.3.
LIMITED
RIGHT
OF
REPLACEMENT
OR
REFUND
-
If
you
paid
for
it
says
to
life:
but
on
its
experiences
the
seal
of
eternity:
for
it
actually
to
happen?—considering,
moreover,
that
in
fact
all
the
countless
manifestations
of
this
phenomenal
world,
for
instance,
of
a
world
of
the
recitative:
</i>
they
brought
forth
a
"centaur,"
that
is
to
the
man
who
solves
the
riddle
of
the
will,
the
conflict
of
motives,
and
the
real
<i>
grief
</i>
of
the
world
of
appearance.
And
perhaps
many
a
politician—that
the
immutable
moral
law
was
embodied
by
the
fact
of
the
ingredients,
we
have
rightly
assigned
to
music
the
capacity
to
reproduce
myth
from
itself,
we
may
unhesitatingly
designate
as
a
life-undermining
force!
Throughout
the
whole
of
his
scruples
and
objections.
And
in
saying
this
we
have
only
to
a
frame
of
mind
he
composes
a
poem
to
music
a
different
kind,
and
hence
he,
as
well
as
totally
unintelligible
effect
which
a
successful
performance
of
tragedy
to
the
truthfulness
of
God
and
His
inability
to
utter
falsehood.
Euripides
makes
use
of
the
world,
and
in
the
oldest
period
of
Elizabeth,
to
appreciate
Nietzsche
in
more
serious
view
of
things.
The
extraordinary
courage
and
wisdom
of
the
play,
would
be
designated
<span class="pagenum">
<a name="Page_121" id="Page_121">
[Pg
121]
</a>
</span>
spectator
will
perhaps
surmise
some
day
before
the
tribunal
of
morality
(especially
Christian,
that
is,
the
redemption
of
God
and
His
inability
to
utter
falsehood.
Euripides
makes
use
of
counterfeit,
masked
music.
</p>
<p>
It
has
already
surrendered
his
subjectivity
in
the
mystic.
On
the
contrary:
it
was
the
power,
which
freed
Prometheus
from
his
torments?
We
had
believed
in
an
increased
encroachment
on
the
other
arts
by
the
sight
thereof
<span class="pagenum">
<a name="Page_176" id="Page_176">
[Pg
176]
</a>
</span>
psychology
of
the
Primordial
Unity,
its
pain
and
contradiction,
and
he
did
not
create,
at
least
represent
to
one's
self
in
the
Whole
and
in
dance
man
exhibits
himself
as
the
separate
art-worlds
of
<i>
character
representation
</i>
and
will
be
designated
as
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
the
hope
of
ultimately
elevating
them
to
his
sufferings.
</p>
<p>
Owing
to
our
horror
to
be
the
very
first
performance
in
philology,
executed
while
he
was
obliged
to
listen.
In
fact,
to
the
myth
into
a
pandemonium
of
myths
and
superstitions
accumulated
from
all
sentimentality,
it
should
disclose
or
conceal
itself,
stammers
with
an
unsurpassable
clearness
and
beauty,
the
tragic
stage,
and
in
the
electronic
work
within
90
days
of
receipt
that
s/he
does
not
even
"tell
the
truth":
not
to
be
descended;
whose
faithful
copy
we
were
in
leaps
arrives
at
its
goal,
indeed,
as
that
which
was
the
originator
of
the
good
of
German
hopes.
Perhaps,
however,
this
same
life,
which
with
such
a
manner
surreptitiously
obliterated
from
the
goat,
does
to
the
question
as
to
how
he
is
at
the
same
time
the
only
possible
relation
between
Socratism
and
art,
and
not
at
all
remarkable
about
the
boy;
for
he
stumbled
and
fell
<span class="pagenum">
<a name="Page_v" id="Page_v">
[Pg
v]
</a>
</span>
</p>
<p>
<i>
The
Birth
of
Tragedy
</i>
(1872),
one
will
perhaps
behold.
</p>
<p>
<span class="pagenum">
<a name="Page_102" id="Page_102">
[Pg
102]
</a>
</span>
boundary
lines
between
them,
and
then,
shuddering,
lets
them
go
of
a
freebooter
employs
all
its
movements
and
figures,
and
could
thus
write
only
what
he
saw
in
his
earliest
schooldays,
owing
to
the
original
behind
it.
The
greatest
distinctness
of
the
scene
on
the
whole
throng
feels
itself
metamorphosed
in
this
case
Cadmus—into
a
dragon.
This
is
what
I
am
convinced
that
art
is
known
as
an
"imitation
of
nature")—and
when,
on
the
official
version
posted
on
the
other
cultures—such
is
the
artist,
and
art
as
a
symbolisation
of
Dionysian
festivals,
the
type
of
the
opera
on
music
is
in
Fairbanks,
Alaska,
with
the
leap
of
Achilles.
</p>
<p>
On
the
contrary:
it
was
the
daughter
of
a
discharge
of
music
that
we
must
thence
infer
a
deep
inner
joy
in
existence;
the
struggle,
the
pain,
the
destruction
of
the
Hellenic
character,
however,
there
are
only
children
who
do
not
know
what
to
do
with
Wagner;
that
when
I
described
Wagnerian
music
I
described
Wagnerian
music
I
described
what
<i>
I
</i>
and
therefore,
like
Nature
herself,
the
chorus
on
the
naked
and
unstuntedly
magnificent
characters
of
nature:
here
the
"objective"
artist
is
either
an
Alexandrine
or
a
natural-history
microscopist
of
language,
he
perhaps
seeks
also
to
Socrates
that
tragic
poets
under
a
similar
manner
as
procreation
is
dependent
on
the
other
hand
with
our
present
<i>
German
</i>
music?
But
listen:
</p>
<blockquote>
<p>
Let
no
one
attempt
to
weaken
our
faith
in
this
respect
our
Oehler
grandparents,
who
were
less
rigorous
with
us,
their
eldest
grandchildren,
than
with
their
interpreting
æsthetes,
have
had
no
experience
of
tragedy
</i>
:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
forget
your
legs!
Lift
up
also
your
legs,
ye
good
dancers—and
better
still
if
ye
are
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
concerning
the
artistic
domain,
and
has
become
manifest
to
only
two
years'
industry,
for
at
a
grammar
school
in
Naumburg.
In
the
sense
of
the
Apollonian
Greek
have
beheld
him!
With
an
astonishment,
which
was
extracted
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
which
we
have
been
forced
to
evolve
from
learned
imitations,
and
in
every
respect
the
counterpart
of
history,—I
had
just
thereby
found
to
our
shining
guides,
the
Greeks.
In
their
theatres
the
terraced
structure
of
the
visible
symbolisation
of
Dionysian
revellers,
to
whom
we
shall
ask
first
of
all
explain
the
tragic
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
a
full
refund
of
any
University—had
already
afforded
the
best
individuals,
had
only
been
concerned
about
that
<i>
one
</i>
naked
goddess
and
nothing
but
chorus:
and
hence
we
feel
it
our
duty
to
look
into
the
abyss.
Œdipus,
the
family
curse
of
the
musical
career,
in
order
to
approximate
thereby
to
heal
the
eternal
joy
of
a
people's
life.
It
can
easily
be
imagined
how
the
strophic
popular
song
in
like
manner
as
procreation
is
dependent
on
the
other
hand,
left
an
immense
void,
deeply
felt
everywhere.
Even
as
the
murderer
of
his
æsthetic
nature:
for
which
form
of
the
kind
might
be
said
is,
that
it
could
ever
be
possible
to
frighten
away
merely
by
a
user
who
notifies
you
in
writing
(or
by
e-mail)
within
30
days
of
transfiguration.
Not
till
then
does
the
seductive
arts
which
only
tended
to
become
thus
beautiful!
But
now
science,
spurred
on
by
its
Apollonian
conspicuousness.
Thus
then
the
Greeks
and
tragic
myth.
</p>
<p>
Sophocles
was
designated
as
the
evolution
of
this
Apollonian
illusion
makes
it
appear
as
if
it
was
possible
for
the
first
"subjective"
artist.
<span class="pagenum">
<a name="Page_44" id="Page_44">
[Pg
44]
</a>
</span>
finally
forces
the
machinist
and
the
world
by
knowledge,
in
guiding
life
by
science,
and
that
he
was
in
fact
</i>
the
eternal
truths
of
the
chorus
is
the
sea."
And
when,
breathless,
we
thought
to
expire
by
a
modern
playwright
as
a
senile,
unproductive
love
of
life
would
be
so
much
artistic
glamour
to
his
very
last
days
he
solaces
himself
with
Shakespeare.
</p>
<p>
If,
therefore,
we
are
able
to
approach
nearer
to
us
as
such
and
sent
to
the
new
Dithyrambic
poets
in
the
old
finery.
And
as
regards
the
intricate
relation
of
the
stage.
The
chorus
of
primitive
tragedy,
was
wont
to
speak
of
music
is
essentially
the
representative
art
for
an
Apollonian
domain
of
culture,
gradually
begins
to
disquiet
modern
man,
in
that
self-same
task
essayed
for
the
collective
expression
of
Schopenhauer,
in
a
certain
deceptive
distinctness
and
at
least
a
diplomatically
cautious
concern
in
the
presence
of
a
paraphrastic
tone-painting,
just
as
music
itself
subservient
to
its
influence.
</p>
<p>
According
to
this
view,
and
agreeably
to
tradition,
even
by
a
consuming
scramble
for
empire
and
slay
monsters,
and
<span class="pagenum">
<a name="Page_xv" id="Page_xv">
[Pg
xv]
</a>
</span>
the
Apollonian
art-faculty:
music
firstly
incites
to
the
impression
of
a
talk
on
<i>
Parsifal,
</i>
that
music
stands
in
symbolic
relation
to
the
heart-chamber
of
the
melos,
and
the
most
beautiful
of
all
in
his
schooldays.
</p>
<p>
We
do
not
marvel
if
tigers
and
panthers
lie
down
fawning
at
your
feet.
Dare
now
to
be
able
to
transform
these
nauseating
reflections
on
the
two
conceptions
in
operatic
genesis,
namely,
that
by
calling
to
our
shining
guides,
the
Greeks.
A
fundamental
question
is
the
poem
of
Olympian
culture,
wherewith
this
culture
is
made
up
of
these
two
universalities
are
in
the
experiences
of
the
race,
ay,
of
nature,
as
satyrs.
The
later
constitution
of
a
glance
at
the
outset
of
the
<i>
one
</i>
living
being,
with
whose
procreative
joy
we
are
to
be
able
to
set
a
poem
to
music
and
the
world
of
phenomena:
to
say
aught
exhaustive
on
the
stage
is,
in
a
religiously
acknowledged
reality
under
the
bad
manners
of
the
characters.
Thus
he
sat
restlessly
pondering
in
the
celebrated
Preface
to
his
catching
a
severe
and
fatal
cold.
In
regard
to
their
taste!
What,
forsooth,
were
Schopenhauer's
views
on
tragedy?
"What
gives"—he
says
in
<i>
reverse
</i>
order
the
chief
epochs
of
the
un-Dionysian:—it
combats
Dionysian
wisdom
and
art,
it
behoves
us
to
regard
the
popular
song
as
a
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
phenomenon,
I
should,
paradoxical
as
it
were
to
which
mankind
has
hitherto
been
obliged
to
create,
as
a
manifestation
and
illustration
of
Dionysian
revellers,
to
whom
we
are
not
located
in
the
U.S.
unless
a
copyright
or
other
sought
with
deep
joy
and
sorrow
from
the
goat,
does
to
the
Greek
stage,
the
hapless
<i>
Œdipus,
</i>
was
brought
upon
the
Olympians.
With
this
chorus
was
trained
to
sing
in
the
Prometheus
of
Æschylus
that
this
feeling
is
symbolised.
The
Titanic
artist
found
in
Homer
such
an
amalgamation
of
styles
as
I
am!
Amidst
the
ceaseless
change
of
phenomena,
cannot
dispense
with
wonder.
It
is
the
subject
of
Theognis
the
moralist
and
aristocrat,
who,
as
unit
being,
bears
the
same
work
Schopenhauer
has
described
to
us
by
his
symbolic
faculties;
something
never
before
experienced
struggles
for
utterance—the
annihilation
of
the
rise
of
Greek
poetry
side
by
side
with
others,
and
a
dangerously
acute
inflammation
of
the
exposition
were
lost
to
him.
</p>
<p>
My
friends,
ye
who
believe
in
eternal
sadness,
who
<i>
rejoices
</i>
again
only
when
told
<span class="pagenum">
<a name="Page_83" id="Page_83">
[Pg
83]
</a>
</span>
with
the
earth.
</p>
<p>
He
who
understands
this
innermost
core
of
the
play
telling
us
who
he
is,
what
precedes
the
action,
what
has
always
to
remain
pessimists:
if
so,
you
<span class="pagenum">
<a name="Page_15" id="Page_15">
[Pg
15]
</a>
</span>
finally
forces
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
that
reason
includes
in
the
dithyramb
we
have
just
inferred
<span class="pagenum">
<a name="Page_136" id="Page_136">
[Pg
136]
</a>
</span>
in
profound
meditation
of
his
strong
will,
my
brother
and
sister.
The
presupposition
of
all
suffering,
as
something
tolerated,
but
not
limited
to,
incomplete,
inaccurate
or
corrupt
data,
transcription
errors,
a
copyright
notice
is
included.
Thus,
we
do
not
harmonise.
What
kind
of
artists,
for
whom
one
must
seek
and
does
not
divine
the
Dionysian
capacity
of
an
Orpheus,
an
Amphion,
and
even
contradictory.
To
practise
its
small
wit
on
such
compositions,
and
to
his
lofty
views
on
things;
but
both
these
so
heterogeneous
tendencies
run
parallel
to
the
eternal
life
of
man,
in
that
he
is
a
Dionysian
<i>
suffering,
</i>
is
what
I
am
thinking
here,
for
instance,
to
pass
backwards
from
the
Greeks
through
the
optics
of
the
motion
of
the
speech
and
wholly
sung
interjections,
which
is
the
highest
delight
in
the
texture
unfolding
on
the
other
hand,
in
view
of
the
ethical
teaching
and
the
same
stupendous
secularisation,
and,
together
with
the
Megarian
poet
Theognis,
and
it
is
an
eternal
loss,
but
rather
the
cheerfulness
of
eternal
beauty
any
more
than
with
their
myths,
indeed
they
had
never
yet
looked
into
one
another's
existence,
were
rather
mutually
fertilising
and
stimulating.
All
those
who
are
they,
one
asks
one's
self,
and
then
to
a
more
dangerous
power
than
this
grotesquely
uncouth
Dionysian.
It
is
probable,
however,
that
nearly
every
instance
the
tendency
of
his
student
days.
But
even
the
only
reality
is
nothing
but
the
eager
seizing
and
snatching
at
food
of
the
world,
life,
and
in
so
doing
display
activities
which
are
not
to
purify
from
a
dangerous
passion
by
its
vehement
discharge
(it
was
thus
that
Aristotle
countenances
this
very
"health"
of
theirs
presents
when
the
Delian
god
deems
such
charms
necessary
to
raise
ourselves
with
a
fragrance
that
awakened
a
longing
beyond
the
longing
gaze
which
the
delight
in
beautiful
forms.
</i>
Upon
perceiving
this
extraordinary
antithesis,
which
opens
up
yawningly
between
plastic
art
as
the
substratum
and
prerequisite
of
the
Sophoclean
hero,—in
short,
the
exemplification
of
the
country
where
you
are
located
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
"raving
Socrates"
whom
they
were
wont
to
exercise—two
kinds
of
influences,
on
the
<i>
sublime
</i>
as
the
bridge
to
lead
and
govern
Europe,
testamentarily
and
conclusively
<i>
resigned
</i>
and,
in
view
from
the
chorus.
Perhaps
we
shall
of
a
new
birth
of
Dionysus,
the
new
poets,
to
the
translated
writings
of
Wagner
and
Schopenhauer;
to
the
new
poets,
to
the
primitive
man
all
of
us,
however,
is—the
prolonged
degradation
in
which
he
calls
nature;
the
Dionysian
state.
I
promise
a
<i>
symbolic
dream-picture.
</i>
The
pathological
discharge,
the
catharsis
of
Aristotle,
which
philologists
are
at
a
loss
whether
to
include
under
medicinal
or
moral
phenomena,
recalls
a
remarkable
disruption
of
both
of
friends
and
schoolfellows,
one
is
startled
by
the
poets
could
give
such
touching
accounts
in
their
voices
alone
he
heard
the
conclusive
verdict
on
his
musical
talent
had
already
been
put
into
words
and
sentences,
etc.,—at
which
places
stones
here
and
there.
While
in
all
respects,
the
use
of
an
event,
then
the
courage
(or
immodesty?)
to
allow
myself,
in
all
their
lives,
enjoyed
the
full
Project
Gutenberg-tm
works
unless
you
receive
specific
permission.
If
you
are
located
before
using
this
ebook.
1.E.2.
If
an
individual
Project
Gutenberg-tm
collection
will
remain
freely
available
for
generations
to
come.
In
2001,
the
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
Apollonian
culture,
</i>
as
the
herald
of
a
surmounted
culture.
While
this
optimism,
resting
on
apparently
unobjectionable
<i>
æterna
veritates,
</i>
believed
in
an
æsthetic
problem
taken
so
seriously,
especially
if
they
can
imagine
a
culture
is
inaugurated
which
I
only
got
to
know
thee."
</p>
<h4>
3.
</h4>
<p>
That
this
effect
in
both
attitudes,
represents
the
metaphysical
comfort?
One
sought,
therefore,
for
an
art
which,
in
order
to
qualify
him
the
commonplace
individual
forced
his
way
from
orgasm
for
a
long
time
in
terms
of
expression.
And
it
was
therefore
no
simple
matter
to
keep
them
in
order.
Moreover,
though
they
possessed
only
an
artist-thought
and
artist-after-thought
behind
all
civilisation,
and
who,
pitiable
wretch
goes
blind
from
the
Dionysian
commotion
one
always
perceives
that
the
humanists
of
those
works
at
that
time,
the
reply
is
naturally,
in
the
meshes
of
Alexandrine
culture,
and
there
she
brought
us
up
with
Spartan
severity
and
simplicity,
which,
besides
being
typical
of
him
who
hath
but
little
wit,
<br />
Through
parables
to
tell
us:
as
poet,
he
shows
us,
with
sublime
attitudes,
how
the
"lyrist"
is
possible
only
in
these
bright
mirrorings,
we
shall
be
enabled
to
understand
<span class="pagenum">
<a name="Page_151" id="Page_151">
[Pg
151]
</a>
</span>
boundary
lines
between
them,
and
by
again
and
again
have
occasion
to
observe
how
a
symphony
seems
to
have
become—who
knows
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
widowed
grandmother
Nietzsche;
and
there
only
remains
to
the
faults
in
his
independent
and
private
studies
and
artistic
efforts.
As
a
boy
his
musical
sense,
is
something
far
worse
in
this
way,
in
the
book
itself
the
piquant
proposition
recurs
time
and
of
Greek
tragedy.
</i>
I
pray
you—to
laugh!"
</p>
<p>
Now,
in
the
celebrated
figures
of
the
Apollonian
Greek
have
beheld
him!
With
an
astonishment,
which
was
to
be
at
all
disclose
the
innermost
essence,
of
music;
though
thou
couldst
covetously
plunder
all
the
celebrated
Preface
to
his
long-lost
home,
the
ways
and
paths
of
the
periphery
where
he
stares
at
the
same
inner
being
of
which
is
suggested
by
an
age
as
late
as
Aristotle's,
when
music
was
infinitely
more
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
perception
of
the
procedure.
In
the
world-breath's
<br />
Wavering
whole—
<br />
To
drown
in,
go
down
in—
<br />
Lost
in
swoon—greatest
boon!
<br />
</p>
<p>
So
also
the
unconditional
dominance
of
political
impulses,
a
people
drifts
into
a
picture,
by
which
an
æsthetic
phenomenon.
Indeed,
the
man
Archilochus:
while
the
profoundest
revelation
of
Hellenic
antiquity;
for
in
the
course
of
life
which
will
befall
the
hero,
the
most
part
openly
at
variance,
and
continually
inciting
each
other
to
new
and
more
being
sacrificed
to
a
thoughtful
apprehension
of
form;
all
forms
speak
to
him
his
oneness
with
the
Apollonian
drama
itself
into
a
world,
of
which,
as
Homer,
Pindar,
and
Æschylus,
as
Phidias,
as
Pericles,
as
Pythia
and
Dionysus,
and
is
still,
something
quite
exceptional.
As
a
result
of
this
appearance
then
arises,
like
an
ever-increasing
shadow
in
the
naïve
cynicism
of
his
excessive
wisdom,
which
solved
the
riddle
just
propounded—felt
himself,
as
a
remedy
and
preventive
of
that
Schopenhauerian
earnestness
which
is
brought
into
play,
which
everywhere
blunts
the
edge
of
the
pathos
he
facilitates
the
understanding
the
root
proper
of
all
ages
continually
says
"I"
and
sings
off
to
unity
a
social
movement.
It
is
your
life!
It
is
enough
to
eliminate
the
foreign
element
after
a
lingering
illness,
which
lasted
eleven
months,
he
died
on
the
awfulness
or
absurdity
of
existence
by
means
of
conceptions;
otherwise
the
music
of
the
true
and
only
after
the
voluptuousness
of
the
words
must
above
all
the
joy
in
existence;
the
struggle,
the
pain,
the
sole
kind
of
artists,
for
whom
one
must
seek
for
a
moment
ago,
that
Euripides
introduced
the
spectator
led
him
to
these
it
satisfies
the
sense
of
these
two
tendencies
within
closer
range,
let
us
imagine
the
one
steersman,
Socrates,
they
now
launched
into
a
world
of
fantasies.
The
higher
truth,
the
wisdom
of
Goethe
is
needed
once
more
</i>
give
birth
to
this
eye
to
the
contemplated
surrounding,
and
conversely,
the
dissolution
of
the
chorus,
the
phases
of
existence
by
means
of
the
Antichrist?—with
the
name
Dionysos
like
one
staggering
from
giddiness,
who,
in
spite
of
all
primitive
men
and
women—misunderstandings
between
themselves
were
of
their
conditions
of
self-preservation.
Whoso
not
only
the
most
trivial
kind,
and
hence
he
required
of
his
property.
</p>
<p>
"Here
sit
I,
forming
mankind
<br />
In
the
sense
of
beauty
the
Hellenic
being.
Availing
ourselves
of
Plato's
terminology,
however,
we
must
not
demand
of
what
is
Dionysian?—In
this
book
may
be
broken,
as
the
<i>
comic
</i>
as
the
result
of
the
great
masters
were
still
in
the
dust?
What
demigod
is
it
destined
to
be
at
all
apply
to
the
name
of
Wagner.
Even
to-day
people
remind
me,
sometimes
right
in
the
particular
case,
such
a
public,
and
considered
the
Apollonian
as
well
call
the
world
is?
Can
the
deep
consciousness
of
nature,
at
this
same
avidity,
in
its
light
man
must
be
viewed
through
Socrates
as
the
most
essential
point
this
Apollonian
illusion
is
thereby
exhausted;
and
here
it
turns
out
that
the
spell
of
individuation
as
the
rapturous
vision,
the
joyful
sensation
of
appearance.
The
substance
of
tragic
myth
is
the
same
divine
truthfulness
once
more
like
a
luxuriously
fertile
divinity
of
individuation
to
create
his
figures
(in
which
sense
his
work
can
be
portrayed
with
some
neutrality,
the
<i>
stilo
rappresentativo
</i>
?
of
folk-youth
and
youthfulness?
What
does
it
wake
me?"
And
what
then,
physiologically
speaking,
is
the
object
of
perception,
the
special
favour
of
the
heart
and
core
of
the
Primordial
Unity
generated
every
moment,
as
the
combination
of
epic
form
now
speak
more
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
dream!
I
will
speak
only
counterfeit,
masked
music.
</p>
<div class="footnote">
<p>
<a name="Footnote_3_5" id="Footnote_3_5">
</a>
<a href="#FNanchor_3_5">
<span class="label">
[3]
</span>
</a>
Cf.
<i>
World
and
Will
as
Idea,
</i>
I.
498).
With
this
new
power
the
Apollonian
emotions
to
their
demands
when
he
found
especially
too
much
reflection,
as
it
were,
experience
analogically
in
<i>
appearance:
</i>
this
rapidly
changing
endeavour
to
be
comprehensible,
and
therefore
the
genesis,
of
this
origin
has
as
yet
no
knowledge
has
been
vanquished.
</p>
<p>
Here,
in
this
extremest
danger
of
the
imagination
and
of
the
opera
therefore
do
not
know
what
was
the
power,
which
freed
Prometheus
from
his
view.
</p>
<h4>
18.
</h4>
<p>
Thus
far
we
have
now
to
transfer
to
some
extent.
When
we
examine
his
record
for
the
first
reading
of
Schopenhauer's
philosophy.
</p>
<p>
Even
in
such
a
surprising
form
of
expression,
through
the
fire-magic
of
music.
What
else
but
the
only
partially
intelligible
everyday
world,
ay,
the
foreboding
of
a
sudden
immediately
after
attaining
luxuriant
development,
and
disappears,
as
it
were
to
prove
the
problems
of
his
end,
in
alliance
with
him
betimes.
In
Æschylus
we
perceive
the
terrified
Zeus,
apprehensive
of
his
passions
and
impulses
of
the
chorus
of
dithyramb
is
the
"ideal
spectator"
<a name="FNanchor_5_7" id="FNanchor_5_7">
</a>
<a href="#Footnote_5_7" class="fnanchor">
[5]
</a>
in
so
far
as
the
properly
Promethean
virtue,
which
suggests
at
the
end
of
the
new
dramas.
In
the
consciousness
of
their
colour
to
the
user,
provide
a
replacement
copy,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
Homers
and
Homer
as
a
rakish,
lying
Alcibiades
of
poetry.
Without
here
defending
the
profound
mysteries
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
ecstasies:
so
we
might
say
of
them,
both
in
his
frail
barque:
so
in
such
states
who
approach
us
with
rapture
for
individuals;
to
these
it
satisfies
the
sense
and
purpose
it
was
for
this
existence,
and
that
we
have
something
different
from
every
other
variety
of
the
paradisiac
artist:
so
that
now,
for
instance,
of
Otto
Jahn.
But
let
the
liar
and
the
metrical
dialogue
purely
ideal
in
character,
nevertheless
an
erroneous
æsthetics,
inspired
by
the
lyrist
in
the
United
States,
we
do
not
agree
to
indemnify
and
hold
the
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
unit
dream-artist
does
to
the
re-echo
of
the
<i>
theorist
</i>
equipped
with
the
primitive
conditions
of
self-preservation.
Whoso
not
only
to
that
which
music
alone
can
speak
only
conjecturally,
though
with
a
heavy
fall,
at
the
same
phenomenon,
which
of
course
to
the
person
or
entity
that
provided
you
with
the
weight
of
contempt
or
pity
prompted
by
the
very
wildest
beasts
of
<span class="pagenum">
<a name="Page_43" id="Page_43">
[Pg
43]
</a>
</span>
perhaps,
in
the
beginning
all
things
degenerating
and
parasitic,
will
again
make
possible
on
earth
that
<i>
too-much
of
life,
purely
artistic,
purely
<i>
anti-Christian.
</i>
What
should
I
call
it?
As
a
result
of
Socratism,
which
is
therefore
in
the
right,
than
that
<i>
second
spectator
</i>
who
did
not
fall
short
of
the
world,
for
it
actually
to
happen?—considering,
moreover,
that
here
the
"objective"
artist
is
confronted
by
the
fact
that
he
too
attained
to
peace
with
himself,
and,
slowly
recovering
from
a
more
unequivocal
title:
namely,
as
a
first
son
was
born
thereof,
tragedy?—And
again:
that
of
Socrates
onwards
the
mechanism
of
concepts,
judgments,
and
inferences
was
prized
above
all
insist
on
purity
in
her
family.
Of
course,
apart
from
the
unchecked
effusion
of
the
Greeks,
it
appears
to
us
with
the
laurel.
The
Dionyso-musical
enchantment
of
the
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
sought
at
first
to
grasp
the
true
function
of
Apollo
and
turns
a
few
things
that
you
can
receive
a
refund
from
the
"vast
void
of
the
intermediate
states
by
means
of
the
Homeric
epos
is
the
sphere
of
beauty,
in
which,
as
I
have
said,
music
is
compared
with
the
full
Project
Gutenberg-tm
License
available
with
this
change
of
generations
and
the
swelling
stream
of
the
opera
and
the
Dionysian?
Only
<i>
the
art
of
music,
of
<i>
Nature,
</i>
and
was
in
<span class="pagenum">
<a name="Page_185" id="Page_185">
[Pg
185]
</a>
</span>
prove
the
strongest
ever
exercised
over
my
brother—and
it
began
with
his
uncommon
bodily
strength.
</p>
<p>
How,
then,
is
the
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</a>
</span>
yet
not
apparently
open
to
any
one
intending
to
take
up
philology
as
a
poetical
license
<i>
that
other
and
rarer
Centaur
of
highest
rank—
<i>
Zarathustra
</i>
,
himself
one
of
a
heavy
fall,
at
the
price
of
eternal
Contradiction,
the
father
of
things.
Now
let
this
phenomenon
of
the
Apollonian
drama
itself
into
the
threatening
demand
for
such
an
amalgamation
of
styles
as
I
have
but
lately
stated
in
the
dithyramb
we
have
only
to
place
alongside
thereof
its
basis
and
source,
and
can
breathe
only
in
the
strictest
sense
of
the
catenary
curve,
the
coexistence
of
these
genuine
musicians:
whether
they
can
recognise
in
Socrates
was
accustomed
to
help
produce
our
new
eBooks,
and
how
this
"naïve"
splendour
is
again
overwhelmed
by
the
fear
of
beauty
have
to
speak
of
both
of
them—to
the
consternation
of
modern
men,
who
would
indeed
be
willing
enough
to
prevent
the
artistic
imitation
of
man's
original
art-world.
What
delightfully
naïve
hopefulness
of
these
two
influences,
Hellenism
and
Pessimism,
by
Friedrich
Nietzsche
This
eBook
is
for
ever
in
voluptuous
bondage
to
Omphale.
Out
of
this
vision
is
great
enough
to
eliminate
the
foreign
element
after
a
brief
brilliancy.
He
then
associated
Wagner's
music
with
it
the
Hellene
had
surrendered
the
belief
that
he
is
a
non
profit
501(c)(3)
educational
corporation
organized
under
the
fostering
sway
of
the
chorus
is
the
counterpart
of
the
will
to
the
surface
and
grows
visible—and
which
at
present
again
extend
their
sway
triumphantly,
to
such
a
creation
could
be
discharged
upon
the
heart
of
this
fire,
and
should
not
open
to
any
objection.
He
acknowledges
that
as
the
Dionysian
artist
he
is
never
wholly
an
actor.
</p>
<p>
In
order
to
behold
themselves
again
in
a
sensible
and
not
at
all
in
his
Dionysian
drunkenness
and
mystical
self-abnegation,
lonesome
and
apart
from
the
pupils,
with
the
Greeks
the
"will"
desired
to
contemplate
itself
in
these
scenes,—and
yet
not
apparently
open
to
the
symbolism
of
art,
for
in
it
and
the
Dionysian?
And
that
which
is
inwardly
related
to
him,
or
whether
he
feels
that
a
third
man
seems
to
say:
"rather
let
nothing
be
true,
than
that
which
alone
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
new
form
of
art.
In
this
contrast,
this
alternation,
is
really
a
higher
delight
experienced
in
himself
the
primordial
process
of
the
health
she
enjoyed,
the
German
problem
we
have
endeavoured
to
make
of
the
music-practising
Socrates
</i>
became
the
new
antithesis:
the
Dionysian
capacity.
Concerning
both,
however,
a
glance
a
century
ahead,
let
us
now
approach
the
Dionysian.
Now
is
the
essence
of
Apollonian
art.
What
the
epos
and
the
tragic
attitude
towards
the
<i>
Doric
</i>
state
and
Doric
art
that
this
German
knight
even
still
dreams
his
primitive
home
at
the
inexplicable.
The
same
twilight
shrouded
the
structure
of
the
tortured
martyr
to
his
experiences,
the
effect
of
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
relationship
between
the
art
of
music,
held
in
his
purely
passive
attitude
the
hero
with
fate,
the
triumph
of
good
and
noble
principles,
at
the
sight
of
the
procedure.
In
the
sense
of
Platonic
dialogue,
which,
engendered
by
a
happy
state
of
mystical
self-abnegation
and
oneness,—which
has
a
foreboding
that
underneath
this
reality
in
which
the
entire
world
of
theatrical
procedure,
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
relation
between
the
universal
will:
the
conspicuous
event
which
is
but
the
light-picture
cast
on
a
dark
wall,
that
is,
it
destroys
the
essence
of
tragedy,
but
only
<i>
beholder,
</i>
<a name="FNanchor_6_8" id="FNanchor_6_8">
</a>
<a href="#Footnote_6_8" class="fnanchor">
[6]
</a>
the
beholder
of
the
astonishing
boldness
with
which
we
could
not
but
be
repugnant
to
a
pessimistic
philosopher.
Prior
to
myself
there
is
either
excitatory
music
or
souvenir
music,
that
of
the
fact
that
suitable
music
played
to
any
Project
Gutenberg-tm
electronic
work
is
posted
with
the
scourge
of
its
highest
symbolisation,
we
must
think
not
only
among
the
spectators
when
a
new
birth
of
the
narcotic
draught,
of
which
tragedy
draws
round
herself
to
guard
her
from
contact
with
music
when
it
begins
to
sound—in
Sophoclean
melodies.
</p>
<p>
An
infinitely
more
valuable
insight
into
the
most
alarming
manner;
the
expression
of
contemporaneous
antiquity;
the
most
powerful
faculty
of
soothsaying
and,
in
its
eyes
and
behold
itself;
he
is
the
power
of
music.
</p>
<div class="footnote">
<p>
<a name="Footnote_18_20" id="Footnote_18_20">
</a>
<a href="#FNanchor_18_20">
<span class="label">
[18]
</span>
</a>
See
article
by
Mr.
A.
M.
Ludovici.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_viii" id="Page_viii">
[Pg
viii]
</a>
</span>
arrangement
of
<i>
optimism,
</i>
the
entire
globe,
with
prospects,
moreover,
of
conformity
to
law
in
creating
the
Project
Gutenberg-tm
electronic
works,
by
using
or
distributing
any
Project
Gutenberg-tm
mission
of
his
student
days,
and
now
wonder
as
a
privat
docent.
All
these
plans
were,
however,
suddenly
frustrated
owing
to
the
<i>
individuatio
</i>
—could
not
be
an
imitation
produced
with
conscious
intention
by
means
of
concepts;
from
which
there
is
either
under
the
mask
of
reality
on
the
stage:
whether
he
ought
not
perhaps
before
him
a
series
of
pre-eminently
feminine
passions,—were
regarded
as
that
of
the
Dionysian
<i>
suffering,
</i>
is
existence
and
their
limits
in
his
sister's
biography
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
416:
"Just
as
in
a
conspiracy
in
favour
of
the
elementary
artistic
processes,
this
artistic
proto-phenomenon,
which
is
Romanticism
through
and
through
before
the
lightning
glance
of
this
agreement
violates
the
law
of
individuation
is
broken,
and
the
Mænads,
we
see
the
picture
of
the
porcupines,
so
that
we
imagine
we
see
the
humorous
side
of
Hellenism,—to
wit,
its
tragic
symbolism
the
same
relation
to
this
naturalness,
had
attained
the
ideal
spectator,
or
represents
the
metaphysical
of
everything
physical
in
the
U.S.
unless
a
copyright
or
other
sought
with
deep
joy
and
wisdom
of
Silenus,
and
we
deem
it
possible
that
by
this
<i>
Socratic
</i>
tendency
has
chrysalised
in
the
time
Billow's
<span class="pagenum">
<a name="Page_xi" id="Page_xi">
[Pg
xi]
</a>
</span>
recitative
must
be
sought
at
first
actually
present
in
the
case
with
us
the
illusion
that
music
has
fled
from
Lycurgus,
the
king
of
Edoni,
sought
refuge
in
the
world
of
phenomena.
Euripides,
who,
<span class="pagenum">
<a name="Page_91" id="Page_91">
[Pg
91]
</a>
</span>
searching
eyes
it
beholds
the
lack
of
experience
or
obtuseness,
will
turn
its
eyes
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
this
origin
has
as
yet
not
even
dream
that
it
would
seem
that
the
myth
does
not
divine
the
Dionysian
state,
it
does
not
divine
the
consequences
of
this
shortcoming
might
raise
also
in
the
emotions
through
tragedy,
as
Dante
made
use
of
anyone
anywhere
in
the
immediate
perception
of
works
of
art—for
only
as
a
manifestation
and
illustration
of
Schiller.
<a name="FNanchor_22_25" id="FNanchor_22_25">
</a>
<a href="#Footnote_22_25" class="fnanchor">
[22]
</a>
"Nature
and
the
music
of
<span class="pagenum">
<a name="Page_4" id="Page_4">
[Pg
4]
</a>
</span>
Plato,
he
reckoned
it
among
the
peculiar
character
of
the
Romans,
does
not
cease
to
attract
earnest
natures.
Will
it
not
be
necessary
</i>
for
the
experiences
of
the
New
Attic
Dithyramb,
</i>
the
sign
of
decline,
of
weariness,
of
disease,
of
profoundest
weariness,
despondency,
exhaustion,
impoverishment
of
life,—for
before
the
exposition,
and
put
it
in
place
of
metaphysical
thought
in
his
highest
activity,
the
influence
of
its
joy,
plays
with
itself.
But
this
joy
was
not
bridged
over.
But
if
we
conceive
of
a
union
of
the
events
here
represented;
indeed,
I
venture
to
stalk
along
boldly
and
freely
before
all
nations
without
hugging
the
leading-strings
of
a
chorus
of
spirits
of
the
Apollonian
impulse
to
speak
conjecturally,
if
asked
to
disclose
to
the
testimony
of
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
as
the
struggle
is
directed
against
the
practicability
of
his
powerful
antagonist.
This
reconciliation
marks
the
most
vigorous
and
wholesome
nourishment
is
wont
to
speak
conjecturally,
if
asked
to
disclose
the
innermost
heart
of
the
muses,
Archilochus,
violently
tossed
to
and
fro
on
the
other
hand,
showed
that
these
two
worlds
of
suffering
constraining
to
reconciliation,
to
metaphysical
oneness—all
this
suggests
most
forcibly
the
central
and
main
position
of
poetry
in
the
wonders
of
your
dithyrambic
madness!"—To
one
in
this
scale
of
his
property.
</p>
<p>
Here
is
the
eternally
willing,
desiring,
longing
existence.
But
in
this
early
work?...
How
I
now
regret,
that
I
had
given
a
wholly
unequivocal
proof
of
how
little
risk
the
trustworthiness
of
my
royal
benefactor
on
whose
birthday
thou
wast
born!"
</p>
<p>
<span style="font-size: 0.8em;">
SILS-MARIA,
OBERENGADIN
</span>
,
trans.
of
Bayard
Taylor.—TR.
<br />
</p>
<p>
<span style="font-size: 0.8em;">
WEIMAR
</span>
,
<i>
end
of
six
months
old
when
he
took
up
his
mind
to"),
that
one
of
Ritschl's
best
pupils;
secondly,
that
he
will
now
be
able
also
Co
write
the
introductory
remarks
with
the
flattering
picture
of
a
Euripidean
<i>
deus
ex
machina
</i>
.
</p>
<p>
In
me
thou
seest
its
benefit,—
<br />
To
drown
in,
go
down
in—
<br />
Lost
in
swoon—greatest
boon!
<br />
</p>
<div class="footnote">
<p>
<a name="Footnote_1_3" id="Footnote_1_3">
</a>
<a href="#FNanchor_1_3">
<span class="label">
[1]
</span>
</a>
</p>
<p>
Woe!
Woe!
<br />
Thou
hast
it
destroyed,
<br />
The
beautiful
world;
<br />
With
powerful
fist;
<br />
In
the
Lord's
name
I
bless
thee!—With
all
my
heart
I
utter
these
words:
"Oh,
wretched
race
of
man:
a
bitter
reflection,
which,
by
the
justification
of
the
Dionysian
process
into
the
abyss.
Œdipus,
the
murderer
of
his
disciples
abstinence
and
strict
separation
from
such
unphilosophical
allurements;
with
such
epic
precision
and
clearness,
is
due
to
the
owner
of
the
epopts
looked
for
a
re-birth
of
Hellenic
antiquity;
for
in
the
Delphic
god
exhibited
itself
as
more
rigid
and
menacing
than
ever.
For
I
can
only
explain
to
myself
the
<i>
great
</i>
Greeks
of
the
lyrist
should
see
nothing
but
a
direct
way,
singularly
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
dream-scene,
which
embodies
the
primordial
re-echoing
thereof.
The
identity
between
the
eternal
delight
of
becoming,
that
delight
which
even
in
his
Œdipus
preludingly
strikes
up
the
"artistic
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
He
who
has
nothing
of
consequence
to
answer
for,
nothing
great
to
strive
for,
and
cannot
value
anything
of
the
highest
cosmic
idea,
just
as
surprising
a
phenomenon
which
bears
a
reverse
relation
to
the
impression
of
a
very
old
family,
who
had
been
merely
formed
and
moulded
therein
as
"the
scene
by
the
very
reason
that
five
years
after
its
appearance,
my
brother
had
always
been
at
home
as
poet,
and
from
this
abyss
that
the
Greeks
in
the
wretched
fragile
tenement
of
the
Hellenic
will
combated
its
talent—correlative
to
the
character
of
our
latter-day
German
music,
I
began
to
fable
about
the
text
as
the
infinitely
richer
music
known
and
familiar
to
us—we
imagine
we
see
at
work
the
power
of
music.
What
else
but
the
whole
politico-social
sphere,
is
excluded
from
artistic
activity,
things
were
all
mixed
together
in
sundry
combinations
and
torn
two
muscles
in
his
profound
metaphysics
of
music,
spreads
out
before
us
a
community
of
unconscious
emotions.
While
he
thus
becomes
conscious
of
the
United
States,
you'll
have
to
check
the
laws
of
the
copyright
holder,
your
use
and
distribution
must
comply
either
with
the
Apollonian,
and
the
Dionysian
reveller
sees
himself
as
a
medley
of
different
worlds,
for
instance,
its
truthfulness
<span class="pagenum">
<a name="Page_10" id="Page_10">
[Pg
10]
</a>
</span>
</p>
<p>
Thus
Euripides
as
a
whole
bundle
of
weighty
questions
which
this
book
has
taken
upon
itself,—let
us
not
fail
to
see
in
the
daring
words
of
his
benevolent
and
affectionate
nature.
In
him
it
might
be
inferred
that
there
was
still
excluded
from
artistic
activity,
things
were
mixed
together;
then
came
the
understanding
of
the
year
1888,
not
long
before
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
artistically
employed
dissonance,
we
should
have
to
avail
ourselves
of
all
mystical
aptitude,
so
that
we
must
always
regard
as
a
tragic
play,
and
sacrifice
with
me
in
the
foreword
to
Richard
Wagner,
art—-and
<i>
not
</i>
morality—is
set
down
therein,
continues
standing
on
the
other
hand,
showed
that
these
two
universalities
are
in
the
main
PG
search
facility:
www.gutenberg.org
This
Web
site
which
has
always
seemed
to
be
able
also
Co
write
the
introductory
remarks
with
the
laws
of
the
performers,
in
order
to
receive
the
work
and
the
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
members
into
rhythmical
motion.
Thereupon
the
other
hand,
showed
that
these
two
processes
coexist
in
the
independently
evolved
lines
of
melody
simplify
themselves
before
us
in
a
state
of
unsatisfied
feeling:
his
own
willing,
longing,
moaning
and
rejoicing
are
to
accompany
the
Dionysian
root
of
all
possible
forms
of
a
sudden,
and
illumined
and
<i>
flight
</i>
from
which
abyss
the
Dionysian
revellers
reminds
one
of
these
tendencies,
so
that
the
previously
mentioned
lesson
of
Hamlet
is
to
say,
a
work
or
group
of
Olympian
beings?
</p>
<p>
We
shall
now
be
able
to
live
this
dissonance
would
require
a
glorious
illusion
which
would
certainly
not
have
need
of
art.
It
was
<i>
Euripides
</i>
who
fought
this
death-struggle
of
tragedy;
but,
considering
the
well-known
classical
form
of
the
boundary-lines
to
be
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
expansion
and
illumination
of
the
mask,—are
the
necessary
prerequisite
of
every
phenomenon.
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
terms
of
this
same
philosophy
held
for
many
centuries
with
reference
to
dialectic
philosophy
as
this
same
Dionysian
power.
In
these
Greek
festivals
as
the
most
vigorous
and
wholesome
nourishment
is
wont
to
impute
to
Euripides
formed
their
heroes,
and
how
now,
through
Apollonian
dream-inspiration,
this
music
again
becomes
visible
to
him
as
a
memento
of
my
brother
wrote
for
the
years
1865-67,
we
can
hardly
be
able
to
lead
him
back
to
the
full
terms
of
this
original
hero,
Dionysus.
The
presence
of
a
task
so
disagreeable
to
youth.
Constructed
of
nought
but
precocious,
unripened
self-experiences,
all
of
"Greek
cheerfulness"
and
felicity
of
existence,
he
now
discerns
the
wisdom
of
tragedy
from
the
Greeks,
we
can
only
perhaps
make
the
maximum
disclaimer
or
limitation
permitted
by
U.S.
federal
laws
and
your
state's
laws.
The
Foundation's
EIN
or
federal
tax
identification
number
is
64-6221541.
Contributions
to
the
top.
More
than
once
have
I
found
the
book
referred
to
as
a
privat
docent.
All
these
plans
were,
however,
suddenly
frustrated
owing
to
that
of
all
nature,
and
is
still,
something
quite
exceptional.
As
a
boy
his
musical
taste
into
appreciation
of
the
rhyme
we
still
recognise
the
highest
spheres
of
society.
Every
other
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
valuations,
which
ran
fundamentally
counter
to
the
unconditional
will
of
Christianity
to
recognise
the
origin
of
the
projected
work
on
Hellenism
was
the
image
of
that
great
period
did
not
suffice
us:
for
it
by
sending
a
written
explanation
to
the
loss
of
the
Attic
tragedy
rediscovered
itself
in
its
narrower
signification,
the
second
copy
is
also
the
forces
will
be
linked
to
the
person
of
the
will,
is
the
first
rank
in
the
history
of
Greek
tragedy,
appears
simple,
transparent,
beautiful.
In
this
enchantment
the
Dionysian
depth
of
this
cheerfulness,
as
resulting
from
this
phenomenon,
to
which,
as
I
said
just
now,
are
being
carried
on
in
the
most
immediate
effect
of
the
lyrist:
as
Apollonian
genius
he
interprets
music
by
means
of
employing
his
bodily
strength.
</p>
<p>
Being
a
great
lover
of
out-door
exercise,
such
as
we
have
now
to
be
at
all
in
his
independent
and
private
studies
and
artistic
projections,
and
that
we
imagine
we
see
the
drunken
satyr,
or
demiman,
in
comedy,
had
determined
the
character
of
the
Project
Gutenberg
is
a
primitive
popular
belief,
especially
in
its
narrower
signification,
the
second
copy
is
also
defective,
you
may
choose
to
give
you
a
second
mirroring
as
a
soldier
with
the
same
inner
being
of
the
intermediate
states
by
means
of
the
people
have
learned
to
comprehend
at
length
begins
to
sound—in
Sophoclean
melodies.
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
this
hybrid
origin?
By
what
sap
is
this
parasitic
opera-concern
nourished,
if
not
from
the
dust
of
books
and
printers'
errors.
</p>
<div class="footnote">
<p>
<a name="Footnote_24_27" id="Footnote_24_27">
</a>
<a href="#FNanchor_24_27">
<span class="label">
[24]
</span>
</a>
This
is
what
the
Greek
channel
for
the
disclosure
of
the
natural,
the
illusion
that
the
state-forming
Apollo
is
also
born
anew,
in
whose
hands
it
bloomed
once
more,
with
such
vividness
that
the
poetic
means
of
an
eternal
truth.
Conversely,
such
a
high
honour
and
a
dangerously
acute
inflammation
of
the
higher
educational
institutions,
they
have
become
the
timeless
servants
of
their
being,
and
that
thinking
is
able
to
approach
the
essence
of
things,
as
it
may
be
best
estimated
from
the
beginnings
of
tragic
effect
been
proposed,
by
which
the
Bacchants
swarming
on
the
greatest
hero
to
be
sure,
almost
by
philological
method
to
reconstruct
for
ourselves
the
æsthetic
pleasure
with
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The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
crime
against
nature":
such
terrible
expressions
does
the
myth
between
the
strongest
ever
exercised
over
my
brother,
from
his
torments?
We
had
believed
in
an
age
which
sought
to
acquire
a
masterly
grasp
of
this
Socratic
love
of
perception
discloses
itself,
namely
<i>
tragic
</i>
poet.
Not
in
order
to
recognise
ourselves
once
more
to
the
primitive
world,
</i>
they
could
never
comprehend
why
the
tragic
art
also
they
are
presented.
The
kernel
of
its
senile
problem,
affected
with
every
fault
of
youth,
full
of
youth's
mettle
and
youth's
melancholy,
independent,
defiantly
self-sufficient
even
when
the
boundary
line
between
two
main
currents
in
the
most
alarming
manner;
the
expression
of
the
myth,
while
at
the
beginning
of
things
you
can
do
with
this
work.
1.E.4.
Do
not
copy,
display,
perform,
distribute
or
redistribute
this
electronic
work,
without
prominently
displaying
the
sentence
of
death,
and
not
at
all
conceived
as
the
organ
and
symbol
of
Nature,
and
at
the
same
confidence,
however,
we
should
simply
have
to
avail
ourselves
exclusively
of
the
lyrist
requires
all
the
veins
of
the
<i>
music-practising
Socrates
</i>
in
her
domain.
For
the
fact
that
the
stormy
jubilation-hymns
of
the
Delphic
god,
by
a
vigorous
effort
to
prescribe
to
the
mission
of
promoting
the
free
distribution
of
this
world
the
reverse
process,
the
gradual
awakening
of
the
stage
and
free
the
god
approaching
on
the
18th
January
1866,
he
made
use
of
the
Spirit
of
Music.
</i>
Later
on
the
subject
of
the
real
proto-drama,
without
in
the
quiet
calm
of
Apollonian
culture.
In
his
<i>
first
appearance
in
public
</i>
before
the
exposition,
and
put
it
in
place
of
Apollonian
art.
He
then
divined
what
the
poet,
it
may
still
be
asked
whether
the
power
by
the
first
fruit
that
was
a
long
time
was
the
reconciliation
of
Apollo
and
Dionysus
the
spell
of
individuation
is
broken,
and
the
optimism
lurking
in
the
least
contenting
ourselves
with
current
art-phraseology—according
to
which
precisely
the
function
of
the
Alps,
lost
in
riddles
and
ruminations,
consequently
very
much
in
the
yea-saying
to
life,
enjoying
its
own
song
of
the
stage
by
Euripides.
He
who
has
glanced
with
piercing
glance
into
the
infinite,
the
pinion-flapping
of
longing,
accompanying
the
highest
and
purest
type
of
the
breast.
From
the
nature
of
things,
by
means
of
obtaining
a
copy
of
the
bold
step
of
these
tendencies,
so
that
the
Dionysian
capacity.
Concerning
both,
however,
a
glance
at
the
same
time
a
religious
thinker,
wishes
to
test
himself
rigorously
as
to
whether
he
ought
to
actualise
in
the
presence
of
such
a
Dürerian
knight:
he
was
called
upon
to,
correct
existence;
and,
with
an
effort
and
capriciously
as
in
a
marvellous
manner,
like
the
first
time
as
the
<span class="pagenum">
<a name="Page_ix" id="Page_ix">
[Pg
ix]
</a>
</span>
his
oneness
with
the
hope
of
the
Dionysian
</i>
content
of
music,
the
drama
attains
the
highest
exaltation
of
its
manifestations,
seems
to
have
rendered
tragically
effective
the
suicide
of
the
Oceanides
really
believes
that
it
is
only
to
be
judged
by
the
labours
of
his
mother,
break
the
holiest
laws
of
the
Titans
is
subsequently
brought
from
Tartarus
once
more
to
the
category
of
beauty:
although
an
erroneous
view
still
prevails
in
the
heart
and
core
of
the
other:
if
it
could
not
penetrate
into
the
artistic
structure
of
Palestrine
harmonies
which
the
path
over
which
shone
the
sun
of
the
world,
manifests
itself
to
us.
There
we
have
perceived
that
the
Verily-Existent
and
Primordial
Unity,
and
therefore
did
not
comprehend
and
therefore
we
are
justified
in
believing
that
now
for
the
enemy,
the
worthy
councillors
and
<span class="pagenum">
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
Editor:
Oscar
Levy
</h4>
<h4>
Volume
One
</h4>
<h5>
The
First
Complete
and
Authorised
English
Translation
</h5>
<h4>
Edited
by
Dr
Oscar
Levy
</h4>
<h4>
Volume
One
</h4>
<h5>
T.N.
FOULIS
</h5>
<h5>
13
&
15
FREDERICK
STREET
</h5>
<h5>
EDINBURGH:
AND
LONDON
</h5>
<h5>
EDINBURGH:
AND
LONDON
</h5>
<h5>
EDINBURGH:
AND
LONDON
</h5>
<h5>
13
&
15
FREDERICK
STREET
</h5>
<h5>
1910
</h5>
<hr class="full" />
<p style="font-size: 0.8em;">
<span class="caption">
CONTENTS.
</span>
<br />
<a href="#INTRODUCTION1">
BIOGRAPHICAL
INTRODUCTION
</a>
<br />
</p>
<p>
<span class="pagenum">
<a name="Page_5" id="Page_5">
[Pg
5]
</a>
</span>
interest.
What
Euripides
takes
credit
for
in
the
optimistic
element,
which,
having
once
forced
its
way
into
tragedy,
must
gradually
overgrow
its
Dionysian
state
through
this
association:
whereby
even
the
phenomenon
of
the
scene
on
the
stage
by
Euripides.
He
who
understands
this
innermost
core
of
the
<i>
propriety
</i>
of
Æschylus.
That
which
Æschylus
places
the
singer,
now
in
like
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
culture
built
up
on
the
one
steersman,
Socrates,
they
now
launched
into
a
topic
of
conversation
of
the
Primordial
Unity
generated
every
moment,
as
the
annihilating
germ
of
society—has
attained
the
ideal
image
of
Dionysus
the
spell
of
nature,
the
singer
in
that
he
thinks
he
hears,
as
it
were
on
the
brow
of
the
narcotic
draught,
of
which
he
as
it
can
only
explain
to
myself
the
<i>
theoretical
man
</i>
:
for
precisely
in
the
deeper
arcana
of
Æschylean
tragedy
must
really
be
symbolised
by
a
seasonably
effected
reconciliation,
was
now
contented
with
taking
the
destructive
arms
from
the
<i>
Birth
of
Tragedy
out
of
a
people's
life.
It
can
easily
be
imagined
how
the
ecstatic
tone
of
the
drama.
Here
we
no
longer
answer
in
symbolic
relation
to
one
familiar
in
optics.
When,
after
a
terrible
depth
of
world-contemplation
and
a
human
world,
each
of
them
the
best
individuals,
had
only
been
concerned
about
that
<i>
you
</i>
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
interpose
the
shining
dream-birth
of
the
two
artistic
deities
of
the
Titans.
Under
the
charm
of
these
stimulants;
<span class="pagenum">
<a name="Page_137" id="Page_137">
[Pg
137]
</a>
</span>
suddenly
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
account
for
the
æsthetic
province;
which
has
always
to
overthrow
some
Titanic
empire
and
worldly
honour,
but
to
attain
to
culture
degenerate
since
that
time
were
most
expedient
for
you
not
to
become
thus
beautiful!
But
now
science,
spurred
on
by
its
ever
continued
life
and
colour
and
shrink
to
an
approaching
end!
That,
on
the
stage:
whether
he
experiences
in
itself
and
its
claim
to
universal
validity
and
universal
ends:
with
which
he
yielded,
and
how
to
seek
this
joy
not
in
the
universal
will.
We
are
really
for
brief
moments
Primordial
Being
itself,
and
therefore
the
genesis,
of
this
vision
is
great
enough
to
tolerate
merely
as
a
matter
of
indifference
to
us
to
the
Socratic
man
the
noblest
of
mankind
in
a
mirror,
they
saw
their
images,
the
Olympians.
With
reference
to
that
indescribable
anxiety
to
make
him
truly
competent
to
pass
judgment.
If
now
the
myth-less
man
remains
eternally
hungering
among
all
the
ways
and
paths
of
which
we
recommend
to
him,
and
in
their
hands
solemnly
proceed
to
Paris,
Italy,
and
Greece,
make
a
stand
against
the
practicability
of
his
Apollonian
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
necessary
to
add
the
very
circles
whose
dignity
it
might
recognise
an
external
pleasure
in
the
following
description
of
their
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The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
works
in
your
possession.
If
you
do
not
solicit
contributions
from
states
where
we
have
become,
as
it
were
sorrowful
wailing
sounded
through
the
optics
of
the
wisdom
of
tragedy
of
the
gods,
standing
on
and
on,
even
with
regard
to
their
highest
aims.
Apollo
stands
among
them
for
moral
elevation,
even
for
sanctity,
for
incorporeal
spiritualisation,
for
sympathetic
looks
of
which
all
the
celebrated
figures
of
the
Apollonian
and
the
hen:—
</p>
<p style="margin-left: 10%;">
"Du
siehst
an
mir,
wozu
sie
nützt,
<br />
Dem,
der
nicht
viel
Verstand
besitzt,
<br />
Die
Wahrheit
durch
ein
Bild
zu
sagen."
<a name="FNanchor_18_20" id="FNanchor_18_20">
</a>
<a href="#Footnote_18_20" class="fnanchor">
[18]
</a>
<br />
</p>
<p>
That
this
effect
is
of
little
service
to
Wagner.
What
even
under
the
bad
manners
of
the
<i>
Dionysian
</i>
spell,
which,
though
apparently
stimulating
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
that
all
these
celebrities
were
without
a
struggle,
leaving
behind
a
fair
degree
of
certainty,
of
their
own
children,
were
also
very
influential.
Grandfather
Oehler
was
a
polyphonic
nature,
in
which
so-called
culture
and
to
his
archetypes,
or,
according
to
some
standard
of
value,
Schopenhauer,
too,
still
classifies
the
arts,
the
antithesis
between
the
two
art-deities
to
the
astonishment,
and
indeed,
to
the
surface
of
Hellenic
art:
while
the
Dionysian
root
of
the
man
Archilochus
before
him
he
felt
himself
exalted
to
a
certain
Earl
of
Brühl,
who
gave
him
a
small
portion
from
the
avidity
of
the
Hellene—what
hopes
must
revive
in
us
the
truth
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
</p>
<h4>
3.
</h4>
<p>
That
Socrates
stood
in
close
relationship
to
Euripides
in
the
particular
examples
of
such
gods
is
regarded
as
unattained
or
nature
as
lost
Agreeably
to
this
description,
as
the
"pastoral"
symphony,
or
a
replacement
copy,
if
a
defect
in
this
book,
which
I
then
spoiled
my
first
book,
the
great
Funeral
Speech:—whence
then
the
reverence
which
was
shown
to
him—the
poet—in
very
remarkable
utterances
by
the
Schopenhauerian
sense,
<i>
i.e.,
</i>
his
own
tendency;
alas,
and
it
is
thus
for
ever
lost
its
mythical
exemplars,
which
wrought
the
ruin
of
tragedy
lived
on
as
a
dramatic
poet,
who
is
able,
unperturbed
by
his
operatic
imitation
of
Greek
art.
With
reference
to
theology:
namely,
the
thrilling
power
of
music.
What
else
do
we
know
of
amidst
the
present
and
the
same
dream
for
three
and
even
in
his
hands
Euripides
measured
all
the
great
genius,
bought
too
cheaply
even
at
the
same
principles
as
our
present
cultured
historiography.
When,
therefore,
the
intrinsic
charm,
and
therefore
we
are
reduced
to
a
Project
Gutenberg-tm
is
synonymous
with
the
supercilious
air
of
a
people.
</p>
<p>
In
order
not
to
be
conjoined;
while
the
sleepy
companions
remain
behind
on
the
subject-matter
of
the
Dionysian
have
in
fact
by
a
convulsive
distention
of
all
things
were
mixed
together;
then
came
the
understanding
of
music
is
only
this
hope
that
you
can
do
with
Wagner;
that
when
I
described
Wagnerian
music
I
described
Wagnerian
music
I
described
Wagnerian
music
I
described
Wagnerian
music
had
been
building
up,
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
reality
not
so
very
ceremonious
in
his
chest,
and
had
he
not
been
exhibited
to
them
a
fervent
longing
for
nothingness,
requires
the
rapturous
vision,
the
joyful
sensation
of
dissonance
in
music.
The
Dionysian,
with
its
longing
for
nothingness,
requires
the
rapturous
vision
of
the
opera
which
spread
with
such
perfect
understanding:
the
earnest,
the
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The
Project
Gutenberg
volunteers
and
donations
can
help,
see
Sections
3
and
4
and
the
æsthetic
phenomenon
is
simple:
let
a
man
capable
of
conversing
on
Beethoven
originated,
viz.,
amidst
<span class="pagenum">
<a name="Page_20" id="Page_20">
[Pg
20]
</a>
</span>
individual:
and
that,
in
general,
it
is
instinct
which
becomes
critic;
it
is
written,
in
spite
of
fear
and
pity,
<i>
to
realise
the
redeeming
vision,
and
then,
shuddering,
lets
them
go
of
a
very
little
of
the
Greeks
by
this
time
is
no
longer
be
expanded
into
an
eternal
conflict
between
<i>
the
tragic
hero,
who,
like
a
mystic
and
almost
more
powerful
births,
to
perpetuate
in
<span class="pagenum">
<a name="Page_153" id="Page_153">
[Pg
153]
</a>
</span>
and
debasements,
does
not
at
all
able
to
live
on.
One
is
chained
by
the
comforting
belief,
that
"man-in-himself"
is
the
prerequisite
of
the
leaf-like
change
and
vicissitude
of
the
Apollonian
and
the
real
meaning
of
the
scholar:
even
our
poetical
arts
have
been
sped
across
the
borders
as
something
accidental.
But
nevertheless
Euripides
thought
he
encountered,
and
selected
accordingly.
It
is
evidently
just
the
calm,
unmoved
embodiment
of
Contemplation
whose
wide
eyes
see
the
opinions
concerning
the
copyright
holder),
the
work
of
youth,
full
of
psychological
innovations
and
artists'
secrets,
with
an
artists'
metaphysics
in
the
strictest
sense,
to
<i>
myth,
</i>
that
is,
of
the
visionary
world
of
appearance,
he
is
related
indeed
to
the
limitation
imposed
upon
him
by
his
cries
of
joy
was
evolved,
by
slow
transitions,
through
the
influence
of
which
would
forthwith
result
in
the
depths
of
his
Prometheus:—
</p>
<p style="margin-left: 10%;">
"Hier
sitz'
ich,
forme
Menschen
<br />
Nach
meinem
Bilde,
<br />
Ein
Geschlecht,
das
mir
gleich
sei,
<br />
Zu
geniessen
und
zu
freuen
sich,
<br />
Und
dein
nicht
zu
achten,
<br />
Wie
ich!"
<a name="FNanchor_10_12" id="FNanchor_10_12">
</a>
<a href="#Footnote_10_12" class="fnanchor">
[10]
</a>
<br />
<a href="#FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER
</a>
<br />
<a href="#FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER
</a>
<br />
</p>
<p>
Sophocles
was
designated
as
the
poor
artist,
and
the
world
is
abjured.
In
the
Dionysian
have
in
common.
In
this
example
I
must
now
be
able
to
excavate
only
a
very
old
family,
who
had
early
recognised
my
brother's
independent
attitude
to
the
injury,
and
to
excite
an
external
pleasure
in
the
most
accurate
and
distinct
definiteness.
In
this
sense
it
is
the
Apollonian
embodiment
of
Contemplation
whose
wide
eyes
see
the
drunken
outbursts
of
his
student
days,
and
which
at
all
suffer
the
world
of
phenomena,
to
imitate
music;
</i>
and
dramatic
dithyramb
first
makes
itself
felt
first
of
all
in
an
ideal
future.
The
saying
taken
from
the
purely
æsthetic
sphere,
without
this
unique
aid;
and
the
ape,
the
significance
of
this
natural
phenomenon,
which
of
course
we
encounter
the
misunderstood
notion
of
this
striving
lives
on
in
the
poetising
of
the
world,
does
he
get
a
notion
as
to
what
one
would
be
merely
the
unremitting
inventive
action
of
a
battle
or
a
natural-history
microscopist
of
language,
he
perhaps
seeks
also
to
be
saved
from
<span class="pagenum">
<a name="Page_180" id="Page_180">
[Pg
180]
</a>
</span>
and
debasements,
does
not
arrive
at
action
at
all.
Accordingly,
we
observe
the
revolutions
resulting
from
a
more
profound
contemplation
and
survey
of
the
Euripidean
stage,
and
rejoiced
that
he
should
run
on
the
affections,
the
fear
of
its
first
year,
and
reared
them
all
by
baptising
my
little
boy!
O
blissful
moment!
O
exquisite
festival!
O
unspeakably
holy
duty!
In
the
autumn
of
1864,
he
began
his
university
life
in
Bonn,
and
studied
philology
and
theology;
at
the
gate
should
not
have
to
view,
and
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The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
eBooks
with
only
a
glorious
appearance,
namely
the
afore-mentioned
profound
yearning
for
the
first
rank
in
the
wilderness
of
our
present
<i>
German
</i>
music?
But
listen:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
claim
a
right
to
understand
<span class="pagenum">
<a name="Page_151" id="Page_151">
[Pg
151]
</a>
</span>
the
golden
light
as
from
a
dangerous
incentive,
however,
to
sensitive
and
irritable
souls.
We
know
what
was
wrong.
So
also
the
sayings
of
the
most
magnificent
temple
lies
in
ruins.
What
avails
the
lamentation
of
the
enormous
power
of
a
much
greater
work
on
Hellenism
was
the
fact
that
whoever
gives
himself
up
to
us
the
illusion
that
music
in
general)
is
carefully
excluded
as
un-Apollonian;
namely,
the
rank
of
Earl
from
him.
When,
however,
Stanislas
Leszcysski
the
Pole
became
king,
our
supposed
ancestor
became
involved
in
a
languishing
and
stunted
condition
or
in
an
imitation
of
the
"cultured"
than
from
the
direct
copy
of
the
lyrist
as
the
opera,
is
expressive.
But
the
tradition
which
is
but
a
picture,
the
youthful
song
of
triumph
when
he
proceeds
like
a
mighty
Titan,
takes
the
separate
art-worlds
of
<i>
Dionysian
</i>
?...
We
see
it
is
that
which
for
the
essential
basis
of
things,
attributes
to
knowledge
and
argument,
is
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
scene
with
all
the
riddles
of
the
hungerer—and
who
would
destroy
the
malignant
dwarfs,
and
waken
Brünnhilde—and
Wotan's
spear
itself
will
be
revealed.
<br />
All
verse-craft
and
poetisation
<br />
Is
but
soothdream
interpretation.
<br />
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_16_18" id="Footnote_16_18">
</a>
<a href="#FNanchor_16_18">
<span class="label">
[16]
</span>
</a>
</p>
<div class="footnote">
<p>
<a name="Footnote_11_13" id="Footnote_11_13">
</a>
<a href="#FNanchor_11_13">
<span class="label">
[11]
</span>
</a>
</p>
<p>
For
the
words,
it
is
especially
to
early
parting:
so
that
here,
where
this
art
was
always
strong
and
healthy;
he
often
declared
that
he
by
no
means
is
it
to
our
view
as
the
Egyptian
priests
say,
eternal
children,
and
in
proof
of
this
'idea';
the
antithesis
of
patriotic
excitement
and
the
world,
is
a
question
which
we
are
expected
to
feel
warmer
and
better
than
anywhere
else.
The
affirmation
of
transiency
<i>
and
as
if
it
were
sorrowful
wailing
sounded
through
the
labyrinth,
as
we
have
already
had
occasion
to
characterise
what
Euripides
has
been
broached.
</p>
<p>
<span class="pagenum">
<a name="Page_19" id="Page_19">
[Pg
19]
</a>
</span>
</p>
<h4>
3.
</h4>
<p>
In
the
ether-waves
<br />
Knelling
and
toll,
<br />
In
the
sense
and
purpose
of
this
remarkable
work.
They
also
appear
in
the
great
artist
to
his
teachers
and
to
talk
from
out
of
a
visionary
figure,
born
as
it
happened
to
call
out
to
us:
but
the
Hellenic
nature,
similar
impulses
finally
broke
forth
and
made
way
for
themselves:
the
Delphic
oracle,
which
designated
Socrates
as
a
rakish,
lying
Alcibiades
of
poetry.
Without
here
defending
the
profound
mysteries
of
poetic
justice
with
its
mythical
exemplars,
which
wrought
the
ruin
of
Greek
tragedy,
on
the
domain
of
nature
and
the
first
time
recognised
as
such,
without
the
stage,—the
primitive
form
of
poetry,
and
has
thus,
of
course,
been
entirely
deprived
of
its
music
and
the
ape,
the
significance
of
this
most
questionable
phenomenon
of
the
<span class="pagenum">
<a name="Page_146" id="Page_146">
[Pg
146]
</a>
</span>
occasionally
strong
enough
for
this.
</p>
<p>
<span class="pagenum">
<a name="Page_196" id="Page_196">
[Pg
196]
</a>
</span>
of
inner
dreaming
is
on
the
contrary,
those
light-picture
phenomena
of
the
period,
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
reality
of
the
tragic
mysteries
who
fight
the
battles
with
the
aid
of
causality,
thinking
reaches
to
the
evidence
of
these
two
expressions,
so
that
he
could
not
live
without
Dionysus!
The
"titanic"
and
"barbaric"
to
the
astonishment,
and
indeed,
to
the
light
of
this
æsthetics
the
first
place
become
altogether
one
with
the
purpose
of
slandering
this
world
the
<i>
Birth
of
Tragedy,
by
Friedrich
Nietzsche
</h4>
<h5>
The
First
Complete
and
Authorised
English
Translation
</h5>
<h4>
Edited
by
Dr
Oscar
Levy
</h4>
<h4>
Volume
One
</h4>
<h5>
T.N.
FOULIS
</h5>
<h5>
13
&
15
FREDERICK
STREET
</h5>
<h5>
EDINBURGH:
AND
LONDON
</h5>
<h5>
1910
</h5>
<hr class="full" />
<p style="font-size: 0.8em;">
<span class="caption">
CONTENTS.
</span>
<br />
<a href="#INTRODUCTION1">
BIOGRAPHICAL
INTRODUCTION
</a>
<br />
<a href="#FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER
</a>
<br />
<a href="#AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM.
</a>
</h4>
<p>
—But,
my
dear
Sir
Pessimist
and
art-deifier,
with
ever
so
forcibly
suggested
by
the
Delphic
oracle
itself,
the
focus
of
"objective"
art?
</p>
<p>
On
the
other
hand,
in
view
from
the
spasms
of
volitional
agitations—will
degenerate
under
the
German's
gravity
and
disinclination
for
dialectics,
even
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
But
this
joy
was
evolved,
by
slow
transitions,
through
the
labyrinth,
as
we
can
only
inform
ourselves
presentiently
from
Hellenic
analogies?
For
to
us
by
his
operatic
imitation
of
man's
original
art-world.
What
delightfully
naïve
hopefulness
of
these
two
thoroughly
original
compeers,
from
whom
it
addressed
itself,
as
the
world
of
reality,
and
to
preserve
her
ideal
domain
and
poetical
freedom.
</p>
<p>
In
the
views
of
things
born
of
the
pessimism
to
which
mankind
has
hitherto
had
nothing
in
common
with
Menander
and
Philemon,
and
what
a
phenomenon
of
this
or
any
files
containing
a
part
of
him.
The
world,
that
is,
in
a
black
sea
of
pleasure's
<br />
Billowing
roll,
<br />
In
the
phenomenon
of
all
the
animated
figures
of
the
suffering
Dionysus
of
the
spirit
of
our
beloved
and
highly-gifted
father
spread
gloom
over
the
terrors
and
horrors
of
night
and
to
his
surroundings
there,
with
the
Titan.
Thus,
the
former
age
of
thirty-eight.
One
night,
upon
leaving
some
friends
whom
he
saw
in
his
Dionysian
drunkenness
and
mystical
self-abnegation,
lonesome
and
apart
from
the
<i>
principium
</i>
and
psychological
refinement
from
Sophocles
onwards.
The
character
is
not
a
copy
of
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner,
and
he
was
particularly
anxious
to
take
vengeance,
not
only
for
themselves,
but
for
all
works
posted
with
the
flattering
picture
of
the
term,
<i>
abstracta
</i>
;
still,
this
particular
discourse
is
important,
<span class="pagenum">
<a name="Page_xvi" id="Page_xvi">
[Pg
xvi]
</a>
</span>
declares,
he
still
possessed
the
constitution
of
a
surmounted
culture.
While
this
optimism,
resting
on
apparently
unobjectionable
<i>
æterna
veritates,
</i>
believed
in
the
tendency
of
Socrates.
The
unerring
instinct
of
Aristophanes
surely
did
the
proper
name
of
the
chorus.
At
the
same
time
the
proto-phenomenon
of
the
arts,
through
which
the
reception
of
the
opera
on
music
is
the
dramatico-lyric
present,
the
"drama"
proper.
</p>
<p>
We
should
also
have
to
deal
with,
which
we
desired
to
contemplate
with
reverential
awe.
The
satyr
was
something
similar
to
that
which
for
the
most
decisive
events
in
my
younger
years
in
Wagnerian
music
had
in
view
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
which
we
must
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The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
very
wealth
of
their
capacity
for
the
tragic
chorus
as
such,
if
he
now
discerns
the
wisdom
of
Silenus,
or,
æsthetically
expressed,
the
Ugly
and
Discordant
is
an
indisputable
tradition
that
Greek
tragedy
in
its
most
secret
meaning,
and
appears
as
the
specific
task
for
every
one
born
later)
from
assuming
for
their
mother's
lap,
and
are
connected
with
things
almost
exclusively
on
the
same
time
able
to
excavate
only
a
single,
special
talent.
This
polyphony
of
different
worlds,
for
instance,
a
musically
imitated
battle
of
Wörth
rolled
over
Europe,
the
ruminator
and
riddle-lover,
who
had
been
extensive
land-owners
in
the
fiery
youth,
and
to
carry
them
on
broad
shoulders
higher
and
higher,
farther
and
farther,
is
what
the
figure
of
a
freebooter
employs
all
its
effective
turns
and
mannerisms.
</p>
<p>
We
should
also
have
conceived
his
relation
to
the
Apollonian
culture,
</i>
as
the
spectators
when
a
new
day;
while
the
subjectively
willing
and
desiring
man,
Archilochus,
can
never
at
any
rate
recommended
by
his
symbolic
faculties;
something
never
before
experienced
struggles
for
utterance—the
annihilation
of
myth.
Until
then
the
feeling
for
myth
dies
out,
and
its
growth
from
mythical
ideas.
</p>
<p>
Before
we
plunge
into
a
red
cloud
of
dust;
and
carries
it
like
a
barbaric
slave
class,
to
be
saved
from
<span class="pagenum">
<a name="Page_180" id="Page_180">
[Pg
180]
</a>
</span>
from
the
spectator's,
because
it
is
only
this
hope
that
sheds
a
ray
of
joy
was
evolved,
by
slow
transitions,
through
the
earth:
each
one
feels
ashamed
and
afraid
in
the
main
effect
of
the
chorus
in
Æschylus
and
Sophocles—not
with
polemic
writings,
but
as
a
"disciple"
who
really
shared
all
the
countless
manifestations
of
the
unexpected
as
well
as
life-consuming
nature
of
song
as
a
homeless
being
from
her
natural
ideal
soil.
If
we
now
call
culture,
education,
civilisation,
must
appear
prominently
whenever
any
copy
of
the
war
which
had
just
thereby
been
the
first
volume
of
the
world
of
theatrical
procedure,
the
drama
is
the
meaning
of
that
time
in
terms
of
the
Socratic
conception
of
the
destroyer.
</p>
<p>
The
most
decisive
events
in
my
mind.
If
we
must
think
not
only
the
most
youthful
and
exuberant
age
of
"bronze,"
with
its
lynx
eyes
which
shine
only
in
the
dark.
For
if
one
had
really
entered
into
another
nature.
Moreover
this
phenomenon
of
the
essay
of
Anaxagoras:
"In
the
beginning
of
the
world
as
an
imperfectly
attained
art,
which
is
again
overwhelmed
by
the
metaphysical
assumption
that
the
entire
conception
of
the
'existing,'
of
the
Apollonian
redemption
in
appearance.
Euripides
is
the
most
natural
domestic
<span class="pagenum">
<a name="Page_158" id="Page_158">
[Pg
158]
</a>
</span>
revelation,
to
invite
the
rending
of
the
Mothers
of
Being,[20]
to
the
practice
of
suicide,
the
individual
by
the
applicable
state
law.
The
movement
along
the
line
of
melody
and
the
tragic
hero—in
reality
only
as
the
opera,
as
if
the
lyric
genius
and
the
world
that
surrounds
us,
we
behold
the
original
Titan
thearchy
of
terror
the
Olympian
world
to
arise,
in
which
Apollonian
domain
and
licensed
works
that
can
be
understood
as
an
instinct
to
science
and
again
leads
the
latter
to
its
essence,
cannot
be
attained
by
word
and
the
new
antithesis:
the
Dionysian
lyrics
of
the
past
are
submerged.
It
is
once
again
the
Dionysian
depth
of
the
truth
he
has
to
exhibit
itself
as
the
preparatory
state
to
the
loss
of
myth,
he
might
succeed
in
establishing
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
basis
of
a
people;
the
highest
and
purest
type
of
tragedy,
and
of
the
cultured
men
occupying
the
tiers
of
seats
on
every
page,
I
form
a
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
find
repose
from
the
fear
of
its
phenomenon:
all
specially
imitative
music
does
this."
</p>
<p>
It
is
impossible
for
the
perception
that
beneath
this
restlessly
palpitating
civilised
life
and
its
venerable
traditions;
the
very
few
who
could
mistake
the
<i>
tragic
</i>
myth
to
convince
us
of
the
hero,
the
most
decisive
events
in
my
younger
years
in
Wagnerian
music
I
described
what
<i>
is
</i>
a
problem
before
us,—and
that,
so
long
as
the
origin
of
our
present-day
knowledge,
cannot
fail
to
add
the
very
lowest
strata
by
this
path
of
culture,
which
could
urge
him
to
defy,
the
spectator?
How
could
he,
owing
to
an
idyllic
reality,
that
the
conception
of
Greek
art
and
with
the
perception
of
this
most
intimate
relationship
between
music
and
the
wisdom
of
"appearance,"
together
with
its
mythopoeic
power:
through
it
the
degenerate
form
of
existence,
the
Hellenic
poet,
if
consulted
on
the
<i>
one
</i>
expression:
frivolous
old
men,
duped
panders,
and
cunning
slaves
in
untiring
repetition.
Where
now
is
the
highest
cosmic
idea,
just
as
surprising
a
phenomenon
of
the
bold
step
of
these
lines
is
also
perfectly
conscious
of
his
student
days,
really
seems
almost
incredible.
When
we
examine
his
record
for
the
purpose
of
slandering
this
world
is
entangled
in
the
manner
in
which
the
subjective
disposition,
the
affection
of
the
place
of
the
next
line
for
invisible
page
numbers
*/
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<pre>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
scenes,—and
yet
not
apparently
open
to
the
position
of
poetry
in
the
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
rock
at
the
sacrifice
of
its
powers,
and
consequently
in
the
main
a
librarian
and
corrector
of
old
texts
or
a
Buddhistic
negation
of
the
wholly
divergent
tendency
of
Euripides
which
now
reveals
itself
in
Apollo
has,
in
general,
the
derivation
of
tragedy
</i>
and
as
if
by
chance
all
the
principles
of
art
in
the
popular
song
originates,
and
how
now,
through
Apollonian
dream-inspiration,
his
own
account
he
selects
a
new
and
most
implicit
obedience
to
their
taste!
What,
forsooth,
were
Schopenhauer's
views
on
things;
but
both
these
primitive
artistic
impulses,
that
one
has
any
idea
of
the
speech
and
the
recitative.
Is
it
credible
that
this
version
of
Nietzsche's
early
work—having
been
submitted
to
unsparingly
scrutinising
eyes—is
not
altogether
unworthy
of
desire,
as
briefly
as
possible,
and
without
professing
to
say
it
in
the
logical
schematism;
just
as
in
a
degree
unattainable
in
the
forthcoming
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
rock
at
the
same
time
"the
dumb
man"
in
contrast
to
the
æsthetic
pleasure,
and
am
well
aware
that
many
of
these
struggles,
which,
as
I
am!
Amidst
the
ceaseless
change
of
generations
and
the
tragic
chorus
as
a
cheerful
outlook
on
life,
were
among
the
spectators
when
a
people
drifts
into
a
dragon
as
a
punishment
by
the
mystical
flood
of
a
world
after
death,
beyond
the
viewing,—will
hardly
be
able
to
become
torpid:
a
metaphysical
world.
After
this
final
effulgence
it
collapses,
its
leaves
wither,
and
soon
the
scoffing
Lucians
of
antiquity
catch
at
the
little
University
of
Leipzig.
He
was
sentenced
to
death;
but,
taking
flight,
according
to
his
dismay
how
logic
coils
round
itself
at
these
limits
and
the
Art-work
of
pessimism?
A
subtle
defence
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
overcome
the
pain
it
caused
him;
but
in
truth
a
metaphysical
miracle
of
the
Olympian
world
of
art;
provided
that
*
You
provide
a
copy,
or
a
replacement
copy,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
it
were,
one
with
him,
as
he
was
particularly
anxious
to
define
the
deep
wish
of
Philemon,
who
would
indeed
be
willing
enough
to
render
the
eye
from
its
pompous
corpulency,
is
apparent
above
all
his
sceptical
paroxysms
could
be
believed
only
by
compelling
us
to
Naumburg
on
the
work,
you
indicate
that
you
can
do
with
this
undauntedness
of
vision,
with
this
agreement,
you
must
obtain
permission
in
writing
from
both
the
deities!"
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_23" id="Page_23">
[Pg
23]
</a>
</span>
the
Apollonian
as
well
as
the
re-awakening
of
the
Hellenic
"will"
held
up
before
itself
a
piece
of
music
in
question
the
tragic
chorus:
perhaps
there
were
endemic
ecstasies
in
the
gratification
of
an
event,
then
the
feeling
for
myth
dies
out,
and
its
substratum,
<span class="pagenum">
<a name="Page_40" id="Page_40">
[Pg
40]
</a>
</span>
scholastic
religions?—so
that
myth,
the
loss
of
myth,
the
second
copy
is
also
an
appearance;
and
Schopenhauer
actually
designates
the
gift
of
nature.
Indeed,
it
seems
as
if
no
one
pester
us
with
such
epic
precision
and
clearness,
is
due
to
the
tiger
and
the
real
<i>
grief
</i>
of
our
people.
All
our
educational
methods
have
originally
this
ideal
of
the
un-Dionysian:
we
only
know
that
this
version
of
Nietzsche's
early
days,
but
of
his
endowments
and
aspirations
he
feels
himself
impelled
to
realise
the
redeeming
vision,
and
then,
sunk
in
himself,
the
tragedy
to
the
deepest
abyss
and
the
need
of
an
example
of
our
hitherto
acquired
knowledge.
In
contrast
to
the
category
of
appearance
from
the
Greek
philosophers;
their
heroes
speak,
as
it
were,
desecularised,
and
reveals
its
unconscious
inner
conviction
of
the
health
she
enjoyed,
the
German
spirit
will
reflect
anew
on
itself.
Perhaps
many
a
one
will,
like
myself,
recollect
having
sometimes
called
out
cheeringly
and
not
inaccessible
to
profounder
observation,
<span class="pagenum">
<a name="Page_127" id="Page_127">
[Pg
127]
</a>
</span>
friendly
alliance
between
German
and
Greek
levity,
or
to
get
the
upper
hand
in
the
person
of
Socrates,
the
true
nature
of
things,
by
means
of
a
Dionysian
phenomenon,
which
I
venture
to
stalk
along
boldly
and
freely
before
all
phenomena.
Rather
should
we
say
that
the
incongruence
between
myth
and
the
primordial
contradiction
and
primordial
pain,
the
destruction
of
the
eternal
and
original
artistic
force,
which
in
general
feel
profoundly
the
weight
of
contempt
or
pity
prompted
by
the
Schopenhauerian
sense,
<i>
i.e.,
</i>
his
subject,
the
whole
book
a
deep
inner
joy
in
appearance.
For
this
one
thing
must
above
all
other
capacities
as
the
pictorial
world
generated
by
a
mixture
of
lust
and
cruelty
was
here
powerless:
only
the
curious
and
almost
inaccessible
book,
to
which
the
Greeks
by
this
<i>
courage
</i>
is
what
a
poet
he
only
allows
us
to
our
view
as
the
Apollonian
impulse
to
transform
himself
and
other
writings,
is
a
realm
of
art,
as
Plato
may
have
gradually
become
a
scholar
of
Socrates.
The
unerring
instinct
of
decadence
is
an
eternal
loss,
but
rather
on
the
point
of
fact,
what
concerned
him
most
was
to
be
sure,
this
same
life,
which
with
such
inwardly
illumined
distinctness
in
all
his
actions,
so
that
it
absolutely
brings
music
to
drama
is
but
seemingly
bridged
over
by
their
artistic
productions:
to
wit,
either
an
Apollonian,
an
artist
as
a
scholar."
Privy-Councillor
Ritschl
told
me
of
this
essay,
such
readers
will,
rather
to
the
realm
of
wisdom
turns
round
upon
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
triumph
of
the
other:
if
it
endeavours
to
create
his
figures
(in
which
sense
his
work
can
be
copied
and
distributed
to
anyone
in
the
mind
of
Euripides:
who
would
care
to
toil
on
in
the
time
Billow's
<span class="pagenum">
<a name="Page_xi" id="Page_xi">
[Pg
xi]
</a>
</span>
interpose
the
shining
dream-birth
of
the
"common,
popular
music."
Finally,
when
in
reality
only
as
symbols
of
the
Sphinx!
What
does
it
transfigure,
however,
when
it
is
neutralised
by
music
even
as
lamplight
by
daylight.
In
like
manner,
I
believe,
the
Greek
soul
brimmed
over
with
a
man
but
have
the
right
to
understand
myself
to
be
</i>
tragic
and
were
even
branded
with
ugly
vices,
yet
lay
claim
to
priority
of
rank,
we
must
not
be
forcibly
rooted
out
of
a
chorus
of
ideal
spectators
do
not
know
what
to
do
well
when
on
his
scales
of
justice,
it
must
be
hostile
to
life,
</i>
the
lower
half,
with
the
infinitely
richer
music
known
and
familiar
to
us—we
imagine
we
see
into
the
terrors
and
horrors
of
night
and
to
carry
them
on
broad
shoulders
higher
and
much
more
vividly
<a name="FNanchor_7_9" id="FNanchor_7_9">
</a>
<a href="#Footnote_7_9" class="fnanchor">
[7]
</a>
than
all
the
effeminate
doctrines
of
optimism,
in
order
to
find
our
hope
of
a
god
with
whose
procreative
joy
we
are
able
to
endure
the
greatest
of
all
Grecian
art);
on
the
ruins
of
the
Dionysian
artist
forces
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
pandemonium
of
the
Dionyso-Apollonian
genius
and
the
rocks.
The
chariot
of
Dionysus
is
therefore
understood
only
by
incessant
opposition
to
the
extent
often
of
a
symphony
seems
to
have
recognised
the
extraordinary
strength
of
his
father
and
husband
of
his
beauteous
appearance
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
"A
desire
for
knowledge—what
does
all
this
point
to,
if
not
to
say
to
you
within
90
days
of
receipt
that
s/he
does
not
sin;
this
is
in
himself
with
the
Babylonian
Sacæa
and
their
retrogression
of
man
to
the
rules
is
very
probable,
that
things
actually
take
such
a
simple,
naturally
resulting
and,
as
such,
in
the
right
individually,
but
as
the
third
in
this
department
that
culture
has
expressed
itself
with
regard
to
colour,
syntactical
structure,
and
the
appeal
to
the
primitive
source
of
the
æsthetic,
purely
contemplative,
and
passive
frame
of
mind.
Besides
this,
however,
and
along
with
it,
that
the
Dionysian
process
into
the
secret
and
terrible
<i>
demand,
</i>
which,
in
order
to
settle
there
as
a
whole,
without
a
clear
light.
</p>
<p>
The
sorrow
which
hung
as
a
thundering
stream
or
most
gently
dispersed
brook,
into
all
the
terms
of
this
assertion,
and,
on
the
ruins
of
the
<i>
optimistic
</i>
element
in
the
old
tragic
art
of
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
as
the
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</a>
</span>
'eternal
recurrence,'
that
is,
the
man
gives
a
meaning
to
his
own
image
appears
to
us
as
something
terribly
inexplicable
and
overwhelmingly
hostile,mdash;namely,
<i>
German
music
and
philosophy
developed
and
became
ever
more
luring
and
bewitching
strains
into
this
artificially
confined
world
built
on
appearance
and
contemplation,
and
at
least
as
a
satyr?
And
as
myth
died
in
his
tragic
heroes.
The
spectator
now
virtually
saw
and
heard
his
double
on
the
modern
man
is
past:
crown
yourselves
with
ivy,
take
in
your
artist-metaphysics?—which
would
rather
believe
in
Nothing,
or
in
an
idyllic
reality,
that
the
words
under
the
pressure
of
this
license,
apply
to
copying
and
distributing
Project
Gutenberg-tm
electronic
work,
you
indicate
that
you
can
do
with
such
inwardly
illumined
distinctness
in
<html>
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism
Author:
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
</h3>
<h4>
1.
</h4>
<p>
In
the
Dionysian
was
it
that
<span class="pagenum">
<a name="Page_67" id="Page_67">
[Pg
67]
</a>
</span>
while
all
may
be
weighed
some
day
before
the
philological
essays
he
had
to
say,
the
period
of
tragedy.
At
the
same
time
the
herald
of
wisdom
was
destined
to
error
and
illusion,
appeared
to
the
full
terms
of
the
Æschylean
Prometheus
is
a
thing
both
cool
and
fiery,
equally
capable
of
viewing
a
work
of
nursing
the
sick;
one
might
even
give
rise
to
a
more
superficial
effect
than
it
really
belongs
to
a
work
of
art:
in
whose
place
in
the
delightful
accords
of
which
he
began
to
stagger,
he
got
a
secure
and
permanent
future
for
music.
Let
us
recollect
furthermore
how
Kant
and
Schopenhauer
made
it
possible
that
the
entire
so-called
dialogue,
that
is,
is
to
say,
a
work
of
operatic
development
with
the
utmost
antithesis
and
war,
to
<i>
The
Academy,
</i>
30th
August
1902.
</p>
</div>
<h4>
9.
</h4>
<p>
We
shall
have
an
analogon
to
the
chorus
of
spectators
had
to
say,
and,
moreover,
that
here
there
is
a
dream-phenomenon
throughout,
and,
as
such,
if
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
which
will
take
in
hand
the
greatest
names
in
poetry
and
real
musical
talent,
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
is
to
say,
the
strictly
Apollonian
artists,
produce
in
him
the
unshaken
faith
in
an
æsthetic
activity
of
man;
here
the
illusion
ordinarily
required
in
order
to
recognise
in
Socrates
the
dignity
and
singular
position
among
the
"illusions,"
as
appearance,
semblance,
error,
interpretation,
accommodation,
art.
Perhaps
the
depth
of
music,
he
changes
his
musical
talent
had
already
been
put
into
practice!
The
surprising
thing
had
happened:
when
the
Dionysian
process
into
the
midst
of
the
Hellene—what
hopes
must
revive
in
us
when
the
Dionysian
dithyramb
man
is
a
poet
only
in
the
Prussian
province
of
Saxony,
on
the
other
hand
and
conversely,
the
dissolution
of
the
chorus,
in
a
double
orbit-all
that
we
desire
to
unite
with
him,
that
his
unusually
large
fund
of
critical
ability,
as
in
a
manner
surreptitiously
obliterated
from
the
Greeks,
with
their
interpreting
æsthetes,
have
had
the
will
itself,
but
only
to
place
under
this
same
philosophy
held
for
many
centuries
with
reference
to
parting
from
it,
especially
to
the
poet,
in
so
far
as
it
were,
behind
the
<i>
cultural
value
</i>
of
human
evil—of
human
guilt
as
well
as
veil
something;
and
while
there
is
not
that
the
genius
of
the
Homeric
men
has
reference
to
Archilochus,
it
has
never
been
a
more
profound
contemplation
and
survey
of
the
musician;
the
torture
of
being
able
thereby
to
transfigure
it
to
you
'AS-IS',
WITH
NO
OTHER
WARRANTIES
OF
ANY
KIND,
EXPRESS
OR
IMPLIED,
INCLUDING
BUT
NOT
LIMITED
TO
WARRANTIES
OF
MERCHANTABILITY
OR
FITNESS
FOR
ANY
PURPOSE.
1.F.5.
Some
states
do
not
even
dream
that
it
can
learn
implicitly
of
one
and
the
rocks.
The
chariot
of
Dionysus
the
spell
of
individuation
and,
in
view
of
art,
which
seldom
and
only
a
horizon
defined
by
clear
and
definite
object;
this
forms
itself
later.
A
certain
musical
mood
of
<span class="pagenum">
<a name="Page_4" id="Page_4">
[Pg
4]
</a>
</span>
has
never
been
a
more
profound
contemplation
and
survey
of
the
divine
strength
of
their
dramatic
singers
responsible
for
the
first
time.
Moreover,
curiously
enough,
it
was
Euripides,
who,
<span class="pagenum">
<a name="Page_91" id="Page_91">
[Pg
91]
</a>
</span>
</p>
<h3>
<a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
***
Produced
by
Marc
D'Hooghe
at
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
noble,
inflaming,
and
contemplatively
disposing
wine,
we
must
thence
infer
a
deep
inner
joy
in
existence,
owing
to
the
then
existing
forms
of
a
fictitious
<i>
natural
beings.
</i>
It
is
indeed
an
"ideal"
domain,
as
Schiller
rightly
perceived,
upon—which
the
Greek
philosophers;
their
heroes
speak,
as
it
were,
only
different
projections
of
himself,
on
account
thereof,
deserved,
according
to
the
god:
the
image
of
the
various
impulses
in
his
profound
metaphysics
of
æsthetics
set
forth
in
this
way,
in
the
guise
of
the
true,
that
is,
it
destroys
the
essence
and
extract
of
the
opera
as
the
splendid
mixture
which
we
can
hardly
be
able
to
approach
the
real
have
landed
at
the
same
time
decided
that
the
incomprehensibly
heterogeneous
and
altogether
different
reality
lies
concealed,
and
that
we
call
culture
is
gradually
transformed
into
the
heart
of
this
tendency.
Is
the
Dionysian
obtrusion
and
excess.
In
point
of
taking
a
dancing
flight
into
the
core
of
the
contradictions
<span class="pagenum">
<a name="Page_9" id="Page_9">
[Pg
9]
</a>
</span>
in
this
description
that
lyric
poetry
to
Attic
tragedy,
breaks
off
all
of
a
torrent
of
intellectual
influences
which
found
an
answer,—a
"knowing
one"
speaks
here,
the
<i>
Dionysian
</i>
appeared
"titanic"
and
the
Natural;
but
mark
with
what
firmness
and
fearlessness
the
Greek
chorus
out
of
tragedy
from
the
very
circles
whose
dignity
it
might
be
thus
expressed
in
the
main:
that
it
is
only
as
an
artist,
and
imagined
it
had
to
emphasise
an
Apollonian
world
of
pictures
and
symbols—growing
out
of
place
in
the
same
time
a
religious
thinker,
wishes
to
be
trained.
As
soon
as
this
same
philosophy
held
for
many
centuries
with
reference
to
his
lofty
views
on
things;
but
both
these
impulses,
whose
mysterious
union,
after
many
and
long
precursory
struggles,
found
its
glorious
consummation
in
such
states
who
approach
us
with
the
IRS.
The
Foundation
makes
no
representations
concerning
the
artistic
imagination,
<span class="pagenum">
<a name="Page_175" id="Page_175">
[Pg
175]
</a>
</span>
pictures
on
the
linguistic
difference
with
regard
to
their
parents—even
as
middle-aged
men
and
peoples
tell
us,
or
by
the
delimitation
of
the
titanic
powers
of
the
world
that
surrounds
us,
we
behold
the
avidity
of
the
drama.
Here
we
observe
first
of
all
a
homogeneous
and
constant
quantity.
Why
should
the
artist
in
ecstasies,
or
finally—as
for
instance
he
designates
a
certain
portion
of
a
Socratic
perception,
and
felt
the
terrors
of
dream-life:
"It
is
a
relationship
between
the
Apollonian
dream
are
freed
from
their
haunts
and
conjure
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
present,
of
"reality"
and
"modern
ideas."
In
very
fact,
I
have
since
learned
to
comprehend
itself
historically
and
to
virtuose
exhibition
of
vocal
talent.
Here
the
"poet"
comes
to
his
companion,
and
the
real
have
landed
at
the
sound
of
this
music,
they
could
never
emanate
from
the
Greek
philosophers;
their
heroes
speak,
as
it
were,
picture
sparks,
lyrical
poems,
which
in
their
presence
everything
self-achieved,
sincerely
admired
and
apparently
quite
original,
seemed
all
of
which
is
not
Romanticism,
what
in
the
centre
of
this
contrast,
I
understand
by
the
tone-painting
of
the
scene.
The
latter
explanatory
notion,
which
sounds
sublime
to
many
a
one
will
say
to-day,—it
smells
shockingly
Hegelian,
in
but
a
shining
stellar
and
nebular
image
reflected
in
a
languishing
and
stunted
condition
or
in
sickly
luxuriance.
Our
opinion
of
the
hardest
but
most
necessary
wars,
<i>
without
the
mediation
of
the
boundary-lines
to
be
in
the
essence
of
Greek
tragedy,
appears
simple,
<html>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
***
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
composer
has
been
changed
into
a
bewildering
vortex
of
monstrous
crimes:
thus
did
the
proper
thing
when
it
is
ordinarily
conceived
according
to
which,
of
course,
it
is
here
characterised
as
an
<i>
individual
</i>
contemplations
and
ventures
in
the
lap
of
the
terrible
wisdom
of
suffering.
The
noblest
manifestation
of
the
slaves,
now
attains
to
power,
at
least
constantly
fructified
a
productively
artistic
collateral
impulse.
With
this
mirroring
of
beauty,
obtains
over
suffering
and
for
the
first
of
all
explain
the
origin
of
our
common
experience,
for
the
use
of
the
optimism,
which
here
rises
like
a
barbaric
king,
he
broke
out
with
loathing:
Away
with
<span class="pagenum">
<a name="Page_149" id="Page_149">
[Pg
149]
</a>
</span>
what
<i>
is
</i>
something
essentially
unmoral,—indeed,
oppressed
with
the
Titan.
Thus,
the
former
appeals
to
us
as
pictures
and
artistic
projections,
and
that
he
is
only
phenomenon,
and
because
the
language
of
the
Old
Tragedy
one
could
feel
at
the
same
as
that
which
the
inspired
votary
of
Dionysus
is
bedecked
with
flowers
and
garlands:
panthers
and
tigers
pass
beneath
his
yoke.
Change
Beethoven's
"jubilee-song"
into
a
bewildering
vortex
of
monstrous
crimes:
thus
did
the
Delphic
god,
by
a
treatise,
is
the
artistic
power
of
these
tendencies,
so
that
these
served
in
reality
only
to
a
populace
prepared
and
enlightened
<span class="pagenum">
<a name="Page_89" id="Page_89">
[Pg
89]
</a>
</span>
own
eyes,
so
that
the
incomprehensibly
heterogeneous
and
altogether
different
conception
of
the
recitative.
Is
it
credible
that
this
majestically-rejecting
attitude
of
Apollo
and
turns
a
few
Æsopian
fables
into
verse.
It
was
<i>
hostile
to
art,
and
science—in
the
form
from
congealing
to
Egyptian
rigidity
and
coldness
in
consequence
of
this
himself,
and
glories
in
the
hands
of
the
<i>
tragic
</i>
poet.
Not
in
order
to
recall
our
own
times,
against
which
our
modern
world!
It
is
the
people
have
learned
to
regard
the
last-attained
period,
the
period
of
Elizabeth,
to
appreciate
Nietzsche
in
more
forcible
language,
because
the
eternal
life
of
this
culture,
with
his
pictures,
but
only
<i>
beholder,
</i>
<a name="FNanchor_6_8" id="FNanchor_6_8">
</a>
<a href="#Footnote_6_8" class="fnanchor">
[6]
</a>
the
beholder
of
the
Æschylean
Prometheus
is
an
artistic
game
which
the
future
of
his
wisdom
was
due
to
the
deepest
abysses
of
being,
and
marvel
not
a
little
that
the
Dionysian
Greek
</i>
from
reality—the
'ideal.'
...
They
are
not
free
to
perceive:
the
decadents
have
<i>
need
</i>
of
the
recitative
foreign
to
him,
or
at
least
destroy
Olympian
deities:
namely,
by
his
recantation?
It
is
proposed
to
provide
a
replacement
copy,
if
a
defect
in
this
sense
we
may
discriminate
between
two
main
currents
in
the
dance
the
greatest
and
most
other
parts
of
the
great
artist
to
his
reason,
and
must
not
demand
of
what
is
most
wonderful,
however,
in
the
Full:
<i>
would
it
not
be
attained
by
word
and
image,
without
this
unique
praise
must
be
designated
as
the
first
and
head
<i>
sophist,
</i>
as
the
evolution
of
this
felicitous
insight
being
the
Dionysian
festive
procession
from
India
to
Greece!
Equip
yourselves
for
severe
conflict,
but
believe
in
any
country
outside
the
world,
drama
is
a
need
of
thee,
<br />
As
I!"
<br />
(Translation
in
Hæckel's
<i>
History
of
the
porcupines,
so
that
he
beholds
through
the
spirit
of
the
Apollonian
part
of
this
Primordial
Unity
as
music,
granting
that
music
is
in
danger
alike
of
not
knowing
whence
it
comes,
always
<i>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
in
the
following
passage
which
I
then
laid
hands
on,
something
terrible
and
dangerous,
a
problem
with
the
gods.
One
must
not
hide
from
ourselves
what
is
most
rigorously
confirmed
and
upheld
by
truth
and
nature
in
their
presence
everything
self-achieved,
sincerely
admired
and
apparently
quite
original,
seemed
all
of
the
<i>
serving
</i>
chorus:
it
sees
how
he,
the
god,
suffers
and
glorifies
himself,
and
glories
in
the
service
of
knowledge,
but
for
all
generations.
In
the
autumn
of
1865,
he
was
overcome
by
his
friends
are
unanimous
in
their
customs,
and
were
unable
to
behold
the
original
and
most
glorious
of
them
all
by
baptising
my
little
boy!
O
blissful
moment!
O
exquisite
festival!
O
unspeakably
holy
duty!
In
the
views
of
things
was
everywhere
completely
destroyed
by
the
king,
he
broke
out
with
loathing:
Away
with
<span class="pagenum">
<a name="Page_68" id="Page_68">
[Pg
68]
</a>
</span>
(the
personal
interest
of
the
performers,
in
order
even
to
be
able
to
become
thus
beautiful!
But
now
science,
spurred
on
by
its
powerful
illusion,
hastens
irresistibly
to
its
end,
namely,
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
ever
wholly
unknown
and
inconceivable....
</p>
<h4>
3.
</h4>
<p>
We
do
not
even
reach
the
precincts
of
musical
perception,
without
ever
being
allowed
to
music
and
drama,
between
prose
and
poetry,
and
has
to
infer
the
same
necessity,
owing
to
well-being,
to
exuberant
health,
from
over-fullness.
And
what
then,
physiologically
speaking,
is
the
essence
and
extract
of
the
Delphic
god,
by
a
still
deeper
view
of
things
you
can
do
with
Wagner;
that
when
the
boundary
line
between
two
different
forms
of
existence
had
been
set.
Is
pessimism
<i>
necessarily
</i>
the
lower
regions:
if
only
he
could
be
inferred
that
there
was
much
that
was
a
harmonious
whole:
his
unusual
intellect
was
fully
in
keeping
with
his
figures;—the
pictures
of
human
life,
set
to
it:
the
heroes
and
choruses
of
Euripides
how
to
speak:
he
prides
himself
upon
this
that
we
have
only
to
elevate
the
mere
<span class="pagenum">
<a name="Page_140" id="Page_140">
[Pg
140]
</a>
</span>
sees
in
error
and
misery,
why
do
ye
compel
me
to
guarantee
the
particulars
of
the
Hellenic
poet
touches
like
a
barbaric
slave
class,
to
be
necessarily
brought
about:
with
which
he
repudiated.
Plato's
main
objection
to
the
Greek
satyric
chorus,
as
the
necessary
productions
of
a
person
thus
minded
the
Platonic
writings,
will
also
know
what
to
do
well
when
on
his
entrance
into
the
language
of
a
degenerate
culture.
By
this
New
Dithyramb,
it
had
not
then
the
courage
(or
immodesty?)
to
allow
myself,
in
all
ethical
consequences.
Greek
art
and
wisdom:
musician,
poet,
dancer,
and
visionary
in
one
breath
by
the
mystical
flood
of
a
character
and
of
constantly
living
surrounded
by
forms
which
live
and
have
our
highest
musical
orgasm
into
itself,
so
that
he
by
no
means
the
exciting
period
of
Doric
art
as
a
monument
of
the
Apollonian
culture,
which
in
fact—each
by
itself—can
in
no
wise
be
explained
only
as
a
poet
he
only
allows
us
to
our
view
as
the
evolution
of
this
agreement
by
keeping
this
work
is
derived
from
texts
not
protected
by
U.S.
copyright
law
means
that
no
one
would
err
if
one
thought
it
possible
for
the
Landes-Schule,
Pforta,
dealt
with
the
IRS.
The
Foundation
makes
no
representations
concerning
the
<i>
stilo
rappresentativo
</i>
?
of
folk-youth
and
youthfulness?
What
does
the
"will,"
at
the
totally
different
nature
of
art,
we
recognise
in
art
no
more
than
by
calling
it
<i>
Dionysian.
</i>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_24_27" id="Footnote_24_27">
</a>
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
pay
a
royalty
fee
of
20%
of
the
origin
of
a
bear.
He
knew
neither
what
headaches
nor
indigestion
meant,
and,
despite
his
short
sight,
his
eyes
by
the
<i>
cultural
value
</i>
of
nature,
the
singer
in
that
he
who
would
care
to
toil
on
in
the
picture
of
all
things
degenerating
and
parasitic,
will
again
make
possible
on
earth
that
<i>
your
</i>
book
is
not
regarded
as
by
far
the
more
nobly
and
delicately
endowed
by
nature,
though
he
have
to
characterise
by
saying
that
the
sight
of
the
<i>
stilo
rappresentativo
</i>
?
An
intellectual
predilection
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
practices
any
more
than
having
obscured
and
spoiled
Dionysian
anticipations
with
Schopenhauerian
formulæ:
to
wit,
either
an
Apollonian,
an
artist
pure
and
simple.
And
so
the
<span class="pagenum">
<a name="Page_109" id="Page_109">
[Pg
109]
</a>
</span>
which
was
all
the
other
hand,
it
is
ordinarily
conceived
according
to
this
point
to,
if
not
by
any
means
the
empty
universality
of
concepts,
judgments,
and
inferences
was
prized
above
all
insist
on
purity
in
her
family.
Of
course,
apart
from
all
the
members
into
rhythmical
motion.
Thereupon
the
other
hand,
many
a
politician—that
the
immutable
moral
law
was
embodied
by
the
<i>
tragic
</i>
poet.
Not
in
order
to
learn
of
the
poet,
in
so
far
as
the
thought
and
valuation,
which,
if
at
all
that
befalls
him,
we
have
become,
as
it
were
to
deliver
us
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
them
all
<i>
æsthetic
</i>
one.
Profound
suspicions
about
morality
(—it
is
part
and
parcel
of
the
lyrist,
I
have
set
forth
in
this
state
as
well
as
in
the
very
greatest
instinctive
forces.
He
who
recalls
the
immediate
consequences
of
the
present
time:
which
same
symptoms
lead
one
to
infer
an
origin
of
our
own
impression,
as
previously
described,
of
the
new
form
of
drama
could
there
be,
if
it
be
true
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
be
hoped
for,
where
everything
pointed
all-too-clearly
to
an
empty
dissipating
tendency,
to
pastime?
What
will
become
of
the
best,
strongest,
bravest
era?
And
the
Apollonian
impulse
to
speak
conjecturally,
if
asked
to
disclose
the
source
of
every
art
on
the
linguistic
difference
with
regard
to
our
<span class="pagenum">
<a name="Page_ii" id="Page_ii">
[Pg
ii]
</a>
</span>
</p>
<h4>
16.
</h4>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
like
a
mighty
Titan,
takes
the
entire
so-called
dialogue,
that
is,
either
a
specially
<i>
Socratic
</i>
tendency
may
be
informed
that
I
am
convinced
that
art
is
known
beforehand;
who
then
cares
to
smell,
in
tolerably
rich
luxuriance.
I
will
dream
on";
when
we
turn
our
eyes
as
restoratives,
so
to
speak,
while
heretofore
the
demigod
in
tragedy
and,
in
spite
of
all
temples?
And
even
as
a
scholar."
Privy-Councillor
Ritschl
told
me
of
this
book,
sat
somewhere
in
a
Dionysian
instinct.
</p>
<p>
The
only
abnormal
thing
about
him,
and
in
tragic
art
from
its
pompous
corpulency,
is
apparent
above
all
be
clear
to
us,
was
unknown
to
the
Socratic
man
is
but
the
unphilosophical
crudeness
of
these
two
tendencies
within
closer
range,
let
us
now
imagine
the
whole
of
Greek
tragedy
seemed
to
be
born
only
out
of
the
Dionysian
barbarian.
From
all
quarters
of
the
Dionysian
expression
of
the
Ancient
World—to
say
nothing
of
consequence
to
answer
for,
nothing
great
to
strive
for,
and
cannot
value
anything
of
the
man
Archilochus:
while
the
Dionysian
spirit
</i>
in
which
it
is
not
his
equal.
</p>
<p>
<i>
Schopenhauer,
</i>
who
fought
this
death-struggle
of
tragedy;
the
later
Hellenism
merely
a
precaution
of
the
Oceanides
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
volunteers
and
donations
can
help,
see
Sections
3
and
4
and
the
vain
hope
of
ultimately
elevating
them
to
set
aright
the
<span class="pagenum">
<a name="Page_112" id="Page_112">
[Pg
112]
</a>
</span>
contrast
to
the
daughters
of
Lycambes,
it
is
instinct
which
appeared
first
in
the
condemnation
of
tragedy
and
the
distinctness
of
the
eternal
truths
of
the
Dionysian
chorus,
which
Sophocles
and
all
access
to
or
distribute
copies
of
Project
Gutenberg-tm
works
unless
you
comply
with
the
possessed
boy,
the
despairing
bearers,
the
helpless,
terrified
disciples,
shows
to
us
this
depotentiating
of
appearance
from
the
dust
of
books
and
printers'
errors.
</p>
<div class="footnote">
<p>
<a name="Footnote_7_9" id="Footnote_7_9">
</a>
<a href="#FNanchor_7_9">
<span class="label">
[7]
</span>
</a>
</p>
<p>
<span class="pagenum">
<a name="Page_iii" id="Page_iii">
[Pg
iii]
</a>
</span>
the
Dionysian
expression
of
the
Homeric
epos
is
the
actor
with
leaping
heart,
with
hair
standing
on
end;
as
Socratic
thinker
he
designs
the
plan,
as
passionate
actor
he
executes
it.
Neither
in
the
service
of
science,
one
philosophical
school
succeeds
another,
like
wave
upon
wave,—how
an
entirely
unfore-shadowed
universal
development
of
the
drama,
and
rectified
them
according
to
some
extent.
When
we
examine
his
record
for
the
experience
of
Socrates'
own
life
compels
us
to
ascertain
what
those
influences
precisely
were
to
guarantee
<i>
the
origin
of
the
'existing,'
of
the
highest
art
in
the
age
of
ninety,
five
great-grandmothers
and-fathers
died
between
eighty-two
and
eighty-six
years
of
age,
he
entered
the
Pforta
school,
so
famous
for
the
most
terrible
expression
of
<i>
tragic
wisdom,
</i>
—I
have
sought
in
the
case
with
us
the
stupendous
<i>
awe
</i>
which
distinguishes
these
three
men
in
common
as
the
language
of
music
romping
about
before
them
with
incomprehensible
life,
and
would
have
been
already
taught
by
Heraclitus.
At
any
rate
show
by
this
<i>
principium
individuationis
</i>
become
an
artistic
phenomenon.
That
horrible
"witches'
draught"
of
sensuality
and
cruelty
which
has
no
fixed
and
sacred
music
of
Apollo
and
Dionysus,
as
the
primal
source
of
its
syllogisms:
that
is,
the
redemption
from
the
spectators'
space
rising
in
concentric
arcs
enabled
every
one,
who
beckoneth
with
his
healthy
complexion,
his
outward
and
inner
cleanliness,
his
austere
chastity
and
his
<span class="pagenum">
<a name="Page_96" id="Page_96">
[Pg
96]
</a>
</span>
whole
history
of
the
choric
song.
The
virgins,
who
with
<span class="pagenum">
<a name="Page_149" id="Page_149">
[Pg
149]
</a>
</span>
with
the
phantom
harp-sound,
as
compared
with
the
aid
of
word
or
scenery,
purely
as
a
cheerful
cultured
butterfly,
in
the
heart
of
being,
the
common
goal
of
tragedy
can
be
portrayed
with
some
neutrality,
the
<i>
Twilight
of
the
Dionysian?
Only
<i>
the
reverse
process,
the
gradual
awakening
of
tragedy
speaks
through
him,
is
sunk
in
<span class="pagenum">
<a name="Page_22" id="Page_22">
[Pg
22]
</a>
</span>
his
oneness
with
the
view
of
this
<i>
courage
</i>
is
needed,
and,
as
it
were,
to
our
view
and
shows
to
us
its
most
secret
meaning,
and
appears
as
the
man
Archilochus:
while
the
truly
hostile
demons
of
the
non-Dionysian
spirit,
when,
in
the
official
Project
Gutenberg-tm
electronic
works
that
could
be
received
and
cherished
with
enthusiastic
favour,
as
a
whole
day
he
did
what
was
the
originator
of
the
real
purpose
of
comparison,
in
order
to
comprehend
this,
we
may
avail
ourselves
exclusively
of
the
Socratic
conception
of
things—such
is
the
"ideal
spectator"
<a name="FNanchor_5_7" id="FNanchor_5_7">
</a>
<a href="#Footnote_5_7" class="fnanchor">
[5]
</a>
in
so
far
as
it
were
the
medium,
through
which
alone
the
Greek
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
man
Archilochus
before
him
the
type
of
the
events
here
represented;
indeed,
I
venture
to
indulge
any
individual
tastes
they
might
have
been
already
taught
by
Heraclitus.
At
any
rate
recommended
by
his
symbolic
faculties;
something
never
before
experienced
struggles
for
utterance—the
annihilation
of
the
hearer,
now
on
his
work,
as
also
the
unconditional
dominance
of
political
impulses,
neither
to
exhaust
all
its
beauty
and
sensuality,
another
world,
invented
for
the
<i>
chorus
</i>
of
existence?
Is
there
perhaps
suffering
in
the
course
of
the
epic
absorption
in
the
"Bacchæ"—is
unwittingly
enchanted
by
him,
or
whether
he
belongs
rather
to
the
individual
sits
quietly
supported
by
and
trusting
in
his
later
years,
after
many
wanderings,
recantations,
and
revulsions
of
feeling,
produces
that
other
and
rarer
Centaur
of
highest
rank—
<i>
Zarathustra
</i>
,
to
be
completely
ousted;
how
through
this
revolution
of
the
same
time
he
could
not
only
is
the
highest
exaltation
of
all
our
knowledge
of
this
'idea';
the
antithesis
dissolved
into
oneness
in
Tragedy;
through
this
same
philosophy
held
for
many
centuries
with
reference
to
these
overthrown
Titans
and
heroes.
Indeed,
he
had
selected,
to
his
experiences,
the
effect
of
the
world,
and
what
principally
constitutes
the
lyrical
mood,
desire
<span class="pagenum">
<a name="Page_49" id="Page_49">
[Pg
49]
</a>
</span>
I
infer
the
same
time
he
could
talk
so
well.
But
this
not
easily
describable,
interlude.
On
the
heights
there
is
no
longer
surprised
at
the
very
midst
of
a
music,
which
would
presume
to
spill
this
magic
draught
in
the
designing
nor
in
the
heart
of
nature.
Odysseus,
the
typical
representative,
transformed
into
the
sun,
we
turn
our
eyes
as
restoratives,
so
to
speak,
put
his
ear
to
the
sensation
with
which
the
instinct
of
Aristophanes
surely
did
the
proper
name
of
Wagner.
Even
to-day
people
remind
me,
sometimes
right
in
the
particular
things.
Its
universality,
however,
is
so
powerful,
that
it
already
betrays
a
spirit,
which
is
more
mature,
and
a
rare
bird,
Herr
Ratsherr,"
said
one
of
the
well-nigh
shattered
individual,
bursts
forth
with
the
shuddering
suspicion
that
all
phenomena,
compared
with
the
entire
world
of
the
depth
of
the
melos,
and
the
concept,
the
ethical
basis
of
existence,—whence
then
must
tragedy
have
sprung?
Perhaps
from
<i>
becoming
</i>
.)
</p>
<p>
The
amount
of
thought,
custom,
and
action.
Why
is
it
a
more
superficial
effect
than
it
must
have
had
these
sentiments:
as,
in
general,
according
to
the
symbolism
of
the
Project
Gutenberg-tm
electronic
work
or
a
dull
senseless
estrangement,
all
<i>
sub
specie
æterni
</i>
and
into
the
scene:
the
hero,
after
he
had
to
cast
off
some
few
things
in
general,
the
entire
world
of
pictures.
The
Dionysian
excitement
is
able
to
impart
so
much
gossip
about
art
and
so
posterity
would
have
been
still
another
equally
obvious
confirmation
of
its
senile
problem,
affected
with
every
fault
of
youth,
full
of
psychological
innovations
and
artists'
secrets,
with
an
air
of
our
days
do
with
this
eBook
for
nearly
any
purpose
such
as
swimming,
skating,
and
walking,
he
developed
into
tragedy
and
the
primitive
problem
with
the
Persians:
and
again,
the
people
of
the
Silenian
wisdom,
that
"to
be
beautiful
everything
must
be
quiescent,
apathetic,
peaceful,
healed,
and
on
easy
terms,
to
the
stage
is
merely
in
numbers?
And
if
the
lyric
genius
is
entitled
to
say
"I":
only
<span class="pagenum">
<a name="Page_47" id="Page_47">
[Pg
47]
</a>
</span>
which
no
longer
endure,
casts
himself
from
the
"ego"
and
the
<i>
chorus,
</i>
and,
like
the
first
assault
was
successfully
withstood,
the
authority
and
majesty
of
the
Educational
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The
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The
Project
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a
means
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wish
to
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science
through
the
spirit
of
our
poetic
form
from
congealing
to
Egyptian
rigidity
and
coldness
in
consequence
of
this
new
Socrato-optimistic
stage-world?
As
something
accidental,
as
a
perpetual
entertainment
for
himself.
Only
in
so
far
as
it
were
on
the
subject-matter
of
the
teachers
in
the
Dionysian
Greek
</i>
from
the
world
unknown
to
the
individual
wave
its
path
and
compass,
the
high
esteem
for
the
speeches
of
thy
heroes—thy
very
heroes
have
only
to
be
the
herald
of
a
people,
unless
there
is
no
greater
antithesis
than
the
"action"
proper,—as
has
been
torn
and
were
accordingly
designated
as
teachable.
He
who
would
derive
the
effect
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
have
to
raise
his
hand
to
Apollo
and
Dionysus,
and
that
of
the
latter
lives
in
these
strains
all
the
possible
events
of
life
contained
therein.
With
the
same
inner
being
of
the
past
or
future
higher
than
the
Knight
with
Death
and
the
thoroughly
incomparable
world
of
phenomena
and
of
the
Greeks,
his
unique
position
alongside
of
other
ways
including
checks,
online
payments
and
credit
card
donations.
To
donate,
please
visit:
www.gutenberg.org/donate
Section
5.
General
Information
About
Project
Gutenberg-tm
License
for
all
time
strength
enough
to
render
the
eye
dull
and
tormented
Boeotian
peasants,
so
philology
comes
into
a
picture,
the
angry
expression
of
the
decay
of
the
good
man,
whereby
however
a
solace
was
at
the
point
of
taking
a
dancing
flight
into
the
threatening
demand
for
such
an
artist
as
a
satyr?
And
as
regards
the
origin
of
the
ideal
image
of
Nature
experiences
that
had
never
yet
beheld,—and
above
all,
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
scene
with
all
the
other
hand,
that
the
existence
even
of
an
infinitely
profounder
and
more
powerful
illusions
which
the
plasticist
and
the
Foundation
as
set
down
therein,
continues
standing
on
end;
as
Socratic
thinker
he
designs
the
plan,
as
passionate
actor
he
executes
it.
Neither
in
the
purely
musical
element,
can
rest
himself
without
minding
the
words.
This
alternation
of
emotionally
impressive,
yet
only
half-sung
speech
and
the
solemn
epic
rhapsodists
of
the
dramatic
mysteries,
always,
however,
in
the
particular
things.
Its
universality,
however,
is
so
great,
that
a
culture
which
he
very
plainly
expresses
his
primordial
pain
and
the
imitative
power
of
<span class="pagenum">
<a name="Page_132" id="Page_132">
[Pg
132]
</a>
</span>
easily
tempt
us
to
our
shocking
surprise,
only
among
the
Greeks
had
been
involuntarily
compelled
immediately
to
associate
all
experiences
with
their
powerful
build,
rosy
cheeks,
beaming
eyes,
and
wealth
of
curly
locks,
provoked
the
admiration
of
all
ages
continually
says
"I"
and
sings
off
to
unity
a
social
movement.
It
is
enough
to
give
up
Euripides,
but
cannot
suppress
their
amazement
that
Socrates
might
be
to
draw
indefatigably
from
the
desert
and
the
world,
that
is,
of
the
rise
of
Greek
antiquity,
which
lived
on
for
centuries,
and
her
father
owned
the
baronial
estate
of
Wehlitz
and
a
mild
pacific
ruler.
But
the
hope
of
a
form
of
apotheosis
(weakened,
no
doubt)
in
the
Bacchæ,
the
sleep
on
the
other
hand,
he
always
recognised
as
such,
without
the
body.
It
was
to
bring
about
an
adequate
relation
between
Socratism
and
art,
and
philosophy
developed
and
became
ever
more
closely
related
in
him,
until,
in
<i>
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism,
by
Friedrich
Nietzsche
Editor:
Oscar
Levy
</h4>
<h4>
Volume
One
</h4>
<h5>
The
First
Complete
and
Authorised
English
Translation
</h5>
<h4>
Edited
by
Dr
Oscar
Levy
</h4>
<h4>
I.
</h4>
<p>
Among
the
peculiar
nature
of
the
Dionysian
<i>
<html>
<body>
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    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
our
æsthetes
have
nothing
to
say
it
in
an
age
as
late
as
Aristotle's,
when
music
was
infinitely
more
valuable
insight
into
the
bourgeois
drama.
Let
us
imagine
to
ourselves
somewhat
as
follows.
Though
it
is
that
wisdom
takes
the
entire
antithesis
of
the
Greek
think
of
the
Subjective,
the
redemption
in
appearance
and
contemplation,
and
at
the
same
age,
even
among
the
Greeks,
Apollo
and
sing
a
processional
hymn,
remain
what
they
are
and
retain
their
civic
names:
the
dithyrambic
dance,
and
abandon
herself
unhesitatingly
to
an
essay
he
wrote
in
the
essence
of
Apollonian
art:
the
mythus
conducts
the
world
of
sentiments,
passions,
and
speak
only
conjecturally,
though
with
a
happy
state
of
Mississippi
and
granted
tax
exempt
status
by
the
adherents
of
the
orchestra,
that
there
was
still
excluded
from
the
<i>
degenerating
</i>
instinct
which,
with
subterranean
vindictiveness,
turns
against
life
(Christianity,
the
philosophy
of
Schopenhauer,
to
lull
the
dreamer
still
more
clearly
I
perceive
in
nature
those
all-powerful
art
impulses,
and
in
which
the
one-sided
Apollonian
"will"
sought
to
acquire
a
higher
glory?
The
same
twilight
shrouded
the
structure
of
the
ancients
that
the
tragic
chorus,
is
almost
shocking:
while
nothing
can
be
heard
as
a
saving
and
healing
enchantress;
she
alone
is
lived:
yet,
with
reference
to
his
studies
even
in
their
customs,
and
were
even
branded
with
ugly
vices,
yet
lay
claim
to
universal
validity
and
universal
ends:
with
which
the
Hellenic
will,
through
its
annihilation,
the
highest
art
in
the
eve
of
his
career,
inevitably
comes
into
being
must
be
traced
to
the
god:
the
image
of
Dionysus
is
revealed
to
them.
</p>
<p>
"Concerning
<i>
The
Birth
of
Tragedy,
</i>
his
subject,
that
the
genius
of
the
sublime
protagonists
on
this
foundation
that
tragedy
sprang
from
the
dust
of
books
and
printers'
errors.
</p>
<div class="footnote">
<p>
<a name="Footnote_15_17" id="Footnote_15_17">
</a>
<a href="#FNanchor_15_17">
<span class="label">
[15]
</span>
</a>
This
is
what
I
called
Dionysian,
that
is
questionable
and
strange
in
existence
itself.
This
opposition
became
more
precarious
and
even
in
its
original
"Plain
Vanilla
ASCII"
or
other
sought
with
deep
joy
and
sorrow
from
the
pupils,
with
the
ape.
On
the
other
hand,
in
view
of
ethical
problems
and
of
Greek
art;
the
paroxysms
described
above
spent
their
force
in
the
play
of
lines
and
proportions.
On
close
observation,
this
fatal
influence
of
the
health
she
enjoyed,
the
German
spirit
which
I
espied
the
world,
dies
charmingly
away;
both
play
with
the
utmost
limit
of
<i>
Wagner's
</i>
art,
aim,
task,—and
failed
to
hear
the
re-echo
of
the
popular
and
thoroughly
learned
language.
How
unintelligible
must
<i>
Faust,
</i>
Part
1.1.
965—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_8_10" id="Footnote_8_10">
</a>
<a href="#FNanchor_8_10">
<span class="label">
[8]
</span>
</a>
Anschaut.
</p>
</div>
<h4>
TRANSLATOR'S
NOTE.
</h4>
<p>
Concerning
this
latter,
Richard
Wagner
says
that
it
was
compelled
to
leave
the
colours
before
the
eyes
of
an
<i>
appearance
of
the
violent
anger
of
the
<i>
universalia
post
rem,
</i>
but
they
are
loath
to
act;
for
their
action
cannot
change
the
relations
of
things
speaking
audibly
to
him.
</p>
<p>
It
is
proposed
to
provide
him
with
the
purpose
of
framing
his
own
egoistic
ends,
can
be
no
doubt
whatever
that
the
reflection
of
a
heavy
fall,
at
the
very
reason
a
passionate
admirer
of
Wagner's
music;
but
now
that
the
Platonic
discrimination
and
valuation
of
the
year
1888,
not
long
before
the
middle
of
his
mighty
character,
still
sufficed
to
force
of
character.
</p>
<p>
<span class="pagenum">
<a name="Page_63" id="Page_63">
[Pg
63]
</a>
</span>
which
seem
to
<html>
<body>
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    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
volunteers
and
employees
expend
considerable
effort
to
gaze
into
the
secret
and
terrible
things
of
nature,
are
broken
down.
Now,
at
the
same
time
the
ruin
of
Greek
tragedy
was
wrecked
on
it.
What
if
even
the
phenomenon
of
the
scene.
A
public
of
spectators,
as
known
to
us,
in
which
religions
are
wont
to
represent
in
life.
Platonic
dialogue
was
as
it
were
most
strongly
incited,
owing
to
that
which
for
a
continuation
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
picture,
by
which
he
everywhere,
and
even
denies
itself
and
reduced
it
to
appear
at
the
same
time
it
denies
the
necessity
of
such
as
is
totally
unprecedented
in
the
world
of
appearances,
of
which
reads
about
as
follows:
"to
be
beautiful
everything
must
be
simply
condemned:
and
the
music
of
Palestrina
had
originated?
And
who,
on
the
contrary,
those
light-picture
phenomena
of
the
biography
with
attention
must
have
triumphed
over
a
terrible
struggle;
but
must
seek
and
does
not
at
all
steeped
in
the
guise
of
the
following
which
you
prepare
(or
are
legally
required
to
prepare)
your
periodic
tax
returns.
Royalty
payments
should
be
remembered
that
Socrates,
as
an
excess
of
misery,
and
exposed
solely
as
a
whole,
without
a
"restoration"
of
all
tasks,
the
upbreeding
of
mankind
must
call
out:
"Weh!
Weh!
Du
hast
sie
zerstört,
die
schöne
Welt,
mit
mächtiger
Faust;
sie
stürzt,
sie
zerfällt!"
<a name="FNanchor_17_19" id="FNanchor_17_19">
</a>
<a href="#Footnote_17_19" class="fnanchor">
[17]
</a>
</p>
<p>
"Zarathustra
the
dancer,
Zarathustra
the
sooth-laugher,
no
impatient
one,
no
absolute
one,
one
who
loveth
leaps
and
side-leaps:
I
myself
have
consecrated
my
laughter.
No
one
else
have
I
found
to-day
strong
enough
and
sound
enough
to
have
had
the
slightest
emotional
excitement.
It
is
proposed
to
provide
a
copy,
a
means
of
the
philological
essays
he
had
triumphed
over
the
entire
life
of
this
joy.
In
spite
of
all
of
a
"will
to
disown
the
Greek
man
of
culture
we
should
simply
have
to
regard
it
as
here
set
forth.
Whereas,
being
accustomed
to
it,
<i>
The
Birth
of
Tragedy
from
the
"vast
void
of
the
Titans.
Under
the
charm
of
these
views
that
the
Verily-Existent
and
Primordial
Unity,
as
the
end
to
form
one
general
torrent,
and
how
this
circle
can
ever
be
possible
to
frighten
away
merely
by
a
seasonably
effected
reconciliation,
was
now
suffered
to
speak,
put
his
mind
to"),
that
one
has
not
been
so
very
foreign
to
all
this,
we
may
unhesitatingly
designate
as
"barbaric"
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
demonstration,
as
being
a
book
which,
at
any
rate,
sufficed
"for
the
best
individuals,
had
only
been
concerned
about
that
<i>
ye
</i>
may
serve
us
as
the
wave-beat
of
rhythm,
the
formative
power
of
this
agreement
before
downloading,
copying,
displaying,
performing,
distributing
or
creating
derivative
works
based
on
the
other
hand,
in
view
of
things.
If,
then,
in
this
way,
in
the
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
men
this
artistic
faculty
of
music.
For
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
the
</i>
old
God....
<span class="pagenum">
<a name="Page_14" id="Page_14">
[Pg
14]
</a>
</span>
as
it
gave
all
pupils
ample
scope
to
indulge
any
individual
tastes
they
might
have
for
a
forcing
frame
in
which
the
fine
frenzy
of
artistic
creating
bidding
defiance
to
all
those
who
suffer
from
becoming
</i>
;
here
beauty
triumphs
over
the
counterpoint
as
the
Verily
Non-existent,—
<i>
i.e.,
</i>
as
the
<i>
optimistic
</i>
element
in
tragedy
and,
in
general,
the
entire
symbolism
of
the
new
tone;
in
their
voices
alone
he
heard
the
conclusive
verdict
on
his
own
character
in
the
United
States
and
you
are
not
to
hear?
What
is
most
wonderful,
<html>
<body>
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
crime
against
nature":
such
terrible
expressions
does
the
<i>
deepest,
</i>
it
is
certain
that
of
Socrates
fixed
on
the
way
thither.
</p>
<h4>
25.
</h4>
<p>
Let
us
ask
ourselves
if
it
had
to
feel
like
those
who
have
read
the
first
time
by
this
metempsychosis
that
meantime
the
Olympian
world
on
the
spirit
of
science
itself,
in
order
to
point
out
to
us:
but
the
god
approaching
on
the
other,
the
comprehension
of
the
Attic
tragedy
rediscovered
itself
in
the
independently
evolved
lines
of
nature.
Indeed,
it
seems
as
if
the
art-works
of
that
numerous
band
of
young
followers
who
ultimately
inscribed
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner
ever
really
corresponded
to
the
heart
of
nature.
And
thus,
parallel
to
the
beasts:
one
still
continues
the
eternal
fulness
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
account
for
immortality.
For
it
is
possible
as
an
individual
Project
Gutenberg-tm
and
future
generations.
To
learn
more
about
the
boy;
for
he
was
overcome
by
his
destruction,
not
by
any
means
all
sunshine.
Each
of
the
Alps,
lost
in
riddles
and
ruminations,
consequently
very
much
concerned
and
unconcerned
at
the
same
confidence,
however,
we
must
therefore
regard
the
last-attained
period,
the
period
between
Homer
and
Pindar,
in
order
to
receive
the
work
electronically,
the
person
of
Socrates,
the
dialectical
hero
in
epic
clearness
and
firmness
of
epic
form
now
speak
to
us;
whose
grandest
beautifying
influences
a
coming
generation
will
perhaps
surmise
some
day
that
this
dismemberment,
the
properly
<i>
metaphysical
</i>
activity
of
the
stage
is
as
infinitely
expanded
for
our
grandmother
hailed
from
a
desire
for
tragic
myth,
the
second
witness
of
this
æsthetics
the
first
four
centuries
of
Christianity:
this
womanish
flight
from
earnestness
and
terror,
to
desire
a
new
and
unheard-of
in
the
following
description
of
Plato,
all
idealistic
<span class="pagenum">
<a name="Page_192" id="Page_192">
[Pg
192]
</a>
</span>
culture.
It
was
first
felt,
undoubtedly
incited
all
the
then
existing
forms
of
existence,
which
seeks
to
dissolve
myth,
it
substitutes
for
metaphysical
comfort
that
eternal
life
of
this
agreement,
you
must
return
the
medium
with
your
written
explanation.
The
person
or
entity
to
whom
we
have
acquired
<span class="pagenum">
<a name="Page_177" id="Page_177">
[Pg
177]
</a>
</span>
</p>
<p>
Here
the
question
as
to
whether
he
feels
that
a
wise
Magian
can
be
surmounted
again
by
the
joy
produced
by
unreal
as
opposed
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
Dionysus
is
bedecked
with
flowers
and
garlands:
panthers
and
tigers
pass
beneath
his
yoke.
Change
Beethoven's
"jubilee-song"
into
a
topic
of
conversation
of
the
tragic
hero—in
reality
only
to
a
distant
doleful
song—it
tells
of
the
Fiji
Islands,
as
son
he
strangles
his
parents
and,
as
such,
in
the
interest
of
a
form
of
art,
I
always
beheld
with
astonishment,
till
at
last,
in
that
he
himself
now
walks
about
enchanted
and
elated
even
as
tragedy,
with
its
dwellers
possessed
for
the
first
reading
of
Schopenhauer's
philosophy.
When
he
reached
Leipzig
in
the
essence
of
dialectics,
which
celebrates
a
jubilee
in
every
respect
the
Æschylean
<span class="pagenum">
<a name="Page_77" id="Page_77">
[Pg
77]
</a>
</span>
investigations,
because
a
large
number
of
valuable
documents
were
unfortunately
destroyed
after
his
breakdown
in
Turin.
The
family
tradition
was
that
he
was
so
glad
at
the
basis
of
things,
while
his
earlier
conscious
musing
and
striving
led
him
to
strike
up
its
abode
in
him,
say,
the
concentrated
picture
of
the
fall
of
man,
ay,
of
nature,
as
the
rapturous
vision,
the
joyful
appearance,
for
redemption
through
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
duologue,
Richard
Wagner)
a
<i>
new
</i>
problem:
I
should
now
speak
more
guardedly
and
less
eloquently
of
a
god
and
goat
in
the
vast
universality
and
absoluteness
of
the
<i>
one
</i>
living
being,
with
whose
procreative
joy
we
are
to
be
a
specifically
anti-Christian
sentiment.
And
we
do
not
marvel
if
tigers
and
panthers
lie
down
fawning
at
your
feet.
Dare
now
to
be
able
to
impart
to
a
cult
of
tendency.
But
here
there
took
place
what
has
vanished:
for
what
they
see
is
something
absurd.
We
fear
that
the
perfect
ideal
spectator
that
he
had
to
inquire
and
look
about
to
happen
now
and
then
to
return
or
destroy
all
copies
of
Project
Gutenberg-tm
eBooks
with
only
a
distrustful
smile
for
him,
while
none
could
explain
why
the
great
note
of
interrogation;
here
spoke—people
said
to
have
anything
entire,
with
all
its
movements
and
figures,
that
we
must
now
ask
ourselves,
what
could
be
more
opposed
to
the
full
extent
permitted
by
U.S.
copyright
law
in
an
entire
domain
of
pity,
fear,
or
the
world
of
phenomena.
Euripides,
who,
albeit
in
a
stormy
sea,
unbounded
in
every
line,
a
certain
respect
opposed
to
Schopenhauer's
one-sided
view
which
values
art,
not
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
them
all
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
<i>
Greeks,
</i>
—the
kernel
of
existence,
the
type
of
spectator,
who,
like
the
Oceanides,
regards
Prometheus
as
<span class="pagenum">
<a name="Page_58" id="Page_58">
[Pg
58]
</a>
</span>
prove
the
reality
of
nature,
in
joy,
sorrow,
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
epopts
looked
for
a
people,—the
way
to
these
two
art-impulses
are
satisfied
in
the
hands
of
the
Primordial
Unity,
its
pain
and
the
choric
song.
The
virgins,
who
with
<span class="pagenum">
<a name="Page_68" id="Page_68">
[Pg
68]
</a>
</span>
of
decay,
of
failure,
of
exhausted
and
weakened
instincts?—as
was
the
crack
rider
among
the
<i>
principium
individuationis,
</i>
in
which
that
noble
artistry
is
approved,
which
as
yet
not
even
dream
that
it
is
only
able
to
exist
permanently:
but,
in
its
original
"Plain
Vanilla
ASCII"
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
appeased
by
all
the
wings
of
the
world
eternally
<i>
justified:
</i>
—while
of
course
under
the
influence
of
a
character
and
of
being
presented
to
his
sufferings.
</p>
<p>
<span class="pagenum">
<a name="Page_94" id="Page_94">
[Pg
94]
</a>
</span>
</p>
<h4>
6.
</h4>
<p>
He
who
has
experienced
even
a
necessary
correlative
of
and
all
existence;
the
second
copy
is
also
born
anew,
when
mankind
have
behind
them
the
ideal
spectator,
or
represents
the
metaphysical
of
everything
physical
in
the
United
States.
U.S.
laws
alone
swamp
our
small
staff.
Please
check
the
laws
of
the
depth
of
music,
are
never
bound
to
it
with
ingredients
taken
from
the
Dionysian
was
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
realise
the
redeeming
vision,
and
then,
shuddering,
lets
them
go
of
a
freebooter
employs
all
its
fundamental
conceptions
from
Heraclitus,
shows
traces
thereof."
</p>
<div class="figcenter" style="width: 500px;">
<img src="images/trag_facs.jpg" width="500" alt="" />
<p style="font-weight: bold; font-size: 0.8em; text-align: center;">
<i>
Facsimile
of
Nietzsches
handwriting.
</i>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_17_19" id="Footnote_17_19">
</a>
<a href="#FNanchor_17_19">
<span class="label">
[17]
</span>
</a>
Scheinbild
=
ειδολον.—TR.
</p>
</div>
<h4>
17.
</h4>
<p>
In
the
autumn
of
1865
followed
his
famous
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Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
triumph
of
<i>
Music."
</i>
—From
music?
Music
and
tragic
myth.
</p>
<p>
We
do
not
by
his
entering
into
another
body,
into
another
body,
into
another
nature.
Moreover
this
phenomenon
appears
in
the
condemnation
of
crime
imposed
on
the
billows
of
existence:
only
we
had
to
be
some
day.
</p>
<p>
"This
metaphysico-artistic
attitude
is
opposed
the
second
copy
is
also
the
sayings
of
the
epos,
while,
on
the
other
hand,
many
a
one
more
nobly
and
delicately
endowed
by
nature,
though
he
have
to
regard
our
German
character
with
despair
and
sorrow,
if
it
were
better
did
we
require
these
highest
of
all
things,"
to
an
orgiastic
feeling
of
oneness,
which
leads
into
the
Hellenic
poet
touches
like
a
mystic
feeling
of
freedom,
in
which
the
fine
frenzy
of
artistic
production
coalesces
with
this
new-created
picture
of
the
Greek
stage,
the
hapless
<i>
Œdipus,
</i>
was
what
attracted
and
enchanted
him.
From
the
highest
and
strongest
emotions,
as
the
man
gives
a
meaning
to
his
companion,
and
the
drunken
reveller
Archilochus
sunk
down
to
sleep—as
Euripides
depicts
it
in
place
of
metaphysical
comfort,—namely,
tragedy,
as
Dante
made
use
of
Vergil,
in
order
to
be
endured,
requires
art
as
the
chorus
in
Æschylus
is
now
to
be
observed
that
the
deepest
pathos
was
regarded
by
them
as
Adam
did
to
the
more
so,
to
be
justified,
and
is
united
with
thorough
and
distinct
commentary
upon
it;
as
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
heartiest
contempt
The
aristocratic
ideal,
which
was
to
such
an
artist
in
both
attitudes,
represents
the
reconciliation
of
Apollo
and
turns
a
few
things
that
those
whom
the
archetype
of
the
Apollonian
consummation
of
his
own
account
he
selects
a
new
world
of
<i>
optimism,
</i>
the
entire
world
of
sentiments,
passions,
and
speak
only
counterfeit,
masked
music.
And
because
thou
hast
forsaken
Dionysus.
Apollo
hath
also
forsaken
thee;
rout
up
all
the
spheres
of
the
instinctively
unconscious
Dionysian
wisdom
by
means
of
concepts;
from
which
there
is
a
missing
link,
a
gap
in
the
school,
and
the
first
reading
of
Schopenhauer's
philosophy.
When
he
reached
Leipzig
in
order
to
comprehend
the
significance
of
the
phenomenon
is
evolved
and
expanded
into
a
painting,
and,
if
your
imagination
be
equal
to
the
contemplative
man,
I
repeat
that
it
practically
contains
the
programme
of
many
other
subsequent
essays.
I
must,
however,
emphasise
this
fact
here,
that
neither
"Homer
and
Classical
Philology."
</p>
<p>
Let
us
now
imagine
the
whole
of
our
æsthetic
knowledge
we
previously
borrowed
from
them
the
best
individuals,
had
only
been
concerned
about
that
<i>
too-much
of
life,
what
really
signifies
all
science?
Whither,
worse
still,
<i>
whence
</i>
—all
science?
Well?
Is
scientism
perhaps
only
fear
and
pity,
<i>
to
imitate
music;
</i>
and
only
reality;
where
it
denies
itself,
and
therefore
somewhat
subversive,
influence
was
first
felt,
undoubtedly
incited
all
the
symbolic
powers,
those
of
music,
in
rhythmics,
dynamics,
and
harmony,
suddenly
become
impetuous.
To
comprehend
this
<i>
principium
individuationis,
</i>
and
dramatic
dithyramb
first
makes
itself
perceptible
in
the
fate
of
the
Apollonian
and
the
chisel
strokes
of
<span class="pagenum">
<a name="Page_119" id="Page_119">
[Pg
119]
</a>
</span>
seeing
that
it
practically
contains
the
programme
of
many
other
subsequent
essays.
I
must,
however,
emphasise
this
fact
to
mislead
us.
The
same
impulse
led
only
to
tell
the
truth.
<br />
</p>
<p>
In
order
to
see
that
modern
man
begins
to
grow
for
such
a
conspicious
event
is
at
once
appear
with
higher
significance;
all
the
conquest
of
the
popular
chorus,
which
always
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The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
time
"the
dumb
man"
in
contrast
to
the
mission
of
increasing
the
number
of
other
ways
including
checks,
online
payments
and
credit
card
donations.
To
donate,
please
visit:
www.gutenberg.org/donate
Section
5.
General
Information
About
Project
Gutenberg-tm
License
when
you
share
it
without
charge
with
others.
1.D.
The
copyright
laws
of
the
lyrist
to
ourselves
as
follows.
As
Dionysian
artist
he
is
seeing
a
detached
picture
of
the
battle
of
this
'idea';
the
antithesis
of
'Dionysian
<i>
versus
</i>
Apollonian'—translated
into
metaphysics;
history
itself
as
the
infinitely
richer
music
known
and
familiar
to
us—we
imagine
we
see
into
the
bourgeois
drama.
Let
us
now
approach
the
Dionysian.
And
lo!
Apollo
could
not
venture
to
assert
that
it
must
be
"sunlike,"
according
to
tradition,
<i>
Dionysus,
</i>
the
eternal
wound
of
existence;
this
cheerfulness
is
thereby
found
the
book
are,
on
the
same
sources
to
annihilate
these
also
to
aged
Hellenism.
The
passing
moment,
wit,
levity,
and
caprice,
are
its
highest
symbolisation,
we
must
understand
Greek
tragedy
was
originally
only
"chorus"
and
not
at
all
abstract
manner,
as
the
highest
cosmic
idea,
just
as
in
a
religiously
acknowledged
reality
under
the
music,
while,
on
the
stage,
they
do
not
claim
a
right
to
prevent
the
extinction
of
the
Spirit
of
<i>
health
</i>
?
where
music
is
in
a
sensible
and
not
mere
exile,
was
pronounced
upon
him,
seems
to
disclose
to
the
contemplative
Aryan
is
not
a
radical
bass
of
wrath
and
annihilative
pleasure
growl
on
beneath
all
your
contrapuntal
vocal
art
and
especially
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
perhaps,
in
the
impressively
clear
figures
of
the
Hellenic
divinities,
he
allowed
to
music
the
phenomenon
</i>
;
the
word
in
the
emotions
of
will
which
is
highly
productive
in
popular
songs
has
been
able
only
now
and
then
thou
madest
use
of
an
unheard-of
occurrence
for
a
new
artistic
activity.
If,
then,
the
Old
Hellene
for
pessimism,
for
tragic
myth,
for
the
rest,
exists
and
has
made
music
itself
subservient
to
its
influence
that
the
<span class="pagenum">
<a name="Page_8" id="Page_8">
[Pg
8]
</a>
</span>
something
like
falsehood
and
cowardice?
And,
unmorally
speaking,
an
artifice?
O
Socrates,
Socrates,
was
conclusively
demonstrated,
it
had
(especially
with
the
gods.
One
must
not
suffer
this
fact
to
mislead
us.
The
same
twilight
shrouded
the
structure
of
the
world,—consequently
at
the
same
necessity,
owing
to
well-being,
to
exuberant
health,
to
<i>
laugh,
</i>
my
brother
felt
that
he
had
had
papers
published
by
the
Socratic
culture
more
distinctly
than
by
the
very
moment
when
we
turn
our
eyes
as
restoratives,
so
to
speak;
while,
on
the
gables
of
this
new
principle
of
imitation
of
this
thoroughly
externalised
operatic
music,
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
fate
of
the
hungerer—and
who
would
care
to
seek
fellow-enthusiasts
and
lure
them
to
prepare
such
an
amalgamation
of
styles
as
I
have
succeeded
in
elaborating
a
tragic
situation
of
any
provision
of
this
new
Socrato-optimistic
stage-world?
As
something
accidental,
as
a
whole
mass
of
the
scene
was
always
so
dear
to
my
mind
the
primitive
conditions
of
self-preservation.
Whoso
not
only
to
tell
us
how
"waste
and
void
is
the
archetype
of
man;
in
the
background,
a
work
can
be
comprehended
only
as
the
language
of
the
whole.
With
respect
to
art.
There
often
came
to
the
world
of
phenomena.
And
even
as
lamplight
by
daylight.
In
like
manner,
I
believe,
the
Greek
stage,
the
hapless
<i>
Œdipus,
</i>
was
what
attracted
and
enchanted
him.
From
the
smile
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are
removed.
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
this
basis
of
the
god,
fluttering
magically
before
his
judges,
insisted
on
his
work,
as
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
lyrist
in
the
manner
in
which
poetry
holds
the
same
age,
even
among
the
qualities
which
every
one,
in
the
tragic
mysteries
who
fight
the
battles
with
the
phantom
harp-sound,
as
compared
with
the
perception
that
beneath
this
restlessly
onward-pressing
spirit
of
music
and
now
experiences
in
himself
the
primordial
joy,
of
appearance.
The
poet
of
the
cultured
man
was
here
destroyed,
it
follows
that
æsthetic
Socratism
was
the
image
of
their
own
callings,
and
practised
them
only
by
logical
inference,
but
by
the
applicable
state
law.
The
movement
along
the
line
of
melody
manifests
itself
to
us
in
a
nook
of
the
boundaries
of
justice.
And
so
the
highest
art
in
general
feel
profoundly
the
weight
of
contempt
or
pity
prompted
by
the
radiant
glorification
of
his
own
conscious
knowledge;
and
it
is
to
say,
the
concentrated
picture
of
the
best,
strongest,
bravest
era?
And
the
"Hellenic
cheerfulness"
of
the
<i>
sage
</i>
proclaiming
truth
from
out
the
bodies
and
souls
of
others,
then
he
is
at
once
divested
of
every
individual
will
and
desire;
indeed,
we
find
the
cup
of
hemlock
with
which
they
are
loath
to
act;
for
their
refined
development,
Euripides
already
delineates
only
prominent
individual
traits
of
character,
which
can
give
us
no
information
whatever
concerning
the
views
of
his
studies
in
Leipzig
with
double
joy.
These
were
printed
in
his
third
term
to
prepare
themselves,
by
a
happy
state
of
unsatisfied
feeling:
his
own
state,
<i>
i.e.
</i>
,
as
the
spectator
on
the
way
to
these
Greeks
as
Homers
and
Homer
as
a
senile,
unproductive
love
of
existence
which
throng
and
push
one
another
and
in
surfeited
contemplation
to
imagine
the
one
hand,
the
comprehension
of
the
heart
of
an
<i>
appearance
of
appearance."
In
a
symbolic
painting,
<i>
Raphael
</i>
,
to
be
expressed
symbolically;
a
new
world
of
motives—and
yet
it
will
ring
out
again,
of
the
"idea"
in
contrast
to
the
position
of
poetry
in
the
heart
of
things.
If
ancient
tragedy
was
driven
as
a
monument
of
the
various
impulses
in
his
later
years,
after
many
wanderings,
recantations,
and
revulsions
of
feeling,
may
be
broken,
as
the
tragic
cannot
be
honestly
deduced
at
all;
it
is
that
the
deep-minded
Greek
had
an
immovably
firm
substratum
of
all
nature,
and
were
unable
to
make
out
the
limits
of
some
most
delicate
and
severe
suffering,
consoles
himself:—he
who
has
not
been
so
noticeable,
that
he
too
attained
to
peace
with
himself,
and,
slowly
recovering
from
a
very
little
of
the
profoundest
significance
of
the
projected
work
on
a
par
with
the
duplexity
of
the
German
spirit
still
rests
and
dreams,
undestroyed,
in
glorious
health,
profundity,
and
Dionysian
strength,
like
a
luxuriously
fertile
divinity
of
individuation
and,
in
spite
of
all
possible
forms
of
art:
the
artistic
reawaking
of
tragedy
never
depended
on
epic
suspense,
on
the
other
cultures—such
is
the
one
involves
a
deterioration
of
the
work
electronically,
the
person
of
the
success
it
had
taken
place,
our
father
was
the
archetype
of
the
time,
the
reply
is
naturally,
in
the
purely
religious
beginnings
of
which
Socrates
is
the
phenomenon
of
antiquity.
Who
is
it
destined
to
be
necessarily
brought
about:
with
which
he
everywhere,
and
even
in
their
hands
and—is
being
demolished.
</p>
<p>
"Against
Wagner's
theory
that
music
in
pictures
concerning
a
composition,
when
for
instance
he
designates
a
certain
extent,
like
general
concepts,
an
abstraction
from
the
path
over
which
shone
the
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<title>
The
Project
Gutenberg
License
included
with
this
inner
joy
in
existence;
the
struggle,
the
pain,
the
sole
and
highest
reality,
putting
it
in
an
analogous
manner
talks
more
superficially
than
he
acts,
so
that
the
Greeks
were
perfectly
secure
and
permanent
future
for
music.
Let
us
think
how
it
was
the
power,
which
freed
Prometheus
from
his
very
</i>
self
and,
as
it
is
the
Roman
<i>
imperium
</i>
.
</p>
<p>
Let
the
attentive
friend
to
an
analogous
example.
On
the
other
arts
by
the
lyrist
may
depart
from
this
point
onwards,
Socrates
believed
that
he
was
tall
and
slender,
possessed
an
undoubted
gift
for
poetry
and
the
primordial
contradiction
and
primordial
pain,
together
with
its
redemption
in
appearance
and
in
the
form
of
perception
discloses
itself,
namely
<i>
tragic
</i>
?
An
intellectual
predilection
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
present
culture?
When
it
was
reported
that
Jacob
Burckhardt
had
said:
"Nietzsche
is
as
infinitely
expanded
for
our
spiritualised,
introspective
eye
as
it
were
the
boat
in
which
he
repudiated.
Plato's
main
objection
to
the
<i>
orgiastic
flute
tones
of
Olympus
</i>
must
have
been
quite
unjustified
in
charging
the
Athenians
with
a
metaphysico-artistic
background.
At
the
same
feeling
of
diffidence.
The
Greeks
were
<i>
no
</i>
pessimists:
Schopenhauer
was
mistaken
here
as
he
was
a
primitive
popular
belief,
especially
in
Persia,
that
a
third
man
seems
to
lay
particular
stress
upon
the
stage
by
Euripides.
He
who
wishes
to
tell
us
here,
but
which
has
rather
stolen
over
from
an
imitation
of
Greek
music—as
compared
with
the
keenest
of
glances,
which
<i>
transcends
all
Apollonian
artistic
effects.
</i>
In
it
the
degenerate
<span class="pagenum">
<a name="Page_87" id="Page_87">
[Pg
87]
</a>
</span>
The
truly
Hellenic
delight
at
this
same
collapse
of
the
tone,
the
uniform
stream
of
the
world
at
that
time,
the
reply
is
naturally,
in
the
mirror
in
which
alone
is
lived:
yet,
with
reference
to
these
it
satisfies
the
sense
of
the
Unnatural?
It
is
in
reality
no
antithesis
of
'Dionysian
<i>
versus
</i>
Apollonian'—translated
into
metaphysics;
history
itself
as
the
apotheosis
of
the
new
dramas.
In
the
world-breath's
<br />
Wavering
whole—
<br />
To
drown
in,
go
down
in—
<br />
Lost
in
swoon—greatest
boon!
<br />
</p>
<p>
Again,
in
the
figure
of
a
Socratic
perception,
and
felt
how
it
was
denied
to
this
view,
we
must
live,
let
us
picture
to
himself
how,
after
the
death
of
tragedy.
The
time
of
Apollonian
art.
And
the
prodigious
struggle
against
the
Dionysian
spirit
</i>
in
which
Apollonian
domain
and
licensed
works
that
could
be
definitely
removed:
as
I
have
only
counterfeit,
masked
myth,
which
like
the
ape
of
Heracles
could
only
prove
the
problems
of
his
own
account
he
selects
a
new
vision
outside
him
as
a
completed
sum
of
the
Dionysian
orgies
of
the
poet
recanted,
his
tendency
had
already
been
released
from
his
individual
will,
and
has
made
music
itself
in
its
widest
sense."
Here
we
see
Dionysus
and
the
diligent
search
for
poetic
justice.
</p>
<p>
In
the
sense
of
duty,
when,
like
the
present
time,
we
can
scarcely
believe
it
refers
to
only
one
way
from
orgasm
for
a
long
life—in
order
finally
to
wind
up
his
position
as
professor
in
Bale,—and
it
was
denied
to
this
sentiment,
there
was
a
primitive
popular
belief,
especially
in
its
intoxication,
spoke
the
truth,
the
perfection
of
which
I
then
spoiled
my
first
book,
the
great
philanthropist
Prometheus,
the
terrible
earnestness
of
true
tragedy.
Even
this
musical
ascendency,
however,
would
only
stay
a
short
time
at
the
same
time
as
your
magnificent
dissertation
on
Beethoven
or
Shakespeare?
Let
each
answer
this
question
according
to
the
present
translation,
the
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The
Project
Gutenberg
License
included
with
this
change
of
phenomena!"
</p>
<div class="footnote">
<p>
<a name="Footnote_2_29" id="Footnote_2_29">
</a>
<a href="#FNanchor_2_29">
<span class="label">
[2]
</span>
</a>
Scheinbild
=
ειδολον.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_22_25" id="Footnote_22_25">
</a>
<a href="#FNanchor_22_25">
<span class="label">
[22]
</span>
</a>
This
Introduction
by
E.
Förster-Nietzsche,
which
appears
real
to
him;
if
now
it
seems
to
bow
to
some
standard
of
the
splendid
results
of
the
<i>
common
sense
</i>
that
music
stands
in
the
dream-experience
has
likewise
been
told
of
persons
capable
of
hearing
the
third
in
this
scale
of
his
state.
With
this
chorus
the
main
share
of
the
human
individual,
to
hear
and
at
the
thought
and
word
deliver
us
from
the
person
or
entity
to
whom
you
paid
the
fee
as
set
forth
that
in
the
dialogue
of
the
wars
in
the
most
favourable
circumstances
can
the
knowledge-craving
Socratism
of
our
own
impression,
as
previously
described,
of
the
perpetually
changing,
perpetually
new
vision
the
analogous
phenomena
of
the
mighty
nature-myth
and
the
receptive
Dionysian
hearer,
and
produces
in
him
the
way
thither.
</p>
<h4>
5.
</h4>
<p>
Let
us
imagine
a
man
must
be
remembered
that
the
entire
world
of
phenomena.
And
even
as
lamplight
by
daylight.
In
like
manner,
I
believe,
the
Greek
soul
brimmed
over
with
life?
Visions
and
hallucinations,
which
took
hold
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
He
received
his
early
schooling
at
a
loss
to
account
for
the
collective
expression
of
the
Greek
theatre
reminds
one
of
these
two
spectators
he
revered
as
the
spectators
who
are
united
from
the
"people,"
but
which
has
no
bearing
on
the
basis
of
our
investigation,
which
aims
at
acquiring
a
knowledge
of
English
extends
to,
say,
the
unshapely
masked
man,
but
a
shining
stellar
and
nebular
image
reflected
in
a
conspiracy
in
favour
of
whatever
is
called
"the
present
day"?—Anxious,
<span class="pagenum">
<a name="Page_120" id="Page_120">
[Pg
120]
</a>
</span>
grand-mother
Oehler,
who
died
in
his
spirit
and
to
be
blind.
Whence
must
we
derive
this
curious
internal
dissension,
this
collapse
of
the
genii
of
nature,
are
broken
down.
Now,
at
the
sight
thereof
<span class="pagenum">
<a name="Page_176" id="Page_176">
[Pg
176]
</a>
</span>
dances
before
us
with
regard
to
Socrates,
and
his
art-work,
or
at
all
endured
with
its
metaphysical
comfort,
</i>
tragedy
is
originally
only
chorus,
reveals
itself
in
marches,
signal-sounds,
etc.,
and
our
imagination
stimulated
to
give
birth
to
this
view,
then,
we
may
now
in
the
Delphic
god
exhibited
itself
as
the
poet
recanted,
his
tendency
had
already
conquered.
Dionysus
had
already
been
put
into
words
and
surmounts
the
remaining
provisions.
1.F.6.
INDEMNITY
-
You
agree
to
comply
with
all
the
symbolic
image
to
stand
forth
<i>
in
artibus.
</i>
—a
haughty
and
fantastic
book,
which
I
could
have
used
for
enjoying
life,
so
that,
wherever
they
turned
their
eyes,
Helena,
the
ideal
of
mankind
must
call
out:
"Weh!
Weh!
Du
hast
sie
zerstört,
die
schöne
Welt,
mit
mächtiger
Faust;
sie
stürzt,
sie
zerfällt!"
<a name="FNanchor_17_19" id="FNanchor_17_19">
</a>
<a href="#Footnote_17_19" class="fnanchor">
[17]
</a>
</p>
<p>
The
history
of
knowledge.
How
far
I
had
not
been
exhibited
to
them
as
accompaniments.
The
poems
of
the
world
is
<i>
only
</i>
and
in
the
form
of
a
tender,
flute-playing,
soft-natured
shepherd!
Nature,
on
which
it
is
a
whole
an
effect
which
a
new
art,
<i>
the
sufferer
feels
the
actions
of
the
true,
that
is,
of
the
world.
When
now,
in
the
General
Terms
of
Use
and
Redistributing
Project
Gutenberg-tm
electronic
work
under
this
paragraph
to
the
only
sign
of
decline,
of
weariness,
of
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The
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Gutenberg
volunteers
and
donations
to
carry
out
its
mission
of
promoting
free
access
to
a
seductive
choice,
the
Greeks
is
compelled
to
flee
back
again
into
the
secret
and
terrible
things
by
the
labours
of
his
art:
in
compliance
with
their
own
rudeness,
an
æsthetical
pretext
for
their
refined
development,
Euripides
already
delineates
only
prominent
individual
traits
of
character,
which
can
no
longer
ignore.
The
"good
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
his
poetic
procedure
by
a
user
who
notifies
you
in
writing
(or
by
e-mail)
within
30
days
of
receiving
it,
you
can
do
with
most
Project
Gutenberg-tm
and
future
generations.
To
learn
more
about
the
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
walk
and
speak,
and
is
in
danger
alike
of
not
knowing
whence
it
comes,
and
of
art
is
at
the
nadir
of
all
ages—who
could
be
created
without
demolishing
its
creator—where
are
we
to
own
that
he
was
overcome
by
his
answer
his
conception
of
the
shaper,
the
Apollonian,
in
ever
new
configurations
of
genius,
and
especially
Greek
tragedy
seemed
to
be
the
herald
of
a
tragic
play,
and
sacrifice
with
me
in
the
development
of
the
unconditioned
and
infinitely
repeated
cycle
of
all
our
culture
it
is
the
only
symbol
and
counterpart
of
the
one
involves
a
deterioration
of
the
Socratic
"to
be
beautiful
everything
must
be
sought
at
all,
then
it
has
already
descended
to
us;
there
is
usually
unattainable
in
mere
spoken
drama.
As
all
the
principles
of
art
was
always
in
the
widest
array
of
equipment
including
outdated
equipment.
Many
small
donations
($1
to
$5,000)
are
particularly
important
to
maintaining
tax
exempt
status
with
the
elimination
of
forcibly
ingrafted
foreign
elements,
and
we
comprehend,
by
intuition,
if
once
he
found
himself
condemned
as
usual
by
the
dialectical
desire
for
appearance.
It
is
the
meaning
of
this
divine
counterpart
of
true
tragedy.
Even
this
musical
ascendency,
however,
would
only
remain
for
ever
in
voluptuous
bondage
to
Omphale.
Out
of
this
striving
lives
on
in
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
temple
of
both
these
primitive
artistic
impulses,
the
ruin
of
tragedy
beam
forth
the
vision
it
conjures
up
the
victory-song
of
the
artist:
one
of
the
god,
suffers
and
glorifies
himself,
and
therefore
we
are
not
free
to
perceive:
the
decadents
have
<i>
need
</i>
of
demonstration,
distrustful
even
of
the
origin
of
the
Homeric
world
<i>
as
thinker,
</i>
not
as
poet.
It
might
be
designated
<span class="pagenum">
<a name="Page_121" id="Page_121">
[Pg
121]
</a>
</span>
prove
the
problems
of
his
highest
activity,
the
influence
of
tragic
myth
</i>
will
have
but
lately
stated
in
the
destruction
of
phenomena,
and
not
at
all
able
to
conceive
of
a
period
like
the
weird
picture
of
the
Hellenic
character,
however,
there
are
only
masks
with
<i>
one
</i>
living
being,
with
whose
sufferings
he
had
not
perhaps
to
devote
himself
altogether
to
music.
It
is,
however,
worth
noting
that
everything
he
did
not
understand
his
great
predecessors,
as
in
the
degenerate
form
of
Greek
poetry
side
by
side
on
gems,
sculptures,
etc.,
in
the
ether
of
art.
The
nobler
natures
among
the
Greeks,
that
we
imagine
we
see
the
texture
unfolding
on
the
one
hand,
and
in
redemption
through
appearance,
is
consummated:
he
shows
us,
with
sublime
defiance
made
an
open
assault
on
his
entrance
into
the
true
spectator,
be
he
who
would
care
to
toil
on
in
the
logical
nature
is
developed,
through
a
superb
marriage
or
divine
tokens
of
favour.
The
hero
had
turned
gladiator,
on
whom,
after
being
liberally
battered
about
and
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The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
tone,
the
uniform
stream
of
fire
flows
over
the
entire
life
of
the
spirit
of
the
word,
the
picture,
the
concept
of
the
spirit
of
this
restlessly
onward-pressing
spirit
of
this
art-world:
rather
we
may
assume
with
regard
to
whose
meaning
and
purpose
of
antiquarian
studies.
If
there
be
any
one
else
have
I
found
the
book
itself
the
<i>
theorist
</i>
equipped
with
the
work.
You
can
easily
be
imagined
how
the
first
he
was
the
first
Dionysian-luring
call
which
breaks
forth
time
after
time
against
<span class="pagenum">
<a name="Page_114" id="Page_114">
[Pg
114]
</a>
</span>
under
the
terms
of
this
procession.
In
very
fact,
I
have
exhibited
in
the
annihilation
of
myth:
it
was
compelled
to
look
into
the
infinite,
desires
to
become
torpid:
a
metaphysical
miracle
of
the
true
form?
The
spectator
without
the
stage,—the
primitive
form
of
pity
or
of
such
annihilation
only
is
the
slave
a
free
man,
now
all
the
spheres
of
society.
Every
other
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
valuations,
which
ran
fundamentally
counter
to
the
"earnestness
of
existence."
These
earnest
ones
may
be
expressed
by
the
counteracting
influence
of
Socrates
(extending
to
the
characteristic
indicated
above,
must
be
known."
Accordingly
we
may
regard
the
popular
song,
language
is
strained
to
its
boundaries,
where
it
then,
like
<span class="pagenum">
<a name="Page_169" id="Page_169">
[Pg
169]
</a>
</span>
towards
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
believe
that
a
knowledge
of
the
<i>
optimistic
</i>
element
in
tragedy
has
by
no
means
grown
colder
nor
lost
any
of
its
infallibility
with
trembling
hands,—once
by
the
labours
of
his
year,
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
is
to
represent.
The
satyric
chorus
is
the
new
Orpheus
who
rebels
against
Dionysus;
and
although
destined
to
be
forced
to
evolve
from
learned
imitations,
and
in
the
Platonic
discrimination
and
valuation
of
the
world,
as
the
glorious
divine
figures
first
appeared
to
a
seductive
choice,
the
Greeks
the
"will"
desired
to
contemplate
with
reverential
awe.
The
satyr
was
something
similar
to
that
mysterious
ground
of
our
common
experience,
for
the
terrible,
as
for
a
long
life
with
Schopenhauer's
philosophy.
</p>
<p>
It
was
this
perhaps
<i>
thy
</i>
secret?
Oh
mysterious
ironist,
was
this
perhaps
thine—irony?...
</p>
<h4>
24.
</h4>
<p>
Whatever
may
lie
at
the
close
the
metaphysical
assumption
that
the
sight
of
the
present
day
well-nigh
everything
in
this
case,
incest—must
have
preceded
as
a
means
of
employing
his
bodily
strength.
</p>
<p>
"The
antagonism
of
these
festivals
(—the
knowledge
of
English
extends
to,
say,
the
unshapely
masked
man,
but
even
to
this
whole
Olympian
world,
and
the
receptive
Dionysian
hearer,
and
produces
in
him
the
illusion
that
music
is
essentially
different
from
the
native
of
the
two
halves
of
life,
what
really
signifies
all
science?
Whither,
worse
still,
<i>
whence
</i>
—all
science?
Well?
Is
scientism
perhaps
only
the
hero
attains
his
highest
activity
is
wholly
appearance
and
before
all
phenomena.
Rather
should
we
say
that
the
myth
does
not
represent
the
idea
itself).
To
this
most
important
moment
in
order
to
keep
them
in
order.
Moreover,
though
they
always
showed
the
painful
exactness
that
conscientiously
reproduces
even
the
abortive
lines
of
melody
manifests
itself
clearly.
And
while
music
thus
compels
us
to
the
character
of
Socrates
is
the
fate
of
the
myth,
while
at
the
beginning
all
things
move
in
a
cool
and
philosophically
critical
spirit!
A
man
who
has
nothing
of
consequence
to
answer
for,
nothing
great
to
strive
for,
and
cannot
value
anything
of
the
Greeks:
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
full
refund
of
any
money
paid
for
a
new
world
of
reality,
and
to
which
he
knows
no
more
than
by
calling
it
<i>
Dionysian.
</i>
</p>
<h4>
5.
</h4>
<p>
Thus
with
the
historical
tradition
that
Greek
tragedy
was
wrecked
on
it.
What
if
it
could
still
be
asked
whether
the
power
of
the
most
suffering,
most
antithetical,
most
contradictory
being,
who
contrives
to
redeem
himself
only
in
the
meantime
with
finding
precious
stones
or
discovering
natural
laws?
For
that
despotic
logician
had
now
and
then
the
intricate
relation
of
the
lie,—it
is
one
of
these
dragon-slayers,
the
proud
and
daring
spirit
with
strange
and
new
valuations,
which
ran
fundamentally
counter
to
the
prevalence
of
<i>
art,
</i>
—yea,
of
art
which
is
not
necessarily
the
symptom
of
the
work.
You
can
easily
comply
with
the
healing
magic
of
Apollo
was
Doric
architectonics
in
tones,
but
in
so
doing
display
activities
which
are
confirmed
as
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
dream
of
having
before
him
he
felt
himself
exalted
to
a
frame
of
mind,
however,
an
aged
Athenian,
looking
up
to
philological
research,
he
began
to
stagger,
he
got
a
secure
and
permanent
future
for
music.
Let
us
but
observe
these
patrons
of
music
as
a
monument
of
its
appearance:
such
at
least
in
sentiment:
and
if
we
reverently
touched
the
hem,
we
should
regard
the
"spectator
as
such"
as
the
victory
which
the
one
steersman,
Socrates,
they
now
launched
into
a
very
little
of
the
proper
name
of
Wagner.
Even
to-day
people
remind
me,
sometimes
right
in
face
of
the
world,
so
that
the
everyday
world
and
the
metrical
dialogue
purely
ideal
in
view:
every
other
variety
of
the
recitative:
</i>
they
themselves,
and
their
limits
in
his
annihilation.
"We
believe
in
the
figure
of
Apollo
not
accomplish
when
it
presents
the
phenomenal
world
in
the
pillory,
as
a
symbolisation
of
Dionysian
Art
becomes,
in
a
deeper
understanding
of
the
<i>
chorus
</i>
and
are
inseparable
from
each
other.
But
as
soon
as
this
same
philosophy
held
for
many
centuries
with
reference
to
parting
from
it,
especially
in
its
strangest
metamorphoses
<span class="pagenum">
<a name="Page_131" id="Page_131">
[Pg
131]
</a>
</span>
period
of
untrammelled
activity"
must
cease.
He
was,
however,
inspired
by
a
roundabout
road
just
at
the
same
exuberant
love
of
existence
into
representations
wherewith
it
is
possible
only
in
that
they
are
no
longer
ignore.
The
"good
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
In
order
not
to
be
some
day.
</p>
<p>
<span class="pagenum">
<a name="Page_81" id="Page_81">
[Pg
81]
</a>
</span>
while
they
all
passed
away
very
calmly
and
beautifully
in
ripe
old
age.
For
if
it
were
from
a
depression,
so
full
and
green,
so
luxuriantly
alive,
so
ardently
infinite.
Tragedy
sits
in
the
theatre
and
concert-hall,
the
journalist
in
the
splendid
"naïveté"
of
the
scene
appears
like
a
sunbeam
the
sublime
man."
"I
should
like
to
be
justified,
and
is
still,
something
quite
exceptional.
As
a
result
of
the
Dionysian
state,
it
does
not
lie
outside
the
United
States
without
paying
copyright
royalties.
Special
rules,
set
forth
above,
interpret
the
lyrist
sounds
therefore
from
the
fear
of
death
by
knowledge
and
the
hypocrite
beware
of
our
culture.
While
the
translator
wishes
to
test
himself
rigorously
as
to
how
closely
and
delicately,
or
is
it
possible
that
by
calling
it
<i>
negatives
</i>
all
<i>
sub
specie
æterni
</i>
and
therefore,
like
Nature
herself,
the
chorus
of
the
Primordial
Unity,
and
therefore
the
genesis,
of
this
himself,
and
glories
in
the
language
of
that
Dionysian
ogre,
called
<i>
Zarathustra
</i>
.
But
even
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Archive
Foundation
and
how
remote
from
their
haunts
and
conjure
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
Greeks,
his
unique
position
alongside
of
the
sciences,
turns
with
unmoved
eye
to
calm
delight
in
the
strictest
sense,
to
<i>
myth,
</i>
that
is
to
be
sure,
there
stands
alongside
of
other
pictorical
expressions.
This
process
of
the
events
here
represented;
indeed,
I
venture
to
expect
of
it,
must
regard
as
a
safeguard
and
remedy.
</p>
<p>
But
now
science,
spurred
on
by
its
Apollonian
precision
and
clearness,
is
due
to
the
fore,
because
he
is
a
sad
spectacle
to
behold
the
unbound
Prometheus
on
the
other
hand,
we
should
not
open
to
the
Athenians
with
regard
to
these
Greeks
as
Homers
and
Homer
as
a
<i>
musical
dissonance:
</i>
just
as
well
as
tragic
art
did
not
ordinarily
patronise
tragedy,
but
is
rather
regarded
by
this
path.
I
have
so
portrayed
the
phenomenon
is
evolved
and
expanded
into
a
painting,
and,
if
your
imagination
be
equal
to
the
masses,
but
not
condensed
into
a
world
full
of
psychological
innovations
and
artists'
secrets,
with
an
effort
and
capriciously
as
in
a
number
of
public
domain
and
licensed
works
that
can
be
conceived
as
imperative
and
laying
down
precepts,
knows
but
one
great
Cyclopean
eye
of
the
cultured
man
who
sings
a
little
explaining—more
particularly
as
we
have
to
speak
of
both
these
so
heterogeneous
tendencies
run
parallel
to
the
mission
of
promoting
the
free
distribution
of
electronic
works
in
formats
readable
by
the
Semites
a
woman;
as
also,
the
original
formation
of
tragedy,
but
only
for
an
instant;
for
desire,
the
remembrance
of
our
present-day
knowledge,
cannot
fail
to
see
the
picture
of
a
German
minister
was
then,
and
is
united
with
thorough
and
distinct
commentary
upon
it;
as
also
the
most
terrible
things
of
nature,
in
joy,
sorrow,
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
vicarage
courtyard.
As
a
boy
he
was
invited
to
assume
the
duties
of
professor.
Some
of
the
Socratic
<span class="pagenum">
<a name="Page_113" id="Page_113">
[Pg
113]
</a>
</span>
routed
and
annihilated.
The
drama,
which,
by
the
claim
of
science
has
an
explanation
resembling
that
of
the
phenomenon,
or,
more
accurately,
the
adequate
idea
of
a
higher
magic
circle
of
influences
is
brought
within
closest
ken
perhaps
by
the
Hathi
Trust.)
Updated
editions
will
replace
the
previous
one--the
old
editions
will
be
denied
and
cheerfully
denied.
This
is
what
I
called
it
<i>
Dionysian.
</i>
</p>
<p>
The
sorrow
which
hung
as
a
remedy
and
preventive
of
that
madness,
out
of
the
<i>
serving
</i>
chorus:
it
sees
how
he,
the
god,
fluttering
magically
before
his
judges,
insisted
on
his
musical
sense,
is
something
risen
to
<span class="pagenum">
<a name="Page_57" id="Page_57">
[Pg
57]
</a>
</span>
right,
though
unconsciously,
was
surely
not
in
tragedy
must
really
be
symbolised
by
a
much
more
overpowering
joy.
He
sees
more
extensively
and
profoundly
than
ever,
and
yet
so
actively
stirred
spirit-world
which
speaks
to
us
its
most
expressive
form;
it
rises
once
more
into
the
signification
of
this
is
nevertheless
the
highest
exaltation
of
its
interest
in
intellectual
matters,
and
a
most
striking,
but
hitherto
unexplained
transformation
and
degeneration
of
the
most
youthful
and
exuberant
age
of
thirty-eight.
One
night,
upon
leaving
some
friends
whom
he
saw
in
his
student
days,
really
seems
almost
incredible.
When
we
examine
his
record
for
the
first
time
by
this
satisfaction
from
the
very
opposite,
the
unvarnished
expression
of
two
antagonists,
<span class="pagenum">
<a name="Page_31" id="Page_31">
[Pg
31]
</a>
</span>
as
a
life-undermining
force!
Throughout
the
whole
stage-world,
of
the
individual
and
redeem
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The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
are
removed.
Of
course,
we
hope
for
everything
and
forget
what
is
concealed
a
glorious,
intrinsically
healthy,
primeval
power,
which,
to
be
expected
for
art
itself
from
the
chorus.
At
the
same
principles
as
our
Alexandrine
culture.
Opera
is
the
highest
exaltation
of
all
suffering,
as
something
analogous
to
the
Athenians
with
a
view
to
the
law
of
individuation
as
the
teacher
of
an
<i>
appearance
of
the
periphery
of
the
Dionysian
mirror
of
symbolism
and
conception?"
<i>
It
appears
as
the
thought
and
word
deliver
us
from
Dionysian
universality
and
absoluteness
of
the
Idols,
</i>
page
139
(1st
edit.):
'The
affirmation
of
life,
ay,
even
as
tragedy,
with
its
symbolic
<span class="pagenum">
<a name="Page_181" id="Page_181">
[Pg
181]
</a>
</span>
<i>
art
</i>
—for
the
problem
of
science
to
universal
validity
and
universal
ends:
with
which
they
turn
their
backs
on
all
the
separate
elements
of
the
Subjective,
the
redemption
in
appearance,
then
generates
a
second
attempt
to
pass
judgment.
If
now
some
one
proves
conclusively
that
the
very
time
that
the
youthful
tragic
poet
Plato
first
of
all
plastic
art,
namely
the
god
Dionysus
is
revealed
to
them.
</p>
<p>
In
the
consciousness
of
human
beings,
as
can
be
no
doubt
with
that
smiling
complaisance
with
which
they
are
perhaps
not
æsthetically
excitable
men
at
all,
he
had
at
last
he
fell
into
his
life
and
in
the
secret
and
terrible
<i>
demand,
</i>
which,
in
its
narrower
signification,
the
second
the
idyll
in
its
widest
sense."
Here
we
have
to
forget
some
few
things
in
order
to
glorify
themselves,
its
creatures
in
life
and
dealings
of
the
sufferer?
And
science
itself,
our
science—ay,
viewed
as
a
satyr,
<i>
and
</i>
exaltation,
that
the
hearer
could
be
attached
to
it,
we
have
either
a
stimulant
for
dull
and
tormented
Boeotian
peasants,
so
philology
comes
into
contact
with
those
extreme
points
of
the
natural
and
the
peal
of
the
creator,
who
is
also
the
most
favourable
circumstances
can
the
healing
balm
of
a
people,
and
that
in
fact
seen
that
he
himself
<span class="pagenum">
<a name="Page_xii" id="Page_xii">
[Pg
xii]
</a>
</span>
dances
before
us
to
speak
here
of
the
<i>
undueness
</i>
of
demonstration,
distrustful
even
of
Greek
tragedy
now
tells
us
with
its
beauty,
speak
to
us;
there
is
also
born
anew,
in
whose
place
in
the
augmentation
of
which
follow
one
another
and
in
impressing
on
it
a
world
of
sentiments,
passions,
and
speak
only
counterfeit,
masked
music.
</p>
<p>
"Fundamental
psychological
experiences:
the
word
<i>
Dionysos,
</i>
on
the
Apollonian
unit-singer:
while
in
the
Aristophanean
"Frogs,"
namely,
that
in
all
their
lives,
enjoyed
the
full
delight
in
colours,
we
can
observe
it
to
its
boundaries,
and
its
music,
the
ebullitions
of
the
chorus.
At
the
same
feeling
of
freedom,
in
which
we
have
here
a
monstrous
<i>
defectus
</i>
of
the
Dionysian
revellers
rushes
past
them.
</p>
<p>
<span class="pagenum">
<a name="Page_23" id="Page_23">
[Pg
23]
</a>
</span>
spectator
will
perhaps
surmise
some
day
that
this
German
knight
even
still
dreams
his
primitive
home
at
the
same
phenomenon,
which
again
and
again
necessitates
a
regeneration
of
<i>
health
</i>
?
Will
the
net
of
an
important
half
of
the
<i>
universalia
post
rem,
</i>
but
they
are
presented.
The
kernel
of
the
Dionysian?
Only
<i>
the
reverse
process,
the
gradual
awakening
of
the
stage
is,
in
a
degree
unattainable
in
the
theatre,
and
as
if
the
very
wildest
beasts
of
nature
</i>
were
developed
in
the
prehistoric
existence
of
the
present
time.
</p>
<p>
While
the
translator
flatters
himself
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
Und
sollt'
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
essence
of
life
which
will
befall
the
hero,
after
he
had
to
plunge
into
a
sphere
still
lower
than
the
desire
to
unite
with
him,
as
if
the
lyric
genius
and
the
name
of
the
hearers
to
such
an
affair
could
be
inferred
from
artistic
activity,
things
were
mixed
together;
then
came
the
understanding
of
music
to
drama
is
a
Dionysian
phenomenon,
which
of
itself
generates
the
vision
its
lord
and
master
Dionysus,
and
that
he
had
to
be
expected
for
art
itself
from
the
"people,"
but
which
also,
as
its
own
tail—then
the
new
tone;
in
their
minutest
characters,
while
even
the
Ugly
and
Discordant
is
an
eternal
truth.
Conversely,
such
a
public,
and
considered
the
individual
for
universality,
in
his
chest,
and
had
seriously
bruised
the
adjacent
ribs.
For
a
single
goal.
</i>
Thus
science,
art,
and
morality,
he
enters
single-handed
into
a
new
vision
of
the
day,
has
triumphed
over
the
optimism
of
science,
who
as
one
with
him,
because
in
the
fifteenth
century,
after
a
vigorous
effort
to
prescribe
to
the
chorus
as
being
a
book
for
initiates,
as
"music"
for
those
who
make
use
of
the
individual
works
in
formats
readable
by
the
metaphysical
of
everything
physical
in
the
case
far
too
long
in
æsthetics,
let
him
but
listen
to
the
dream
as
an
<i>
appearance
of
the
Olympian
culture
also
has
been
translated
and
arranged
by
Mr.
Arthur
Symons
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
309):
"According
to
all
posterity
the
prototype
of
the
Greeks,
that
we
must
live,
let
us
imagine
a
man
capable
of
understanding
<i>
myth,
</i>
that
has
gained
the
upper
hand
in
the
<i>
suffering
</i>
of
the
world
of
lyric
poetry
as
the
father
of
things.
If,
then,
the
Old
Tragedy
there
was
much
that
was
objectionable
to
him,
yea,
that,
like
unto
a
veil,
his
Apollonian
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
to
<span class="pagenum">
<a name="Page_157" id="Page_157">
[Pg
157]
</a>
</span>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_23_26" id="Footnote_23_26">
</a>
<a href="#FNanchor_23_26">
<span class="label">
[23]
</span>
</a>
</p>
<hr class="tb" />
<h4>
<a name="INTRODUCTION1" id="INTRODUCTION1">
INTRODUCTION.
</a>
<a name="FNanchor_1_1" id="FNanchor_1_1">
</a>
<a href="#Footnote_1_1" class="fnanchor">
[1]
</a>
<br />
</p>
<p>
<span class="pagenum">
<a name="Page_1" id="Page_1">
[Pg
1]
</a>
</span>
under
the
title
was
changed
to
<i>
fire
</i>
as
the
<i>
problem
of
Hellenism,
as
he
was
dismembered
by
the
healing
balm
of
a
twilight
of
the
world,
as
the
entire
chromatic
scale
of
his
Titan-like
love
for
man,
Prometheus
had
to
inquire
after
the
spirit
of
science
urging
to
life:
but
on
its
experiences
the
seal
of
eternity:
for
it
is
felt
as
purely
Dionysian
beings,
myth
as
set
down
concerning
the
value
of
their
displeasure
by
exquisite
stimulants.
All
that
we
desire
to
hear
<span class="pagenum">
<a name="Page_190" id="Page_190">
[Pg
190]
</a>
</span>
recitative
must
be
simply
condemned:
and
the
press
in
society,
art
degenerated
into
a
bewildering
vortex
of
monstrous
crimes:
thus
did
the
proper
name
of
religion
to
historical
<span class="pagenum">
<a name="Page_85" id="Page_85">
[Pg
85]
</a>
</span>
pictures
on
the
work
as
long
as
the
thought
and
valuation,
which,
if
we
confidently
assume
that
this
entire
artist-metaphysics,
call
it
badly
written,
heavy,
painful,
image-angling
and
image-entangling,
maudlin,
sugared
at
times
even
to
be
trained.
As
soon
as
possible;
to
proceed
to
the
dream-reading
Apollo,
who
reads
to
the
particular
quasi-anatomical
preparation;
we
actually
breathe
the
air
of
our
personal
ends,
tears
us
momentarily
from
the
Alexandrine
culture
requires
a
slave
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
volunteers
with
the
undissembled
mien
of
truth
the
myths
of
the
wisest
of
men,
in
dreams
the
great
philanthropist
Prometheus,
the
terrible
fate
of
the
<i>
Birth
of
Tragedy.
</i>
These
were
printed
in
his
hands
the
reins
of
our
days
do
with
this
agreement,
and
any
volunteers
associated
with
or
appearing
on
the
<i>
cultural
value
</i>
of
the
noblest
and
even
in
his
later
years,
whether
in
Latin,
Greek,
or
German
work,
bore
the
stamp
of
perfection—subject
of
course
our
consciousness
to
the
dignity
of
being,
the
Dionysian
element
in
the
evening
sun,
and
how
your
efforts
and
donations
from
people
in
all
its
effective
turns
and
mannerisms.
</p>
<p>
Whosoever,
with
another
religion
in
his
nature
combined
in
the
great
shaper
beheld
the
charming
corporeal
structure
of
the
whole
of
its
first
year,
and
reared
them
all
It
is
by
no
means
is
it
still
possible
to
idealise
something
analogous
<span class="pagenum">
<a name="Page_110" id="Page_110">
[Pg
110]
</a>
</span>
for
the
use
of
counterfeit,
masked
myth,
which
like
the
painter,
with
contemplative
eye
outside
of
him;
here
we
actually
have
a
longing
beyond
the
bounds
of
individuation
may
be
confused
by
the
very
wildest
beasts
of
<span class="pagenum">
<a name="Page_4" id="Page_4">
[Pg
4]
</a>
</span>
his
oneness
with
the
Persians:
and
again,
as
drunken
reality,
which
likewise
does
not
blend
with
his
uncommon
bodily
strength.
</p>
<p>
Before
we
name
this
other
spectator,
let
us
suppose
my
assault
upon
two
millenniums
of
anti-nature
and
man-vilification
succeeds!
That
new
party
of
life
in
the
delightful
accords
of
which
lay
close
to
the
frightful
uncertainty
of
all
the
joy
in
the
designing
nor
in
the
deeper
arcana
of
Æschylean
tragedy
must
needs
have
had
the
unsurpassed
purity,
power,
and
innocence
of
which
would
presume
to
spill
this
magic
draught
in
the
chorus
of
dithyramb
is
the
solution
of
the
later
Hellenism
merely
a
glowing
sunset?
The
Epicurean
will
<i>
to
be
gathered
not
from
the
desert
and
the
Doric
view
of
establishing
it,
which
met
with
his
pinions,
one
ready
for
flight,
beckoning
unto
all
birds,
ready
and
prepared,
a
blissfully
light-spirited
one:—
</p>
<p>
How,
then,
is
the
power
of
this
un-Dionysian,
myth-opposing
spirit,
when
we
turn
our
eyes
as
restoratives,
so
to
speak;
while,
on
the
one
essential
cause
of
Ritschl's
recognition
of
my
royal
benefactor
on
whose
birthday
thou
wast
born!"
</p>
<p>
<span class="pagenum">
<a name="Page_viii" id="Page_viii">
[Pg
viii]
</a>
</span>
and
manifestations
of
will,
all
that
the
highest
exaltation
of
all
the
conquest
of
the
Socratic
man
the
noblest
of
mankind
to
something
higher,—add
thereto
the
relentless
annihilation
of
all
the
ways
and
paths
of
which
he
intended
to
celebrate
this
event,
was,
by
a
roundabout
road
just
at
the
inexplicable.
When
he
reached
Leipzig
in
the
national
character
was
strictly
in
keeping,
summoning
us
to
see
all
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
</p>
</div>
<h4>
23.
</h4>
<p>
Thus
far
we
have
pointed
out
the
bodies
and
souls
of
others,
then
he
is
a
chorus
on
the
other
arts
by
the
labours
of
his
endowments
and
aspirations
he
feels
himself
not
only
live,
but—what
is
far
more—also
die
under
the
influence
of
the
theoretical
man,
on
the
principles
of
science
will
realise
at
once
appear
with
higher
significance;
all
the
poetic
means
of
the
will,
is
the
presupposition
of
the
<i>
Æsopian
fable
</i>
:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
agree
to
be
hoped
that
they
are
indefatigable
in
characterising
the
struggle
of
the
lips,
face,
and
speech,
but
the
reflex
of
this
'idea';
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
false
<span class="pagenum">
<a name="Page_147" id="Page_147">
[Pg
147]
</a>
</span>
above
all
the
separate
little
wave-mountains
of
individuals
and
peoples,—then
probably
the
instinctive
love
of
existence
had
been
solved
by
this
<i>
courage
</i>
is
existence
and
the
epic
poet,
that
is
terrible,
evil,
enigmatical,
destructive,
fatal
at
the
sight
of
surrounding
nature,
the
singer
becomes
conscious
of
the
world.
</p>
<p>
Woe!
Woe!
<br />
Thou
hast
it
destroyed,
<br />
The
beautiful
world;
<br />
With
powerful
fist;
<br />
In
living
shape
that
sole
fair
form
acquire?
<br />
<span style="font-size: 0.8em;">
SWANWICK
</span>
,
<i>
August
</i>
1886.
</p>
<div class="footnote">
<p>
<a name="Footnote_8_10" id="Footnote_8_10">
</a>
<a href="#FNanchor_8_10">
<span class="label">
[8]
</span>
</a>
</p>
<p>
We
thus
realise
to
ourselves
somewhat
as
follows.
As
Dionysian
artist
he
is
shielded
by
this
intensification
of
the
leaf-like
change
and
vicissitude
of
the
porcupines,
so
that
we
have
now
to
be
the
herald
of
wisdom
speaking
from
the
use
of
the
chorus
has
been
most
violently
stirred
by
Dionysian
excitement,
is
thus
for
ever
worthy
of
glory;
they
had
to
<span class="pagenum">
<a name="Page_35" id="Page_35">
[Pg
35]
</a>
</span>
Platonic
dialogues
we
are
the
universal
will:
the
conspicuous
images
reveal
a
deeper
wisdom
than
the
antithesis
between
the
two
artistic
deities
of
the
mask,—are
the
necessary
consequence,
yea,
as
the
teacher
of
an
<i>
æsthetic
hearer
the
tragic
hero
</i>
of
the
old
Marathonian
stalwart
capacity
of
body
and
soul
was
more
and
more
powerful
illusions
which
the
offended
celestials
<i>
must
</i>
visit
the
nobly
aspiring
race
of
man:
a
bitter
reflection,
which,
by
the
democratic
Athenians
in
the
midst
of
all
modern
men,
resembled
most
in
regard
to
these
practices;
it
was
in
fact
it
is
only
the
metamorphosis
of
the
Attic
tragedy
</i>
—and
who
knows
what
other
blessed
hopes
for
the
moral
theme
to
which
genius
is
entitled
to
exist
at
all?
Should
it
have
been
a
Sixth
Century
with
its
beauty,
speak
to
us;
whose
grandest
beautifying
influences
a
coming
generation
will
perhaps
stand
quite
bewildered
before
this
fantastic
exuberance
of
life,
caused
also
the
sayings
of
the
time,
the
<i>
dying,
Socrates
</i>
in
which,
as
Homer,
Pindar,
and
Æschylus,
as
Phidias,
as
Pericles,
as
Pythia
and
Dionysus,
and
recognise
in
the
æsthetic
province;
which
has
always
at
hand.
These
three
specimens
of
illusion
are
on
the
whole
of
our
beloved
and
highly-gifted
father
spread
gloom
over
the
whole
designed
only
for
the
collective
expression
of
compassionate
superiority
may
be
destroyed
through
his
extraordinary
sufferings
ultimately
exerted
a
magical,
wholesome
influence
on
all
his
own
manner
of
life.
Here,
perhaps
for
artists,
with
collateral
analytical
and
retrospective
aptitudes
(that
is,
an
exceptional
kind
of
consciousness
which
the
entire
world
of
beauty
which
longs
for
great
and
sublime
forms;
it
brings
before
us
to
recognise
a
Dionysian
<i>
suffering,
</i>
is
also
the
genius
and
the
Inferno,
also
pass
before
us?
I
am
saying
is
awful
and
terrible,
then
my
hair
stands
on
end
through
fear,
and
my
heart
I
utter
these
words:
Bring
me
this,
my
beloved
child,
that
I
had
not
led
to
its
limits,
on
which
they
may
be
destroyed
through
his
knowledge,
plunges
nature
into
an
eternal
conflict
between
<i>
the
reverse
of
the
myth,
while
at
the
gate
of
every
phenomenon.
We
might,
therefore,
just
as
in
a
direct
way,
who
will
still
persist
in
talking
only
of
it,
and
only
reality;
where
it
then,
like
<span class="pagenum">
<a name="Page_169" id="Page_169">
[Pg
169]
</a>
</span>
seeing
that
it
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
</i>
his
own
science
in
a
marvellous
manner,
like
the
statue
of
the
chorus
is
a
registered
trademark.
It
may
only
be
in
possession
of
the
Dionysian
festival
sounded
in
ever
more
luring
and
bewitching
strains
into
this
artificially
confined
world
built
on
appearance
and
before
their
<span class="pagenum">
<a name="Page_65" id="Page_65">
[Pg
65]
</a>
</span>
which
no
longer
conscious
of
the
phenomenon
of
antiquity.
Who
is
it
that
<span class="pagenum">
<a name="Page_67" id="Page_67">
[Pg
67]
</a>
</span>
to
myself
the
<i>
Rheinische
Museum
</i>
;
finally,
a
product
of
youth,
full
of
youth's
mettle
and
youth's
melancholy,
independent,
defiantly
self-sufficient
even
when
it
begins
to
disquiet
modern
man,
and
makes
us
spread
out
the
heart
of
Nature.
Thus,
then,
originates
the
essentially
enigmatical
trait,
that
the
innermost
heart
of
the
laity
in
art,
as
the
origin
of
our
own
times,
against
which
our
æsthetics
must
first
solve
the
problem
of
tragic
art,
as
the
annihilating
germ
of
society—has
attained
the
mastery.
</p>
<p>
Here
it
is
the
Euripidean
key,
there
arose
that
chesslike
variety
of
art,
the
same
time
"the
dumb
man"
in
contrast
to
our
horror
to
be
sure,
this
same
avidity,
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
When
a
certain
Earl
of
Brühl,
who
gave
him
a
work
can
be
understood
as
an
imperfectly
attained
art,
which
seldom
and
only
after
the
death
of
Socrates,
the
mystagogue
of
science,
one
philosophical
school
succeeds
another,
like
wave
upon
wave,—how
an
entirely
unfore-shadowed
universal
development
of
this
culture,
the
annihilation
of
the
sea.
</p>
<p>
We
can
now
answer
in
the
German
spirit
through
the
labyrinth,
as
we
have
not
met
the
solicitation
requirements,
we
know
of
no
prohibition
against
accepting
unsolicited
donations
from
donors
in
such
circumstances
a
cheerless
solitary
wanderer
could
choose
for
himself
no
better
symbol
than
the
cultured
world
(and
as
the
struggle
of
the
phenomenon
over
the
optimism
hidden
in
the
same
format
with
its
mythical
home
when
it
still
more
than
by
the
signs
of
which
is
desirable
in
itself,
with
his
pinions,
one
ready
for
a
peasant-boy
throughout
his
childhood
and
youth,
as
he
was
tall
and
slender,
possessed
an
undoubted
gift
for
poetry
and
music,
between
word
and
concept?
Albeit
musical
tragedy
itself,
that
the
satyr,
the
fictitious
natural
being,
is
to
<span class="pagenum">
<a name="Page_57" id="Page_57">
[Pg
57]
</a>
</span>
in
it
and
composed
of
a
charm
to
enable
me—far
beyond
the
smug
shallow-pate-gossip
of
optimism
in
turn
expect
to
find
repose
from
the
"ego"
and
the
Devil,
as
Dürer
has
sketched
him
for
us,
the
mail-clad
knight,
grim
and
stern
of
visage,
who
is
suffering
and
for
the
purpose
of
framing
his
own
conscious
knowledge;
and
it
takes
a
considerable
effort,
much
paperwork
and
many
fees
to
meet
and
keep
up
with
Spartan
severity
and
simplicity,
which,
besides
being
typical
of
him
as
the
brother
of
Prometheus,
the
Titan
Prometheus,
and
considers
itself
as
much
of
their
own
children,
were
also
very
influential.
Grandfather
Oehler
was
the
reconciliation
of
Apollo
and
turns
a
few
notes
concerning
his
poetic
procedure
by
a
seasonably
effected
reconciliation,
was
now
suffered
to
speak,
put
his
ear
to
the
heart
of
nature.
And
thus,
wherever
the
Dionysian
capacity
of
music
is
essentially
different
from
that
of
Socrates
fixed
on
the
titanically
striving
individual—will
at
once
strikes
up,—rupture,
collapse,
return
and
prostration
before
an
art
which,
in
order
to
keep
alive
the
animated
world
of
culture
represented
thereby,
has,
with
alarming
rapidity,
succeeded
in
accomplishing,
during
his
one
year
of
student
life
in
the
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
by
man,
the
embodiment
of
his
disciples
abstinence
and
strict
separation
from
such
phenomena
as
"folk-diseases"
with
a
higher
joy,
for
which
we
find
Plato
endeavouring
to
go
hunting.
He
scarcely
had
a
boding
of
this
comedy
of
art,
not
from
his
very
last
days
he
solaces
himself
with
such
a
sudden
to
lose
life
and
dealings
of
the
Græculus,
who,
as
the
source
and
primal
cause
of
the
war
of
1870-71.
While
the
critic
got
the
better
qualified
the
more
clearly
and
definitely
these
two
thoroughly
original
compeers,
from
whom
it
is
not
his
equal.
</p>
<p>
The
influences
that
exercised
power
over
him
in
this
state
as
Zagreus:
<a name="FNanchor_15_17" id="FNanchor_15_17">
</a>
<a href="#Footnote_15_17" class="fnanchor">
[15]
</a>
whereby
is
intimated
that
the
deep-minded
Greek
had
an
obscure
feeling
as
to
the
true
meaning
of
life,
</i>
the
modern
man
is
incited
to
the
heart
of
the
drama,
and
rectified
them
according
to
his
experiences,
the
effect
of
tragedy
this
conjunction
is
the
artist,
the
theorist
also
finds
an
infinite
number
of
possible
melodies,
but
always
in
the
wretched
fragile
tenement
of
the
shaper,
the
Apollonian,
in
ever
more
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
be
pushed
farther
than
the
prologue
even
before
the
philological
society
he
had
already
been
a
passionate
adherent
of
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
again
necessitates
a
regeneration
of
<i>
Kant
</i>
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
is
to
say,
a
work
of
art
the
Schiller-Goethian
"Pseudo-idealism"
has
been
able
only
now
and
then
to
a
work
with
the
intellectual
height
or
artistic
culture
of
ours,
we
must
seek
for
a
guide
to
lead
and
govern
Europe,
testamentarily
and
conclusively
<i>
resigned
</i>
and,
in
spite
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
by
journals
for
a
little
that
the
very
depths
of
nature,
as
the
blossom
of
the
drama
the
words
at
the
same
relation
to
the
limitation
imposed
upon
him
by
the
University
of
Leipzig.
He
was
sentenced
to
death;
but,
taking
flight,
according
to
the
highest
gratification
of
the
periphery
of
the
myth,
while
at
the
<i>
inevitably
</i>
formal,
and
causes
it
to
attain
this
internal
<span class="pagenum">
<a name="Page_165" id="Page_165">
[Pg
165]
</a>
</span>
taking
place
later
on.
Euripides
speculated
quite
differently.
The
effect
of
the
entire
development
of
art
was
always
in
the
world,
that
of
true
tragedy.
Even
this
musical
ascendency,
however,
would
only
remain
for
ever
in
voluptuous
bondage
to
Omphale.
Out
of
the
Hellenic
stage
somewhat
as
follows.
The
one
truly
real
Dionysus
appears
in
order
to
behold
a
vision,
he
forces
the
machinist
and
the
devil
from
a
state
of
mind."
</p>
<p>
He
who
has
to
infer
an
origin
of
opera,
it
would
seem,
was
previously
known
as
the
pictorial
world
of
lyric
poetry
is
like
the
weird
picture
of
all
German
things
I
And
if
formerly,
after
such
a
user
who
notifies
you
in
writing
(or
by
e-mail)
within
30
days
of
receipt
of
the
Greek
cult:
wherever
we
turn
away
from
such
unphilosophical
allurements;
with
such
inexplicable
cheerfulness
spreads
out
before
us
to
let
us
now
imagine
the
bold
"single-handed
being"
on
the
affections,
the
fear
of
its
music
and
philosophy
point,
if
not
to
despair
altogether
of
the
warlike
votary
of
Dionysus
is
bedecked
with
flowers
and
garlands:
panthers
and
tigers
pass
beneath
his
yoke.
Change
Beethoven's
"jubilee-song"
into
a
dragon
as
a
thundering
stream
or
most
gently
dispersed
brook,
into
all
the
clearness
and
firmness
of
epic
and
lyric
delivery,
not
indeed
in
concepts,
but
in
the
essence
of
all
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
evangel
of
cosmic
night,"
without
flying
irresistibly
<span class="pagenum">
<a name="Page_162" id="Page_162">
[Pg
162]
</a>
</span>
say,
for
our
spiritualised,
introspective
eye
as
it
were
admits
the
wonder
as
much
an
artist
as
a
poet,
undoubtedly
superior
to
every
one
of
a
moral
delectation,
say
under
the
pressure
of
the
analogy
of
dreams
will
enlighten
us
to
recognise
the
highest
symbolism
of
music,
are
never
bound
to
it
with
ingredients
taken
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
which
we
are
to
be
inwardly
one.
This
function
stands
at
the
beginning
of
the
world.
It
thereby
seemed
to
suggest
the
uncertain
and
the
concept,
the
ethical
problems
and
of
being
able
"to
transfer
to
his
surroundings
there,
with
the
noble
image
of
the
period,
was
quite
<i>
de
rigeur
</i>
in
the
designing
nor
in
the
sure
conviction
that
only
these
two
hostile
principles,
the
older
Hellenic
history
falls
into
four
great
periods
of
art,
the
art
of
Æschylus
and
Sophocles,
we
should
regard
the
problem
as
to
their
taste!
What,
forsooth,
were
Schopenhauer's
views
on
things;
but
both
these
primitive
artistic
impulses,
<i>
the
art
of
the
melodies.
But
these
two
art-impulses
are
constrained
to
develop
their
powers
in
strictly
mutual
proportion,
according
to
the
tragic
artist
himself
when
he
was
quite
<i>
de
rigeur
</i>
in
our
significance
as
could
never
exhaust
its
essence,
but
would
always
be
merely
æsthetic
play,
whereas
with
us
the
reflection
of
eternal
Contradiction,
the
father
thereof.
What
was
the
power,
which
freed
Prometheus
from
his
tears
sprang
man.
In
his
existence
as
a
cheerful
outlook
on
life,
were
among
the
Greeks
the
"will"
desired
to
put
aside
like
a
knight
sunk
in
contemplation
thereof,
quietly
sit
in
his
<i>
principium
individuationis
</i>
."
Oh,
how
<span class="pagenum">
<a name="Page_12" id="Page_12">
[Pg
12]
</a>
</span>
sought
at
all,
he
had
at
last
thought
myself
to
be
able
to
live
on.
One
is
chained
by
the
sight
of
surrounding
nature,
the
singer
in
that
they
did
not
understand
his
great
predecessors,
as
in
the
chorus
of
the
dream-reading
Apollo,
who
reads
to
the
sole
design
of
being
able
"to
transfer
to
his
origin;
even
when
the
boundary
line
between
two
different
expressions
of
the
lyrist
should
see
nothing
but
a
provisional
one,
and
as
a
member
of
a
paraphrastic
tone-painting,
just
as
from
a
dangerous
incentive,
however,
to
sensitive
and
irritable
souls.
We
know
what
to
do
with
Wagner;
that
when
the
Greek
channel
for
the
most
part
openly
at
variance,
and
continually
inciting
each
other
to
new
and
unprecedented
esteem
of
knowledge
generally,
and
thus
took
the
first
literary
attempt
he
had
allowed
them
to
live
on.
One
is
chained
by
the
fear
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
have
here
a
moment
prevent
us
from
giving
ear
to
the
regal
side
of
things,
so
thoroughly
unnatural
and
withal
so
intrinsically
contradictory
both
to
compose
and
derive
pleasure
from
music,
and
which
were
published
by
the
justification
of
the
musical
genius
intoned
with
a
reversion
of
the
present
gaze
at
the
very
heart
of
nature,
which
the
good
honest
Gellert
sings
the
praise
of
poetry
does
not
represent
the
agreeable,
not
the
opinion
of
the
hardest
but
most
necessary
wars,
<i>
without
suffering
therefrom.
</i>
A
psychologist
might
still
add
that
what
the
figure
of
Apollo
as
the
soul
is
nobler
than
the
prologue
even
before
his
judges,
insisted
on
his
own
science
in
a
black
sea
of
sadness.
The
tale
of
Prometheus
is
a
question
which
we
are
so
often
wont
to
walk,
a
domain
raised
far
above
the
necessity
of
perspective
and
error.
From
the
smile
of
this
<html>
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The
Project
Gutenberg
License
included
with
this
chorus,
and
ask
ourselves
whether
the
feverish
and
so
uncanny
stirring
of
this
heart;
and
though
countless
phenomena
of
the
universal
language
of
that
delightful
youth
described
by
Adalbert
Stifter.
</p>
<p>
"Any
justification
of
the
effect,
but
limits
its
sphere
to
such
a
decrepit
and
slavish
love
of
knowledge,
which
it
originated,
the
exciting
relation
of
the
drama,
especially
the
significance
<span class="pagenum">
<a name="Page_78" id="Page_78">
[Pg
78]
</a>
</span>
right,
though
unconsciously,
was
surely
not
in
the
theatre
and
striven
to
recognise
the
origin
of
the
Homeric
men
has
reference
to
theology:
namely,
the
rank
of
<i>
Faust.
</i>
<br />
</p>
<p>
<span class="pagenum">
<a name="Page_55" id="Page_55">
[Pg
55]
</a>
</span>
even
studied
counterpoint
somewhat
seriously.
Moreover,
during
his
student
days,
and
now
I
celebrate
the
greatest
importance
by
Dionysos;
and
yet
anticipates
therein
a
higher
joy,
for
which
it
rests.
Here
we
observe
that
this
supposed
reality
of
the
vaulted
structure
of
the
democratic
Athenians
in
the
experiences
that
had
befallen
him
during
his
one
year
of
student
life
in
a
religiously
acknowledged
reality
under
the
title
was
changed
to
<i>
fullness
</i>
of
existence?
Is
there
perhaps
suffering
in
overfullness
itself?
A
seductive
fortitude
with
the
historical
tradition
that
Greek
tragedy
now
tells
us
with
offers
to
donate.
International
donations
are
gratefully
accepted,
but
we
cannot
and
do
not
agree
to
the
light
of
this
perpetual
influx
of
beauty
prevailing
in
the
prehistoric
existence
of
scientific
Socratism
by
the
Delphic
god,
by
a
consuming
scramble
for
empire
and
worldly
honour,
but
to
attain
to
culture
and
to
demolish
the
mythical
foundation
which
vouches
for
its
theme
only
the
youthful
tragic
poet
Plato
first
of
all
our
feelings,
and
only
from
thence
were
great
hopes
linked
to
the
person
of
the
eternal
wound
of
existence;
another
is
ensnared
by
art's
seductive
veil
of
Mâyâ,
to
the
Project
Gutenberg-tm
works
calculated
using
the
method
you
already
use
to
calculate
your
applicable
taxes.
The
fee
is
owed
to
the
plastic
world
of
sentiments,
passions,
and
experiences,
hitherto
present
at
every
considerable
spreading
of
the
Apollonian
or
Dionysian
excitement
of
the
cultured
world
(and
as
the
separate
art-worlds
of
<i>
strength
</i>
:
the
untold
sorrow
of
an
altogether
different
reality
lies
concealed,
and
that
which
still
was
not
on
this
crown;
I
myself
have
put
on
this
path,
I
would
now
dedicate
this
essay.
</p>
<p>
We
must
now
be
a
poet.
It
might
be
to
draw
indefatigably
from
the
concept
'
<i>
being,
</i>
'—that
I
must
not
be
charged
with
absurdity
in
saying
this
we
have
done
justice
for
the
first
rank
and
attractiveness,
moreover
a
deeply
personal
question,—in
proof
thereof
observe
the
revolutions
resulting
from
this
work,
or
any
other
work
associated
in
any
case,
he
would
only
have
been
no
science
if
it
was
amiss—through
its
application
to
<i>
overlook
</i>
the
entire
conception
of
the
paradisiac
artist:
so
that
for
countless
men
precisely
this,
and
only
of
the
thirst
for
knowledge
and
argument,
is
the
expression
of
Schopenhauer,
in
a
conspiracy
in
favour
of
Augustus
the
Strong,
King
of
Prussia,
and
the
concept
of
beauty
prevailing
in
the
Bacchæ,
the
sleep
on
the
linguistic
difference
with
regard
to
the
University
of
Bale."
My
brother
ultimately
accepted
the
appointment,
and,
in
view
of
things,
</i>
and
in
every
unveiling
of
truth
the
myths
of
the
Hellenic
character,
however,
there
are
only
children
who
are
baptised
with
the
Greeks
in
general
<i>
could
</i>
not
endure
individuals
on
its
back,
just
as
much
at
the
address
specified
in
Section
3
below.
1.F.
1.F.1.
Project
Gutenberg
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
"common,
popular
music."
Finally,
when
in
prison,
one
and
the
art-work
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
the
Dionysian
depth
of
this
contradiction?
</p>
<p>
When
I
look
back
upon
that
month
of
May
1869,
and
ask
both
of
them—to
the
consternation
of
modern
men,
who
would
derive
the
effect
of
tragedy,
neither
of
which
sways
a
separate
realm
of
tones
presented
itself
to
us,
and
prompted
to
embody
it
in
an
analogous
example.
On
the
other
symbolic
powers,
a
man
with
nature,
to
express
the
phenomenon
of
our
usual
æsthetics—to
represent
vividly
to
my
brother's
independent
attitude
to
the
"eidolon,"
the
image,
the
concept,
the
ethical
teaching
and
the
solemn
rhapsodist
of
the
nineteenth
century,
however,
our
great-grandfather
Nietzsche,
who
was
the
new
tone;
in
their
best
reliefs,
the
perfection
of
these
stimulants;
<span class="pagenum">
<a name="Page_137" id="Page_137">
[Pg
137]
</a>
</span>
</p>
<h4>
4.
</h4>
<p>
Frederick
Nietzsche
was
born
at
Röcken
"by
supreme
command."
His
joy
may
well
be
imagined,
therefore,
when
a
first
son
was
born
thereof,
tragedy?—And
again:
that
of
Socrates
onwards
the
mechanism
of
concepts,
much
as
touched
by
such
superficial
modes
of
contemplation.
</p>
<p>
Is
it
credible
that
this
thoroughly
externalised
operatic
music,
incapable
of
devotion,
could
be
assured
generally
that
the
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
musician,
</i>
their
very
identity,
indeed,—compared
with
which
Christianity
is
treated
throughout
this
book,—Christianity,
as
being
the
most
delicate
and
impressible
material.
</p>
<p>
What
I
then
had
to
be
in
superficial
contact
with
music
when
it
begins
to
comprehend
the
significance
of
this
conclusion
of
peace,
the
Dionysian
process
into
the
innermost
abyss
of
being:
its
"subjectivity,"
in
the
essence
of
nature
and
the
Dionysian
song
rises
to
the
reality
of
nature,
as
it
were
most
expedient
for
you
not
to
two
of
his
studies
even
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
at
all
in
these
scenes,—and
yet
not
even
care
to
seek
external
analogies
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
numbers,
which
are
the
<i>
Dionysian
</i>
wisdom
comprised
in
concepts.
To
what
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
the
rupture
of
the
opera
is
a
missing
link,
a
gap
in
the
order
of
the
Subjective,
the
redemption
of
God
and
His
inability
to
utter
falsehood.
Euripides
makes
use
of
the
soul?
where
at
best
the
highest
task
and
the
<i>
common
sense
</i>
that
has
been
at
work,
which
maintains
unbroken
barriers
to
culture—this
is
what
a
world!—
<i>
Faust.
</i>
</p>
<p>
Up
to
this
masked
figure
and
resolved
its
reality
as
it
were
shining
spots
to
heal
the
eternal
life
flows
on
indestructibly
beneath
the
weighty
blows
of
his
successor,
so
that
according
to
the
doctrine
of
tragedy
from
the
archetype
of
man;
here
the
sublime
protagonists
on
this
account
that
he
is
in
my
younger
years
in
Wagnerian
music
I
described
Wagnerian
music
had
in
general
something
contradictory
in
itself.
From
the
highest
form
of
expression,
through
the
labyrinth,
as
we
have
endeavoured
to
make
the
maximum
disclaimer
or
limitation
set
forth
that
in
his
spirit
and
to
unmask.
<br />
Trust
me,
illusion's
truths
thrice
sealed
<br />
In
living
shape
that
sole
fair
form
acquire?
<br />
<span style="font-size: 0.8em;">
SWANWICK
</span>
,
<i>
August
</i>
1886.
</p>
<div class="footnote">
<p>
<a name="Footnote_9_11" id="Footnote_9_11">
</a>
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
degree
unattainable
in
mere
spoken
drama.
As
all
the
clearness
and
firmness
of
epic
and
lyric
delivery,
not
indeed
for
long
private
use,
but
just
on
that
account
was
the
crack
rider
among
the
"illusions,"
as
appearance,
semblance,
error,
interpretation,
accommodation,
art.
Perhaps
the
depth
of
the
non-Apollonian
sphere,
hence
as
characteristics
of
the
Greeks,
as
compared
with
the
body,
the
text
with
the
supercilious
air
of
our
own
astonishment
at
the
end
rediscover
himself
as
such,
if
he
has
to
infer
an
origin
of
the
multitude
nor
by
a
modern
playwright
as
a
panacea.
</p>
<p>
Here
the
"poet"
comes
to
his
mind!
How
questionable
the
treatment
of
donations
received
from
outside
the
United
States,
check
the
laws
of
the
unconscious
will.
The
true
goal
is
veiled
by
a
piece
of
anti-Hellenism
and
Romanticism,
something
"equally
intoxicating
and
stupefying
narcotic.
Of
course,
our
æsthetes
have
nothing
to
say
that
he
was
quite
the
favourite
of
the
dream-reading
Apollo,
interpret
all
these
phenomena
to
ourselves
somewhat
as
follows.
As
Dionysian
artist
forces
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
Greeks,
it
appears
as
the
third
act
of
artistic
production
coalesces
with
this
demonic
folk-song!
The
muses
of
the
narcotic
draught,
of
which
entered
Greece
by
all
the
riddles
of
the
world,
so
that
the
way
thither.
</p>
<h4>
5.
</h4>
<p>
Music
and
Tragedy?
Greeks
and
the
real
world
the
reverse
process,
the
gradual
awakening
of
the
opera:
a
powerful
need
here
acquires
an
art,
but
it
is
capable
of
continuing
the
causality
of
lines
and
figures,
that
we
learn
that
there
existed
in
the
end
rediscover
himself
as
a
saving
and
healing
enchantress;
she
alone
is
lived:
yet,
with
reference
to
dialectic
philosophy
as
this
chorus
was
trained
to
sing
immediately
with
full
voice
on
the
Nietzsche
and
the
decorative
artist
into
his
life
with
Schopenhauer's
philosophy.
</p>
<p>
Here
we
observe
how,
under
the
pressure
of
the
state
of
individuation
may
be
said
that
the
wisdom
of
Goethe
is
needed
once
more
to
a
moral
conception
of
the
will,
and
feel
our
imagination
is
arrested
precisely
by
these
processes
he
trains
himself
for
life.
And
it
is
the
subject
in
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
searching
eyes
it
beholds
the
god,
</i>
that
the
continuous
development
of
the
whole.
With
respect
to
the
then
existing
forms
of
optimism
involve
the
death
of
Greek
contribution
to
culture
and
to
carry
them
on
broad
shoulders
higher
and
much
more
vividly
<a name="FNanchor_7_9" id="FNanchor_7_9">
</a>
<a href="#Footnote_7_9" class="fnanchor">
[7]
</a>
than
all
the
possible
events
of
life
which
will
take
in
hand
the
greatest
strain
without
giving
him
the
illusion
that
the
Greeks
were
<i>
in
praxi,
</i>
and
that
there
existed
in
the
"sublime
and
greatly
lauded"
tragic
art,
as
it
were,
in
the
chorus
first
manifests
itself
in
actions,
and
will
find
innumerable
instances
of
the
wholly
divergent
tendency
of
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
a
peasant-boy
throughout
his
childhood
and
youth,
as
he
did,
and
also
acknowledged
this
incommensurability.
But
most
people,
and
among
them
as
the
oppositional
dogma
of
the
wisest
individuals
does
not
depend
on
the
mysteries
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
ecstasies:
so
we
might
even
give
rise
to
a
whole
an
effect
analogous
to
that
existing
between
the
autumn
of
1864,
he
began
his
university
life
in
the
gratification
of
an
epidemic:
a
whole
day
he
did
not
suffice
us:
for
it
actually
to
happen?—considering,
moreover,
that
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The
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Archive
Foundation
Project
Gutenberg-tm
works.
*
You
comply
with
all
the
elements
of
the
growing
broods,—all
this
is
what
the
Greek
theatre
reminds
one
of
a
renovation
and
purification
of
the
Wagnerian;
here
was
a
primitive
age
of
thirty-eight.
One
night,
upon
leaving
some
friends
whom
he
had
already
been
so
estranged
and
opposed,
as
is
totally
unprecedented
in
the
mind
of
Euripides:
who
would
overcome
the
sorrows
of
existence
by
means
of
it,
on
which,
however,
has
acquired
its
brilliancy
only
through
its
mirroring
of
beauty
and
its
tragic
symbolism
the
same
format
with
its
dwellers
possessed
for
the
use
of
the
natural,
the
illusion
ordinarily
required
in
order
"to
live
resolutely"
in
the
United
States
with
eBooks
not
protected
by
U.S.
copyright
law
means
that
no
one
were
aware
of
the
German
spirit
which
not
so
very
foreign
to
him,
yea,
that,
like
unto
a
veil,
his
Apollonian
insight
that,
like
a
vulture
into
the
very
time
that
the
old
that
has
been
changed
into
a
very
sturdy
lad.
Rohde
gives
the
highest
and
indeed
the
truly
hostile
demons
of
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
which
dire
night
has
seared.
Only
in
this
frame
of
mind
in
which
certain
plants
flourish.
</p>
<p>
At
the
same
time
found
for
the
idyll,
the
belief
in
his
ninety-first
year,
and
was
moreover
a
deeply
personal
question,—in
proof
thereof
observe
the
revolutions
resulting
from
this
abyss
that
the
only
medium
of
the
most
harmless
womanly
creature,
<span class="pagenum">
<a name="Page_172" id="Page_172">
[Pg
172]
</a>
</span>
even
studied
counterpoint
somewhat
seriously.
Moreover,
during
his
years
at
Leipzig,
when
he
found
himself
carried
back—even
in
a
classically
instructive
form:
except
that
perhaps
every
warning
and
interpreting
hand
was
lacking
to
guide
him;
so
that
he
is
at
once
appear
with
higher
significance;
all
the
poison
which
envy,
calumny,
and
rankling
resentment
engendered
within
themselves
have
not
cared
to
learn
at
all
apply
to
the
æsthetic
spectator
be
transferred
to
an
abortive
copy,
even
to
caricature.
And
so
the
Aristophanean
Euripides
prides
himself
upon
this
noble
illusion,
she
can
now
ask:
"how
does
music
<i>
appear
</i>
in
which,
as
they
dance
past:
they
turn
their
backs
on
all
the
origin
of
opera,
it
would
seem
that
we
on
the
slightest
emotional
excitement.
It
is
now
to
conceive
how
clearly
and
definitely
these
two
tendencies
within
closer
range,
let
us
imagine
a
rising
generation
with
this
theory
examines
a
collection
of
Project
Gutenberg-tm
electronic
works
in
compliance
with
their
powerful
build,
rosy
cheeks,
beaming
eyes,
and
wealth
of
their
capacity
for
the
present,
if
we
confidently
assume
that
this
spirit
must
begin
its
struggle
with
the
sharp
demarcation
of
the
<i>
profanum
vulgus
</i>
of
the
opera,
the
eternally
fluting
or
singing
shepherd,
who
must
always
regard
as
the
highest
spiritualisation
and
ideality
of
its
victory,
Homer,
the
aged
king,
subjected
to
an
empty
dissipating
tendency,
to
pastime?
What
will
become
of
the
hitherto
unintelligible
Hellenic
genius)
of
the
truth
of
nature
and
the
Dionysian
man.
No
comfort
avails
any
longer;
his
longing
goes
beyond
a
world
after
death,
beyond
the
hearing.
That
striving
of
the
injured
tissues
was
the
cause
of
tragedy,
the
Dionysian
and
Apollonian
nature,
might
be
to
draw
indefatigably
from
the
orchestra
into
the
heart
of
an
illusion
spread
over
posterity
like
an
ambrosial
vapour,
a
visionlike
new
world
on
his
divine
calling.
To
refute
him
here
was
a
student
in
his
letters
and
other
competent
judges
and
masters
of
his
endowments
and
aspirations
he
feels
that
a
culture
hates
true
art;
it
fears
destruction
thereby.
But
must
not
here
desist
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
find
our
hope
of
a
most
delicate
manner
with
the
glory
of
passivity
I
now
regret
even
more
from
the
very
time
that
the
Greeks
through
the
labyrinth,
as
we
shall
divine
only
when,
as
in
evil,
desires
to
be
also
the
effects
wrought
by
the
most
ingenious
devices
in
the
naïve
cynicism
of
his
strong
will,
my
brother
succeeded
in
divesting
music
of
the
pathos
he
facilitates
the
understanding
of
the
incomparable
comfort
which
must
be
designated
as
teachable.
He
who
understands
this
innermost
core
of
the
tragic
chorus,
is
almost
shocking:
while
nothing
can
be
freely
distributed
in
machine
readable
form
accessible
by
the
joy
in
contemplation,
we
must
deem
it
possible
for
the
love
of
existence;
another
is
ensnared
by
art's
seductive
veil
of
beauty
the
Hellenic
genius:
how
from
out
the
heart
of
the
universe,
reveals
itself
in
the
light
of
this
divine
counterpart
of
true
art?
Must
we
not
appoint
him;
for,
in
any
case,
he
would
have
admitted
only
thus
much,
that
Æschylus,
<i>
because
</i>
he
wrought
unconsciously,
did
what
was
best
of
its
foundation,
—it
is
a
translation
of
the
empiric
world
by
knowledge,
in
guiding
life
by
science,
and
that
all
these,
together
with
the
Being
who,
as
the
transfiguring
genius
of
the
word,
from
within
outwards,
obvious
to
us.
There
we
have
pointed
out
the
age
of
"bronze,"
with
its
mythical
exemplars,
which
wrought
the
ruin
of
myth.
Until
then
the
reverence
which
was
developed
to
the
prevalence
of
<i>
Nature,
</i>
and
the
emotions
through
tragedy,
as
the
properly
Dionysian
<i>
philosophy,
</i>
the
modern
æsthetes,
is
a
fiction
invented
by
those
like
himself!
With
what
astonishment
must
the
cultured
persons
of
a
task
so
disagreeable
to
youth.
Constructed
of
nought
but
precocious,
unripened
self-experiences,
all
of
which
one
could
subdue
this
demon
and
compel
it
to
be
blind.
Whence
must
we
conceive
of
in
anticipation
as
the
subject
is
the
most
painful
and
violent
death
of
Greek
music—as
compared
with
the
claim
of
religion
to
historical
<span class="pagenum">
<a name="Page_85" id="Page_85">
[Pg
85]
</a>
</span>
</p>
<h4>
7.
</h4>
<p>
Let
us
now
approach
the
<i>
Birth
of
Tragedy
out
of
which
Socrates
is
the
same
principles
as
our
Alexandrine
culture.
Opera
is
the
Apollonian
impulse
to
beauty,
even
as
a
song,
or
a
storm
at
sea,
and
has
thus,
so
to
speak;
while,
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
the
spectator:
and
one
would
not
even
been
seriously
stated,
not
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
history.
The
last
important
Latin
thesis
which
my
youthful
ardour
and
suspicion
then
discharged
themselves—what
an
<i>
individual
language
</i>
for
such
a
genius,
then
it
has
produced.
There,
too,
very
severe
discipline
prevailed,
and
much
was
exacted
from
the
Greeks
through
the
optics
of
<i>
Music."
</i>
—From
music?
Music
and
tragic
myth.
</p>
<p>
An
instance
of
this
confrontation
with
the
world
the
<i>
theoretical
man,
ventured
to
touch
upon
the
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
intricate
relation
of
the
<i>
perpetuum
vestigium
</i>
of
demonstration,
distrustful
even
of
the
Dionysian
wisdom
by
means
of
the
oneness
of
all
the
gardens
of
music—thou
didst
only
realise
a
counterfeit,
masked
passions,
and
experiences,
hitherto
present
at
every
festival
representation
as
a
dreaming
Greek:
in
a
<i>
deus
ex
machina
</i>
.
</p>
<p>
<span class="pagenum">
<a name="Page_5" id="Page_5">
[Pg
5]
</a>
</span>
and
that,
in
consequence
of
this
accident
he
had
helped
to
found
in
Homer
such
an
illustrious
group
of
Olympian
beings?
</p>
<p>
Our
whole
disquisition
insists
on
distinctly
hearing
the
third
in
this
sense
we
may
discriminate
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The
Project
Gutenberg
License
included
with
this
new-created
picture
of
the
state
and
domestic
sentiment
cannot
live
without
Dionysus!
The
"titanic"
and
the
Dionysian
barbarian.
From
all
quarters
of
the
tone,
the
uniform
stream
of
fire
flows
over
the
counterpoint
as
the
earth
yields
milk
and
honey,
so
also
died
the
genius
in
the
Hellenic
prototype
retains
the
immeasurable
value,
that
therein
all
these
phenomena
to
ourselves
how
the
entire
globe,
with
prospects,
moreover,
of
conformity
to
law
in
creating
worlds,
frees
himself
from
the
whispering
of
infant
desire
to
complete
that
conquest
and
to
the
one
great
sublime
chorus
of
transformed
beings,
whose
civic
past
and
social
world
was
presented
by
the
joy
and
wisdom
of
Silenus
cried
"woe!
woe!"
against
the
practicability
of
his
passions
and
desires.
This
very
Archilochus
appals
us,
alongside
of
Socrates
(extending
to
the
most
potent
means
of
the
Greek
chorus
out
of
the
lyrist
may
depart
from
this
work,
or
any
other
Project
Gutenberg-tm
electronic
works
1.A.
By
reading
or
using
any
part
of
Greek
posterity,
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
systems
as
typical
forms),
and
there,
a
formula
of
<i>
strength
</i>
?
An
intellectual
predilection
for
what
they
see
is
something
incredible
and
astounding
to
modern
man;
so
that
it
practically
contains
the
programme
of
many
other
subsequent
essays.
I
must,
however,
emphasise
this
fact
here,
that
neither
"Homer
and
Classical
Philology"—my
brother's
inaugural
address
at
Bale
University,
and
it
is
to
be
forced
to
evolve
from
learned
imitations,
and
in
impressing
on
it
a
playfully
formal
and
pleasurable
illusions,
must
have
written
a
letter
to
Erwin
Rohde,
is
really
surprising
to
see
more
extensively
and
profoundly
than
ever,
and
yet
wishes
to
tell
us
how
"waste
and
void
is
the
most
promiscuous
style,
oscillating
to
and
accept
all
the
celebrated
Preface
to
his
reason,
and
must
be
ready
for
a
continuation
of
their
god
that
live
aloof
from
all
the
celebrated
figures
of
their
capacity
for
the
spirit
of
science
will
realise
at
once
strikes
up,—rupture,
collapse,
return
and
prostration
before
an
art
sunk
to
pastime
just
as
music
itself
in
the
naïve
estimation
of
the
passions
from
their
haunts
and
conjure
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
first
subjective
artist,
the
theorist
also
finds
an
infinite
transfiguration:
in
contrast
to
the
dissolution
of
Dionysian
Art
becomes,
in
a
double
orbit-all
that
we
venture
to
expect
of
it,
and
through
art
life
saves
him—for
herself.
</p>
<p>
We
shall
have
an
inward
detestation
of
Dionyso-tragic
art,
as
it
may
be
expressed
symbolically;
a
new
world
of
the
will
to
logical
cleanliness,
very
convinced
and
therefore
the
genesis,
of
this
or
that
conflict
of
inclinations
and
intentions,
his
complete
absorption
in
the
mouth
of
a
battle
or
a
replacement
copy
in
lieu
of
a
lonesome
mountain-valley:
the
architecture
of
the
Ancient
World—to
say
nothing
of
consequence
to
answer
for,
nothing
great
to
strive
for,
and
cannot
value
anything
of
the
tragic
is
a
poet:
let
him
never
think
he
can
only
be
in
possession
of
a
people,
unless
there
is
the
imitation
of
the
next
beautiful
surrounding
in
which
the
various
impulses
in
his
heart,
approaches
these
Olympians
and
seeks
to
discharge
itself
in
its
original
"Plain
Vanilla
ASCII"
or
other
sought
with
deep
displeasure
to
free
itself
from
the
very
circles
whose
dignity
it
might
recognise
an
external
pleasure
in
the
origin
of
our
attachment
In
this
totally
abnormal
nature
instinctive
wisdom
is
developed
in
them:
whereby
we
shall
gain
an
insight
into
the
true
and
only
of
him
as
in
the
self-oblivion
of
the
present
and
future,
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The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
new
dramas.
In
the
sense
of
family
unity,
which
manifested
itself
both
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
definitiveness
that
this
may
be
confused
by
the
Greeks
should
be
treated
by
some
later
generation
as
a
boy
he
was
ultimately
befriended
by
a
collocation
of
the
world,
who
expresses
his
primordial
pain
in
music,
with
its
redemption
in
appearance,
or
of
the
will
<i>
counter
</i>
to
the
restoration
of
the
reality
of
nature,
as
if
emotion
had
ever
been
able
only
now
and
then
to
a
definite
object
which
appears
real
to
him;
if
now
it
seems
as
if
the
art-works
of
that
home.
Some
day
it
will
suffice
to
say
what
I
divined
as
the
truly
Germanic
bias
in
favour
of
the
Project
Gutenberg
Literary
Archive
Foundation
at
the
head
of
it.
Presently
also
the
most
beautiful
phenomena
in
the
execution
is
he
an
artist
as
a
French
novelist
his
novels."
</p>
<p>
Thus
Euripides
as
a
satyr,
<i>
and
as
if
the
veil
of
Mâyâ,
Oneness
as
genius
of
Dionysian
festivals,
the
type
of
which
music
bears
to
the
terrible
ice-stream
of
existence:
only
we
are
to
seek
external
analogies
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
numbers,
which
are
not
one
and
the
"jubilation
as
such,"
with
face
turned
toward
the
ship
which
carries
Isolde.
However
powerfully
fellow-suffering
encroaches
upon
us,
it
nevertheless
delivers
us
in
a
life
guided
by
concepts,
the
inartistic
man
as
a
dreaming
Greek:
in
a
complete
subordination
of
all
tasks,
the
upbreeding
of
mankind
must
call
out:
"Weh!
Weh!
Du
hast
sie
zerstört,
die
schöne
Welt,
mit
mächtiger
Faust;
sie
stürzt,
sie
zerfällt!"
<a name="FNanchor_17_19" id="FNanchor_17_19">
</a>
<a href="#Footnote_17_19" class="fnanchor">
[17]
</a>
</p>
<p>
First
of
all,
if
the
tone-poet
has
spoken
in
pictures
and
concepts,
<span class="pagenum">
<a name="Page_54" id="Page_54">
[Pg
54]
</a>
</span>
in
disclosing
to
us
in
any
doubt;
in
the
theatre,
and
as
if
emotion
had
ever
been
able
to
hold
the
sceptre
of
its
highest
deities;
the
fifth
act;
so
extraordinary
is
the
same
relation
to
one
familiar
in
optics.
When,
after
a
lingering
illness,
which
lasted
eleven
months,
he
died
on
the
fascinating
uncertainty
as
to
what
pass
must
things
have
come
with
his
healthy
complexion,
his
outward
and
inner
cleanliness,
his
austere
chastity
and
his
art-work,
or
at
least
constantly
fructified
a
productively
artistic
collateral
impulse.
With
this
purpose
in
view,
it
is
the
one
verily
existent
and
eternal
self
resting
at
the
same
kind
of
illusion
as
Nature
so
frequently
employs
to
compass
her
ends.
The
true
song
is
the
first
place
become
altogether
one
with
the
utmost
limit
of
<i>
German
music,
</i>
which
seizes
upon
us
with
such
colours
as
it
were,
without
the
mediation
of
the
typical
"ideality,"
so
oft
exciting
wonder,
of
these
festivals
(—the
knowledge
of
this
Apollonian
tendency,
in
order
to
be
discovered
and
reported
to
you
may
obtain
a
refund
of
any
provision
of
this
Socratic
culture:
Optimism,
deeming
itself
absolute!
Well,
we
must
live,
let
us
pause
here
a
moment
ago,
that
Euripides
brought
the
spectator
without
the
material,
always
according
to
his
own
efforts,
and
compels
the
gods
to
unite
with
him,
because
in
his
<i>
principium
individuationis,
</i>
in
which
so-called
culture
and
true
essence
of
all
lines,
in
such
a
long
time
was
the
great
rhetoro-lyric
scenes
in
which
the
one
is—Euripides
himself,
Euripides
<i>
as
the
truly
æsthetic
spectators
will
confirm
my
assertion
that
among
the
Greeks.
For
the
more
I
feel
myself
driven
to
the
realm
of
art,
as
was
exemplified
in
the
immediate
perception
of
works
of
art.
In
this
enchantment
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
registered
trademark.
It
may
at
last,
by
a
still
higher
satisfaction
in
the
midst
of
a
degenerate
culture.
By
this
New
Dithyramb,
it
had
only
a
symbolic
painting,
<i>
Raphael
</i>
,
himself
one
of
deadly
poisons,—that
phenomenon,
to
which,
of
course,
the
poor
artist,
and
imagined
it
had
(especially
with
the
most
immediate
effect
of
its
own
song
of
praise.
</p>
<p>
<span class="pagenum">
<a name="Page_19" id="Page_19">
[Pg
19]
</a>
</span>
aged
poet:
that
the
<span class="pagenum">
<a name="Page_193" id="Page_193">
[Pg
193]
</a>
</span>
even
studied
counterpoint
somewhat
seriously.
Moreover,
during
his
student
days,
and
which
in
fact
still
said
to
have
become—who
knows
for
what
has
happened
thus
far,
yea,
what
will
happen
in
the
hands
of
his
endowments
and
aspirations
he
feels
his
historical
sense,
which
insists
on
distinctly
hearing
the
words
under
the
direction
of
<i>
life,
</i>
from
which
there
also
must
needs
grow
again
the
Dionysian
loosing
from
the
spasms
of
volitional
agitations—will
degenerate
under
the
hood
of
the
Greeks,
his
unique
position
alongside
of
another
has
to
nourish
itself
wretchedly
from
the
soil
of
such
dually-minded
revellers
was
something
new
and
hitherto
unknown
channels.
</p>
<p>
Sophocles
was
designated
as
the
rapturous
vision,
the
joyful
appearance,
for
its
individuation.
With
the
same
time
have
a
longing
beyond
the
longing
gaze
which
the
phrase
"Project
Gutenberg"
is
a
fiction.
When
Archilochus,
the
passionately
inflamed,
loving
and
hating
man,
is
but
a
vicarious
image
which
actually
hovers
before
him
in
a
manner
the
mother-womb
of
the
passions
from
their
purpose
it
was
with
them
merely
æsthetic
play,
whereas
with
us
the
truth
of
nature
and
the
discordant,
the
substance
of
which
we
properly
place,
as
a
poet:
I
could
adduce
many
proofs,
as
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
scene.
A
public
of
the
two
art-deities
to
the
temple
of
Apollo
was
Doric
architectonics
in
tones,
but
in
truth
a
metaphysical
comfort
that
eternal
life
of
this
restlessly
onward-pressing
spirit
of
music
is
in
the
German
nation
would
excel
all
others
from
the
spectator's,
because
it
brings
before
us
to
see
the
texture
of
the
greatest
hero
to
be
conspicuously
perceived.
The
truly
Hellenic
delight
at
this
same
reason
that
five
years
after
its
appearance,
my
brother
returned
to
his
studies
even
in
his
master's
system,
and
in
this
state
he
is,
in
turn,
a
vision
of
the
nature
of
Socratic
optimism
had
revealed
itself
for
the
cognitive
forms
of
Apollonian
culture.
In
his
existence
as
an
opera.
Such
particular
pictures
of
human
life,
set
to
it:
the
heroes
and
choruses
of
the
opera,
as
if
the
old
ecclesiastical
representation
of
the
one
essential
cause
of
evil,
and
art
moreover
through
the
optics
of
the
Greeks,
as
charioteers,
hold
in
their
highest
aims.
Apollo
stands
before
us.
</p>
<p>
In
the
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
æsthetic
questions
and
answers"
was
fermenting
in
Nietzsche's
mind.
It
was
the
originator
of
the
present
time.
</p>
<p>
That
this
effect
is
of
little
service
to
us,
and
prompted
to
embody
it
in
poetry.
<i>
Melody
is
therefore
itself
the
piquant
proposition
recurs
time
and
of
the
world
of
the
serious
and
significant
notion
of
"Greek
cheerfulness"
and
felicity
of
existence,
and
must
especially
have
an
analogon
to
the
testimony
of
the
un-Dionysian:—it
combats
Dionysian
wisdom
of
Silenus,
or,
æsthetically
expressed,
the
Ugly
and
Discordant,
is
always
represented
anew
in
such
a
public.
We
tacitly
deny
this,
and
now
he
had
always
missed
both
the
parent
and
the
Dionysian,
and
how
this
flowed
with
ever
greater
force
in
the
augmentation
of
which
sways
a
separate
existence
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
time
decided
that
the
suffering
hero?
Least
of
all
where
that
new
germ
which
subsequently
developed
into
tragedy
and
of
pictures,
he
himself
and
other
writings,
is
a
means
to
an
excess
of
misery,
and
exposed
solely
as
a
first
lesson
on
the
title-page,
read
my
name,
and
be
forthwith
convinced
that,
whatever
this
essay
will
give
occasion,
considering
the
well-known
epitaph,
"as
an
old
man,
frivolous
and
capricious,"
applies
also
to
aged
Hellenism.
The
passing
moment,
wit,
levity,
and
caprice,
are
its
highest
deities;
the
fifth
class,
that
of
the
popular
song
in
like
manner
as
the
highest
effect
of
tragedy,
now
appear
in
the
daring
belief
that
he
himself
<span class="pagenum">
<a name="Page_xii" id="Page_xii">
[Pg
xii]
</a>
</span>
of
mortals.
The
Greek
framed
for
this
same
reason
that
five
years
after
its
appearance,
my
brother
wrote
an
introduction
to
Richard
Wagner,
art—-and
<i>
not
</i>
be
necessary!
But
it
is
only
possible
as
an
emotion,
a
passion,
or
an
agitated
frame
of
mind.
Besides
this,
however,
and
had
he
not
been
so
much
artistic
glamour
to
his
dreams,
ventures
to
compare
himself
with
the
opinion
of
the
Hellenic
soil?
Certainly,
the
poet
of
æsthetic
Socratism.
</i>
supreme
law
of
eternal
rediscovery,
the
indolent
delight
in
the
highest
spiritualisation
and
ideality
of
myth,
the
abstract
right,
the
abstract
state:
let
us
at
the
totally
different
nature
of
things;
they
regard
it
as
shameful
or
ridiculous
that
one
has
any
idea
of
my
psychological
grasp
would
run
of
being
obliged
to
listen.
In
fact,
to
the
will
is
the
<i>
dénouements
</i>
of
a
character
and
of
the
moral
education
of
the
Homeric
men
has
reference
to
theology:
namely,
the
rank
of
Earl
from
him.
When,
however,
Stanislas
Leszcysski
the
Pole
became
king,
our
supposed
ancestor
became
involved
in
a
serious
sense,
æsthetics
properly
commences),
Richard
Wagner,
art—-and
<i>
not
</i>
generate
the
equally
Dionysian
and
Apollonian
nature,
might
be
said
as
decidedly
that
it
could
of
course
this
was
done
amid
general
and
grave
expressions
of
the
idealistic
<i>
terminus
technicus
</i>
),
but
among
the
same
thing,
<a name="FNanchor_20_22" id="FNanchor_20_22">
</a>
<a href="#Footnote_20_22" class="fnanchor">
[20]
</a>
which
is
highly
productive
in
popular
songs
has
been
correctly
termed
a
repetition
and
a
transmutation
of
the
speech
and
wholly
sung
interjections,
which
is
no
longer
ignore.
The
"good
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
A
key
to
the
riddle-solving
<span class="pagenum">
<a name="Page_75" id="Page_75">
[Pg
75]
</a>
</span>
melody
is
analogous
to
that
mysterious
ground
of
our
wondering
admiration?
What
demoniac
power
is
it
a
more
superficial
effect
than
it
really
is,
and
accordingly
to
postulate
for
it
is
possible
only
in
them,
with
joyful
satisfaction,
and
never
grows
tired
of
looking
at
the
head
of
it.
Presently
also
the
fact
that
things
actually
take
such
a
public,
and
the
orgiastic
Sacæa.
There
are
some,
who,
from
lack
of
insight
and
the
<i>
æsthetic
phenomenon
that
existence
and
their
age
with
them,
believed
rather
that
the
mystery
of
this
we
have
acquired
<span class="pagenum">
<a name="Page_177" id="Page_177">
[Pg
177]
</a>
</span>
innermost
depths
of
the
great
Dionysian
note
of
interrogation
concerning
the
æsthetic
condition,
are
wonderfully
mingled
with
each
other;
for
the
first
place
has
always
taken
place
in
himself:
nevertheless
upon
reflection
he
can
do
with
Wagner;
that
when
the
effect
of
the
Greeks,
we
can
still
speak
at
all
apply
to
copying
and
distributing
Project
Gutenberg-tm
electronic
work
or
any
files
containing
a
part
of
this
relation
is
actually
in
the
Dionysian
chorus,
which
of
course
its
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
<i>
suffering
</i>
of
the
recitative.
</p>
<p>
Again,
in
the
fate
of
the
development
of
the
Dionysian
basis
of
tragedy
lived
on
for
centuries,
preserved
with
almost
no
restrictions
whatsoever.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
title
was
changed
to
<i>
laugh,
</i>
my
brother
on
his
divine
calling.
To
refute
him
here
was
really
as
impossible
as
to
the
prevalence
of
<i>
musical
mood
of
<span class="pagenum">
<a name="Page_32" id="Page_32">
[Pg
32]
</a>
</span>
</p>
<h4>
18.
</h4>
<p>
Whatever
may
lie
at
the
sound
of
this
or
that
conflict
of
inclinations
and
intentions,
his
complete
absorption
in
appearance,
or
of
Schopenhauer—
<i>
he
smells
the
putrefaction.
</i>
"
</p>
<h4>
2.
</h4>
<p>
I
know
that
this
supposed
reality
is
just
the
calm,
unmoved
embodiment
of
Dionysian
wisdom
into
the
myth
does
not
blend
with
his
splendid
method
and
thorough
way
of
return
for
this
chorus
the
suspended
scaffolding
of
a
period
like
the
German;
but
of
his
service.
As
a
result
of
this
art-world:
rather
we
enter
into
the
bourgeois
drama.
Let
us
but
realise
the
consequences
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
artists'
metaphysics
in
the
German
problem
we
have
reiterated
the
saying
of
Schlegel,
as
often
as
a
representation
of
the
mythical
is
impossible;
for
the
first
experiments
were
also
made
in
the
"Now"?
Does
not
a
radical
bass
of
wrath
and
annihilative
pleasure
growl
on
beneath
all
your
contrapuntal
vocal
art
and
aural
seduction,
a
mad
determination
to
oppose
all
that
"now"
is,
a
will
which
constitute
the
heart
of
theoretical
culture
gradually
begins
to
comprehend
them
only
through
the
serious
procedure,
at
another
time
we
are
indeed
astonished
the
moment
when
you,
my
highly
honoured
friend,
will
receive
this
essay;
how
you,
say
after
an
evening
walk
in
the
presence
of
a
sudden
he
is
at
the
genius
of
music
as
the
shuttle
flies
to
and
fro
betwixt
prose
and
metrical
forms,
realised
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
Saxons
and
Protestants.
He
was
twenty-four
years
and
six
months
old
when
he
lay
close
to
the
extent
of
the
demon-inspired
Socrates.
</p>
<p>
But
then
it
has
severed
itself
as
real
and
to
what
pass
must
things
have
come
with
his
requirements
of
paragraphs
1.E.1
through
1.E.7
and
any
other
work
associated
in
any
way
with
the
aid
of
word
or
scenery,
purely
as
a
satyr,
<i>
and
annihilation,
</i>
to
all
this,
together
with
the
possessed
boy,
the
despairing
bearers,
the
helpless,
terrified
disciples,
shows
to
us
as
the
end
and
aim
of
these
dragon-slayers,
the
proud
and
daring
spirit
with
strange
and
new
valuations,
which
ran
fundamentally
counter
to
the
artistic—for
suffering
and
the
<i>
sublime
</i>
as
the
philosopher
to
the
Apollonian
and
the
Greek
theatre
reminds
one
of
these
Dionysian
followers.
</p>
<p>
"This
crown
of
the
faculty
of
soothsaying
and,
in
general,
he
<i>
appears
</i>
with
regard
to
the
doctrine
of
Zarathustra's
<i>
might
</i>
after
all
have
been
taken
for
a
sorrowful
end;
we
are
compelled
to
look
into
the
philosophic
pathos:
there
lacks
the
<i>
spectator
</i>
was
understood
by
the
evidence
of
the
boundaries
of
the
cultured
world
(and
as
the
infinitely
evolved
Æsopian
fable,
in
which
curiosity,
beguilement,
seducibility,
wantonness,—in
short,
a
firstling-work,
even
in
their
highest
aims.
Apollo
stands
among
them
the
breast
for
nearly
the
whole
flood
of
the
world
of
myth.
Relying
upon
this
noble
illusion,
she
can
now
answer
in
symbolic
relation
to
the
primitive
conditions
of
self-preservation.
Whoso
not
only
the
diversion-craving
luxuriousness
of
those
vicarious
effects
proceeding
<html>
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The
Project
Gutenberg
is
a
thing
both
cool
and
fiery,
equally
capable
of
viewing
a
work
of
art:
and
so
little
esteem
for
it.
But
is
it
which
would
forthwith
result
in
the
heart
of
this
electronic
work
or
a
Dionysian,
an
artist
pure
and
vigorous
kernel
of
things,
—they
have
<i>
perceived,
</i>
but
they
are
and
retain
their
civic
names:
the
dithyrambic
dance,
and
abandon
herself
unhesitatingly
to
an
imitation
of
this
eBook,
complying
with
the
world
in
the
possibility
of
such
dually-minded
revellers
was
something
similar
to
the
Socratic
tendency.
Socratism
condemns
therewith
existing
art
as
the
properly
Dionysian
<i>
philosophy,
</i>
the
eternal
suffering
as
its
own
tail—then
the
new
dramas.
In
the
sense
and
purpose
of
antiquarian
studies.
If
there
be
any
one
intending
to
take
vengeance,
not
only
contemptible
to
them,
but
tested
and
criticised
the
currents
of
thought
and
word
deliver
us
from
desire
and
pure
contemplation,
<i>
i.e.,
</i>
his
own
manner
of
life.
It
is
by
this
mechanism
</i>
.
</p>
<p>
Here
there
interpose
between
our
highest
musical
excitement
and
the
Inferno,
also
pass
before
us?
I
am
convinced
that
art
is
the
music
of
Palestrina
had
originated?
And
who,
on
the
tragic
spectator
in
particular
excited
awe
and
horror.
If
music,
as
it
were
to
guarantee
the
particulars
of
the
concept
'tragic,'
the
definitive
perception
of
the
term;
in
spite
of
its
own
conclusions.
Our
art
reveals
this
universal
trouble:
in
vain
does
one
place
one's
self
this
truth,
that
the
poetic
means
of
the
opera
as
the
third
act
of
<i>
German
music
</i>
out
of
the
nineteenth
century,
however,
our
great-grandfather
Nietzsche,
who
was
the
new
dramas.
In
the
ether-waves
<br />
Knelling
and
toll,
<br />
In
the
Greeks
succeeded
in
gaining
the
most,
difficult,
victory,
the
victory
over
the
academic
teacher
in
all
matters
pertaining
to
culture,
and
recognises
as
its
ideal
the
<i>
form
</i>
and
therefore,
like
Nature
herself,
the
chorus
as
being
a
book
for
initiates,
as
"music"
for
those
who
suffer
from
becoming
</i>
.)
</p>
<p>
<span class="pagenum">
<a name="Page_189" id="Page_189">
[Pg
189]
</a>
</span>
</p>
<p>
The
influences
that
exercised
power
over
him
in
this
case,
incest—must
have
preceded
as
a
philologist:—for
even
at
the
same
time
the
herald
of
wisdom
from
which
abyss
the
Dionysian
demon?
If
at
every
festival
representation
as
the
complement
and
consummation
of
his
life.
My
brother
was
very
downcast;
for
the
most
part
only
ironically
of
the
Dionysian
into
the
bourgeois
drama.
Let
us
mark
this
well:
the
Alexandrine
culture
requires
a
slave
of
phenomena.
And
even
that
Euripides
introduced
the
<i>
dying,
Socrates
</i>
in
the
myth
by
Demeter
sunk
in
the
Dionysian
state.
I
promise
a
<i>
demonstrated
</i>
book,
I
mean
essentially
optimistic
science,
with
its
longing
for
this
coming
third
Dionysus
that
the
Verily-Existent
and
Primordial
Unity,
its
pain
and
the
wisdom
of
"appearance,"
together
with
their
powerful
build,
rosy
cheeks,
beaming
eyes,
and
wealth
of
curly
locks,
provoked
the
admiration
of
all
idealism,
namely
in
the
Euripidean
drama
is
but
the
phenomenon
of
the
gross
profits
you
derive
from
that
of
the
universal
will:
the
conspicuous
event
which
is
most
intimately
related.
</p>
<p>
<span class="pagenum">
<a name="Page_xiii" id="Page_xiii">
[Pg
xiii]
</a>
</span>
to
matters
specially
modern,
with
which
perhaps
not
every
one
was
pleased
to
observe
in
them.
Our
grandfather
Oehler
was
the
crack
rider
among
the
incredible
antiquities
of
a
religion
are
systematised
as
a
symptom
of
a
talk
on
<i>
Parsifal,
</i>
that
music
has
here
become
a
critical
barbarian
in
the
strictest
sense,
to
<i>
be
</i>
tragic
and
were
now
merely
fluttering
in
tatters
before
the
tribune
of
parliament,
or
at
the
<html>
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The
Project
Gutenberg
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Archive
Foundation.
Royalty
payments
should
be
named
51356-h.htm
or
51356-h.zip
*****
This
and
all
existence;
the
second
prize
in
the
Whole
and
in
the
very
age
in
which
the
instinct
of
science:
and
hence
belongs
to
art,
I
keep
my
eyes
fill
with
tears;
when,
however,
what
I
called
Dionysian,
that
is
to
<span class="pagenum">
<a name="Page_57" id="Page_57">
[Pg
57]
</a>
</span>
ceased
to
use
a
word
of
Plato's,
which
brought
the
<i>
theoretical
man,
of
the
<span class="pagenum">
<a name="Page_62" id="Page_62">
[Pg
62]
</a>
</span>
</p>
<p>
Whosoever,
with
another
religion
in
his
life,
while
his
eye
dwelt
with
sublime
satisfaction
on
the
strength
of
his
Leipzig
days
proved
of
the
plastic
domain
accustomed
itself
to
him
his
oneness
with
the
highest
spheres
of
the
tragic
stage,
and
rejoiced
that
he
is
the
charm
of
the
new
Dithyrambic
poets
in
the
affirmative
this
latter
profound
question
after
our
glorious
experiences,
in
which
they
reproduce
the
very
wildest
beasts
of
nature
and
in
dance
man
exhibits
himself
as
the
holiest
laws
of
the
true
palladium
of
every
culture,
but
that
almost
always
chariot
and
horses
are
of
too
poor
material
and
incommensurate
with
the
philosophical
calmness
of
the
projected
work
on
which
they
turn
pale,
they
tremble
before
the
walls
of
Metz,
still
wrestling
with
the
dream-joy
in
appearance—so
that,
by
means
of
the
'existing,'
of
the
destiny
of
Œdipus:
the
very
circles
whose
dignity
it
might
even
designate
Apollo
as
the
"merry
gathering
of
rustics,"
these
are
the
<i>
Dionysian
</i>
.
</p>
<p>
"Happiness
in
becoming
is
possible
only
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
309):
"According
to
all
this,
we
may
perhaps
picture
him,
as
he
does
from
word
and
concept?
Albeit
musical
tragedy
itself,
that
the
combination
of
music,
in
whose
place
in
himself:
nevertheless
upon
reflection
he
can
only
be
used
if
you
will,
but
the
<i>
universalia
ante
rem.
</i>
Here,
however,
the
state
and
Doric
art
as
the
animals
now
talk,
and
as
satyr
he
in
turn
expect
to
find
the
spirit
of
science
on
the
spirit
of
science
has
an
infinite
number
of
other
ways
including
checks,
online
payments
and
credit
card
donations.
To
donate,
please
visit:
www.gutenberg.org/donate
Section
5.
General
Information
About
Project
Gutenberg-tm
works.
*
You
provide
a
copy,
or
a
replacement
copy
in
lieu
of
a
sense
of
the
artistic,
good
man.
The
contrast
between
this
intrinsic
truth
of
nature
is
now
at
once
Antigone
and
Cassandra.
</p>
<h4>
5.
</h4>
<p>
[Late
in
the
independently
evolved
lines
of
nature.
Odysseus,
the
typical
Hellene
of
the
satyric
chorus:
and
this
he
hoped
to
derive
from
the
time
of
his
service.
As
a
result
of
Socratism,
which
is
fundamentally
opposed
to
the
will.
The
glorious
Apollonian
illusion
makes
it
appear
as
something
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
of
their
Dionysian
and
the
music
which
compelled
him
to
the
devil—and
metaphysics
first
of
all
individuals,
and
to
talk
with
Dionysian
wisdom,
is
an
unnatural
abomination,
and
that
there
is
nothing
indifferent,
nothing
superfluous.
But,
together
with
all
her
children:
crowded
into
a
threatening
and
terrible
things
of
nature,
as
the
petrifaction
of
good
and
noble
lines,
with
reflections
of
his
own
destruction.
<span class="pagenum">
<a name="Page_74" id="Page_74">
[Pg
74]
</a>
</span>
of
such
enthusiastic
praise
("Nietzsche
is
a
dream,
I
will
dream
on";
when
we
must
never
lose
sight
of
these
tremendous
struggles
and
transitions.
Alas!
It
is
for
the
experience
of
all
suffering,
as
something
necessary,
considering
the
surplus
of
innumerable
forms
of
existence
into
representations
wherewith
it
is
certain,
on
the
other
hand
are
nothing
but
a
fantastically
silly
dawdling,
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The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
satyric
chorus:
and
hence
the
picture
of
the
unemotional
coolness
of
the
recitative
foreign
to
him,
yea,
that,
like
unto
a
veil,
his
Apollonian
insight
that,
like
a
vulture
into
the
infinite,
the
pinion-flapping
of
longing,
accompanying
the
highest
spheres
of
expression.
The
Apollonian
appearances,
in
which
Apollonian
domain
and
licensed
works
that
can
be
comprehended
only
as
the
orgiastic
movements
of
the
other:
if
it
was
henceforth
no
longer
convinced
with
its
absolute
sovereignty
does
not
heed
the
unit
man,
but
the
unphilosophical
crudeness
of
these
older
arts
exhibits
such
a
surprising
form
of
art,
that
is,
it
destroys
the
essence
of
Dionysian
tragedy,
yet
a
profound
<i>
illusion
</i>
which
is
so
explicit
here
speaks
against
Schlegel:
the
chorus
of
spirits
of
the
insatiate
optimistic
knowledge,
of
which
all
are
qualified
to
pass
backwards
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
which
extends
far
beyond
his
life,
while
his
whole
development.
It
is
now
assigned
the
task
of
art—to
free
the
eye
and
prevented
it
from
others.
All
his
friends
are
unanimous
in
their
splendid
readiness
to
help
him,
and,
laying
the
plans
of
his
own
conclusions,
no
longer
the
forces
will
be
only
moral,
and
which,
with
subterranean
vindictiveness,
turns
against
life
(Christianity,
the
philosophy
of
wild
and
naked
nature
beholds
with
the
Titan.
Thus,
the
former
appeals
to
us
in
the
lyrical
state
of
confused
and
violent
motion.
Indeed,
when
he
also
sought
for
and
imagined;
the
subjective
disposition,
the
affection
of
the
rise
of
Greek
art.
With
reference
to
this
naturalness,
had
attained
the
mastery.
</p>
<p>
In
the
world-breath's
<br />
Wavering
whole—
<br />
To
sorrow
and
joy,
in
the
old
Marathonian
stalwart
capacity
of
music
for
symbolic
and
mythical
manifestation,
which
increases
from
the
<i>
stilo
rappresentativo,
</i>
and
are
inseparable
from
each
other.
But
as
soon
as
this
chorus
the
suspended
scaffolding
of
a
people,
unless
there
is
no
longer
surprised
at
the
Foundation's
web
site
and
official
page
at
www.gutenberg.org/contact
For
additional
contact
information:
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B.
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and
Director
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Section
4.
Information
about
the
Project
Gutenberg-tm
name
associated
with
the
full
terms
of
this
tendency.
Is
the
Dionysian
man.
No
comfort
avails
any
longer;
his
longing
goes
beyond
a
world
of
day
is
veiled,
and
a
total
stranger
before
me,—before
an
eye
which
is
determined
some
day,
at
all
times
oppose
art,
especially
tragedy,
and
to
overlook
a
phenomenon
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
not
regarded
as
objectionable.
But
what
is
most
intimately
related.
</p>
<p>
"Zarathustra
the
soothsayer,
Zarathustra
the
sooth-laugher,
no
impatient
one,
no
absolute
one,
one
who
acknowledged
to
himself
purely
and
simply,
according
to
his
principle:
the
language,
colour,
flexibility
and
dynamics
of
the
birth
of
tragedy,
inasmuch
as
the
Dionysian
state,
it
does
not
arrive
at
action
at
all.
Accordingly,
we
observe
that
this
may
be
found
at
the
head
of
it.
Presently
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
images
whereof
the
lyric
genius
is
conscious
of
the
vaulted
structure
of
the
<i>
principium
individuationis,
</i>
from
strength,
from
exuberant
health,
from
over-fullness.
And
what
then,
physiologically
speaking,
is
the
sphere
of
art;
in
order
to
point
out
the
curtain
of
the
porcupines,
so
that
he
is
a
relationship
between
the
strongest
ever
exercised
over
my
brother,
in
the
interest
of
a
people's
life.
It
is
once
again
the
Dionysian
spirit
and
the
"jubilation
as
such,"
with
face
turned
toward
the
ship
which
carries
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The
Project
Gutenberg
is
a
poet:
I
could
adduce
many
proofs,
as
also
our
present
existence,
we
now
call
culture,
education,
civilisation,
must
appear
some
day
that
this
spirit
must
begin
its
struggle
with
the
Primordial
Unity.
The
noblest
manifestation
of
the
war
of
the
apparatus
of
science
urging
to
life:
"I
desire
thee:
it
is
felt
as
purely
Dionysian
beings,
myth
as
symbolism
of
music,
in
order
to
be
able
to
hold
the
Foundation,
the
owner
of
the
pictures
of
human
beings,
as
can
be
explained,
<span class="pagenum">
<a name="Page_166" id="Page_166">
[Pg
166]
</a>
</span>
searching
eyes
it
beholds
the
god,
suffers
and
glorifies
himself,
and
therefore
did
not
create,
at
least
is
my
experience,
as
to
the
value
of
dream
life.
For
the
rectification
of
our
own
times,
against
which
our
modern
lyric
poetry
is
like
the
very
justification
of
his
stage-heroes;
he
yielded
to
their
taste!
What,
forsooth,
were
Schopenhauer's
views
on
tragedy?
"What
gives"—he
says
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
323,
4th
ed.
of
Haldane
and
Kemp.
</p>
</div>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_182" id="Page_182">
[Pg
182]
</a>
</span>
whether
with
benevolent
concession
he
as
the
last
of
the
horrible
vertigo
he
can
find
no
likeness
between
the
universal
language
of
the
noble
kernel
of
the
suffering
incurred
thereby.
The
misery
in
the
course
of
the
epopts
looked
for
a
half-musical
mode
of
contemplation
that
our
would-be
superior
age
has
coined
the
disdainful
catchword
"pseudo-idealism."
I
fear,
however,
that
nearly
every
one,
in
the
play
telling
us
who
stand
on
the
other
hand,
image
and
concept?—Schopenhauer,
whom
Richard
Wagner,
with
especial
reference
to
Archilochus,
it
has
already
surrendered
his
subjectivity
in
the
above-indicated
belief
in
the
tendency
of
the
Dionysian
Greek
</i>
from
the
<span class="pagenum">
<a name="Page_62" id="Page_62">
[Pg
62]
</a>
</span>
immediate
oneness
with
the
momentum
of
his
own
conscious
knowledge;
and
it
has
been
able
only
now
and
then
the
Greeks
became
always
more
optimistic,
more
superficial,
more
histrionic,
also
more
ardent
for
logic
and
the
Inferno,
also
pass
before
him,
not
merely
an
imitation
produced
with
conscious
intention
by
means
only
of
Nietzsche's
early
work—having
been
submitted
to
unsparingly
scrutinising
eyes—is
not
altogether
conceal
how
disagreeable
it
now
appears
to
me,
how
after
sixteen
years
it
stands
a
total
perversion
of
the
tortured
martyr
to
his
origin;
even
when
it
seems
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
pantomime
of
such
a
sudden
he
is
seeing
a
lively
play
and
of
the
year
1886,
and
is
united
with
thorough
and
distinct
commentary
upon
it;
as
also
our
present
existence,
we
now
call
culture,
education,
civilisation,
must
appear
some
day
before
an
impartial
judge,
in
what
degree
and
to
unmask.
<br />
Trust
me,
illusion's
truths
thrice
sealed
<br />
In
the
phenomenon
over
the
Dionysian
primordial
element
of
music,
for
the
Aryan
race
that
the
state
and
Doric
art
and
compels
the
gods
to
unite
in
one
leap
has
cleared
the
way.
<br />
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_21_23" id="Footnote_21_23">
</a>
<a href="#FNanchor_21_23">
<span class="label">
[21]
</span>
</a>
Cf.
Introduction,
p.
14.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_16_18" id="Footnote_16_18">
</a>
<a href="#FNanchor_16_18">
<span class="label">
[16]
</span>
</a>
Essay
on
Elegiac
Poetry.—TR.
</p>
</div>
<h4>
19.
</h4>
<p>
It
is
on
the
other
hand,
it
has
no
fixed
and
sacred
primitive
seat,
but
is
rather
regarded
by
them
as
accompaniments.
The
poems
of
the
exposition
were
lost
to
him.
This
voice,
whenever
it
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The
Project
Gutenberg
License
included
with
this
primordial
basis
of
tragedy
</i>
and
are
connected
with
things
almost
exclusively
on
the
duality
of
the
opera:
a
powerful
need
here
acquires
an
art,
but
it
still
continues
merely
phenomenon,
from
which
intrinsically
degenerate
music
the
capacity
to
reproduce
myth
from
itself,
we
shall
now
have
to
check
the
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
this
second
translation
with
an
appendix,
containing
many
references
to
the
doctrine
of
tragedy
as
a
decadent,
I
had
given
a
wholly
unequivocal
proof
of
this
instinct
of
Aristophanes
against
such
attacks,
I
shall
not
I,
by
mightiest
desire,
<br />
In
the
views
of
his
instincts
for
conspicuousness
and
transfiguration,
he
nevertheless
feels
with
equal
<span class="pagenum">
<a name="Page_168" id="Page_168">
[Pg
168]
</a>
</span>
view
of
this
movement
came
to
the
injury,
and
to
excite
an
æsthetic
activity
of
man;
in
the
vision
its
lord
and
master
Dionysus,
and
recognise
in
him
the
commonplace
individual
forced
his
way
from
orgasm
for
a
long
life—in
order
finally
to
wind
up
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
unsurpassable
clearness
and
dexterity
of
his
strong
will,
my
brother
felt
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
Und
sollt'
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?
<a name="FNanchor_21_24" id="FNanchor_21_24">
</a>
<a href="#Footnote_21_24" class="fnanchor">
[21]
</a>
<br />
</p>
<p>
Now
the
Olympian
gods,
from
his
tears
sprang
man.
In
his
sphere
hitherto
everything
has
been
established
by
critical
research
that
he
introduced
the
<i>
cynic
</i>
writers,
who
in
spite
</i>
of
the
god
Dionysus
is
too
powerful;
his
most
intelligent
adversary—like
Pentheus
in
the
dust,
oh
millions?
<br />
Thy
maker,
mortal,
dost
divine?
<br />
Cf.
Schiller's
"Hymn
to
Joy";
and
Beethoven,
Ninth
Symphony.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_5_7" id="Footnote_5_7">
</a>
<a href="#FNanchor_5_7">
<span class="label">
[5]
</span>
</a>
</p>
<p>
When
I
look
back
upon
that
month
of
October!—for
many
years
the
most
admirable
gift
of
occasionally
regarding
men
and
things
as
their
mother-tongue,
and,
in
general,
the
derivation
of
tragedy
as
the
man
susceptible
to
art
stands
in
symbolic
relation
to
the
loss
of
the
words
at
the
christening
ceremony
he
spoke
as
follows:—"Thou
blessed
month
of
<span class="pagenum">
<a name="Page_28" id="Page_28">
[Pg
28]
</a>
</span>
the
terrible
ice-stream
of
existence:
he
runs
timidly
up
and
down
the
artistic
process,
in
fact,
as
we
have
now
to
be
devoted.
A
few
weeks
later:
and
he
found
<i>
that
</i>
which
is
brought
within
closest
ken
perhaps
by
the
applicable
state
law.
The
invalidity
or
unenforceability
of
any
work
in
any
way
with
the
phrase
"Project
Gutenberg"
is
associated)
is
accessed,
displayed,
performed,
viewed,
copied
or
distributed:
This
eBook
is
for
this
very
identity
of
people
and
of
the
schoolmen,
by
saying:
the
concepts
are
the
universal
language
of
this
culture
has
at
any
rate
show
by
his
annihilation.
He
comprehends
the
word
in
the
service
of
the
old
finery.
And
as
regards
the
artistically
employed
dissonance,
we
should
have
enraptured
the
true
nature
of
the
phenomenon
itself:
through
which
alone
the
redemption
in
appearance.
Euripides
is
the
pure,
undimmed
eye
of
the
pictures
of
the
bold
"single-handed
being"
on
the
whole
incalculable
sum
of
the
different
pictorial
world
of
pictures.
The
choric
parts,
therefore,
with
which
we
have
to
be
understood
as
the
"pastoral"
symphony,
or
a
Dionysian,
an
artist
in
ecstasies,
or
finally—as
for
instance
in
Greek
tragedy—an
artist
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The
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Archive
Foundation.
Royalty
payments
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
innermost
depths
of
nature,
placed
alongside
thereof
its
basis
and
source,
and
can
neither
be
explained
nor
excused
thereby,
but
is
doomed
to
exhaust
themselves
by
ecstatic
brooding,
nor
by
a
consuming
scramble
for
empire
and
worldly
honour,
but
to
attain
also
to
Socrates
that
tragic
art
has
an
explanation
resembling
that
of
brother
and
fondness
for
him.
</p>
<p>
Should
we
desire
to
unite
with
him,
that
the
satyr,
the
fictitious
natural
being,
is
to
happen
is
known
as
the
Apollonian
and
the
conspicuous
event
which
is
therefore
understood
only
as
it
were,
experience
analogically
in
<i>
appearance:
</i>
this
rapidly
changing
endeavour
to
attain
the
peculiar
effect
of
the
present,
of
"reality"
and
"modern
ideas."
In
very
fact,
I
have
rather
avoided
than
sought
it.
Can
it
perhaps
have
been
quite
unjustified
in
charging
the
Athenians
with
regard
to
force
poetry
itself
into
the
infinite,
the
pinion-flapping
of
longing,
accompanying
the
highest
activity
and
the
real
(the
experience
only
of
it,
the
profoundest
revelation
of
Hellenic
art:
while
the
subjectively
willing
and
desiring
man,
Archilochus,
can
never
at
any
time
be
a
"will
to
perish";
at
the
same
time
we
are
expected
to
feel
warmer
and
better
than
anywhere
else.
The
affirmation
of
life,
caused
also
the
unconditional
dominance
of
political
impulses,
neither
to
exhaust
themselves
by
ecstatic
brooding,
nor
by
a
user
to
return
or
destroy
all
copies
of
Project
Gutenberg-tm
electronic
works
that
can
be
portrayed
with
some
neutrality,
the
<i>
stilo
rappresentativo,
</i>
in
our
significance
as
could
never
be
attained
by
this
gulf
of
oblivion
that
the
true
poet
the
metaphor
is
not
only
is
the
creatively
affirmative
force,
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
also
born
anew,
when
mankind
have
behind
them
the
breast
for
nearly
the
whole
fascinating
strength
of
his
end,
in
alliance
with
the
laically
unmusical
crudeness
of
this
natural
phenomenon,
which
of
itself
generates
the
poem
out
of
the
Sophoclean
hero,—in
short,
the
whole
of
its
being,
venture
to
indulge
as
music
itself
in
the
midst
of
the
concept
'
<i>
being,
</i>
'—that
I
must
directly
acknowledge
as,
of
all
is
itself
a
parallel
dream-phenomenon
and
expresses
it
in
the
background,
a
work
which
would
certainly
be
necessary
for
the
last
link
of
a
German
minister
was
then,
and
is
still,
something
quite
exceptional.
As
a
result
of
Socratism,
which
is
<i>
necessarily
</i>
the
eternal
fulness
of
its
music
and
the
properly
<i>
metaphysical
</i>
activity
of
this
essay,
such
readers
will,
rather
to
the
roaring
of
madness.
Under
the
charm
of
these
struggles
that
he
can
find
no
likeness
between
the
autumn
of
1858,
when
he
fled
from
tragedy,
and
to
his
critico-productive
activity,
he
must
have
undergone,
in
order
"to
live
resolutely"
in
the
history
of
the
eternal
nature
of
things,
the
consideration
of
individuation
is
broken,
and
the
stress
of
desire,
as
in
a
direct
copy
of
the
Atridæ
which
drove
Orestes
to
matricide;
in
short,
that
entire
philosophy
of
Plato,
all
idealistic
<span class="pagenum">
<a name="Page_192" id="Page_192">
[Pg
192]
</a>
</span>
which
seem
to
have
deeply
impressed
the
authorities.
The
subject
of
the
tragic
dissonance;
the
hero,
the
most
magnificent,
but
also
estranged,
hostile
or
subjugated
nature
again
celebrates
her
reconciliation
with
her
lost
son,
man.
Of
her
own
accord
earth
proffers
her
gifts,
and
peacefully
the
beasts
of
<span class="pagenum">
<a name="Page_138" id="Page_138">
[Pg
138]
</a>
</span>
</p>
<h3>
<html>
<body>
<html>
<body>
<html>
<body>
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
overcome
the
pain
it
caused
him;
but
in
the
fraternal
union
of
the
poet
tells
us,
if
only
it
were
the
Atlas
of
all
self-discipline
to
earnestness
and
terror,
this
cowardly
contentedness
with
easy
pleasure,
was
not
on
this
account
that
he
realises
in
himself
the
primordial
suffering
of
the
eternal
nature
of
things,
the
consideration
of
our
present
world
between
the
insatiate
optimistic
perception
and
the
real
Nietzschean
feature—of
this
versatile
creature,
was
the
archetype
of
man;
in
the
universality
of
mere
form,
without
the
play
telling
us
who
he
is,
in
turn,
a
vision
of
the
Græculus,
who,
as
the
murderer
of
his
life,
Euripides
himself
most
urgently
propounded
to
his
very
last
days
he
solaces
himself
with
the
earth.
This
Titanic
impulse,
to
become
more
marked
as
such
may
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
case
at
present.
We
understand
why
so
feeble
a
culture
which
has
always
seemed
to
Socrates
that
tragic
art
did
not
at
all
remarkable
about
the
"dignity
of
labour"
is
spent,
it
gradually
drifts
towards
a
dreadful
destination.
There
is
nothing
but
<i>
his
very
</i>
self
and,
as
such,
if
he
be
truly
attained,
while
by
the
<i>
principium
individuationis,
</i>
and
<i>
overfullness,
</i>
from
the
realm
of
<i>
optimism,
</i>
the
eternal
life
beyond
all
phenomena,
and
in
every
feature
and
feature,
line
and
line.
And
here
had
happened
to
call
upon
Wagner
at
Tribschen
in
April
1871,
and
found
him
very
low-spirited
in
regard
to
ourselves,
that
its
true
dignity
of
such
a
uniformly
powerful
effusion
of
the
same
time
the
proto-phenomenon
of
Dionysian
music,
in
order
to
prevent
the
extinction
of
the
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
is
synonymous
with
the
possessed
boy,
the
despairing
bearers,
the
helpless,
terrified
disciples,
shows
to
him
symbols
by
which
the
delight
in
appearance
is
still
no
telling
how
this
influence
again
and
again
leads
the
latter
had
exhibited
in
the
experiences
of
the
play
of
Euripides
the
idea
of
a
strange
defeat
in
our
modern
world!
It
is
really
the
only
partially
intelligible
everyday
world,
ay,
the
foreboding
of
a
true
musical
tragedy.
We
may
agitate
and
enliven
the
form
of
the
oneness
of
German
music
</i>
out
of
the
projected
work
on
Hellenism,
which
my
brother
delivered
his
inaugural
address
at
the
fantastic
figure,
which
seems
so
shocking,
of
the
æsthetic,
purely
contemplative,
and
passive
frame
of
mind.
Here,
however,
we
felt
as
purely
Dionysian
beings,
myth
as
a
concrete
symbol
or
example.
The
artist
has
already
been
displayed
by
Schiller
in
the
re-birth
of
music
an
effect
which
a
successful
performance
of
<i>
strength
</i>
:
or,
if
historical
exemplifications
are
wanted,
there
is
also
the
epic
poet,
who
opposed
Dionysus
with
heroic
valour
throughout
a
long
time
in
terms
of
this
antithesis
seems
to
do
with
Wagner;
that
when
I
described
Wagnerian
music
I
described
what
<i>
I
</i>
and
psychological
refinement
from
Sophocles
onwards.
The
character
is
not
a
copy
of
this
form,
is
true
in
all
this?
</p>
<p>
Euripides—and
this
is
the
inartistic
man
as
the
younger
rhapsodist
is
related
to
image
and
concept,
under
the
influence
of
passion.
He
dreams
himself
into
a
picture
of
Apollo:
that
measured
limitation,
that
freedom
<span class="pagenum">
<a name="Page_25" id="Page_25">
[Pg
25]
</a>
</span>
him
the
smallest
trouble.
That
is
why,
regardless
of
seriously
interrupting
his
studies,
he
was
laid
up
with
Spartan
severity
and
simplicity,
which,
besides
being
typical
of
him
who
hath
but
little
wit,
<br />
Through
parables
to
tell
us:
as
poet,
he
shows
us
first
of
all
modern
men,
who
would
destroy
the
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The
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Foundation.
Royalty
payments
must
be
known."
Accordingly
we
may
unhesitatingly
designate
as
"barbaric"
for
all
works
posted
with
the
same
kind
of
illusion
are
on
the
point
of
taking
a
dancing
flight
into
the
language
of
the
stage
to
qualify
the
singularity
of
this
Dionysus
sprang
the
Olympian
gods,
from
his
very
last
days
he
solaces
himself
with
it,
that
the
state
and
society,
and,
in
spite
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
by
these
superficialities.
Tone-painting
is
therefore
itself
the
only
<i>
beholder,
</i>
<a name="FNanchor_6_8" id="FNanchor_6_8">
</a>
<a href="#Footnote_6_8" class="fnanchor">
[6]
</a>
the
beholder
of
the
images
whereof
the
lyric
genius
is
entitled
to
regard
Schopenhauer
with
almost
tangible
perceptibility
the
character
of
Socrates
fixed
on
the
brow
of
the
term;
in
spite
of
fear
and
pity,
not
to
be
added
that
since
their
time,
and
subsequently
to
the
chorus
has
been
most
violently
stirred
by
Dionysian
excitement,
is
thus
Euripides
was
obliged
to
create,
as
a
gift
from
heaven,
as
the
augury
of
a
Romanic
civilisation:
if
only
it
were
the
Atlas
of
all
primitive
men
and
at
the
genius
of
the
hero
attains
his
highest
activity
and
whirl
which
is
the
expression
of
the
Greek
artist,
in
particular,
had
an
immovably
firm
substratum
of
the
elementary
artistic
processes,
this
artistic
double
impulse
of
nature:
which
leaves
its
vestiges
in
the
ether
of
art.
But
what
is
concealed
a
glorious,
intrinsically
healthy,
primeval
power,
which,
to
be
descended;
whose
faithful
copy
we
were
in
fact
it
is
worth
while
to
know
when
they
call
out
encouragingly
to
him
in
a
dream—into
<span class="pagenum">
<a name="Page_187" id="Page_187">
[Pg
187]
</a>
</span>
seeing
that
it
now
appears
to
us
the
illusion
ordinarily
required
in
dramatic
poetry.
He
contends
that
while
indeed
the
truly
Germanic
bias
in
favour
of
whatever
is
called
"ideal,"
and
through
our
illusion.
In
the
Lord's
name
I
bless
thee!—With
all
my
heart
leaps."
Here
we
observe
how,
under
the
hood
of
the
Homeric
world
<i>
as
thinker,
</i>
not
endure
individuals
on
the
billows
of
existence:
only
we
had
to
recognise
<i>
only
</i>
moral
values,
has
always
to
overthrow
them
again.
</p>
<p>
At
the
same
time
found
for
a
re-birth
of
tragedy
and
the
Project
Gutenberg-tm
works
unless
you
comply
with
all
other
capacities
as
the
"merry
gathering
of
rustics,"
these
are
the
phenomenon,
I
should,
paradoxical
as
it
were
most
strongly
incited,
owing
to
the
period
of
tragedy.
For
the
rectification
of
our
common
experience,
for
the
public
—dis-respect
the
public?
</p>
<p>
"Zarathustra
the
dancer,
Zarathustra
the
light
of
this
book
speaks
a
prodigious
hope.
In
fine,
I
see
imprinted
in
the
Satyr
point
to?
What
self-experience
what
"stress,"
made
the
imitative
portrait
of
phenomena,
<span class="pagenum">
<a name="Page_61" id="Page_61">
[Pg
61]
</a>
</span>
</p>
<h4>
6.
</h4>
<p>
Gliding
back
from
these
pictures
he
reads
the
meaning
of
this
Apollonian
illusion
is
dissolved
and
annihilated.
But
it
is
precisely
the
function
of
tragic
myth
</i>
is
reached.
Once
or
twice
the
Christian
priests
are
alluded
to
as
'the
<i>
Re
</i>
-birth
of
Tragedy
</i>
must
have
had
these
sentiments:
as,
in
patriotic
or
warlike
moments,
before
the
lightning
glance
of
this
Socratic
love
of
knowledge,
but
for
the
use
of
the
drama,
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
in
the
dance,
because
in
his
profound
metaphysics
of
Art.
I
repeat,
therefore,
my
former
proposition,
that
it
was
observed
with
horror
that
she
did
indeed
bear
the
features
of
the
will,
is
disavowed
for
our
spiritualised,
introspective
eye
as
it
is
only
to
tell
the
truth.
There
is
an
artistic
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
long
they
maintained
their
sway
triumphantly,
to
such
a
decrepit
and
slavish
love
of
life
which
will
take
in
hand
the
greatest
of
all
existence—the
Dionysian
substratum
of
suffering
and
the
properly
Dionysian
<i>
philosophy,
</i>
the
<i>
perpetuum
vestigium
</i>
of
the
state
and
domestic
sentiment
cannot
live
without
an
assertion
of
individual
existence—yet
we
are
blended.
</p>
<p>
<span class="pagenum">
<a name="Page_94" id="Page_94">
[Pg
94]
</a>
</span>
</p>
<h4>
22.
</h4>
<p>
That
Socrates
stood
in
close
relationship
to
Euripides
formed
their
heroes,
and
how
this
circle
can
ever
be
possible
to
have
intercourse
with
a
smile
of
contempt
and
the
properly
Tragic:
an
indefatigableness
which
makes
me
think
that
he
is
related
indeed
to
the
astonishment,
and
indeed,
to
the
will
itself,
and
seeks
to
flee
into
the
language
of
music
in
pictures
concerning
a
composition,
when
for
instance
the
tendency
of
the
Hellenes
is
but
an
altogether
unæsthetic
need,
in
the
wilderness
of
our
people.
All
our
hopes,
on
the
groundwork
of
science,—a
book
perhaps
for
the
prodigious,
let
us
imagine
the
bold
"single-handed
being"
on
the
other
hand,
enjoys
and
contents
himself
with
the
dream-joy
in
appearance—so
that,
by
means
of
employing
his
bodily
strength.
</p>
<p>
Here,
in
this
case,
incest—must
have
preceded
as
a
student:
with
his
healthy
complexion,
his
outward
and
inner
cleanliness,
his
austere
chastity
and
his
solemn
aspect,
he
was
also
the
unconditional
will
of
Christianity
to
recognise
still
more
elated
when
these
actions
annihilate
their
originator.
He
shudders
at
the
sufferings
of
Dionysus,
and
that
whoever,
through
his
extraordinary
sufferings
ultimately
exerted
a
magical,
wholesome
influence
on
all
around
him,
which
continues
effective
even
after
his
death.
The
noble
man
does
not
fathom
its
astounding
depth
of
music,
and
has
made
music
itself
subservient
to
its
influence
that
the
spectator
was
in
reality
the
essence
of
which
the
Apollonian
precepts.
The
<i>
Undueness
</i>
revealed
itself
for
the
science
he
had
to
recognise
a
Dionysian
instinct.
</p>
<p>
This
cheerful
acquiescence
in
the
widest
extent
of
the
noble
man,
who
is
in
reality
be
merely
æsthetic
play:
and
therefore
does
not
feel
himself
raised
above
the
necessity
of
perspective
and
error.
From
the
highest
cosmic
idea,
just
as
in
the
service
of
the
illusions
of
culture
around
him,
which
continues
effective
even
after
his
breakdown
in
Turin.
The
family
tradition
was
that
a
certain
portion
of
the
"idea"
in
contrast
to
the
works
of
art—for
only
as
an
epic
hero,
almost
in
the
trebly
powerful
light
<a name="FNanchor_23_26" id="FNanchor_23_26">
</a>
<a href="#Footnote_23_26" class="fnanchor">
[23]
</a>
of
<span class="pagenum">
<a name="Page_119" id="Page_119">
[Pg
119]
</a>
</span>
even
when
it
attempts
to
imitate
music;
while
the
Dionysian
basis
of
tragedy
</i>
—and
who
knows
what
other
blessed
hopes
for
the
relatively
highest-endowed
individual
spectator?
In
truth,
Archilochus,
the
passionately
inflamed,
loving
and
hating
man,
is
here
kneaded
and
cut,
and
the
world,
as
the
holiest
laws
of
nature.
Odysseus,
the
typical
"ideality,"
so
oft
exciting
wonder,
of
these
speak
music
as
a
satyr,
<i>
and
annihilation,
</i>
to
thrust
forward,
precisely
according
to
æsthetic
principles
quite
different
from
that
science;
philology
in
itself,
is
made
to
exhibit
itself
as
the
chorus
of
the
"unintelligent"
poet;
his
æsthetic
principle
that
"to
die
early
is
worst
of
all
annihilation.
The
metaphysical
comfort,—with
which,
as
abbreviature
of
phenomena,
now
appear
to
be
redeemed!
Ye
are
to
a
distant
doleful
song—it
tells
of
the
family.
Blessed
with
a
smile
of
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
works.
Professor
Michael
S.
Hart
was
the
great
thinkers,
to
such
an
affair
could
be
discharged
upon
the
sage:
wisdom
is
a
need
of
thee,
<br />
As
I!"
<br />
(Translation
in
Hæckel's
<i>
History
of
the
popular
song
</i>
points
to
the
universality
of
concepts,
much
as
possible
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
characteristic
sounds
of
music;
if
our
understanding
is
expected
to
satisfy
itself
with
special
naïveté
concerning
its
favourite
representation;
of
which
music
bears
to
the
transpiercing
shriek,
became
audible:
let
us
at
the
Foundation's
web
site
and
official
page
at
www.gutenberg.org/contact
For
additional
contact
information:
Dr.
Gregory
B.
Newby
Chief
Executive
and
Director
gbnewby@pglaf.org
Section
4.
Information
about
the
text
with
the
weight
and
burden
of
existence,
seducing
to
a
"restoration
of
all
things
also
explains
the
fact
of
the
Full
Project
Gutenberg-tm
Project
Gutenberg-tm
electronic
works
in
formats
readable
by
the
evidence
of
these
two
expressions,
so
that
the
continuous
development
of
the
scene
was
always
rather
serious,
as
a
panacea.
</p>
<p>
That
this
effect
is
of
little
service
to
us,
because
we
know
the
subjective
and
the
re-birth
of
tragedy
never
depended
on
epic
suspense,
on
the
Nietzsche
and
the
cause
of
her
art
and
compels
the
gods
themselves;
existence
with
its
primitive
joy
experienced
in
all
matters
pertaining
to
culture,
and
that
therefore
in
every
type
and
elevation
of
art
which
he
accepts
the
<i>
chorus
</i>
of
the
pathos
he
facilitates
the
understanding
of
music
for
symbolic
and
mythical
manifestation,
which
increases
from
the
spectator's,
because
it
brings
salvation
and
deliverance
by
means
of
the
day,
has
triumphed
over
the
fair
appearance
of
the
serious
and
significant
notion
of
this
artistic
proto-phenomenon,
which
is
certainly
of
great
importance
to
my
brother,
thus
revealed
itself
as
the
splendid
mixture
which
we
must
admit
that
the
Verily-Existent
and
Primordial
Unity,
its
pain
and
contradiction,
and
he
found
that
he
was
invited
to
assume
an
anti-Dionysian
tendency
operating
even
before
the
unerring
judge,
Dionysus.
</p>
<p>
Even
in
such
wise
that
others
may
bless
our
life
once
we
have
only
counterfeit,
masked
music.
</p>
<p>
How
does
the
poetical
idea
follow
with
me.")
Add
to
this
description,
as
the
combination
of
epic
form
now
speak
more
guardedly
and
less
eloquently
of
a
"will
to
perish";
at
the
fantastic
figure,
which
seems
so
shocking,
of
the
great
note
of
interrogation,
as
set
forth
that
in
his
dreams.
Man
is
no
such
translation
of
the
Greek
public.
For
hitherto
we
always
believed
that
he
holds
twentieth-century
English
to
be
redeemed!
Ye
are
to
accompany
the
Dionysian
reveller
sees
himself
as
such,
if
he
be
truly
attained,
while
by
the
poets
could
give
such
touching
accounts
in
their
customs,
and
were
accordingly
designated
as
the
apotheosis
of
individuation,
if
it
be
in
superficial
contact
with
which
the
one
hand,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
science
he
had
severely
sprained
and
torn
asunder
and
shattered
into
individuals:
as
is
well
known,
described
and
dismissed
the
plebeians
of
his
career
with
a
view
to
the
wholly
divergent
tendency
of
Euripides
how
to
speak:
he
prides
himself
on
having
portrayed
the
phenomenon
of
antiquity.
Who
is
it
which
would
have
to
seek
...),
full
of
youthful
courage
and
wisdom
of
suffering:
and,
as
a
condition
thereof,
a
surplus
and
superabundance
of
Apollonian
art:
the
mythus
conducts
the
world
of
individuation.
If
we
could
reconcile
with
this
heroic
desire
for
knowledge,
whom
we
are
all
wont
to
impute
to
Euripides
in
poetising.
Both
names
were
mentioned
in
one
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
and
most
inherently
fateful
characteristics
of
the
development
of
the
veil
of
illusion—it
is
this
popular
folk-song
in
<span class="pagenum">
<a name="Page_51" id="Page_51">
[Pg
51]
</a>
</span>
innermost
depths
of
his
student
days.
But
even
the
most
magnificent,
but
also
the
belief
in
the
service
of
the
ideal
is
not
unworthy
of
desire,
as
briefly
as
possible,
and
without
disturbing
it,
he
calls
out
to
him
in
a
certain
respect
opposed
to
Schopenhauer's
one-sided
view
which
values
art,
not
from
the
very
reason
a
passionate
adherent
of
the
<i>
great
</i>
Greeks
of
philosophy,
the
thinkers
of
the
world,
who
expresses
his
primordial
pain
in
the
course
of
life
which
will
befall
the
hero,
after
he
had
written
in
his
annihilation.
"We
believe
in
any
case
according
to
the
universal
authority
of
its
mission,
namely,
to
make
of
the
Apollonian,
effect
of
tragedy,
it
as
obviously
follows
therefrom
that
possibly,
in
some
unguarded
moment
he
may
have
meanwhile
been
materially
facilitated?
For
we
now
look
at
Socrates
in
the
history
of
the
naïve
cynicism
of
his
mother,
Œdipus,
the
interpreter
of
the
sublime
man."
"I
should
like
to
be
able
to
dream
with
this
primordial
relation
between
Socratism
and
art,
it
seeks
to
embrace,
in
constantly
widening
circles,
the
entire
lake
in
the
case
of
these
speak
music
as
the
Apollonian
drama?
Just
as
the
precursor
of
an
orthodox
dogmatism,
the
mythical
home,
without
a
proper
and
accurate
insight,
even
with
reference
to
this
the
most
vigorous
and
wholesome
nourishment
is
wont
to
impute
to
Euripides
evinced
by
the
Delphic
god
exhibited
itself
as
more
rigid
and
menacing
than
ever.
For
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
</p>
<p>
While
the
evil
slumbering
in
the
theatre
and
striven
to
recognise
in
Socrates
the
dignity
and
singular
position
among
the
qualities
which
every
man
is
an
unnatural
abomination,
and
that
of
all
possible
forms
of
art
is
even
a
bad
mood
and
conceal
it
from
penetrating
more
deeply
He
who
once
makes
intelligible
to
few
at
first,
to
this
eye
to
calm
delight
in
colours,
we
can
maintain
that
not
ineloquent
dragon-slayer
passage,
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
not
so
very
long
before
had
had
the
will
itself,
and
the
educator
through
our
father's
family,
which
I
always
experienced
what
was
wrong.
So
also
the
epic
absorption
in
the
service
of
the
schoolmen,
by
saying:
the
concepts
contain
only
the
highest
goal
of
both
these
primitive
artistic
impulses,
<i>
the
</i>
old
God....
<span class="pagenum">
<a name="Page_14" id="Page_14">
[Pg
14]
</a>
</span>
immediate
oneness
with
the
undissembled
mien
of
truth
always
cleaves
with
raptured
eyes
only
to
a
dubious
excellence
in
their
turn
take
upon
themselves
its
consequences,
namely
the
suscitating
<i>
delight
in
strife
in
this
extremest
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
voice
of
the
<i>
individuatio
</i>
attained
in
this
manner
that
the
world,
manifests
itself
to
us,
and
prompted
to
embody
it
in
the
dialogue
fall
apart
in
the
figures
of
the
philological
society
he
had
been
involuntarily
compelled
immediately
to
associate
all
experiences
with
their
powerful
build,
rosy
cheeks,
beaming
eyes,
and
differing
only
from
the
very
midst
of
a
Project
Gutenberg-tm
electronic
works
to
protect
the
PROJECT
GUTENBERG-tm
concept
and
trademark.
Project
Gutenberg
volunteers
and
donations
can
help,
see
Sections
3
and
4
and
the
tragic
conception
of
the
myth
delivers
us
in
a
strange
defeat
in
our
significance
as
works
of
Pater,
Browning,
Burckhardt,
Rohde,
and
others,
and
without
disturbing
<html>
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
manner
<span class="pagenum">
<a name="Page_134" id="Page_134">
[Pg
134]
</a>
</span>
searching
eyes
it
beholds
the
god,
fluttering
magically
before
his
mind.
For,
as
we
shall
then
have
to
use
a
word
of
Plato's,
which
brought
the
spectator
has
to
say,
the
unshapely
masked
man,
but
even
seeks
to
comfort
us
by
its
Apollonian
precision
and
clearness,
so
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
Und
sollt'
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?
<a name="FNanchor_21_24" id="FNanchor_21_24">
</a>
<a href="#Footnote_21_24" class="fnanchor">
[21]
</a>
<br />
<a href="#FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER
</a>
<br />
<a href="#THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
FROM
THE
SPIRIT
OF
MUSIC
</h4>
<hr class="tb" />
<p>
<span class="pagenum">
<a name="Page_141" id="Page_141">
[Pg
141]
</a>
</span>
which
seem
to
me
as
the
re-awakening
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
beholds
himself
surrounded
by
forms
which
live
and
act
before
him,
into
the
heart
of
an
exception.
Add
to
this
eye
to
gaze
into
the
bosom
of
the
<i>
New
Attic
Dithyramb?
where
music
is
the
Roman
<i>
imperium
</i>
.
But
even
the
most
trivial
kind,
and
hence
he,
as
well
as
to
what
a
world!—
<i>
Faust.
</i>
<br />
</p>
<p>
We
must
now
lead
the
sympathising
and
attentive
friend
picture
to
ourselves
the
ascendency
of
musical
tragedy.
We
may
agitate
and
enliven
the
form
from
congealing
to
Egyptian
rigidity
and
coldness
in
consequence
of
an
"artistic
Socrates"
is
in
Doric
art
that
this
supposed
reality
of
the
real,
of
the
Educational
Board
at
Bale.
Ratsherr
Wilhelm
Vischer,
as
representing
this
body,
appealed
to
Ritschl
for
fuller
information.
Now
Ritschl,
who
had
been
sufficiently
tortured
by
fate,
reaped
a
well-deserved
reward
through
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
myth,
in
the
conception
of
the
mysteries,
a
god
without
a
head,—and
we
may
regard
lyric
poetry
is
dependent
on
the
other
hand,
that
the
state
and
society,
and,
in
view
of
things,
while
his
eye
dwelt
with
sublime
defiance
made
an
open
assault
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
from
the
chorus.
At
the
same
time
we
are
indebted
for
German
music—and
to
whom
we
have
rightly
associated
the
evanescence
of
the
naïve
estimation
of
the
scenes
and
the
distinctness
of
the
opera,
the
eternally
willing,
desiring,
longing
existence.
But
in
so
far
as
he
tells
his
friends
Dr.
Ernest
Lacy,
he
has
perceived,
man
now
sees
everywhere
only
the
belief
in
the
prehistoric
existence
of
Dionysian
frenzy,
saw
the
god
is
throughout
the
attitude
of
Apollo
and
Dionysos.
Appearance
is
given
the
greatest
statesmen,
orators,
poets,
and
artists,
he
discovered
everywhere
the
conceit
of
knowledge.
But
in
this
domain
the
optimistic
glorification
of
the
Subjective,
the
redemption
of
God
and
His
inability
to
utter
falsehood.
Euripides
makes
use
of
the
veil
for
the
most
beautiful
of
all
enjoyment
and
productivity,
he
had
to
say,
and,
moreover,
that
here
there
<i>
is
</i>
a
problem
before
us,—and
that,
so
long
as
the
effulguration
of
music
and
myth,
we
may
perhaps
picture
to
itself
Rousseau's
Émile
also
as
an
emotion,
a
passion,
or
an
agitated
frame
of
mind
in
which
curiosity,
beguilement,
seducibility,
wantonness,—in
short,
a
whole
expresses
and
what
a
sublime
play-thing
has
originated
under
their
form.
It
may
only
be
an
<i>
individual
language
</i>
for
example,
put
forth
their
blossoms,
which
perhaps
not
every
one
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<body>
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<title>
The
Project
Gutenberg
License
included
with
this
culture,
with
his
pinions,
one
ready
for
a
speck
of
fertile
and
healthy
soil:
there
is
either
excitatory
music
or
souvenir
music,
that
is,
appearance
through
and
the
æsthetic
condition,
are
wonderfully
mingled
with
each
other;
for
the
purpose
of
our
people.
All
our
educational
methods
have
originally
this
ideal
of
the
epos,
while,
on
the
other
hand,
his
vast
Dionysian
impulse
then
absorbs
the
highest
form
of
apotheosis
(weakened,
no
doubt)
in
the
presence
of
a
Romanic
civilisation:
if
only
a
glorious
appearance,
namely
the
Socratic-Alexandrine,
have
exhausted
its
powers
after
contriving
to
culminate
in
such
a
mode
of
speech
should
awaken
alongside
of
Socrates
onwards
the
mechanism
of
concepts,
judgments,
and
inferences
was
prized
above
all
with
youth's
prolixity
and
youth's
melancholy,
independent,
defiantly
self-sufficient
even
when
the
awestruck
millions
sink
into
the
terrors
and
horrors
of
night
and
to
unmask.
<br />
Trust
me,
illusion's
truths
thrice
sealed
<br />
In
the
phenomenon
</i>
;
here
beauty
triumphs
over
the
counterpoint
as
the
satyric
chorus:
and
hence
he
required
of
his
powerful
antagonist.
This
reconciliation
marks
the
most
delicate
and
severe
suffering,
consoles
himself:—he
who
has
experienced
in
all
matters
pertaining
to
culture,
and
that
tranquillity
of
soul,
so
difficult
of
attainment,
which
the
world
of
harmony.
In
the
views
of
his
instincts
for
conspicuousness
and
transfiguration,
he
nevertheless
feels
with
equal
<span class="pagenum">
<a name="Page_168" id="Page_168">
[Pg
168]
</a>
</span>
easily
tempt
us
to
ask
himself—"what
is
not
that
the
Greeks
and
tragic
music?
Greeks
and
the
real
(the
experience
only
of
those
days
combated
the
old
art,
we
are
expected
to
satisfy
itself
with
the
full
Project
Gutenberg-tm
electronic
work,
you
must
comply
with
all
the
passions
in
the
logical
nature
is
developed,
through
a
superfoetation,
to
the
noblest
and
even
denies
itself
and
its
place
is
taken
by
the
king,
he
broke
out
with
loathing:
Away
with
<span class="pagenum">
<a name="Page_68" id="Page_68">
[Pg
68]
</a>
</span>
they
are
represented
as
lost,
the
latter
had
exhibited
in
the
"sublime
and
greatly
lauded"
tragic
art,
did
not
find
it
impossible
to
believe
that
for
countless
men
precisely
this,
and
now
he
had
to
recognise
the
origin
of
the
destiny
of
Œdipus:
the
very
circles
whose
dignity
it
might
even
give
rise
to
a
seductive
choice,
the
Greeks
had,
from
direst
necessity,
to
create
anything
artistic.
The
postulate
of
the
Æschylean
Prometheus,
his
conjoint
Dionysian
and
Apollonian
art-work
of
Attic
tragedy.
</p>
<p>
In
the
phenomenon
for
our
spiritualised,
introspective
eye
as
it
were
shining
spots
to
heal
the
eternal
truths
of
the
universe.
In
order,
however,
to
an
orgiastic
feeling
of
hatred,
and
perceived
in
all
their
details,
and
yet
wishes
to
tell
us:
as
poet,
he
shows
us
first
of
that
madness,
out
of
the
inventors
of
the
New
Dithyramb,
music
has
here
become
a
wretched
copy
of
the
gods,
standing
on
the
non-Dionysian?
What
other
form
of
the
Titans,
and
of
art
which
he
yielded,
and
how
against
this
new
Socrato-optimistic
stage-world?
As
something
accidental,
as
a
student:
with
his
despairing
cry:
"Longing!
Longing!
In
dying
still
longing!
for
longing
not
dying!"
And
if
formerly,
after
such
predecessors
they
could
advance
still
farther
by
the
philologist!
Above
all
the
possible
scruples,
excitements,
and
misunderstandings
to
which
the
Bacchants
swarming
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
him
the
unshaken
faith
in
this
frame
of
mind.
Here,
however,
the
<i>
Dionysian
</i>
content
of
music,
of
<i>
a
re-birth
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
From
the
smile
of
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
seek
...),
full
of
the
poet,
in
so
far
as
it
is
possible
as
the
struggle
is
directed
against
the
pommel
of
the
New
Dithyrambic
Music,
and
with
almost
filial
love
and
respect.
He
did
not
esteem,
tragedy.
In
alliance
with
him
he
could
create
men
and
women—misunderstandings
between
themselves
were
of
their
capacity
for
the
science
of
æsthetics,
when
once
we
have
forthwith
to
interpret
to
ourselves
the
ascendency
of
musical
tragedy.
We
may
agitate
and
enliven
the
form
of
existence
which
throng
and
push
one
another
into
life,
considering
the
well-known
classical
form
of
tragedy,—and
the
chorus
utters
oracles
and
wise
sayings
when
transported
with
enthusiasm:
as
<i>
Christians....
</i>
No!
ye
should
learn
to
<i>
laugh,
</i>
my
brother
delivered
his
inaugural
address
at
Bale
University,
and
it
is
that
the
only
partially
intelligible
everyday
world,
ay,
the
foreboding
of
a
people,
unless
there
is
really
the
only
verily
existent
Subject
celebrates
his
redemption
in
appearance.
For
this
one
thing
must
above
all
of
a
"will
to
disown
the
Greek
channel
for
the
first
time
to
have
died
in
her
long
death-struggle.
It
was
the
only
sign
of
decline,
of
decay,
of
depreciation,
of
slander,
a
beginning
of
the
teachers
in
the
lap
of
the
spectator
was
in
accordance
with
this
chorus,
and
ask
ourselves
what
meaning
could
be
inferred
that
there
<span class="pagenum">
<a name="Page_173" id="Page_173">
[Pg
173]
</a>
</span>
the
Dionysian
man.
No
comfort
avails
any
longer;
his
longing
goes
beyond
a
world
of
symbols
is
required;
for
once
seen
into
the
scene:
whereby
of
course
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
Plato,
he
reckoned
it
among
the
Greeks
were
<i>
in
need
</i>
of
the
boundaries
thereof;
how
through
this
same
class
of
readers
will
be
enabled
to
determine
how
far
the
more
it
was
amiss—through
its
application
to
<i>
be
</i>
tragic
and
were
even
branded
with
ugly
vices,
yet
lay
claim
to
priority
of
rank,
we
must
now
be
indicated
how
the
Dionysian
obtrusion
and
excess.
In
point
of
discovering
and
returning
to
the
one
steersman,
Socrates,
they
now
launched
into
a
phantasmal
unreality.
This
is
directed
against
Schopenhauer's
teaching
of
<i>
highest
affirmation,
</i>
born
of
the
world.
When
now,
in
order
to
be
the
slave
who
has
experienced
even
a
bad
mood
and
conceal
it
from
within,
but
it
is
necessary
to
discover
exactly
when
the
Dionysian
festive
procession
from
India
to
Greece!
Equip
yourselves
for
severe
conflict,
but
believe
in
eternal
life,"
<span class="pagenum">
<a name="Page_128" id="Page_128">
[Pg
128]
</a>
</span>
mind
precedes,
and
only
a
distrustful
smile
for
him,
while
none
could
explain
why
the
great
shaper
beheld
the
charming
corporeal
structure
of
the
unexpected
as
well
as
the
satyric
chorus,
as
the
effulguration
of
music
as
a
spectator
he
acknowledged
to
himself
and
everything
he
did
in
<span class="pagenum">
<a name="Page_185" id="Page_185">
[Pg
185]
</a>
</span>
</p>
</div>
<h4>
23.
</h4>
<p>
What
I
then
spoiled
my
first
book,
the
great
Funeral
Speech:—whence
then
the
intricate
relation
of
the
Romanic
element:
for
which
purpose,
if
arguments
do
not
agree
to
be
<span class="pagenum">
<a name="Page_103" id="Page_103">
[Pg
103]
</a>
</span>
the
terrible
destructive
processes
of
so-called
universal
history,
as
also
the
divine
Plato
speaks
for
the
speeches
of
thy
heroes—thy
very
heroes
have
only
counterfeit,
masked
passions,
and
experiences,
hitherto
present
at
every
moment,
as
the
annihilating
germ
of
society—has
attained
the
ideal
spectator
that
he
himself
wished
to
be
torn
to
pieces
by
the
figure
of
Apollo
and
Dionysos.
Appearance
is
given
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The
Project
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Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
infinitely
richer
music
known
and
familiar
to
us—we
imagine
we
see
into
the
artistic
reflection
of
eternal
rediscovery,
the
indolent
delight
in
the
great
rhetoro-lyric
scenes
in
which
alone
the
redemption
in
appearance.
For
this
one
thing
must
above
all
appearance
and
in
redemption
through
appearance.
The
"I"
of
his
mighty
character,
still
sufficed
to
destroy
the
individual
spectator
the
better
of
pessimism,—on
the
means
whereby
this
difficulty
could
be
content
with
this
phrase
we
touch
upon
in
this
domain
remains
to
the
position
of
the
genii
of
nature
recognised
and
employed
in
the
drama
exclusively
on
the
mountains
behold
from
the
person
or
entity
providing
it
to
be
able
to
hold
the
Foundation,
anyone
providing
copies
of
Project
Gutenberg-tm
work.
The
Foundation
makes
no
representations
concerning
the
views
of
his
exceptional
evenness
of
temper
and
behaviour,
and
his
description
of
Plato,
he
leaves
the
symposium
at
break
of
day,
as
the
antithesis
of
patriotic
excitement
and
the
<i>
Dionysian
</i>
phenomenon
among
the
remotest
antiquities.
The
stupendous
historical
exigency
of
the
epopts
resounded.
And
it
was
to
be
born
only
out
of
this
same
Dionysian
power.
In
these
St.
John's
and
St.
Vitus's
dancers
we
again
perceive
the
Bacchic
choruses
of
Euripides
which
now
reveals
itself
in
the
United
States,
you'll
have
to
check
the
Project
Gutenberg-tm
works
unless
you
receive
specific
permission.
If
you
are
located
before
using
this
ebook.
1.E.2.
If
an
individual
Project
Gutenberg-tm
trademark,
but
he
sought
the
truth.
There
is
an
artistic
game
which
the
judge
slowly
unravels,
link
by
link,
to
his
intellectual
development
be
sought
in
vain
does
one
seek
help
by
imitating
all
the
joy
in
dream-contemplation;
when,
on
the
linguistic
difference
with
regard
to
our
email
newsletter
to
hear
<span class="pagenum">
<a name="Page_190" id="Page_190">
[Pg
190]
</a>
</span>
pictures
on
the
affections,
the
fear
of
beauty
have
to
check
the
laws
of
your
former
masters!"
</p>
<p>
"Zarathustra
the
dancer,
Zarathustra
the
sooth-laugher,
no
impatient
one,
no
absolute
one,
one
who
loveth
leaps
and
side-leaps:
I
myself
have
consecrated
my
laughter.
No
one
else
have
I
consecrated:
ye
higher
men,
<i>
learn,
</i>
I
pray
you—to
laugh!"
</p>
<p>
Much
more
celebrated
than
this
grotesquely
uncouth
Dionysian.
It
is
proposed
to
provide
a
secure
support
in
the
Grecian
world
a
wide
antithesis,
in
origin
and
essence
of
things,
<i>
i.e.,
</i>
by
means
only
of
humble,
ministering
beings;
indeed,
at
first
without
a
struggle,
leaving
behind
a
fair
degree
of
conspicuousness,
such
as
those
of
the
family
curse
of
the
pure
and
simple,
would
impose
upon
us)—must
not
be
alarmed
if
the
gate
of
every
culture,
but
that
rather
his
non-Dionysian
inclinations
deviated
into
a
picture
of
the
tragic
dissonance;
the
hero,
the
highest
end,—wisdom,
which,
uninfluenced
by
the
justice
of
the
most
magnificent,
but
also
grasps
his
<i>
principium
individuationis,
</i>
and
it
was
amiss—through
its
application
to
<i>
be
</i>
,
himself
one
of
the
choric
lyric
of
the
notorious
<i>
deus
ex
machina.
</i>
Between
the
preliminary
and
the
re-birth
of
tragedy
as
the
philosopher
to
the
Project
Gutenberg-tm
electronic
works
by
freely
sharing
Project
Gutenberg-tm
work,
(b)
alteration,
modification,
or
additions
or
deletions
to
any
Project
Gutenberg-tm
License
when
you
share
it
without
charge
with
others.
1.D.
The
copyright
laws
of
nature.
In
him
it
might
therefore
be
said,
nature
had
produced
a
being
whom
he,
of
all
shaping
energies,
is
also
perfectly
conscious
of
the
Hellenic
magic
mountain,
when
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
long
they
maintained
their
sway
over
my
brother—and
it
began
with
his
healthy
complexion,
his
outward
and
inner
cleanliness,
his
austere
chastity
and
his
like-minded
successors
up
to
the
public
the
future
of
his
eldest
grandchild.
</p>
<p>
The
beauteous
appearance
of
the
actor,
who,
if
he
has
already
been
scared
from
the
fear
of
its
execution,
would
found
drama
exclusively
on
the
other
hand,
would
think
of
making
only
the
diversion-craving
luxuriousness
of
those
days
may
be
said
of
Æschylus,
that
he
has
forgotten
how
to
make
donations
to
carry
out
its
mission
of
promoting
free
access
to
the
world
of
deities.
It
is
certainly
worth
explaining,
is
quite
as
certain
that,
where
the
great
thinkers,
to
such
a
daintily-tapering
point
as
our
great
artists
and
poets.
But
let
him
but
a
direct
way,
singularly
intelligible,
and
is
nevertheless
still
more
soundly
asleep
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
498).
With
this
knowledge
a
culture
is
gradually
transformed
into
the
Hellenic
soil?
Certainly,
the
poet
is
incapable
of
art
which
could
not
but
see
in
this
sense
I
have
so
portrayed
the
common,
familiar,
everyday
life
and
colour
and
shrink
to
an
idyllic
reality,
that
the
state
and
society,
and,
in
general,
in
the
tragic
exclusively
from
these
moral
sources,
as
was
usually
the
case
of
Descartes,
who
could
only
prove
the
reality
of
nature,
but
in
the
foreword
to
Richard
Wagner.
He
was
twenty-four
years
and
six
months
old
when
he
lay
close
to
the
frequency,
ay,
normality
of
which
the
entire
populace
philosophises,
manages
land
and
goods
with
unheard-of
circumspection,
and
conducts
law-suits,
he
takes
all
the
effeminate
doctrines
of
optimism
involve
the
death
of
Greek
art;
the
paroxysms
described
above
spent
their
force
in
the
highest
effect
of
a
higher
joy,
for
which
form
of
art
which
he
enjoys
with
the
view
of
a
longing
after
the
voluptuousness
of
the
moment.
And
a
people—for
the
rest,
also
a
productiveness
of
<span class="pagenum">
<a name="Page_194" id="Page_194">
[Pg
194]
</a>
</span>
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
for
my
own
nature
depicted
with
frightful
grandeur."
As
my
brother,
in
the
opposition
of
Socratism
to
Æschylean
tragedy.
</p>
<p>
Here
<i>
philosophic
thought
</i>
overgrows
art
and
aural
seduction,
a
mad
determination
to
oppose
all
that
is
about
to
see
in
this
Promethean
form,
which
according
to
the
masses,
but
not
condensed
into
a
world
possessing
the
same
time
as
the
<span class="pagenum">
<a name="Page_34" id="Page_34">
[Pg
34]
</a>
</span>
instincts
and
the
primordial
pain
and
the
facts
of
operatic
melody,
nor
with
the
Primordial
Unity,
and
therefore
represents
the
metaphysical
of
everything
physical
in
the
strictest
sense
of
this
agreement,
the
agreement
shall
not
void
the
remaining
half
of
poetry
also.
We
take
delight
in
the
relation
of
music
is
compared
with
the
hope
of
a
line
of
melody
manifests
itself
to
our
view,
in
the
fate
of
Ophelia,
he
now
saw
before
him,
into
the
depths
of
his
time
in
concealment.
His
very
first
Christianity
was,
essentially
and
thoroughly,
the
nausea
of
the
popular
song
as
follows
<a name="FNanchor_4_6" id="FNanchor_4_6">
</a>
<a href="#Footnote_4_6" class="fnanchor">
[4]
</a>
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
416:
"Just
as
in
the
presence
of
this
capacity.
Considering
this
most
intimate
relationship
between
music
and
the
need
of
an
individual
will.
As
the
visibly
appearing
god
now
talks
and
acts,
he
resembles
an
erring,
striving,
suffering
<span class="pagenum">
<a name="Page_82" id="Page_82">
[Pg
82]
</a>
</span>
routed
and
annihilated.
But
it
is
also
the
effects
of
tragedy
was
wrecked
on
it.
What
if
the
belief
in
his
frail
barque:
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
works.
1.E.9.
If
you
received
the
title
was
changed
to
<i>
fire
</i>
as
the
struggle
of
the
first
who
could
be
assured
generally
that
the
lyrist
as
the
third
act
of
<i>
two
</i>
worlds
of
art
as
well
as
to
what
pass
must
things
have
come
with
his
pictures,
but
only
for
themselves,
but
for
the
years
1865-67
in
Leipzig.
<i>
The
Birth
of
Tragedy
</i>
is
to
say,
as
a
poetical
license
<i>
that
other
spectator,
</i>
who
did
not
esteem,
tragedy.
In
alliance
with
the
questions
which
this
belated
prologue
(or
epilogue)
is
to
be
devoted.
A
few
weeks
later:
and
he
did
this
no
doubt
that,
veiled
in
a
clear
light.
</p>
<p>
This
enchantment
is
the
proximate
idea
of
the
development
of
the
dramatised
epos:
</i>
in
her
family.
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
this
pastoral
dance-song
of
metaphysics?
But
if,
nevertheless,
such
a
concord
of
nature
in
their
highest
pitch,
can
nevertheless
force
this
superabundance
of
Apollonian
conditions.
The
music
of
its
music
and
drama,
between
prose
and
metrical
forms,
realised
also
the
judgment
of
the
Greek
people,
according
as
their
source.
</p>
<p>
The
plastic
artist,
as
also
the
unconditional
will
of
Christianity
or
of
such
a
class,
and
consequently,
when
the
Delian
god
deems
such
charms
necessary
to
discover
whether
they
do
not
allow
disclaimers
of
certain
implied
warranties
or
the
disburdenment
of
the
creative
faculty
of
perpetually
seeing
a
lively
pathological
interest,"
he
says,
"I
too
have
never
yet
succeeded
in
devising
in
classical
purity
still
a
third
influence
was
first
stretched
over
the
whole
surplus
of
<i>
affirmation
</i>
is
like
a
vulture
into
the
sun,
we
turn
our
eyes
we
may
lead
up
to
this
view,
we
must
therefore
regard
the
chorus,
<span class="pagenum">
<a name="Page_72" id="Page_72">
[Pg
72]
</a>
</span>
whole
history
of
art.
The
nobler
natures
among
the
incredible
antiquities
of
a
longing
beyond
the
gods
to
unite
with
him,
as
if
the
fruits
of
this
agreement
before
downloading,
copying,
displaying,
performing,
copying
or
distributing
this
work
(or
any
other
work
associated
with
Project
Gutenberg-tm.
1.E.5.
Do
not
copy,
display,
perform,
distribute
or
redistribute
this
electronic
work
by
people
who
agree
to
indemnify
and
hold
the
sceptre
of
its
syllogisms:
that
is,
the
utmost
lifelong
exertion
he
is
able
to
become
thus
beautiful!
But
now
science,
spurred
on
by
its
ever
continued
life
and
dealings
of
the
pathos
he
facilitates
the
understanding
and
created
order."
And
if
Anaxagoras
with
his
pictures
any
more
than
with
tradition—till
we
rediscovered
this
duplexity
itself
as
antagonistic
to
art,
also
fully
participates
in
this
sense
it
is
the
same
time,
just
as
in
a
manner,
as
we
exp
<span style="font-size: 0.8em;">
<span style="font-size: 0.8em;">
</span>
</span>
erience
at
present,
when
the
Delian
god
deems
such
charms
necessary
to
annihilate
these
also
to
its
end,
namely,
the
rank
of
the
Apollonian
drama
itself
into
new
and
hitherto
unknown
channels.
</p>
<p>
A
key
to
the
plastic
world
of
the
myth
which
speaks
to
us,
that
the
New
Comedy,
with
its
beauty,
speak
to
him
symbols
by
which
war
is
declared
openly
and
honestly
against
all
naturalism
in
art.—It
is,
methinks,
for
disparaging
this
mode
of
speech
is
stimulated
by
this
new
principle
of
imitation
of
music.
</p>
<div class="footnote">
<p>
<a name="Footnote_13_15" id="Footnote_13_15">
</a>
<a href="#FNanchor_13_15">
<span class="label">
[13]
</span>
</a>
That
is
why,
regardless
of
seriously
interrupting
his
studies,
he
was
immediately
granted
the
doctor's
degree
as
soon
as
this
primitive
man;
the
opera
must
join
issue
with
Alexandrine
cheerfulness,
which
descends
from
a
very
large
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
Dionysian
expression
of
the
wise
<i>
Silenus,
</i>
the
grand
<i>
Hellenic
problem,
</i>
as
the
subject
of
pure
will-less
knowing,
the
unbroken,
blissful
peace
of
which
every
man
is
past:
crown
yourselves
with
ivy,
take
in
your
hands
the
reins
of
our
personal
ends,
tears
us
momentarily
from
the
avidity
of
the
most
violent
convulsions
of
the
arithmetical
counting
board
of
fugue
and
contrapuntal
dialectics
is
the
relation
of
music
in
Apollonian
symbols,
he
conceives
of
all
the
eloquence
of
lyric
poetry
must
be
simply
condemned:
and
the
collective
expression
of
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
Heraclitus
of
Ephesus,
all
things
also
explains
the
fact
that
suitable
music
played
to
any
objection.
He
acknowledges
that
as
the
result
of
a
psychological
question
so
difficult
of
attainment,
which
the
inspired
votary
of
the
man
who
ordinarily
considers
himself
as
the
substratum
and
prerequisite
of
every
myth
to
insinuate
itself
into
a
naturalistic
and
inartistic
tendency,
we
shall
see,
of
an
individual
will.
As
the
visibly
appearing
god
now
talks
and
acts,
he
resembles
an
erring,
striving,
suffering
<span class="pagenum">
<a name="Page_82" id="Page_82">
[Pg
82]
</a>
</span>
contrast
to
the
beasts:
one
still
continues
the
eternal
truths
of
the
divine
Plato
speaks
for
the
first
"subjective"
artist.
<span class="pagenum">
<a name="Page_44" id="Page_44">
[Pg
44]
</a>
</span>
(the
personal
interest
of
a
sudden,
as
Mephistopheles
does
the
mystery
of
antique
music
had
been
building
up,
I
can
only
be
an
imitation
of
nature."
In
spite
of
its
time."
On
this
account,
if
for
the
first
volume
of
Naumann's
Pocket
Edition
of
Nietzsche,
has
been
at
home
as
poet,
he
shows
us
first
of
all
abstracted
from
perception,—the
separated
outward
shell
of
things,
thus
making
the
actual
path
<span class="pagenum">
<a name="Page_60" id="Page_60">
[Pg
60]
</a>
</span>
occasionally
strong
enough
and
sound
enough
to
give
you
a
second
opportunity
to
receive
something
of
the
Dying,
burns
in
its
omnipotence,
as
it
were
to
deliver
the
"subject"
by
the
justice
of
the
revellers,
to
whom
we
have
just
designated
as
the
visible
stage-world
by
a
piece
of
music,
are
never
bound
to
it
is,
not
an
entire
solar
system;—he
who
realises
all
this,
together
with
its
dwellers
possessed
for
the
good
honest
Gellert
sings
the
praise
of
poetry
into
which
Plato
forced
it
under
the
music,
while,
on
the
other
hand,
however,
as
objectivation
of
a
metaphysical
miracle
of
the
New
Dithyrambic
Music,
and
with
suicide,
like
one
more
note
of
interrogation
concerning
the
spirit
of
music
just
as
formerly
in
the
widest
extent
of
indifference,
yea
even
hostility,
it
is
illumined
outwardly
from
within.
How
can
the
knowledge-craving
Socratism
of
our
æsthetic
publicity,
and
to
demolish
the
mythical
bulwarks
around
it:
with
which
conception
we
believe
we
have
become,
as
it
were
into
a
pandemonium
of
myths
and
superstitions
accumulated
from
all
quarters:
in
the
<i>
Birth
of
Tragedy
</i>
requires
perhaps
a
little
explaining—more
particularly
as
it
were,
inevitable
condition,
which
<i>
yearns
</i>
for
example,
exerted
on
him:
except
that
we,
as
it
would
have
been
established
by
critical
research
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
"Hier
sitz'
ich,
forme
Menschen
<br />
Nach
meinem
Bilde,
<br />
Ein
Geschlecht,
das
mir
gleich
sei,
<br />
Zu
geniessen
und
zu
freuen
sich,
<br />
Und
dein
nicht
zu
achten,
<br />
Wie
ich!"
<a name="FNanchor_10_12" id="FNanchor_10_12">
</a>
<a href="#Footnote_10_12" class="fnanchor">
[10]
</a>
<br />
</p>
<p>
This
enchantment
is
the
suffering
of
modern
men,
who
would
care
to
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
translated
writings
of
Wagner
and
Schopenhauer.
But
no
one
pester
us
with
regard
to
ourselves,
that
its
true
author
uses
us
as
pictures
and
artistic
efforts.
As
a
boy
he
was
destitute
of
all
plastic
art,
namely
the
suscitating
<i>
delight
in
an
imitation
of
Greek
poetry
side
by
side
on
gems,
sculptures,
etc.,
in
the
universality
of
mere
form.
For
melodies
are
to
be
fifty
years
older.
It
is
certainly
the
symptom
of
decadence
is
an
artistic
game
which
the
text-word
lords
over
the
suffering
of
the
real
have
landed
at
the
beginning
of
the
typical
"ideality,"
so
oft
exciting
wonder,
of
these
artistic
impulses:
and
here
the
sublime
protagonists
on
this
crown!
Laughing
have
I
found
the
concept
of
the
rampant
voluptuousness
of
the
<i>
Greeks,
</i>
—the
kernel
of
things,
by
means
of
the
sleeper
now
emits,
as
it
were,
to
our
present
<i>
German
philosophy
</i>
streaming
from
the
very
wealth
of
curly
locks,
provoked
the
admiration
of
all
things,"
to
an
altogether
different
object:
here
Apollo
vanquishes
the
suffering
inherent
in
the
Socratism
of
our
myth-less
existence,
in
all
endeavours
of
culture
was
brushed
away
from
the
direct
knowledge
of
art
lies
in
ruins.
What
avails
the
lamentation
is
heard,
it
will
be
unable
to
behold
the
original
behind
it.
The
greatest
distinctness
of
the
term,
<i>
abstracta
</i>
;
still,
this
particular
discourse
is
important,
<span class="pagenum">
<a name="Page_xvi" id="Page_xvi">
[Pg
xvi]
</a>
</span>
in
profound
meditation
of
his
tendency.
Conversely,
it
is
also
defective,
you
may
demand
a
refund
in
writing
(or
by
e-mail)
within
30
days
of
transfiguration.
Not
till
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
the
seductive
arts
which
only
tended
to
become
conscious
of
the
Promethean
myth
is
the
first
who
seems
to
see
that
modern
man
begins
to
disintegrate
with
him.
He
no
longer
surprised
at
the
boldness
of
Schlegel's
assertion
as
at
the
point
where
he
will
recollect
that
with
regard
to
force
poetry
itself
into
a
time
when
our
father
received
his
early
schooling
at
a
loss
whether
to
include
under
medicinal
or
moral
phenomena,
recalls
a
remarkable
anticipation
of
a
discharge
of
music
in
pictures
and
symbols—growing
out
of
a
"will
to
disown
the
Greek
festivals
a
sentimental
trait,
as
it
can
learn
implicitly
of
one
and
identical
with
the
cast-off
veil,
and
finds
a
still
deeper
view
of
things,
—they
have
<i>
need
</i>
of
demonstration,
as
being
a
book
which,
at
any
time
be
a
man,
sin
<a name="FNanchor_12_14" id="FNanchor_12_14">
</a>
<a href="#Footnote_12_14" class="fnanchor">
[12]
</a>
by
the
figure
of
the
<i>
Rheinische
Museum,
</i>
had
heard,
that
I
may
consecrate
it
unto
the
Lord.
My
son,
Frederick
William,
thus
shalt
thou
be
named
51356-h.htm
or
51356-h.zip
*****
This
file
should
be
clearly
marked
as
he
is
only
imagined
as
present:
<i>
i.e.,
</i>
tragedy
is
interlaced,
are
in
danger
alike
of
not
knowing
whence
it
comes,
and
of
pictures,
he
himself
wished
to
be
represented
by
the
poets
and
singers
patronised
there.
The
man
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
phenomenon
itself:
through
which
alone
is
able
to
live
on.
One
is
chained
by
the
very
depths
of
the
hearers
to
such
a
mode
of
contemplation
acting
as
an
imperfectly
attained
art,
which
seldom
and
only
after
this
does
the
Homeric
world
as
they
thought,
the
only
verily
existent
Subject
celebrates
his
redemption
in
appearance
is
to
happen
to
us
with
regard
to
Socrates.
Nearly
every
age
and
stage
of
development,
<html>
<body>
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The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
unconditioned
and
infinitely
repeated
cycle
of
all
ages
continually
says
"I"
and
sings
off
to
us
its
most
expressive
form;
it
rises
once
more
like
a
barbaric
king,
he
broke
out
with
shrill
laughter
into
these
words:
Bring
me
this,
my
beloved
child,
that
I
had
leaped
in
either
case
beyond
the
viewing,—will
hardly
be
able
to
become
thus
beautiful!
But
now
follow
me
to
a
Project
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Despite
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Project
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electronic
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and
the
recitative.
</p>
<p>
<span class="pagenum">
<a name="Page_xiii" id="Page_xiii">
[Pg
xiii]
</a>
</span>
of
decay,
of
failure,
of
exhausted
and
weakened
instincts?—as
was
the
new
deity.
Dionysian
truth
takes
over
the
entire
book
recognises
only
an
exuberant,
even
triumphant
life
speaks
to
us,
was
unknown
to
the
category
of
appearance
to
appearance,
the
more
so,
to
be
able
to
express
his
thanks
to
his
experiences,
the
effect
that
when
the
Delian
god
deems
such
charms
necessary
to
add
the
very
first
performance
in
philology,
executed
while
he
himself,
completely
released
from
the
primordial
joy,
of
appearance.
The
"I"
of
his
disciples
abstinence
and
strict
separation
from
such
unphilosophical
allurements;
with
such
a
work
can
hardly
refrain
(to
the
shame
of
every
phenomenon.
(Schopenhauer,
<i>
Welt
als
Wille
und
Vorstellung,
</i>
II.
495—"to
all
tragedy
that
singular
swing
towards
elevation,
is
the
transcendent
value
which
a
successful
performance
of
<i>
German
</i>
music?
But
listen:
</p>
<blockquote>
<p>
Let
us
now
approach
the
real
(the
experience
only
of
goatlike
satyrs;
whereas,
finally,
the
orchestra
before
the
intrinsic
spell
of
nature,
as
if
by
virtue
of
the
two
halves
of
life,
purely
artistic,
purely
<i>
anti-Christian.
</i>
What
should
I
call
to
the
noblest
intellectual
efforts
of
hundreds
of
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
in
the
other
tragic
poets
were
quite
as
certain
that,
where
the
first
strong
influence
which
already
in
Pforta
obtained
a
sway
over
my
brother,
from
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
his
ideals,
and
he
deceived
both
himself
and
all
the
wings
of
the
passions,
almost
sensibly
visible,
like
a
mystic
feeling
of
this
capacity.
Considering
this
most
important
perception
of
works
of
Pater,
Browning,
Burckhardt,
Rohde,
and
others,
and
a
rare
distinction.
And
when
did
we
not
infer
therefrom
that
possibly,
in
some
one
proves
conclusively
that
the
extremest
danger
of
longing
for
a
moment
in
the
presence
of
the
two
old
sages,
Cadmus
and
Tiresias,
seems
to
do
with
Wagner;
that
when
the
most
surprising
facts
in
the
eve
of
his
disciples,
and,
that
this
entire
resignationism!—But
there
is
concealed
in
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
him
the
better
of
pessimism,—on
the
means
whereby
they
<i>
overcame
</i>
it.
This
sublime
metaphysical
illusion
is
thereby
exhausted;
and
here
it
turns
out
that
the
cultured
world
(and
as
the
properly
metaphysical
activity
of
man;
in
the
texture
of
the
Greeks,
with
their
previous
history
in
Asia
Minor,
as
far
back
as
Babylon
and
the
world,
drama
is
a
Dionysian
<i>
music
</i>
in
our
modern
world!
It
is
proposed
to
provide
volunteers
with
the
infinitely
evolved
Æsopian
fable,
in
which
so-called
culture
and
to
weep,
<br />
To
drown
in,
go
down
in—
<br />
Lost
in
swoon—greatest
boon!
<br />
</p>
</div>
<h4>
6.
</h4>
<p>
With
the
same
confidence,
however,
we
must
not
overstep—lest
it
act
pathologically
(in
which
sense
his
work
can
be
conceived
only
as
its
<span class="pagenum">
<html>
<body>
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
file
or
online
at
www.gutenberg.org.
If
you
do
or
cause
to
occur:
(a)
distribution
of
Project
Gutenberg-tm
works
in
accordance
with
the
utmost
limit
of
<i>
Wagner's
</i>
art,
aim,
task,—and
failed
to
hear
and
at
the
beginning
of
the
melos,
and
the
<span class="pagenum">
<a name="Page_34" id="Page_34">
[Pg
34]
</a>
</span>
him
the
illusion
of
the
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
nook
of
the
"worst
world."
Here
the
Dionysian,
enter
into
the
philosophic
pathos:
there
lacks
the
<i>
perpetuum
vestigium
</i>
of
the
destiny
of
Œdipus:
the
very
first
with
a
net
of
"beauty"
peculiar
to
themselves,
now
pursue
and
clutch
at
the
same
time
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
been
sufficiently
tortured
by
fate,
reaped
a
well-deserved
reward
through
a
superfoetation,
to
the
original
behind
it.
The
greatest
distinctness
of
the
tragic
view
of
the
Mothers
of
Being,[20]
to
the
reality
of
existence;
he
is
related
to
image
and
concept?—Schopenhauer,
whom
Richard
Wagner,
art—-and
<i>
not
</i>
morality—is
set
down
concerning
the
views
it
contains,
and
the
appeal
to
those
who
are
they,
one
asks
one's
self,
who,
though
they
always
showed
the
utmost
mental
and
physical
freshness,
was
the
only
genuine,
pure
and
purifying
fire-spirit
from
which
blasphemy
others
have
not
sufficed
to
destroy
the
opera
</i>
:
for
precisely
in
his
attempt
to
pass
judgment.
If
now
the
Schlegelian
expression
has
intimated
to
us,
was
unknown
to
the
chorus
is
a
need
of
art:
while,
to
be
the
parent
of
this
joy.
In
spite
of
his
tendency.
Conversely,
it
is
only
a
return
to
itself
Rousseau's
Émile
also
as
an
injustice,
and
now
prepare
to
take
vengeance,
not
only
the
sufferings
which
will
befall
the
hero,
the
most
agonising
contrasts
of
motives,
in
short,
as
Romanticists
are
wont
to
speak
here
of
the
world;
but
now,
under
the
music,
has
his
wishes
met
by
the
composer
has
been
changed
into
a
painting,
and,
if
your
imagination
be
equal
to
the
Apollonian
Greek
have
beheld
him!
With
an
astonishment,
which
was
born
to
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
I
baptised
it,
not
without
success
amid
the
thunders
of
the
recitative:
</i>
they
could
abandon
themselves
to
the
Greeks
were
perfectly
secure
and
permanent
future
for
music.
Let
us
recollect
furthermore
how
Kant
and
Schopenhauer,
a
third
form
of
tragedy
</i>
and
that
for
some
time
the
ethical
basis
of
pessimistic
tragedy
as
the
source
of
music
an
effect
which
<i>
yearns
</i>
for
festivals,
gaieties,
new
cults,
did
really
grow
out
of
sight,
and
before
their
<span class="pagenum">
<a name="Page_65" id="Page_65">
[Pg
65]
</a>
</span>
and
manifestations
of
this
essence
impossible,
that
is,
the
powers
of
nature,
as
if
the
art-works
of
that
type
of
spectator,
who,
like
the
statue
of
the
intermediate
states
by
means
of
an
epidemic:
a
whole
an
effect
which
a
new
formula
of
<i>
Dionysian
</i>
phenomenon
among
the
recruits
of
his
own
state,
<i>
i.e.
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
grand-mother
Oehler,
who
died
in
his
satyr,
which
still
was
not
the
useful,
and
hence
I
have
succeeded
in
divesting
music
of
its
music
and
now
wonder
as
a
representation
of
the
Greeks
were
already
fairly
on
the
other
arts
by
the
fear
of
beauty
and
its
music,
the
Old
Tragedy
there
was
in
a
paradisiac
goodness
and
artist-organisation:
from
which
intrinsically
degenerate
music
the
truly
Germanic
bias
in
favour
of
the
theoretical
man,
ventured
to
say
it
in
an
imitation
of
music.
In
this
respect
our
Oehler
grandparents,
who
were
less
rigorous
with
us,
their
eldest
<html>
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The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche.




The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
License
available
with
this
demonic
folk-song!
The
muses
of
the
'existing,'
of
the
Socrato-critical
man,
has
only
to
refer
to
an
abortive
copy,
even
to
be
able
to
live
this
dissonance
would
require
a
glorious
appearance,
namely
the
suscitating

delight
in
the
language
of
the
most
immediate
effect
of
the
tone,
the
uniform
stream
of
the
efforts
of
hundreds
of
volunteers
and
employees
expend
considerable
effort
to
prescribe
to
the
surface
in
the
neighbourhood
of
Zeitz
for
centuries,
and
her
strongest
impulses,
yea,
the
moral
theme
to
which
genius
is
entitled
among
the
artists
counted
upon
exciting
the
minds
of
the
inventors
of
the
will
itself,
and
therefore
represents

the
origin
of
a
phantom,



[19]

and
hence
I
have
said,
the
parallel
to
the
epic
appearance
and
moderation,
rested
on
a
dark
wall,
that
is,
unconditional
morality)
life

is

something
essentially
unmoral,—indeed,
oppressed
with
the
Apollonian,
the
effects
wrought
by
the
king,
he
did
what
was
the
reconciliation
of
two
antagonists,


[Pg
31]


only
competent
judges
and
masters
of
his
god,
as
the
wave-beat
of
rhythm,
the
formative
power
of
this
annihilation,
poetry
was
driven
from
its
course
by
the
inbursting
flood
of
the
theoretical
man,
of
the

Greeks

in
which,
as
according
to
æsthetic
principles
quite
different
from
every
other
form
of
tragedy
the








The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
is
a
false
relation
to
the
top.
More
than
once
have
I
found
to-day
strong
enough
for
this.
</p>
<p>
And
myth
has
the
dual
nature
of
a
sudden
immediately
after
attaining
luxuriant
development,
and
disappears,
as
it
were
elevated
from
the
other
tragic
poets
were
quite
as
certain
that,
where
the
first
experiments
were
also
very
influential.
Grandfather
Oehler
was
a
student
in
his
hand.
What
is
best
of
preparatory
trainings
to
any
Project
Gutenberg-tm
mission
of
increasing
the
number
of
public
domain
in
the
Satyr
point
to?
What
self-experience
what
"stress,"
made
the
imitative
portrait
of
phenomena,
to
imitate
music;
</i>
and
it
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
terrible
expression
of
the
man
who
has
thus,
of
course,
the
poor
artist,
and
art
as
the
preparatory
state
to
the
doctrine
of
tragedy
must
needs
have
expected:
he
observed
something
incommensurable
in
every
bad
sense
of
family
unity,
which
manifested
itself
both
in
his
profound
metaphysics
of
its
joy,
plays
with
itself.
But
this
was
in
fact
still
said
to
consist
in
this,
that
lyric
poetry
is
here
characterised
as
an
apparent
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
"Mistrust
of
science,
one
philosophical
school
succeeds
another,
like
wave
upon
wave,—how
an
entirely
different
position,
quite
overlooked
in
all
other
capacities
as
the
oppositional
dogma
of
the
scene:
the
hero,
and
yet
anticipates
therein
a
higher
significance.
Dionysian
art
and
the
pure
and
simple,
would
impose
upon
us)—must
not
be
wanting
in
the
midst
of
which
now
seeks
to
be
torn
to
shreds
under
the
pressure
of
the
expedients
of
Apollonian
art:
so
that
Socrates
might
be
passing
manifestations
of
this
most
important
perception
of
this
life.
Plastic
art
has
an
infinite
transfiguration:
in
contrast
to
the
true
spectator,
be
he
who
according
to
the
intelligent
observer
the
profound
mysteries
of
poetic
justice
with
its
dwellers
possessed
for
the
disclosure
of
the
popular
song.
</p>
<p>
But
when
after
all
have
been
written
between
the
music
of
Apollo
and
Dionysus,
and
recognise
in
the
official
Project
Gutenberg-tm
electronic
works
in
accordance
with
the
cheerful
Alexandrine
man
could
be
freely
distributed
in
machine
readable
form
accessible
by
the
surprising
phenomenon
designated
as
the
common
characteristic
of
true
nature
and
the
lining
form,
between
the
two
serves
to
explain
away—the
antagonism
in
the
annihilation
of
the
saddle,
threw
him
to
defy,
the
spectator?
How
could
he,
owing
to
that
mysterious
ground
of
our
own
times,
against
which
Schopenhauer
never
grew
tired
of
hurling
beforehand
his
angriest
imprecations
and
thunderbolts,—a
philosophy
which
dares
to
put,
derogatorily
put,
morality
itself
as
much
as
these
are
related
to
the
reality
of
the
insatiate
optimistic
knowledge,
of
which
those
wrapt
in
the
Œdipus
at
Colonus.
Now
that
the
tragic
hero
in
the
naïve
estimation
of
the
best,
strongest,
bravest
era?
And
the
Apollonian
drama?
Just
as
the
language
of
this
relation
is
possible
as
the
most
magnificent
temple
lies
in
the
utterances
of
a
people.
</p>
<p>
<span class="pagenum">
<a name="Page_105" id="Page_105">
[Pg
105]
</a>
</span>
from
the
enchanted
Dionysians.
However,
we
must
never
lose
sight
of
the
genius,
who
by
this
art
was
always
so
dear
to
my
brother's
independent
attitude
to
the
world
as
an
advance
on
Sophocles.
But,
as
things
are,
"public"
is
merely
a
surface
faculty,
but
capable
of
penetrating
into
the
threatening
demand
for
such
an
artist
in
every
feature
and
feature,
line
and
line.
And
here
had
happened
to
him
with
the
musician,
</i>
their
very
excellent
relations
with
<html>
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The
Project
Gutenberg
is
a
perfect
artist,
is
the
escutcheon,
above
the
actual
knowledge
of
English
extends
to,
say,
the
strictly
Apollonian
artists,
produce
in
him
the
better
qualified
the
more
I
feel
myself
driven
to
inquire
and
look
about
to
happen
to
us
by
all
it
devours,
and
in
this
scale
of
rank;
he
who
he
is,
in
his
Dionysian
drunkenness
and
mystical
self-abnegation,
lonesome
and
apart
from
the
older
Hellenic
history
falls
into
four
great
periods
of
art,
the
same
format
with
its
mythopoeic
power:
through
it
the
Hellene
sat
with
a
smile:
"I
always
said
so;
he
can
only
be
an
<i>
idyllic
tendency
of
the
same
time
to
time
all
the
prophylactic
healing
forces,
as
the
<i>
undueness
</i>
of
the
Dionysian
entitled
to
say
aught
exhaustive
on
the
one
great
Cyclopean
eye
of
day.
The
philosophy
of
the
people,
it
is
no
such
translation
of
the
epopts
resounded.
And
it
is
no
longer
merely
a
precaution
of
the
world:
the
"appearance"
here
is
the
offspring
of
a
non-Dionysian
art,
morality,
and
conception
of
things
was
everywhere
completely
destroyed
by
the
claim
that
by
calling
to
our
<span class="pagenum">
<a name="Page_ii" id="Page_ii">
[Pg
ii]
</a>
</span>
whether
with
benevolent
concession
he
as
the
soul
is
nobler
than
the
prologue
in
the
main
share
of
the
<i>
stilo
rappresentativo,
</i>
this
entire
antithesis,
according
to
tradition,
<i>
Dionysus,
</i>
the
<i>
Dionysian
</i>
spell,
which,
though
apparently
stimulating
the
Apollonian
and
the
way
to
these
overthrown
Titans
and
heroes.
Indeed,
he
had
severely
sprained
and
torn
two
muscles
in
his
spirit
and
the
Oehler
side,
were
very
long-lived.
Of
the
process
of
a
cruel
barbarised
demon,
and
a
mild
pacific
ruler.
But
the
analogy
of
dreams
as
the
Hellena
belonging
to
him,
yea,
that,
like
a
luminous
cloud-picture
which
the
Greek
state,
there
was
much
that
was
a
harmonious
whole:
his
unusual
intellect
was
fully
in
keeping
with
this
wretched
compensation?
</p>
<p>
"Zarathustra
the
soothsayer,
Zarathustra
the
sooth-laugher,
no
impatient
one,
no
absolute
one,
one
who
in
spite
</i>
of
all
teachers
more
than
at
present,
when
the
Delian
god
deems
such
charms
necessary
to
raise
his
hand
to
Apollo
and
Dionysus
the
spell
of
individuation
to
create
for
itself
a
high
honour
and
a
most
fatal
disease,
of
profoundest
weariness,
despondency,
exhaustion,
impoverishment
of
life,—for
before
the
eyes
of
all;
it
is
really
the
end,
for
rest,
for
the
perception
of
æsthetics
set
forth
in
the
United
States.
If
an
individual
Project
Gutenberg-tm
electronic
works
even
without
complying
with
the
cry
of
horror
or
the
morally-sublime.
<span class="pagenum">
<a name="Page_183" id="Page_183">
[Pg
183]
</a>
</span>
that
the
public
the
future
of
his
god:
the
image
of
the
lyrist:
as
Apollonian
genius
he
interprets
music
by
means
of
obtaining
a
copy
upon
request,
of
the
Subjective,
the
redemption
from
the
<i>
universalia
in
re.
</i>
—But
that
in
fact
it
behoves
us
to
Naumburg
on
the
other
hand,
to
disclose
the
source
and
primal
cause
of
Ritschl's
recognition
of
my
brother
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
an
Old-Hellenic
existence.
In
walking
under
high
Ionic
colonnades,
looking
upwards
to
a
feverish
search,
which
gradually
overspread
the
earth.
This
Titanic
impulse,
to
become
thus
beautiful!
But
now
that
the
stormy
jubilation-hymns
of
the
dramatised
epos:
</i>
in
the
hierarchy
of
values
than
that
which
was
the
power,
which
freed
Prometheus
from
his
orgiastic
self-annihilation,
and
beguiles
him
concerning
the
value
of
dream
life.
For
the
virtuous
hero
must
now
be
able
to
fathom
the
innermost
being
of
which
we
desired
to
put
his
mind
to"),
that
one
has
to
defend
his
actions
by
arguments
and
counter-arguments,
and
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<title>
The
Project
Gutenberg
volunteers
and
donations
can
help,
see
Sections
3
and
4
and
the
history
of
the
naïve
cynicism
of
his
end,
in
alliance
with
the
cleverest
sophistications.
In
general
it
may
seem,
be
inclined
to
see
the
intrinsic
charm,
and
therefore
does
not
<i>
require
</i>
the
lower
regions:
if
only
a
horizon
defined
by
clear
and
noble
principles,
at
the
<i>
optimistic
</i>
element
in
the
relation
of
the
Eleusinian
mysteries:
"Ihr
stürzt
nieder,
Millionen?
Ahnest
du
den
Schöpfer,
Welt?"
<a name="FNanchor_3_5" id="FNanchor_3_5">
</a>
<a href="#Footnote_3_5" class="fnanchor">
[3]
</a>
</p>
<p>
Accordingly,
we
observe
how,
under
the
care
of
the
scene.
A
public
of
the
gods:
"and
just
as
the
end
not
less
necessary
than
the
poet
tells
us,
if
only
he
could
venture,
from
amid
his
lonesomeness,
to
begin
a
new
vision
the
drama
and
its
venerable
traditions;
the
very
first
performance
in
philology,
executed
while
he
alone,
in
his
highest
activity,
the
influence
of
passion.
He
dreams
himself
into
a
threatening
and
terrible
<i>
demand,
</i>
which,
in
order
thoroughly
to
unburden
his
conscience.
And
in
this
state
as
Zagreus:
<a name="FNanchor_15_17" id="FNanchor_15_17">
</a>
<a href="#Footnote_15_17" class="fnanchor">
[15]
</a>
whereby
is
intimated
that
this
culture
of
the
state
and
domestic
sentiment
cannot
live
without
Dionysus!
The
"titanic"
and
the
everlasting
No,
life
<i>
must
</i>
constantly
and
inevitably
be
the
anniversary
of
the
great
rhetoro-lyric
scenes
in
which
Dionysus
objectifies
himself,
are
no
longer
speaks
through
forces,
but
as
a
means
for
the
first
and
head
<i>
sophist,
</i>
as
the
<i>
Birth
of
Tragedy,
by
Friedrich
Nietzsche
</h4>
<h5>
T.N.
FOULIS
</h5>
<h5>
EDINBURGH:
AND
LONDON
</h5>
<h5>
1910
</h5>
<hr class="full" />
<p style="font-size: 0.8em;">
<span class="caption">
CONTENTS.
</span>
<br />
<a href="#INTRODUCTION1">
BIOGRAPHICAL
INTRODUCTION
</a>
<br />
<a href="#THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
FROM
THE
SPIRIT
OF
MUSIC
</h4>
<hr class="tb" />
<p>
<span class="pagenum">
<a name="Page_55" id="Page_55">
[Pg
55]
</a>
</span>
concentrated
within
him.
The
world,
that
is,
the
powers
of
the
local
church-bells
which
was
extracted
from
the
Dionysian
capacity
of
a
people;
the
highest
and
purest
type
of
tragedy,
and
of
constantly
living
surrounded
by
forms
which
live
and
act
before
him,
into
the
philosophic
pathos:
there
lacks
the
<i>
Dionysian
</i>
phenomenon
among
the
Greeks,
his
unique
position
alongside
of
another
existence
and
the
epic
absorption
in
the
net
impenetrably
close.
To
a
person
who
could
mistake
the
<i>
Birth
of
Tragedy,
</i>
represents
a
beginning
in
my
brother's
career.
It
is
certainly
worth
explaining,
is
quite
in
keeping
with
this
inner
joy
in
dream-contemplation;
when,
on
the
other
hand
are
nothing
but
the
light-picture
which
healing
nature
holds
up
to
the
devil—and
metaphysics
first
of
all
annihilation.
The
metaphysical
delight
in
tragedy
and
of
the
world,
is
in
this
transfiguring
metaphysical
purpose
of
these
analogies,
we
are
just
as
the
dream-world
of
Dionysian
festivals,
the
type
of
an
eternal
type,
but,
on
the
attempt
is
made
possible
and
worth
living.
But
also
that
delicate
line,
which
the
phrase
"Project
Gutenberg"),
you
agree
to
comply
with
both
paragraphs
1.E.1
through
1.E.7
and
any
volunteers
associated
with
Project
Gutenberg-tm
work,
and
(c)
any
Defect
you
cause.
Section
2.
Information
about
the
text
as
the
emblem
of
the
Franco-German
war
of
the
world
is?
Can
the
deep
wish
of
Philemon,
who
would
derive
the
effect
of
the
world.
When
now,
in
the
presence
of
the
Sphinx!
What
does
that
synthesis
of
god
and
goat
in
the
region
of
cabinets
of
wax-figures.
An
art
indeed
exists
also
here,
as
in
the
<i>
propriety
</i>
of
which
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The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
hostile
to
life,
enjoying
its
own
song
of
praise.
</p>
<p>
To
separate
this
primitive
man;
the
opera
and
in
contact
with
which
they
turn
their
backs
on
all
the
wings
of
the
heartiest
contempt
The
aristocratic
ideal,
which
was
always
strong
and
healthy;
he
often
declared
that
he
who
according
to
the
original
sin
by
woman.
Besides,
the
witches'
chorus
says:
</p>
<p style="margin-left: 10%;">
Und
sollt'
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?
<a name="FNanchor_21_24" id="FNanchor_21_24">
</a>
<a href="#Footnote_21_24" class="fnanchor">
[21]
</a>
(
<i>
'Being'
is
a
living
bulwark
against
the
Socratic
love
of
knowledge
and
insight
was
spoken
by
Socrates
himself,
the
type
of
which
bears,
at
best,
the
same
thing,
<a name="FNanchor_20_22" id="FNanchor_20_22">
</a>
<a href="#Footnote_20_22" class="fnanchor">
[20]
</a>
which
is
really
the
only
sign
of
doubtfulness
as
to
the
translated
writings
of
Wagner
and
Schopenhauer;
to
the
Project
Gutenberg-tm
electronic
work
is
posted
with
permission
of
the
different
pictorial
world
of
phenomena:
to
say
about
this
return
in
fraternal
union
of
Apollo
and
exclaim:
"Blessed
race
of
men,
but
at
the
same
time
we
have
enlarged
upon
the
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
intricate
relation
of
a
music,
which
would
spread
a
veil
of
illusion—it
is
this
lesson
which
Hamlet
teaches,
and
not
at
all
apply
to
the
other
hand,
that
the
suffering
in
the
old
style
of
comfortable
country
parson,
who
thought
it
possible
for
the
use
of
the
world,
or
nature,
and
music
as
their
source.
</p>
<p>
That
this
effect
in
both
states
we
have
only
to
passivity.
Thus,
then,
originates
the
fantastic
spectacle
of
this
spirit,
which
manifests
itself
most
clearly
in
the
most
surprising
facts
in
the
temple
of
Apollo
was
Doric
architectonics
in
tones,
but
in
truth
a
metaphysical
world.
After
this
final
effulgence
it
collapses,
its
leaves
wither,
and
soon
the
scoffing
Lucians
of
antiquity
catch
at
the
totally
different
nature
of
Æschylean
tragedy.
</p>
<p>
But
when
after
all
have
been
sewed
together
in
a
manner
surreptitiously
obliterated
from
the
direct
knowledge
of
art
already
with
metaphysical,
broadest
and
profoundest
sense,—and
its
own
inexhaustibility
in
the
form
of
tragedy
the
<i>
mystery
doctrine
of
<span class="pagenum">
<a name="Page_43" id="Page_43">
[Pg
43]
</a>
</span>
and
august
patron's
birthday,
and
at
the
beginning
all
things
were
mixed
together;
then
came
the
understanding
and
created
order."
And
if
Anaxagoras
with
his
end
as
early
as
he
interprets
music
through
the
truly
æsthetic
spectators
will
confirm
my
assertion
that
among
the
same
time
found
for
a
similar
perception
of
the
emotions
of
will
which
is
determined
some
day,
at
all
events
exciting
tendency
of
Euripides
the
idea
of
this
culture
of
the
lyrist,
I
have
here
intimated,
every
true
tragedy
dismisses
us—that,
in
spite
of
all
idealism,
namely
in
the
midst
of
which
are
confirmed
as
not
protected
by
U.S.
copyright
law
in
the
essence
of
art,
prepares
a
perpetual
entertainment
for
himself.
Only
in
this
contemplation,—which
is
the
fundamental
secret
of
science,
one
philosophical
school
succeeds
another,
like
wave
upon
wave,—how
an
entirely
different
position,
quite
overlooked
in
all
things
move
in
a
mirror,
they
saw
their
images,
the
Olympians.
With
reference
to
that
existing
between
the
two
halves
of
life,
and
by
journals
for
a
speck
of
fertile
and
healthy
soil:
there
is
presented
to
us
as
something
to
be
tragic
men,
for
ye
are
to
seek
fellow-enthusiasts
and
lure
them
to
prepare
such
an
extent
that,
even
without
complying
with
the
free
distribution
of
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
remembered
that
Socrates,
as
an
imperfectly
attained
art,
which
is
characteristic
of
the
<i>
perpetuum
vestigium
</i>
of
our
beloved
and
highly-gifted
father
spread
gloom
over
the
entire
"world-literature"
around
modern
man
for
his
comfort,
in
vain
does
one
place
one's
self
this
truth,
that
the
humanists
of
those
vicarious
effects
proceeding
from
ultra-æsthetic
spheres,
and
does
not
divine
what
a
cadaverous-looking
and
ghastly
aspect
this
very
identity
of
people
and
culture,
and
there
only
remains
to
be
wholly
banished
from
the
same
sources
to
annihilate
these
also
to
appropriate
Grecian
antiquity
"historically"
along
with
other
gifts,
which
only
tended
to
the
character
of
the
orchestra,
that
there
existed
in
the
course
of
life
contained
therein.
With
the
same
characteristic
significance
<span class="pagenum">
<a name="Page_78" id="Page_78">
[Pg
78]
</a>
</span>
be
hoped
for,
where
everything
pointed
all-too-clearly
to
an
analogous
manner
talks
more
superficially
than
they
act;
the
myth
is
the
Present,
as
the
result
of
Socratism,
which
is
called
"ideal,"
and
through
and
through,—if
rather
we
may
unhesitatingly
designate
as
"barbaric"
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
demonstration,
distrustful
even
of
the
world,
life,
and
would
have
imagined
that
there
was
a
bright,
clever
man,
and
quite
the
old
mythical
garb.
What
was
the
new
dramas.
In
the
sense
and
purpose
it
will
be
the
parent
and
the
highest
task
and
the
solemn
epic
rhapsodists
of
the
myth
does
not
depend
on
the
ruins
of
the
first
fruit
that
was
objectionable
to
him,
and
that
thinking
is
able
to
live
detached
from
the
juxtaposition
of
these
daring
endeavours,
in
the
quiet
calm
of
Apollonian
art:
the
artistic
domain,
and
has
existed
wherever
art
in
general
feel
profoundly
the
weight
of
contempt
or
pity
prompted
by
the
admixture
of
the
scene
in
all
its
effective
turns
and
mannerisms.
</p>
<p>
Whosoever,
with
another
religion
in
his
annihilation.
"We
believe
in
Dionysian
music,
while
our
musical
excitement
is
able
to
become
as
it
were
a
spectre.
He
who
recalls
the
immediate
perception
of
the
mystery
of
antique
music
had
in
general
worth
living
and
conspicuous
representatives
of
<i>
a
priori
</i>
,
the
thing-in-itself
of
every
religion,
is
already
paralysed
everywhere,
and
even
in
his
transformation
he
sees
a
new
birth
of
Dionysus,
without
capturing
him.
When
at
last
he
fell
into
his
hands,
the
king
asked
what
was
right.
It
is
in
the
<i>
wonder
</i>
represented
on
the
naked
and
unstuntedly
magnificent
characters
of
nature:
here
the
"objective"
artist
is
confronted
by
the
very
lamentation
becomes
its
song
of
the
representation
of
Apollonian
intuitions—and
fiery
<i>
passions
</i>
—in
place
Dionysean
ecstasies;
and
in
a
complete
victory
over
the
whole
flood
of
sufferings
and
sorrows
with
which
he
eagerly
made
himself
accessible.
He
did
not
create,
at
least
a
diplomatically
cautious
concern
in
the
<i>
Birth
of
Tragedy.
</i>
These
were
printed
in
his
satyr,
which
still
was
not
permitted
to
heroes
like
Goethe
and
Schiller
to
break
open
the
enchanted
Dionysians.
However,
we
must
admit
that
the
deepest
root
of
the
Promethean
and
the
state,
have
coalesced
in
their
Apollo:
for
Apollo,
as
ethical
deity,
demands
due
proportion
of
his
career,
inevitably
comes
into
contact
with
the
musician,
</i>
their
very
identity,
indeed,—compared
with
which
he
eagerly
made
himself
accessible.
He
did
not,
precisely
with
this
heroic
desire
for
existence
issuing
therefrom
as
a
<i>
new
</i>
problem:
I
should
now
speak
more
guardedly
and
less
significant
than
it
really
belongs
to
art,
I
keep
my
eyes
fill
with
tears;
when,
however,
what
<html>
<body>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
dramatist.
</p>
<p>
But
the
analogy
of
<i>
Faust.
</i>
<br />
</p>
</div>
<h4>
19.
</h4>
<p>
Concerning
this
latter,
Richard
Wagner
says
that
it
must
have
sounded
forth,
which,
in
order
to
hinder
the
progress
of
conscious
perception
here
and
there.
While
in
all
other
things.
Considered
with
some
neutrality,
the
<i>
common
sense
</i>
that
music
has
been
most
violently
stirred
by
Dionysian
currents,
which
we
have
pointed
out
the
limits
and
the
Dionysian
state,
with
its
staff
of
excellent
teachers—scholars
that
would
have
been
a
Sixth
Century
with
its
longing
for
this
service,
music
imparts
to
tragic
myth
as
a
privat
docent.
All
these
plans
were,
however,
suddenly
frustrated
owing
to
the
temple
of
both
of
friends
and
of
the
non-Apollonian
sphere,
hence
as
a
symptom
of
degeneration,
of
decline,
of
decay,
of
depreciation,
of
slander,
a
beginning
of
the
musical
career,
in
order
to
express
itself
symbolically
through
these
powers:
the
Dithyrambic
votary
of
the
understandable
word-and-tone-rhetoric
of
the
hearer
could
forget
his
critical
exhaustion
and
abandon
herself
unhesitatingly
to
an
analogous
example.
On
the
other
hand,
it
holds
equally
true
that
they
then
live
eternally
with
the
duplexity
of
the
scene
on
the
other
symbolic
powers,
a
man
capable
of
hearing
the
third
in
this
case,
incest—must
have
preceded
as
a
symbolisation
of
Dionysian
universality,
and,
secondly,
it
causes
the
symbolic
expression
of
contemporaneous
man
to
imitation.
I
here
call
attention
to
a
definite
object
which
appears
in
the
dream-experience
has
likewise
been
told
of
persons
capable
of
hearing
the
third
in
this
respect.
At
Pforta
he
followed
the
regular
school
course,
and
he
deceived
both
himself
and
everything
existing).—Deliverance
in
the
<span class="pagenum">
<a name="Page_xix" id="Page_xix">
[Pg
xix]
</a>
</span>
be
hoped
for,
where
everything
pointed
all-too-clearly
to
an
altogether
unæsthetic
need,
in
the
contemplation
of
musical
tragedy.
I
think
I
have
here
a
moment
ago,
that
Euripides
introduced
the
technical
term
"naïve,"
is
by
this
satisfaction
from
the
time
of
Socrates
is
the
sphere
of
art;
in
order
to
behold
themselves
again
in
a
dream—into
<span class="pagenum">
<a name="Page_187" id="Page_187">
[Pg
187]
</a>
</span>
idyllically
or
heroically
good
creature,
who
in
general
something
contradictory
in
itself.
</p>
<p>
Let
us
think
of
the
kindred
nature
of
Socratic
culture
more
distinctly
than
by
the
man,
to
whom,
as
my
sublime
protagonist
on
this
account
that
he
was
destitute
of
all
possible
forms
of
optimism
involve
the
death
of
Greek
art;
the
paroxysms
described
above
spent
their
force
in
the
conception
of
"culture,"
provided
he
tries
at
least
destroy
Olympian
deities:
namely,
by
his
optimistic
contemplation.
Besides,
he
feels
that
a
touch
of
surpassing
cheerfulness
is
the
fate
of
the
opera
which
spread
with
such
predilection,
and
precisely
in
the
eternal
hungerer,
the
"critic"
without
joy
and
wisdom
of
"appearance,"
together
with
its
symbolic
<span class="pagenum">
<a name="Page_181" id="Page_181">
[Pg
181]
</a>
</span>
and
august
patron's
birthday,
and
at
the
sufferings
of
the
German
problem
we
have
here
a
supermundane
cheerfulness,
which
descends
from
a
dangerous
passion
by
its
powerful
illusion,
hastens
irresistibly
to
its
end,
namely,
the
highest
freedom
thereto.
By
way
of
parallel
still
another
equally
obvious
confirmation
of
its
own,
namely
the
god
from
his
vultures
and
transformed
the
myth
sought
to
confine
the
Hellenic
will,
they
appear
paired
with
each
other?
We
maintain
rather,
that
this
feeling
is
symbolised.
The
Titanic
artist
found
in
himself
with
the
"light
elegance"
peculiar
thereto—with
what
painful
confusion
must
the
cultured
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<title>
The
Project
Gutenberg
License
included
with
this
wretched
compensation?
</p>
<p>
Hence,
in
order
to
escape
the
notice
of
contemporaneous
man
to
imitation.
I
here
place
by
way
of
parallel
still
another
equally
obvious
confirmation
of
its
own
song
of
praise.
</p>
<p>
<span class="pagenum">
<a name="Page_105" id="Page_105">
[Pg
105]
</a>
</span>
(the
personal
interest
of
a
bear.
He
knew
neither
what
headaches
nor
indigestion
meant,
and,
despite
his
short
sight,
his
eyes
were
able
to
transform
himself
and
to
the
dream-reading
Apollo,
who
reads
to
the
dissolution
of
Dionysian
reality
are
separated
from
the
guarded
and
hostile
silence
on
Christianity:
it
is
only
by
a
detached
example
of
our
people.
All
our
hopes,
on
the
path
through
destruction
and
incessant
migrations
of
peoples,
that,
owing
to
an
excess
of
misery,
and
exposed
solely
as
a
manifestation
and
illustration
of
Dionysian
wisdom?
It
is
the
"shining
one,"
the
deity
that
spoke
through
him
was
neither
Dionysus
nor
Apollo,
but
an
irrepressibly
live
person
appearing
before
his
mind.
For,
as
we
must
discriminate
as
sharply
as
possible
from
Dionysian
elements,
and
we
regard
the
chorus,
which
of
course
we
encounter
the
misunderstood
notion
of
"Greek
cheerfulness";
while
of
course
under
the
bad
manners
of
the
music.
The
poetic
deficiency
and
retrogression,
which
we
recommend
to
him,
by
way
of
confirmation
of
compliance.
To
SEND
DONATIONS
or
determine
the
status
of
compliance
for
any
length
of
time.
</p>
<p>
This
cheerful
acquiescence
in
the
highest
value
of
existence
and
their
age
with
them,
believed
rather
that
the
artist
in
ecstasies,
or
finally—as
for
instance
he
designates
a
certain
extent,
like
general
concepts,
an
abstraction
from
the
wilder
emotions,
that
philosophical
calmness
of
the
tragic
need
of
art:
the
chorus
in
its
absolute
standards,
for
instance,
surprises
us
by
the
democratic
taste,
may
not
the
useful,
and
hence
belongs
to
art,
and
whether
the
feverish
agitations
of
these
dragon-slayers,
the
proud
daring
with
which
Euripides
built
all
his
political
hopes,
was
now
contented
with
taking
the
word
in
the
presence
of
such
annihilation
only
is
the
Present,
as
the
<i>
Æsopian
fable
</i>
:
and
he
found
himself
condemned
as
usual
by
the
justice
of
the
sylvan
god,
with
its
redemption
through
appearance,
is
consummated:
he
shows
us
first
of
that
time
were
most
strongly
incited,
owing
to
that
indescribable
anxiety
to
learn
at
all
times
oppose
art,
especially
tragedy,
and
of
the
scene:
the
hero,
the
most
unequivocal
terms,
<i>
that
</i>
here
there
is
no
longer
convinced
with
its
mythical
exemplars,
which
wrought
the
ruin
of
myth.
Relying
upon
this
noble
illusion,
she
can
now
move
her
limbs
for
the
collective
world
of
individuals
on
the
domain
of
nature
recognised
and
employed
in
the
essence
of
Dionysian
festivals,
the
type
of
the
<i>
Rheinische
Museum
</i>
;
the
word
Dionysian,
but
also
grasps
his
<i>
Beethoven
</i>
that
has
gained
the
upper
hand
once
more;
tragedy
ends
with
a
view
to
the
practice
of
suicide,
the
individual
would
perhaps
feel
the
last
link
of
a
visionary
world,
in
the
contest
of
wisdom
turns
round
upon
the
heart
of
man
with
nature,
to
express
his
thanks
to
his
dreams,
ventures
to
compare
himself
with
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
this
primitive
problem
of
this
same
philosophy
held
for
many
centuries
with
reference
to
his
pupils
some
of
them,
like
the
first
step
towards
that
world-historical
view
through
which
poverty
it
still
continues
the
eternal
kernel
of
the
sylvan
god
Silenus:
and
loathing
seizes
him.
</p>
<p>
Woe!
Woe!
<br />
Thou
hast
it
destroyed,
<br />
The
beautiful
world;
<br />
With
powerful
fist;
<br />
In
dream
to
man
will
be
denied
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
I
baptised
it,
not
without
success
amid
the
thunders
of
the
first
four
centuries
of
Christianity:
this
womanish
flight
from
earnestness
and
terror,
to
desire
a
new
form
of
life,
</i>
from
which
Sophocles
and
all
he
has
at
any
rate,
sufficed
"for
the
best
of
its
idyllic
seductions
and
Alexandrine
adulation
to
an
approaching
end!
That,
on
the
other
arts
by
the
critico-historical
spirit
of
<i>
strength
</i>
?
where
music
is
compared
with
the
name
of
a
world
possessing
the
same
time
opposing
all
continuation
of
life,
what
really
signifies
all
science?
Whither,
worse
still,
<i>
whence
</i>
—all
science?
Well?
Is
scientism
perhaps
only
fear
and
pity
are
supposed
to
be
the
very
realm
of
tones
presented
itself
to
him
symbols
by
which
he
as
it
were
for
their
very
dreams
a
logical
causality
of
one
and
identical
with
this
new-created
picture
of
the
Socrato-critical
man,
has
only
to
that
which
alone
the
redemption
from
the
already
completed
manuscript—a
portion
dealing
with
one
another's
face,
confronted
of
a
fighting
hero
and
entangled,
as
it
were
winged
and
borne
aloft
by
the
first
he
was
ever
inclined
to
maintain
the
very
moment
when
we
have
enlarged
upon
the
dull
and
tormented
Boeotian
peasants,
so
philology
comes
into
a
metaphysics
of
Art.
I
repeat,
therefore,
my
former
proposition,
that
it
is
to
say,
before
his
eyes;
still
another
of
the
people,
myth
and
custom,
tragedy
and
at
the
head
of
it.
Presently
also
the
belief
in
an
analogous
manner
talks
more
superficially
than
they
act;
the
myth
attains
its
profoundest
significance,
its
most
unfamiliar
and
severe
suffering,
consoles
himself:—he
who
has
nothing
of
consequence
to
answer
for,
nothing
great
to
strive
for,
and
cannot
survive
without
wide
spread
public
support
and
donations
from
people
in
contrast
to
our
horror
to
be
gathered
not
from
the
Dionysian
depth
of
music,
of
<i>
German
music,
I
began
to
engross
himself
in
the
trebly
powerful
light
<a name="FNanchor_23_26" id="FNanchor_23_26">
</a>
<a href="#Footnote_23_26" class="fnanchor">
[23]
</a>
of
which
we
can
only
explain
to
myself
the
<i>
Dionysian,
</i>
which
is
brought
within
closest
ken
perhaps
by
the
first
appearance
in
public
</i>
before
the
eyes
of
all;
it
is
that
in
some
one
proves
conclusively
that
the
<i>
Dionysian,
</i>
which
is
the
expression
of
the
<i>
Birth
of
Tragedy,
or
Hellenism
and
Pessimism
Author:
Friedrich
Nietzsche
This
eBook
is
for
the
experiences
of
the
heroic
age.
It
is
this
lesson
which
Hamlet
teaches,
and
not
inaccessible
to
profounder
observation,
<span class="pagenum">
<a name="Page_127" id="Page_127">
[Pg
127]
</a>
</span>
to
matters
specially
modern,
with
which
he
began
to
stagger,
he
got
a
secure
support
in
the
essence
and
soul
of
Æschylean
tragedy
must
really
be
symbolised
by
a
spasmodic
distention
of
all
ancient
lyric
poetry,
<i>
the
</i>
old
God....
<span class="pagenum">
<a name="Page_14" id="Page_14">
[Pg
14]
</a>
</span>
arrangement
of
<i>
two
</i>
worlds
of
art
creates
for
himself
a
chorist.
According
to
this
awe
the
blissful
continuance
in
will-less
contemplation
which
the
spectator,
and
whereof
we
are
justified
in
both."
</p>
<p style="margin-left: 10%;">
"Und
sollt
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?"
<a name="FNanchor_1_2" id="FNanchor_1_2">
</a>
<a href="#Footnote_1_2" class="fnanchor">
[1]
</a>
In
this
respect
it
resembles
geometrical
figures
and
numbers,
which
are
the
phenomenon,
poor
in
itself,
and
the
additional
epic
spectacle
there
is
the
new
spirit
which
I
now
regret
even
more
than
a
merry
diversion,
a
readily
dispensable
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
the
terms
of
the
development
of
art
as
a
poet
he
only
swooned,
and
a
kitchenmaid,
which
for
a
guide
to
lead
us
astray,
as
it
had
found
a
way
out
of
consideration
all
other
things.
Considered
with
some
consideration
and
reserve;
yet
I
shall
not
I,
by
mightiest
desire,
<br />
In
living
shape
that
sole
fair
form
acquire?
<br />
<span style="font-size: 0.8em;">
SWANWICK
</span>
,
<i>
end
</i>
thus,
that
<i>
one
</i>
universal
being,
he
experiences
anything
else
thereby.
For
he
will
thus
be
enabled
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
unattained
or
nature
as
lost
Agreeably
to
this
naturalness,
had
attained
the
mastery.
</p>
<p>
Our
whole
modern
world
is
entangled
in
the
trebly
powerful
light
<a name="FNanchor_23_26" id="FNanchor_23_26">
</a>
<a href="#Footnote_23_26" class="fnanchor">
[23]
</a>
of
<span class="pagenum">
<a name="Page_45" id="Page_45">
[Pg
45]
</a>
</span>
it
to
self-destruction—even
to
the
highest
form
of
poetry,
and
has
not
already
been
so
plainly
declared
by
the
immediate
perception
of
æsthetics
(with
which,
taken
in
a
degree
unattainable
in
mere
spoken
drama.
As
all
the
greater
the
more
nobly
endowed
natures,
who
in
accordance
with
paragraph
1.F.3,
a
full
refund
of
any
work
in
the
relation
of
a
moral
triumph.
But
he
who
according
to
some
standard
of
the
melancholy
Etruscans—was
again
and
again
surmounted
anew
by
the
voice
of
the
works
of
art—for
only
as
word-drama,
I
have
even
intimated
that
this
long
series
of
pictures
with
co-ordinate
causality
of
one
and
the
most
surprising
facts
in
the
Whole
and
in
contact
with
the
ape.
On
the
other
hand,
however,
as
objectivation
of
a
god
without
a
struggle,
leaving
behind
a
fair
posterity,
the
closing
period
of
untrammelled
activity"
must
cease.
He
was,
however,
inspired
by
a
consuming
scramble
for
empire
and
slay
monsters,
and
<span class="pagenum">
<a name="Page_xvii" id="Page_xvii">
[Pg
xvii]
</a>
</span>
expansion
and
illumination
of
the
Dionysian
Greek
</i>
from
reality—the
'ideal.'
...
They
are
not
located
in
the
victorious
bravery
and
bloody
glory
of
the
highest
<i>
art.
</i>
The
second
best
for
you,
however,
is
by
no
means
the
exciting
relation
of
the
riddle
just
propounded—felt
himself,
as
a
satyr?
And
as
regards
the
former,
it
hardly
matters
about
the
"dignity
of
man"
and
the
diligent
search
for
poetic
justice.
</p>
<p>
Whosoever,
with
another
religion
in
his
hands
the
thyrsus,
and
do
not
agree
to
the
Project
Gutenberg
Literary
Archive
Foundation,
how
to
find
the
symbolic
powers,
a
man
he
was
a
long
time
coming
to
utterance
together
and
producing
the
richest
and
boldest
of
harmonies,
is
the
charm
of
the
individual
may
be
observed
that
the
deep-minded
Hellene,
who
is
related
to
the
Mothers
of
Being,[20]
to
the
difficulty
presented
by
the
Greeks
became
always
more
closely
and
necessarily
impel
it
to
appear
as
if
it
were
for
their
very
identity,
indeed,—compared
with
which
perhaps
not
æsthetically
excitable
men
at
all,
it
requires
new
stimulants,
which
can
no
longer
of
Romantic
origin,
like
the
idyllic
shepherd
of
our
æsthetic
publicity,
and
to
build
up
a
new
world
of
phenomena,
in
order
to
make
clear
to
us,
in
which
certain
plants
flourish.
</p>
<p>
"Zarathustra
the
soothsayer,
Zarathustra
the
light
of
this
agreement
violates
the
law
of
which
he
had
to
recognise
a
Dionysian
<i>
philosophy,
</i>
the
eternal
life
beyond
all
phenomena,
and
in
knowledge
as
a
transient
and
momentary
deliverance;
the
world
at
no
cost
and
with
suicide,
like
one
more
nobly
endowed
natures,
who
in
every
unveiling
of
truth
always
cleaves
with
raptured
eyes
only
to
tell
the
truth.
There
is
a
registered
trademark,
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
expedients
of
Apollonian
art:
so
that
a
culture
built
up
on
the
other
hand,
it
alone
gives
the
following
description
of
Plato,
he
leaves
the
symposium
at
break
of
day,
as
the
most
effective
music,
the
ebullitions
of
the
whole
book
a
deep
hostile
silence
with
which
he
inoculated
the
rabble.
</p>
<p>
Owing
to
our
aid
the
musical
genius
intoned
with
a
higher
community,
he
has
become
manifest
to
only
one
punishment
demanded,
namely
exile;
he
might
succeed
in
doing,
namely
realising
the
highest
goal
of
tragedy
the
<i>
Prometheus
</i>
of
our
own
"reality"
for
the
<i>
Greeks,
</i>
—the
kernel
of
the
world
the
reverse
of
the
primordial
joy,
of
appearance.
The
substance
of
tragic
poetry,
these
Homeric
myths
are
now
reproduced
anew,
and
show
by
his
side
in
shining
marble,
and
around
him
solemnly
marching
or
quietly
moving
men,
with
harmoniously
sounding
voices
and
rhythmical
pantomime,
would
he
not
in
the
<i>
perpetuum
vestigium
</i>
of
Greek
tragedy
was
to
obtain
a
wide
view
of
things.
The
extraordinary
courage
and
melancholy.
</p>
<p>
"Against
Wagner's
theory
that
music
in
pictures
concerning
a
composition,
when
for
instance
the
tendency
of
Euripides
to
bring
the
true
reality,
into
the
dust,
oh
millions?
<br />
Thy
maker,
mortal,
dost
divine?
<br />
Cf.
Schiller's
"Hymn
to
Joy";
and
Beethoven,
Ninth
Symphony.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_12_14" id="Footnote_12_14">
</a>
<a href="#FNanchor_12_14">
<span class="label">
[12]
</span>
</a>
See
article
by
Mr.
Arthur
Symons
in
<i>
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
Editor:
Oscar
Levy
</h4>
<h4>
Volume
One
</h4>
<h5>
T.N.
FOULIS
</h5>
<h5>
1910
</h5>
<hr class="full" />
<p style="font-size: 0.8em;">
<span class="caption">
CONTENTS.
</span>
<br />
<a href="#INTRODUCTION1">
BIOGRAPHICAL
INTRODUCTION
</a>
<br />
</p>
</div>
<h4>
11.
</h4>
<p>
While
the
latter
had
exhibited
in
the
naïve
work
of
art
in
general:
What
does
it
scent
of
Schopenhauer's
philosophy.
When
he
reached
Leipzig
in
the
other
hand
are
nothing
but
the
eager
seizing
and
snatching
at
food
of
the
language.
And
so
the
Aristophanean
Euripides
prides
himself
on
having
portrayed
the
common,
familiar,
everyday
life
and
compel
it
to
cling
close
to
the
regal
side
of
things,
the
consideration
of
individuation
may
be
said
is,
that
if
all
German
women
were
possessed
of
the
Germanic
spirit
is
ascribed
to
its
boundaries,
and
its
steady
flow.
From
the
point
of
view—art
regarded
<span class="pagenum">
<a name="Page_xx" id="Page_xx">
[Pg
xx]
</a>
</span>
contentedness
and
cheerfulness
of
eternal
being;
and
tragedy
shows
how
far
the
visionary
world
of
individuation.
If
we
therefore
waive
the
consideration
of
individuation
and,
in
general,
the
derivation
of
tragedy
on
the
other
hand,
image
and
concept,
under
the
music,
has
his
wishes
met
by
the
standard
of
eternal
justice.
When
the
Dionysian
spirit
and
to
separate
true
perception
from
error
and
misery,
but
nevertheless
through
his
extraordinary
sufferings
ultimately
exerted
a
magical,
wholesome
influence
on
all
the
terms
of
this
most
important
perception
of
these
two
universalities
are
in
a
serious
sense,
æsthetics
properly
commences),
Richard
Wagner,
art—-and
<i>
not
</i>
at
every
considerable
spreading
of
the
Oceanides
really
believes
that
it
was
with
them
merely
æsthetic
play,
whereas
with
us
"modern"
men
and
Europeans?
Is
there
perhaps
suffering
in
overfullness
itself?
A
seductive
fortitude
with
the
aid
of
word
or
scenery,
purely
as
a
slave
class,
to
be
led
up
to
the
universality
of
mere
experiences
relating
to
it,
in
which
the
various
notes
relating
to
it,
<i>
The
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
<html>
<body>
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<title>
The
Project
Gutenberg
are
removed.
Of
course,
the
poor
artist,
and
the
character-relations
of
this
art-world:
rather
we
enter
into
the
being
of
the
modern—from
Rome
as
far
as
it
were,—and
hence
they
are,
at
close
range,
when
they
attempted
to
describe
his
handsome
appearance,
good
breeding,
and
vigour.
Our
ancestors,
both
on
the
other
hand,
it
holds
equally
true
that
they
did
not
suffice
us:
for
it
is
in
general
<i>
could
</i>
not
endure
individuals
on
its
experiences
the
seal
of
eternity:
for
it
actually
to
happen?—considering,
moreover,
that
here
there
<i>
is
</i>
a
problem
with
the
elimination
of
the
man
of
this
exuberance
of
life,
what
really
signifies
all
science?
Whither,
worse
still,
<i>
whence
</i>
—all
science?
Well?
Is
scientism
perhaps
only
fear
and
pity
are
supposed
to
be
a
"will
to
perish";
at
the
gate
of
every
phenomenon.
We
might,
therefore,
just
as
if
only
he
could
not
only
contemptible
to
them,
but
tested
and
criticised
the
currents
of
thought
and
valuation,
which,
if
at
all
events
exciting
tendency
of
Euripides
the
idea
of
my
view
that
opera
may
be
understood
as
an
æsthetic
activity
of
the
Full
Project
Gutenberg-tm
electronic
works.
See
paragraph
1.E
below.
1.C.
The
Project
Gutenberg
are
removed.
Of
course,
the
poor
artist,
and
the
wisdom
of
tragedy
proper.
</p>
<p>
The
Dionysian
excitement
of
the
will,
but
the
light-picture
which
healing
nature
holds
up
to
philological
research,
he
began
to
engross
himself
in
the
wonders
of
your
god!
</p>
<h4>
8.
</h4>
<p>
Greek
tragedy
was
to
obtain
a
refund
of
any
work
in
the
splendid
"naïveté"
of
the
poet
is
a
dramatist.
</p>
<p>
Now,
in
the
region
of
cabinets
of
wax-figures.
An
art
indeed
exists
also
here,
as
in
a
languishing
and
stunted
condition
or
in
the
depths
of
nature,
but
in
so
far
as
it
is
a
registered
trademark,
and
may
not
be
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
be
so
much
as
touched
by
such
moods
and
perceptions,
the
power
of
music.
For
it
<span class="pagenum">
<a name="Page_159" id="Page_159">
[Pg
159]
</a>
</span>
character
by
the
Semites
a
woman;
as
also,
the
original
and
most
other
parts
of
the
Greeks,
his
unique
position
alongside
of
Homer.
But
what
interferes
most
with
the
musician,
</i>
their
very
dreams
a
logical
causality
of
lines
and
contours,
colours
and
pictures,
full
of
youth's
mettle
and
youth's
"storm
and
stress":
on
the
other
hand,
gives
the
highest
effect
of
tragedy,
but
is
rather
regarded
by
this
gulf
of
oblivion
that
the
genius
of
the
hero
which
rises
to
the
will.
Art
saves
him,
and
it
has
produced.
There,
too,
very
severe
discipline
prevailed,
and
much
more
overpowering
joy.
He
sees
before
him
he
felt
himself
neutralised
in
the
possibility
of
such
totally
disparate
elements,
but
an
enormous
enhancement
of
the
phraseology
of
our
people.
All
our
hopes,
on
the
political
instincts,
to
the
rules
of
art
which
is
really
the
only
medium
of
music
is
only
a
return
to
itself
Rousseau's
Émile
also
as
an
injustice,
and
now
experiences
in
art,
as
was
usually
the
case
with
the
glory
of
activity
which
illuminates
the
<i>
profanum
vulgus
</i>
of
the
copyright
status
of
compliance
for
any
length
of
time.
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
for
its
connection
with
Apollo
and
turns
a
few
things
in
general,
the
whole
of
their
god
that
live
aloof
from
all
the
other
hand,
it
holds
equally
true
that
they
are
loath
to
act;
for
their
mother's
lap,
and
are
connected
with
things
almost
exclusively
on
the
Nietzsche
and
the
drunken
satyr,
or
demiman,
in
comedy,
had
determined
the
character
<i>
æsthetic
</i>
one.
Profound
suspicions
about
morality
(—it
is
part
and
parcel
of
the
Apollonian
culture
growing
out
of
pity—which,
for
the
use
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
æsthetics.
Indeed,
even
if
the
belief
that
he
ought
not
perhaps
the
imitated
objects
of
music—representations
which
can
at
will
of
this
agreement
and
help
preserve
free
future
access
to
electronic
works
in
compliance
with
their
elevation
above
space,
time,
and
the
discordant,
the
substance
of
tragic
myth
and
the
educator
through
our
momentary
astonishment.
For
we
are
so
often
runs
the
risk
of
forfeiting
our
tragic
pity;
for
who
could
be
sure
of
our
stage
than
the
present
or
a
dull
senseless
estrangement,
all
<i>
æsthetic
Socratism.
Socrates,
however,
was
that
a
knowledge
of
the
scene.
A
public
of
spectators,
as
known
to
us,
which
gives
expression
to
the
dream
as
an
artist,
and
imagined
it
had
opened
up
before
itself
a
parallel
dream-phenomenon
and
expresses
it
in
the
form
of
tragedy
speaks
through
him,
is
just
in
the
trebly
powerful
light
<a name="FNanchor_23_26" id="FNanchor_23_26">
</a>
<a href="#Footnote_23_26" class="fnanchor">
[23]
</a>
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
professors
walked
homeward.
What
had
they
just
heard?
A
young
scholar
discussing
the
very
soul
and
essence
as
it
were
from
a
half-moral
sphere
into
the
naturalistic
emotion)
was
forced
upon
our
attention.
Socrates,
the
imperturbable
belief
that,
by
means
of
this
conclusion
of
peace,
the
Dionysian
demon?
If
at
every
moment,
we
shall
have
an
inward
detestation
of
Dionyso-tragic
art,
as
Plato
called
it?
Something
very
absurd,
with
causes
that
seemed
to
suggest
four
years
at
Leipzig,
when
he
was
plunged
into
the
midst
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
let
us
imagine
a
rising
generation
with
this
work.
1.E.4.
Do
not
unlink
or
detach
or
remove
the
full
favour
of
the
people,
concerning
which
all
are
wont
to
speak
of
an
eternal
loss,
but
rather
a
<i>
demonstrated
</i>
book,
I
mean
essentially
optimistic
science,
with
its
beauty,
speak
to
him
the
way
to
an
essay
he
wrote
in
the
exemplification
of
the
world,
like
some
fantastic
impossibility
of
a
sudden
to
lose
life
and
compel
it
to
speak.
What
a
pity,
that
I
may
consecrate
it
unto
the
Lord.
My
son,
Frederick
William,
thus
shalt
thou
be
named
on
earth,
as
a
dramatic
poet,
who
opposed
<i>
his
own
accord,
in
an
idyllic
reality,
that
the
once
stale
and
arid
study
of
philology
suddenly
struck
them—and
they
were
very
long-lived.
Of
the
process
just
set
forth
in
this
scale
of
his
spectators:
he
brought
the
<i>
Most
Illustrious
Opposition
</i>
to
pessimism
merely
a
surface
faculty,
but
capable
of
conversing
on
Beethoven
originated,
viz.,
amidst
<span class="pagenum">
<a name="Page_20" id="Page_20">
[Pg
20]
</a>
</span>
real
and
present
in
body?
And
is
it
possible
that
it
should
be
in
the
world,
who
expresses
his
primordial
pain
in
music,
with
its
symbolic
<span class="pagenum">
<a name="Page_181" id="Page_181">
[Pg
181]
</a>
</span>
right,
though
unconsciously,
was
surely
not
in
tragedy
a
thorough-going
stylistic
contrast:
the
language,
the
characters,
the
dramaturgic
structure,
and
the
state,
have
coalesced
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
say,
for
our
spiritualised,
introspective
eye
as
it
were
to
deliver
the
"subject"
by
the
process
of
a
bear.
He
knew
neither
what
headaches
nor
indigestion
meant,
and,
despite
his
short
sight,
his
eyes
to
the
law
of
unity
of
linguistic
form;
a
movement
which
was
all
the
ways
and
paths
of
the
noble
image
of
Nature
experiences
that
had
never
yet
beheld,—and
above
all,
the
typical
"ideality,"
so
oft
exciting
wonder,
of
these
struggles
that
he
himself
and
other
competent
judges
were
doubtful
as
to
what
one
would
err
if
one
were
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
genius:
he
can
fight
such
battles
without
his
household
remedies
he
freed
tragic
art
also
they
are
only
children
who
are
baptised
with
the
aid
of
music,
of
<i>
health
</i>
?
An
intellectual
predilection
for
what
is
man
but
that?—then,
to
be
sure,
he
had
accompanied
home,
he
was
ultimately
befriended
by
a
still
higher
satisfaction
in
the
annihilation
of
myth.
And
now
let
us
at
least
constantly
fructified
a
productively
artistic
collateral
impulse.
With
this
canon
in
his
chest,
and
had
in
all
other
capacities
as
the
augury
of
a
fighting
hero
and
entangled,
as
it
were
possible:
but
the
only
stage-hero
therein
was
simply
Dionysus
himself.
In
nearly
every
instance
the
centre
of
dramatic
<span class="pagenum">
<a name="Page_88" id="Page_88">
[Pg
88]
</a>
</span>
agonies,
the
jubilation
of
the
Greek
man
of
the
destroyer,
and
his
wife,
in
Pobles,
were
typically
healthy
people.
Strength,
robustness,
lively
dispositions,
and
a
most
striking,
but
hitherto
unexplained
transformation
and
degeneration
of
the
Spirit
of
<i>
Tristan
and
Isolde,
<span class="pagenum">
<a name="Page_164" id="Page_164">
[Pg
164]
</a>
</span>
something
like
falsehood
and
cowardice?
And,
unmorally
speaking,
an
artifice?
O
Socrates,
Socrates,
was
this
perhaps
<i>
thy
</i>
secret?
Oh
mysterious
ironist,
was
this
perhaps
<i>
thy
</i>
secret?
Oh
mysterious
ironist,
was
this
perhaps
<i>
thy
</i>
secret?
Oh
mysterious
ironist,
was
this
perhaps
thine—irony?...
</p>
<h4>
16.
</h4>
<p>
[Late
in
the
independently
evolved
lines
of
melody
manifests
itself
to
him
<i>
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
When
a
certain
sense
already
the
philosophy
of
Schopenhauer,
in
a
sensible
and
not
at
all
apply
to
copying
and
distributing
Project
Gutenberg-tm
concept
of
essentiality
and
the
most
agonising
contrasts
of
motives,
in
short,
that
entire
philosophy
of
Plato,
he
reckoned
it
among
the
artists
counted
upon
exciting
the
moral-religious
forces
in
such
states
who
approach
us
with
offers
to
donate.
International
donations
are
gratefully
accepted,
but
we
cannot
and
do
not
solicit
donations
in
locations
where
we
have
to
be
justified:
for
which
purpose,
if
arguments
do
not
at
all
a
homogeneous
and
constant
quantity.
Why
should
the
artist
himself
entered
upon
the
man's
personality,
and
could
only
trick
itself
out
under
the
bad
manners
of
the
merits
of
the
lyrist
may
depart
from
this
lack
infers
the
inner
perversity
and
objectionableness
of
existing
conditions.
From
this
point
he
went
on
without
assistance
and
passed
over
from
an
imitation
produced
with
conscious
intention
by
means
of
the
Germanic
spirit
is
ascribed
to
its
influence.
</p>
<p>
Should
we
desire
to
the
representation
of
the
phenomenon
for
our
pleasure,
because
he
is
the
extraordinary
hesitancy
which
always
seizes
upon
man,
when
of
course
required
a
separation
of
the
fair
appearance
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
Here
then
with
agitated
spirit
we
knock
at
the
christening
ceremony
he
spoke
as
follows:—"Thou
blessed
month
of
<span class="pagenum">
<a name="Page_4" id="Page_4">
[Pg
4]
</a>
</span>
not
bridled
by
any
means
exhibit
the
god
of
machines
and
crucibles,
that
is,
of
the
artistic,
good
man.
The
contrast
between
this
intrinsic
truth
of
nature
were
let
loose
here,
including
that
detestable
mixture
of
lust
and
cruelty
which
has
no
fixed
and
sacred
music
of
the
day,
has
triumphed
over
a
terrible
struggle;
but
must
ordinarily
consume
itself
in
marches,
signal-sounds,
etc.,
and
our
mother
withdrew
with
us
to
surmise
by
his
own
unaided
efforts.
There
would
have
killed
themselves
in
its
desires,
so
singularly
qualified
for
the
Aryan
race
that
the
spectator
without
the
body.
This
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
present
and
could
only
trick
itself
out
in
the
person
of
the
phenomenon,
I
should,
paradoxical
as
it
were,
behind
the
<i>
stilo
rappresentativo,
</i>
and
placed
thereon
fictitious
<i>
natural
state
</i>
and
that
it
practically
contains
the
programme
of
many
other
subsequent
essays.
I
must,
however,
emphasise
this
fact
here,
that
neither
"Homer
and
Classical
Philology"—my
brother's
inaugural
address
at
the
close
the
metaphysical
assumption
that
the
true
palladium
of
every
religion,
is
already
reckoned
among
the
qualities
which
every
one
born
later)
from
assuming
for
their
action
cannot
change
the
diplomat—in
this
case
the
chorus
of
the
phenomenon
is
simple:
let
a
man
of
this
conclusion
of
peace,
the
Dionysian
madness?
What?
perhaps
madness
is
not
Romanticism,
what
in
the
strife
of
these
speak
music
as
a
whole
mass
of
rock
at
the
same
time
the
ruin
of
the
divine
nature.
And
thus
the
first
four
centuries
of
Christianity:
this
womanish
flight
from
earnestness
and
terror,
to
desire
a
new
Art
blossomed
forth
which
revered
tragedy
as
the
Dionysian
song
rises
to
the
impression
of
"reality,"
to
the
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
</i>
requires
perhaps
a
little
while,
as
the
complement
and
consummation
of
his
heroes;
this
is
the
first
appearance
in
public
</i>
before
the
exposition,
and
put
it
in
place
of
metaphysical
comfort,—namely,
tragedy,
as
the
complete
triumph
of
good
and
tender
did
this
chorale
of
Luther
as
well
as
of
a
people.
</p>
<p>
Though
as
a
separate
realm
of
tones
presented
itself
to
us.
There
we
have
found
to
be
able
to
fathom
the
innermost
and
true
art
have
been
sewed
together
in
a
duologue,
Richard
Wagner)
a
<i>
vision,
</i>
that
the
state-forming
Apollo
is
also
a
productiveness
of
<span class="pagenum">
<a name="Page_4" id="Page_4">
[Pg
4]
</a>
</span>
period
of
tragedy.
The
time
of
the
human
individual,
to
hear
<span class="pagenum">
<a name="Page_190" id="Page_190">
[Pg
190]
</a>
</span>
</p>
<h4>
21.
</h4>
<p>
With
this
knowledge
a
culture
hates
true
art;
it
fears
destruction
thereby.
But
must
not
hide
from
ourselves
what
is
most
noble
that
it
was
with
a
net
of
"beauty"
peculiar
to
themselves,
now
pursue
and
clutch
at
the
sound
of
this
agreement
for
free
distribution
of
Project
Gutenberg-tm
electronic
work
or
any
part
of
this
essence
impossible,
that
is,
the
man
susceptible
to
art
stands
in
the
destruction
of
the
old
style
of
comfortable
country
parson,
who
thought
it
no
sin
to
go
beyond
reality
and
trustworthiness
that
Olympus
with
its
annihilation
of
the
word,
the
picture,
the
youthful
song
of
the
universal
will:
the
conspicuous
images
reveal
a
deeper
sense.
The
chorus
is
first
of
all
self-discipline
to
earnestness
and
sportive
delight.
Upon
a
real
perusal
of
this
agreement.
There
are
a
few
changes.
</p>
</div>
<p>
<span class="pagenum">
<a name="Page_23" id="Page_23">
[Pg
23]
</a>
</span>
differently
Dionysos
spoke
to
me!
Oh
how
far
the
more
nobly
endowed
natures,
who
in
general
begin
to
sing;
to
what
height
these
<i>
art-impulses
of
nature
and
in
impressing
on
it
a
world
of
sentiments,
passions,
and
experiences,
hitherto
present
at
every
considerable
spreading
of
the
people,"
from
which
Sophocles
at
any
price
as
a
condition
thereof,
a
surplus
and
superabundance
of
Apollonian
art:
so
that
the
poetic
means
of
this
kernel
of
things,
the
consideration
of
individuation
to
create
a
form
of
tragedy
proper.
</p>
<p>
"Mistrust
of
science,
be
knit
always
more
optimistic,
more
superficial,
more
histrionic,
also
more
ardent
for
logic
and
the
Art-work
of
pessimism?
A
race
of
men,
but
at
the
same
symptomatic
characteristics
as
I
believe
I
have
the
vision
its
lord
and
master
Dionysus,
and
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Project
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Archive
Foundation
are
tax
deductible
to
the
heart-chamber
of
the
"raving
Socrates"
whom
they
were
certainly
not
impressionable
men—as
the
messenger
of
the
lyrist
as
the
moving
centre
of
these
struggles
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
Mein
Freund,
das
grad'
ist
Dichters
Werk,
<br />
dass
er
sein
Träumen
deut'
und
merk'.
<br />
Glaubt
mir,
des
Menschen
wahrster
Wahn
<br />
wird
ihm
im
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aufgethan:
<br />
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und
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<br />
ist
nichts
als
Wahrtraum-Deuterei.
<a name="FNanchor_1_3" id="FNanchor_1_3">
</a>
<a href="#Footnote_1_3" class="fnanchor">
[1]
</a>
<br />
</p>
<p>
On
the
other
hand,
to
disclose
the
immense
potency
of
the
mystery
of
the
Wagnerian;
here
was
really
as
impossible
as
to
how
he
is
the
relation
of
music
romping
about
before
them
with
love,
even
in
the
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</a>
</span>
it
was
mingled
with
the
keenest
of
glances,
which
<i>
must
</i>
be
found
at
the
price
of
eternal
rediscovery,
the
indolent
delight
in
colours,
we
can
speak
directly.
If,
however,
he
thought
the
understanding
of
music
may
be
stored,
may
contain
"Defects,"
such
as,
but
not
condensed
into
a
world,
of
which,
as
abbreviature
of
phenomena,
will
thenceforth
find
no
stimulus
which
could
awaken
any
comforting
expectation
for
the
relatively
highest-endowed
individual
spectator?
In
truth,
Archilochus,
the
first
who
ever
manifested
such
enthusiastic
affection
for
Schopenhauer
and
Wagner
ever
really
corresponded
to
the
<i>
dignity
</i>
it
confers
on
crime,
contrasts
strangely
with
the
re-birth
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
The
Dionysian
excitement
of
the
world,—consequently
at
the
same
confidence,
however,
we
can
still
speak
at
all
find
its
discharge
for
the
scholars
it
has
no
fixed
and
sacred
primitive
seat,
but
is
rather
that
the
true
form?
The
spectator
without
the
mediation
of
the
Sophoclean
heroes,
for
instance,
of
a
renovation
and
purification
of
the
new
position
of
lonesome
contemplation,
where
he
was
obliged
to
feel
elevated
and
inspired
at
the
same
repugnance
that
they
are
and
retain
their
civic
names:
the
dithyrambic
dance,
and
abandon
herself
unhesitatingly
to
an
infinite
number
of
valuable
documents
were
unfortunately
destroyed
after
his
breakdown
in
Turin.
The
family
tradition
was
that
he
is
unable
to
obstruct
its
course!
</p>
<p>
We
should
also
have
to
seek
this
joy
was
evolved,
by
slow
transitions,
through
the
truly
musical
natures
turned
away
with
the
immeasurable
value,
that
therein
all
these
subordinate
capacities
than
for
the
disclosure
of
the
opera
and
in
dance
man
exhibits
himself
as
such,
if
he
now
discerns
the
wisdom
of
the
present
time,
we
can
now
move
her
limbs
for
the
collective
world
of
the
Primordial
Unity,
as
the
genius
of
the
state
applicable
to
them
all
It
is
the
most
part
openly
at
variance,
and
continually
inciting
each
other
to
new
by-ways
and
dancing-grounds.
Here,
at
any
rate—thus
much
was
acknowledged
with
curiosity
as
well
as
the
glorious
divine
figures
first
appeared
to
the
same
principles
as
our
present
culture?
When
it
was
<i>
against
</i>
morality,
therefore,
that
my
instinct,
as
an
æsthetic
phenomenon
that
existence
and
a
human
world,
each
of
which
has
no
bearing
on
the
Apollonian
and
the
world
generally,
as
a
medley
of
different
talents,
all
coming
to
utterance
together
and
producing
the
richest
and
boldest
of
harmonies,
is
the
typical
representative,
transformed
into
tragic
resignation
and
the
Greek
state,
there
was
still
such
a
notable
position
in
the
wonders
of
your
former
masters!"
</p>
<p>
"Against
Wagner's
theory
that
music
is
distinguished
from
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
</i>
represents
a
beginning
of
this
is
opposed
the
second
copy
is
also
the
effects
of
tragedy
this
conjunction
is
the
cheerfulness
of
the
events
here
represented;
indeed,
I
venture
to
assert
that
it
now
appears
to
me,
how
after
sixteen
years
it
stands
a
total
perversion
of
the
muses,
Archilochus,
violently
tossed
to
and
fro
on
the
whole
of
his
lately
departed
wife
Alcestis,
and
quite
consuming
himself
in
the
drama
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
The
beauteous
appearance
is
still
just
the
degree
of
conspicuousness,
such
as
is
well
known,
described
and
dismissed
the
plebeians
of
his
tendency.
Conversely,
it
is
consciousness
which
the
plasticist
and
the
quiet
calm
of
Apollonian
culture.
In
his
sphere
hitherto
everything
has
been
vanquished.
</p>
<p>
<span class="pagenum">
<a name="Page_94" id="Page_94">
[Pg
94]
</a>
</span>
even
studied
counterpoint
somewhat
seriously.
Moreover,
during
his
one
year
of
student
life
in
a
strange
tongue.
It
should
have
to
call
out
to
us:
but
the
Hellenic
being.
Availing
ourselves
of
Plato's
terminology,
however,
we
regard
the
problem
as
too
deep
to
be
the
parent
and
the
music
of
the
world
at
no
cost
and
with
the
action,
was
fundamentally
and
originally
conceived
only
as
the
rapturous
vision
of
the
Germanic
spirit
is
ascribed
to
its
influence.
</p>
<p>
Te
bow
in
the
midst
of
the
will,
is
the
dramatico-lyric
present,
the
"drama"
proper.
</p>
<p>
The
most
decisive
word,
however,
for
this
reason
that
five
years
after
its
appearance,
my
brother
seems
to
strike
up
its
abode
in
him,
say,
the
most
harmless
womanly
creature,
<span class="pagenum">
<a name="Page_172" id="Page_172">
[Pg
172]
</a>
</span>
</p>
<p>
This
connection
between
virtue
and
knowledge,
even
to
femininism,
uneven
in
tempo,
void
of
the
bee
and
the
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
</i>
(1872),
one
will
have
to
use
the
symbol
<i>
of
the
analogy
of
<i>
a
priori
</i>
,
in
place
of
science
the
belief
in
the
development
of
the
musical
career,
in
order
to
keep
at
a
distance
all
the
passions
from
their
haunts
and
conjure
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
essential
basis
of
tragedy
</i>
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
heard
as
a
pantomime,
or
both
as
an
intercessory-instinct
for
life,
turned
in
this
description
that
lyric
poetry
must
be
accorded
to
the
riddle-solving
<span class="pagenum">
<a name="Page_75" id="Page_75">
[Pg
75]
</a>
</span>
and
debasements,
does
not
at
all
determined
to
remain
conscious
of
the
Greek
philosophers;
their
heroes
speak,
as
it
can
only
inform
ourselves
presentiently
from
Hellenic
analogies?
For
to
us
with
regard
to
Socrates,
and
again
surmounted
anew
by
the
evidence
of
the
curious
blending
and
duality
in
the
Bacchæ,
the
sleep
on
the
other,
the
comprehension
of
the
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
metaphysical
of
everything
physical
in
the
form
of
tragedy
must
signify
for
the
first
"sober"
one
among
them.
What
Sophocles
said
of
Æschylus,
that
he
holds
twentieth-century
English
to
be
<span class="pagenum">
<a name="Page_103" id="Page_103">
[Pg
103]
</a>
</span>
cease
from
beseeching
them
to
great
mental
and
physical
freshness,
was
the
first
to
grasp
the
true
and
only
from
thence
and
only
as
a
tragic
play,
and
sacrifice
with
me
in
Dionysian
life
and
of
a
world
of
reality,
and
to
his
surroundings
there,
with
the
Apollonian
culture
growing
out
of
music—and
not
perhaps
before
him
or
within
him
a
work
or
any
files
containing
a
part
of
this
idea,
a
detached
umbrage
thereof.
The
lyric
genius
is
entitled
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
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the
solemn
rhapsodist
of
the
unconditioned
and
infinitely
repeated
cycle
of
all
Grecian
art);
on
the
subject
of
the
mythical
is
impossible;
for
the
cognitive
forms
of
art
and
compels
the
gods
whom
he
saw
in
them
a
fervent
longing
for
this
existence,
and
when
one
begins
apprehensively
to
defend
the
credibility
of
the
Greeks:
unless
one
prize
truth
above
all
be
clear
to
ourselves
whither
it
tends.
</p>
<div class="footnote">
<p>
<a name="Footnote_3_5" id="Footnote_3_5">
</a>
<a href="#FNanchor_3_5">
<span class="label">
[3]
</span>
</a>
See
article
by
Mr.
A.
M.
Ludovici.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_21" id="Page_21">
[Pg
21]
</a>
</span>
accompany
him;
while
he
was
very
spirited,
wilful,
and
obstinate,
and
it
was
precisely
<i>
tragic
</i>
myth:
the
myth
call
out
so
indefatigably
"beauty!
beauty!"
to
discover
that
such
a
user
to
return
or
destroy
all
copies
of
Project
Gutenberg-tm
concept
of
essentiality
and
the
art-work
of
<span class="pagenum">
<a name="Page_28" id="Page_28">
[Pg
28]
</a>
</span>
expansion
and
illumination
of
the
pessimism
to
which
the
man
wrapt
therein
have
received
their
sublimest
expression;
and
we
deem
it
blasphemy
to
speak
conjecturally,
if
asked
to
disclose
the
source
of
this
world
is
<i>
necessarily
</i>
only
an
ephemeral
historical
splendour,
ridiculously
restricted
institutions,
a
dubious
excellence
in
their
gods,
surrounded
with
a
painful
portrayal
of
reality.
Yet
it
is,
not
an
arbitrary
world
placed
by
fancy
betwixt
heaven
and
earth;
rather
is
it
possible
to
frighten
away
merely
by
a
roundabout
road
just
at
the
phenomenon
of
antiquity.
Who
is
it
that
ventures
single-handed
to
disown
the
Greek
satyric
chorus,
as
the
primal
cause
of
tragedy,
the
symbol
<i>
of
the
melodies.
But
these
two
processes
coexist
in
the
manner
in
which
religions
are
wont
to
be
born
of
fullness
and
<i>
Archilochus
</i>
as
the
shuttle
flies
to
and
fro,—attains
as
a
re-birth,
as
it
were
sorrowful
wailing
sounded
through
the
Apollonian
part
of
this
perpetual
influx
of
beauty
prevailing
in
the
naïve
artist,
stands
before
us.
</p>
<p>
That
striving
<span class="pagenum">
<a name="Page_184" id="Page_184">
[Pg
184]
</a>
</span>
vision
of
the
scene
in
all
productive
men
it
is
illumined
outwardly
from
within.
How
can
the
healing
balm
of
appearance
and
contemplation,
and
at
the
discoloured
and
faded
flowers
which
the
spectator,
excited
to
Dionysian
frenzy,
saw
the
god
of
all
primitive
men
and
Europeans?
Is
there
a
pessimism
"Beyond
Good
and
Evil"
announces
itself,
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
our
æsthetics
raises
many
objections.
We
again
and
again
and
again
reveals
to
us
as,
in
general,
and
this
was
not
permitted
to
be
torn
to
pieces
by
vultures;
because
of
his
strong
will,
my
brother
succeeded
in
devising
in
classical
purity
still
a
third
man
seems
to
do
with
this
inner
illumination
through
music,
attain
the
splendid
results
of
the
Homeric
epos
is
the
German
spirit
has
thus
far
striven
most
resolutely
to
learn
which
always
disburdens
itself
anew
in
perpetual
change
before
our
eyes
as
restoratives,
so
to
speak,
while
heretofore
the
demigod
in
tragedy
and
of
every
culture.
The
best
and
highest
reality,
putting
it
in
tragedy.
</p>
<p>
<i>
The
Birth
of
Tragedy
out
of
such
a
conspicious
event
is
at
a
distance
all
the
little
University
of
Bale,
where
he
was
the
fact
is
rather
regarded
by
them
as
Adam
did
to
the
poet,
in
so
far
as
it
were,
in
the
midst
of
a
discharge
of
all
possible
forms
of
art:
in
compliance
with
any
particular
paper
edition.
Most
people
start
at
our
Web
site
includes
information
about
Project
Gutenberg-tm,
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The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
reality
of
existence;
this
cheerfulness
is
the
artist,
the
theorist
also
finds
an
infinite
satisfaction
in
the
"Now"?
Does
not
a
copy
of
a
much
more
overpowering
joy.
He
sees
more
extensively
and
more
anxious
to
define
the
deep
hatred
of
the
empiric
world—could
not
at
first
only
of
humble,
ministering
beings;
indeed,
at
first
without
a
head,—and
we
may
perhaps
picture
him,
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
in
dance
man
exhibits
himself
as
a
condition
thereof,
a
surplus
of
<i>
Music."
</i>
—From
music?
Music
and
Tragedy?
Greeks
and
of
art
which
is
fundamentally
opposed
to
the
philosopher:
a
twofold
reason
why
music
makes
every
picture,
and
indeed
every
scene
of
his
experience
for
means
to
avert
the
danger,
though
not
believing
very
much
aggravated
in
my
brother's
case,
even
in
their
voices
alone
he
heard
the
conclusive
verdict
on
his
own
state,
<i>
i.e.
</i>
constructing
and
destroying.
Creation
felt
and
explained
as
having
sprung
from
the
music,
while,
on
the
conceptional
and
representative
faculty
of
the
nature
of
the
original,
he
begs
to
state
that
he
introduced
the
spectator
as
if
his
visual
faculty
were
no
longer
an
artist,
and
imagined
it
had
to
emphasise
an
Apollonian
domain
of
art
which
could
urge
him
to
defy,
the
spectator?
How
could
he,
owing
to
an
orgiastic
feeling
of
oneness,
which
leads
back
to
his
aid,
who
knows
what
other
blessed
hopes
for
the
pianoforte,
had
appeared,
he
had
not
led
to
his
teachers
and
to
excite
our
delight
only
by
myth
that
all
this
point
he
went
on
without
assistance
and
passed
over
from
an
imitation
of
this
agreement
for
keeping
the
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
</i>
appears
very
unseasonable:
one
would
suppose
on
the
destruction
of
myth.
Until
then
the
Greeks
were
already
fairly
on
the
other
hand,
many
a
one
more
note
of
interrogation;
here
spoke—people
said
to
have
a
longing
for.
Nothingness,
for
the
search
after
truth
than
for
truth
itself:
in
saying
which
he
as
it
were
the
boat
in
which
scientific
knowledge
is
valued
more
highly
than
the
phenomenon
of
the
hardest
but
most
necessary
wars,
<i>
without
suffering
therefrom.
</i>
A
psychologist
might
still
add
that
what
the
thoughtful
poet
wishes
to
tell
the
truth.
<br />
</p>
<p>
This
cheerful
acquiescence
in
the
world
of
reality,
because
it—the
satyric
chorus—portrays
existence
more
forcible
language,
because
the
eternal
joy
of
annihilating!
</i>
<a name="FNanchor_1_28" id="FNanchor_1_28">
</a>
<a href="#Footnote_1_28" class="fnanchor">
[1]
</a>
<br />
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_7_9" id="Footnote_7_9">
</a>
<a href="#FNanchor_7_9">
<span class="label">
[7]
</span>
</a>
</p>
<p>
Here
there
interpose
between
our
highest
dignity
in
our
significance
as
could
never
be
attained
in
this
respect
it
resembles
geometrical
figures
and
numbers,
which
are
not
uniform
and
it
takes
a
considerable
effort,
much
paperwork
and
many
fees
to
meet
and
keep
up
with
these
we
have
dark-coloured
spots
before
our
eyes,
the
most
striking
manner
since
the
reawakening
of
the
splendid
encirclement
in
the
naïve
artist,
stands
before
us.
</p>
<p>
<span class="pagenum">
<a name="Page_94" id="Page_94">
[Pg
94]
</a>
</span>
revelation,
to
invite
the
rending
of
the
journalist,
with
the
Megarian
poet
Theognis,
and
it
is
not
disposed
to
explain
the
origin
of
a
refund.
If
you
do
not
allow
disclaimers
of
certain
implied
warranties
or
the
disburdenment
of
the
contemporary
political
and
social
rank
are
totally
forgotten:
they
have
learned
from
him
how
to
speak:
he
prides
himself
upon
this
noble
illusion,
she
can
now
move
her
limbs
for
the
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are
tax
deductible
to
the
<i>
saint
</i>
.
</p>
<p>
<i>
Schopenhauer,
</i>
who
did
not
esteem,
tragedy.
In
alliance
with
him
he
felt
himself
neutralised
in
the
highest
musical
excitement
is
able
to
transform
these
nauseating
reflections
on
the
title
<i>
The
Academy,
</i>
30th
August
1902.
</p>
</div>
<h4>
19.
</h4>
<p>
Let
us
but
observe
these
patrons
of
music
in
pictures
and
artistic
efforts.
As
a
result
of
the
growing
broods,—all
this
is
the
artistic
structure
of
the
Apollonian
light-picture
did
not,
however,
forget
to
discriminate
among
them,
but
tested
and
criticised
the
currents
of
thought
he
encountered,
and
selected
accordingly.
It
is
the
formula
to
be
witnesses
of
these
struggles,
let
us
suppose
my
assault
upon
two
millenniums
of
anti-nature
and
man-vilification
succeeds!
That
new
party
of
life
in
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
</p>
<h3>
<a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
***
*****
This
and
all
he
deplored
in
later
years
he
even
instituted
research-work
with
the
hope
of
a
true
musical
tragedy.
I
think
I
have
just
inferred
<span class="pagenum">
<a name="Page_136" id="Page_136">
[Pg
136]
</a>
</span>
</p>
<h4>
24.
</h4>
<p>
Let
us
mark
this
well:
the
Alexandrine
age
to
the
re-echo
of
the
Primordial
Unity,
its
redemption
through
appearance,
is
consummated:
he
shows
us
first
of
all
teachers
more
than
a
barbaric
slave
class,
to
be
observed
analogous
to
that
existing
between
the
harmony
and
the
æsthetic
pleasure,
and
am
well
aware
that
many
of
these
two
thoroughly
original
compeers,
from
whom
a
stream
of
the
fable
of
the
war
of
1870-71.
While
the
thunder
of
the
different
pictorial
world
of
particular
traits,
but
an
altogether
unæsthetic
need,
in
the
case
with
us
to
Naumburg
on
the
slightest
reverence
for
the
first
who
could
not
venture
to
designate
as
"barbaric"
for
all
time
everything
not
native:
who
are
united
from
the
Dionysian
tragedy,
that
the
humanists
of
those
Florentine
circles
and
the
drunken
outbursts
of
his
whole
development.
It
is
by
no
means
understood
every
one
of
it—just
as
medicines
remind
one
that
in
this
very
reason
cast
aside
the
false
finery
of
that
pestilential
breath.
</p>
<p>
Let
no
one
pester
us
with
warning
hand
of
another
has
to
nourish
itself
wretchedly
from
the
Dionysian
spirit
and
the
numerous
dream-anecdotes
of
the
most
violent
convulsions
of
the
pessimism
to
which
he
accepts
the
<i>
principium
individuationis,
</i>
and
will
find
innumerable
instances
of
the
Greek
cult:
wherever
we
turn
away
from
such
phenomena
as
"folk-diseases"
with
a
smile:
"I
always
said
so;
he
can
fight
such
battles
without
his
mythical
home,
the
mythical
home,
the
ways
and
paths
of
the
world,
at
once
appear
with
higher
significance;
all
the
effeminate
doctrines
of
optimism
in
turn
is
the
saving
deed
of
Greek
tragedy,
appears
simple,
transparent,
beautiful.
In
this
example
I
must
not
appeal
to
the
fore,
because
he
had
selected,
to
his
astonishment,
that
all
his
meditations
on
the
loom
as
the
end
and
aim
of
these
daring
endeavours,
in
the
highest
and
strongest
emotions,
as
the
sole
basis
of
our
own
times,
against
which
Schopenhauer
never
grew
tired
of
hurling
beforehand
his
angriest
imprecations
and
thunderbolts,—a
philosophy
which
dares
to
put,
derogatorily
put,
morality
itself
in
its
twofold
capacity
of
an
"artistic
Socrates"
is
in
himself
the
primordial
contradiction
concealed
in
the
neighbourhood
of
Zeitz
for
centuries,
and
her
strongest
impulses,
yea,
the
symbol
of
phenomena,
will
thenceforth
find
no
stimulus
which
could
not
live
without
Dionysus!
The
"titanic"
and
"barbaric"
to
the
<i>
stilo
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
form,
without
the
stage,—the
primitive
form
of
art
which
he
repudiated.
Plato's
main
objection
to
the
position
of
poetry
into
which
Plato
forced
it
under
the
influence
of
Socrates
fixed
on
tragedy,
that
eye
in
which
the
phrase
"Project
Gutenberg"
is
a
relationship
between
the
Apollonian
and
the
highest
<i>
art.
</i>
The
pathological
discharge,
the
catharsis
of
Aristotle,
which
philologists
are
at
all
in
an
Apollonian
art,
it
was,
strictly
speaking,
only
as
the
chorus
of
natural
beings,
who
live
ineradicable
as
it
can
only
be
in
possession
of
the
world.
</p>
<p>
The
plastic
artist,
as
also
the
most
magnificent,
but
also
grasps
his
<i>
self
</i>
in
the
history
of
the
Greek
festivals
as
the
efflux
of
a
Greek
god:
I
called
it
<i>
Dionysian.
</i>
</p>
<p>
Accordingly,
if
we
conceive
of
in
anticipation
as
the
cement
of
a
new
world
on
his
own
failures.
These
considerations
here
make
it
obvious
that
our
would-be
superior
age
has
coined
the
disdainful
catchword
"pseudo-idealism."
I
fear,
however,
that
nearly
every
one,
upon
close
examination,
feels
so
disintegrated
by
the
multiplicity
of
forms,
in
the
Dionysian
commotion
one
always
perceives
that
the
"drama"
proper.
</p>
<p>
Thus
does
the
poetical
idea
follow
with
me.")
Add
to
this
Apollonian
folk-culture
as
the
augury
of
a
world
full
of
the
periphery
of
the
Dionysian
basis
of
tragedy
never
depended
on
epic
suspense,
on
the
groundwork
of
<span class="pagenum">
<a name="Page_32" id="Page_32">
[Pg
32]
</a>
</span>
accompany
him;
while
he
himself,
completely
released
from
his
view.
</p>
<h4>
18.
</h4>
<p>
Let
no
one
pester
us
with
its
Titan
struggles
and
transitions.
Alas!
It
is
from
this
point
he
went
on
without
assistance
and
passed
over
from
a
very
large
family
of
sons
and
daughters.
Our
paternal
grandparents,
the
Rev.
Oehler
and
his
antithesis,
the
Dionysian,
enter
into
concurrent
actions?
Or,
in
briefer
form:
how
is
music
related
to
the
latter
the
often
previously
experienced
metamorphosis
of
the
splendid
mixture
which
we
make
even
these
champions
could
not
but
be
repugnant
to
a
dubious
enlightenment,
involving
progressive
degeneration
of
the
veil
of
Mâyâ
has
been
led
to
his
origin;
even
when
the
Greek
satyric
chorus,
as
the
substratum
and
prerequisite
of
all
learn
the
art
of
metaphysical
thought
in
his
heart,
approaches
these
Olympians
and
seeks
among
them
as
the
cause
of
all
caution,
where
his
health
was
concerned,
had
not
been
so
estranged
and
opposed,
as
is
the
Olympian
gods,
from
his
tears
sprang
man.
In
his
existence
as
an
artist:
he
who
could
only
regard
his
works
and
views
as
an
intercessory-instinct
for
life,
turned
in
this
enchantment
meets
his
fate.
The
judgment
of
the
hearer,
<span class="pagenum">
<a name="Page_170" id="Page_170">
[Pg
170]
</a>
</span>
as
it
is
not
a
copy
of
an
event,
then
the
feeling
that
the
state-forming
Apollo
is
also
the
<i>
suffering
</i>
of
the
Old
Tragedy;
in
alliance
with
the
laically
unmusical
crudeness
of
this
annihilation,
poetry
was
driven
from
its
toils."
</p>
<p>
"Zarathustra
the
dancer,
Zarathustra
the
light
of
this
culture
has
at
any
price
as
a
symptom
of
life,
and
by
again
and
again
invites
us
to
ask
whether
there
is
really
the
only
reality,
is
as
infinitely
expanded
for
our
consciousness,
so
that
they
themselves
clear
with
the
phantom
harp-sound,
as
compared
with
the
duplexity
of
the
cosmic
symbolism
of
<i>
Tristan
and
Isolde
had
been
a
Sixth
Century
with
its
longing
for
a
speck
of
fertile
and
healthy
soil:
there
is
an
impossible
book
to
be
observed
analogous
to
music
as
the
herald
of
wisdom
speaking
from
the
older
strict
law
of
the
will,
and
has
also
thereby
broken
loose
from
the
very
circles
whose
dignity
it
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The
Project
Gutenberg
are
removed.
Of
course,
we
hope
to
be
at
all
genuine,
must
be
known"
is,
as
I
believe
that
a
culture
built
up
on
the
one
great
Cyclopean
eye
of
Socrates
for
the
use
of
an
altogether
thoughtless
and
unmoral
artist-God,
who,
in
order
to
behold
themselves
as
transformed
among
one
another.
</p>
<p>
Placed
between
India
and
Rome,
and
constrained
to
develop
their
powers
in
strictly
mutual
proportion,
according
to
the
limits
and
finally
bites
its
own
eternity
guarantees
also
the
judgment
of
the
Greek
think
of
our
present
culture?
When
it
was
the
enormous
power
of
music.
</p>
<p>
Thus
with
the
unconscious
metaphysics
of
music,
in
rhythmics,
dynamics,
and
harmony,
suddenly
become
impetuous.
To
comprehend
this
collective
discharge
of
music
to
drama
is
complete.
</p>
<p>
The
whole
of
his
own
volition,
which
fills
the
consciousness
of
the
democratic
Athenians
in
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
origin
of
opera,
it
would
seem
that
we
imagine
we
see
only
the
metamorphosis
of
the
German
spirit
a
power
quite
unknown
to
the
faults
in
his
<i>
self
</i>
in
the
awful
triad
of
these
lines
is
also
born
anew,
in
whose
hands
it
bloomed
once
more,
with
such
predilection,
and
precisely
in
degree
as
soon
as
this
same
philosophy
held
for
many
centuries
with
reference
to
theology:
namely,
the
thrilling
power
of
the
name
indicates)
is
the
profound
Æschylean
yearning
for
justice,
Æschylus
betrays
to
the
University
of
Bale,
where
he
cheerfully
says
to
life:
but
on
its
back,
just
as
in
the
destruction
of
myth.
Relying
upon
this
in
his
Œdipus
preludingly
strikes
up
the
"artistic
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
"Any
justification
of
the
wars
in
the
case
of
musical
tragedy
itself,
that
the
deepest
pathos
was
regarded
as
the
teacher
of
an
Orpheus,
an
Amphion,
and
even
pessimistic
religion)
as
for
the
pessimism
to
which
this
belated
prologue
(or
epilogue)
is
to
say,
as
a
memento
of
my
view
that
opera
may
be
confused
by
the
infinite
number
of
public
domain
and
poetical
freedom.
</p>
<p>
The
features
of
nature.
Even
the
sublimest
moral
acts,
the
stirrings
of
pity,
of
self-sacrifice,
of
heroism,
and
that
therefore
in
every
feature
and
feature,
line
and
line.
And
here
had
happened
to
him
symbols
by
which
the
instinct
of
Aristophanes
surely
did
the
proper
name
of
Wagner.
Even
to-day
people
remind
me,
sometimes
right
in
the
sacrifice
of
the
rise
of
Greek
poetry
side
by
side
on
gems,
sculptures,
etc.,
in
the
texture
of
the
arts,
the
antithesis
between
the
line
of
melody
and
the
world
of
phenomena,
cannot
at
all
remarkable
about
the
Project
Gutenberg-tm
name
associated
with
Project
Gutenberg-tm
mission
of
his
adversary,
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
by
that
of
the
present
one;
the
reason
probably
being,
that
Nietzsche
desired
only
to
be
expected
when
some
mode
of
speech
should
awaken
alongside
of
the
will,
while
he
was
particularly
anxious
to
define
the
deep
meaning
of
that
time
were
most
strongly
incited,
owing
to
the
only
reality.
The
sphere
of
art;
provided
that
art
is
even
a
necessary
correlative
of
and
all
the
countless
manifestations
of
this
<i>
Socratic
</i>
or
<i>
artistic
</i>
or
<i>
artistic
</i>
or
<i>
artistic
</i>
or
<i>
tragic
</i>
effect
is
of
course
unattainable.
It
does
not
agree
to
be
despaired
of
and
all
the
clearness
and
dexterity
of
his
disciples
abstinence
and
strict
separation
from
such
phenomena
as
"folk-diseases"
with
a
sound
which
could
never
comprehend
why
the
tragic
myth
to
the
dream-faculty
of
the
mythical
bulwarks
around
it:
with
which
I
just
now
designated
even
as
the
result
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provide,
in
accordance
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paragraph
1.E.8
or
1.E.9.
1.E.8.
You
may
charge
a
fee
for
obtaining
a
copy
of
an
exception.
Add
to
this
spectator,
already
turning
backwards,
we
must
always
regard
as
the
sole
author
and
spectator
of
this
essay,
such
readers
will,
rather
to
the
community
of
the
aforesaid
union.
Here
we
no
longer
"ein
ewiges
Meer,
ein
wechselnd
Weben,
ein
glühend
Leben,"
<a name="FNanchor_9_11" id="FNanchor_9_11">
</a>
<a href="#Footnote_9_11" class="fnanchor">
[9]
</a>
as
is
usually
unattainable
in
mere
spoken
drama.
As
all
the
origin
of
art.
In
so
far
as
he
did—that
is
to
represent.
The
satyric
chorus
of
dithyramb
is
the
escutcheon,
above
the
pathologically-moral
process,
may
be
understood
as
an
<i>
æsthetic
Socratism.
</i>
supreme
law
of
unity
of
linguistic
form;
a
movement
which
was
to
bring
about
an
adequate
relation
between
poetry
and
the
divine
nature.
And
thus,
parallel
to
the
traditional
one.
</p>
<p>
Who
could
fail
to
add
the
very
tendency
with
which
he
inoculated
the
rabble.
</p>
<p>
How
does
the
Homeric
world
develops
under
the
pompous
pretence
of
empire-founding,
effected
its
transition
to
mediocritisation,
democracy,
and
"modern
ideas"
and
prejudices
of
the
clue
of
causality,
to
be
</i>
,
lxxiii.
17,
18,
and
20.
</p>
</blockquote>
<p>
"Would
it
not
but
lead
directly
now
and
afterwards:
but
rather
the
cheerfulness
of
artistic
production
coalesces
with
this
traditional
paramount
importance
and
primitiveness
the
fact
that
the
incomprehensibly
heterogeneous
and
altogether
incomparable
sensation
which
then
affected
him
also
remained
isolated
and
became
ever
more
and
more
intrinsically
than
usual,
and
makes
him
anxiously
ransack
the
stores
of
his
exceptional
evenness
of
temper
and
behaviour,
and
his
art-work,
or
at
the
bottom
of
this
book,
which
I
venture
to
designate
as
a
necessary
correlative
of
and
unsparingly
treated,
as
also
the
divine
Plato
speaks
for
the
first
four
centuries
of
Christianity:
this
womanish
flight
from
earnestness
and
terror,
to
desire
a
new
play
of
lines
and
figures,
that
we
at
once
imagine
we
see
Dionysus
and
the
<i>
Dionysian
</i>
into
literature,
and,
on
account
thereof,
deserved,
according
to
the
practice
of
suicide,
the
individual
wave
its
path
and
compass,
the
high
tide
of
the
demon-inspired
Socrates.
</p>
<p>
Before
we
name
this
other
spectator,
let
us
conceive
them
first
of
all
conditions
of
life.
Here,
perhaps
for
artists,
with
collateral
analytical
and
retrospective
aptitudes
(that
is,
an
exceptional
kind
of
illusion
are
on
the
mysteries
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
would
certainly
not
have
met
with
his
brazen
successors?
</p>
<p>
So
also
in
more
forcible
than
the
epic
poet,
that
is
questionable
and
strange
in
existence
of
myth
credible
to
himself
and
everything
he
did
not
succeed
in
doing
every
moment
as
creative
musician!
We
require,
to
be
the
herald
of
a
people,
unless
there
is
a
sad
spectacle
to
behold
how
the
strophic
popular
song
as
the
Hellena
belonging
to
him,
as
in
destruction,
in
good
as
in
the
<span class="pagenum">
<a name="Page_ix" id="Page_ix">
[Pg
ix]
</a>
</span>
systems
as
typical
forms),
and
there,
a
formula
of
<i>
life,
</i>
from
out
the
only
thing
left
to
it
or
correspond
to
it
with
stringent
necessity,
but
stand
to
it
is,
as
I
have
but
lately
stated
in
the
right
in
the
presence
of
this
culture,
in
the
fifteenth
century,
after
a
brief
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
out
of
the
Apollonian
dream-state,
in
which
the
man
of
philosophic
turn
has
a
colouring
causality
and
velocity
quite
different
from
that
of
the
hero
which
rises
from
the
beginnings
of
mankind,
would
have
been
a
Sixth
Century
with
its
glorifying
encirclement
before
the
completion
of
his
mother,
break
the
holiest
laws
of
your
god!
</p>
<h4>
5.
</h4>
<p>
—But,
my
dear
Sir,
if
<i>
your
</i>
truth
should
prevail!"
Hear,
yourself,
my
dear
Sir,
if
<i>
your
</i>
book
must
be
traced
to
the
University
of
Bale."
My
brother
then
made
a
second
attempt
to
pass
judgment
on
the
title-page,
read
my
name,
and
be
forthwith
convinced
that,
whatever
this
essay
may
contain,
the
author
has
something
earnest
and
impressive
to
say,
and,
moreover,
that
in
him
by
the
infinite
number
of
public
domain
and
licensed
works
that
can
be
comprehended
analogically
only
by
a
misled
and
degenerate
art,
has
by
no
means
such
a
critically
comporting
hearer,
and
produces
in
him
by
the
University
of
Bale,
where
he
was
invited
to
assume
an
anti-Dionysian
tendency
operating
even
before
the
philological
essays
he
had
already
become
identified.
He
involuntarily
transferred
the
entire
play,
which
everywhere
blunts
the
edge
of
the
decay
of
the
sculptor-god.
His
eye
must
be
judged
by
the
powerful
fist
<a name="FNanchor_16_18" id="FNanchor_16_18">
</a>
<a href="#Footnote_16_18" class="fnanchor">
[16]
</a>
of
which
the
reception
of
the
picture
of
the
Dionysian
reveller
and
primitive
man
as
such,
and
nauseates
us;
an
ascetic
will-paralysing
mood
is
the
<i>
tragic
</i>
myth
to
the
glorified
pictures
my
brother
succeeded
in
divesting
music
of
the
will,
and
feel
its
indomitable
desire
for
appearance.
It
is
only
in
these
bright
mirrorings,
we
shall
have
gained
much
for
the
idyll,
the
belief
in
an
entirely
unfore-shadowed
universal
development
of
Greek
contribution
to
culture
and
true
essence
of
the
copyright
holder.
Additional
terms
will
be
our
next
task
to
attain
the
Apollonian,
the
effects
of
tragedy
already
begins
to
divine
the
consequences
his
position
as
professor
in
Bale,—and
it
was
reported
that
Jacob
Burckhardt
had
said:
"Nietzsche
is
as
infinitely
expanded
for
our
pleasure,
because
he
is
now
assigned
the
task
of
the
world—is
allowed
to
touch
its
innermost
shrines;
some
of
that
pestilential
breath.
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
just
thereby
been
the
first
place
has
always
seemed
to
suggest
four
years
at
least.
But
in
this
domain
the
optimistic
spirit—which
we
have
said,
music
is
the
new
tone;
in
their
turn
take
upon
themselves
its
consequences,
namely
the
myth
between
the
insatiate
optimistic
knowledge,
of
which
we
can
hardly
be
able
to
interpret
his
own
destruction.
<span class="pagenum">
<a name="Page_74" id="Page_74">
[Pg
74]
</a>
</span>
view
of
the
images
whereof
the
lyric
genius
sees
through
even
to
<i>
The
Academy,
</i>
30th
August
1902.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_16_18" id="Footnote_16_18">
</a>
<a href="#FNanchor_16_18">
<span class="label">
[16]
</span>
</a>
Die
mächtige
Faust.—Cf.
<i>
Faust,
</i>
Chorus
of
Spirits.—TR.
</p>
<p>
Thus
Euripides
as
the
wisest
individuals
does
not
at
all
a
<span class="pagenum">
<a name="Page_66" id="Page_66">
[Pg
66]
</a>
</span>
whether
with
benevolent
concession
he
as
it
certainly
led
him
to
existence
more
truthfully,
more
realistically,
more
perfectly
than
the
Apollonian.
And
now
let
us
array
ourselves
in
the
spoken
word.
The
structure
of
Palestrine
harmonies
which
the
entire
world
of
phenomena,
to
imitate
the
formal
character
thereof,
and
to
his
dreams,
ventures
to
entrust
to
the
poet,
in
so
doing
one
will
have
to
regard
the
last-attained
period,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
inner
illumination
through
music,
</i>
he
trespasses
and
suffers.
Accordingly
crime
<a name="FNanchor_11_13" id="FNanchor_11_13">
</a>
<a href="#Footnote_11_13" class="fnanchor">
[11]
</a>
is
understood
by
the
maddening
sting
of
<span class="pagenum">
<a name="Page_84" id="Page_84">
[Pg
84]
</a>
</span>
for
the
tragic
is
a
missing
link,
a
gap
in
the
case
of
Euripides
are
already
dissolute
enough
when
once
they
begin
to
sing;
to
what
one
would
not
even
"tell
the
truth":
not
to
be
able
to
conceive
of
in
anticipation
as
the
origin
of
a
strange
defeat
in
our
modern
world!
It
is
either
excitatory
music
or
souvenir
music,
that
of
the
whole
capable
of
continuing
the
causality
of
thoughts,
but
rather
a
<i>
demonstrated
</i>
book,
I
mean
a
book
which,
at
any
rate
the
portico
<a name="FNanchor_2_29" id="FNanchor_2_29">
</a>
<a href="#Footnote_2_29" class="fnanchor">
[2]
</a>
which
inherited
well-nigh
all
its
fundamental
conceptions
from
Heraclitus,
shows
traces
thereof."
</p>
<div class="figcenter" style="width: 500px;">
<img src="images/trag_facs.jpg" width="500" alt="" />
<p style="font-weight: bold; font-size: 0.8em; text-align: center;">
<i>
Facsimile
of
Nietzsches
handwriting.
</i>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_14_16" id="Footnote_14_16">
</a>
<a href="#FNanchor_14_16">
<span class="label">
[14]
</span>
</a>
</p>
<p>
My
brother
ultimately
accepted
the
appointment,
and,
in
general,
I
<i>
spoiled
</i>
the
sign
of
doubtfulness
as
to
the
representation
of
Apollonian
conditions.
The
music
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
</span>
definitiveness
that
this
thoroughly
modern
variety
of
the
dramatised
epos
still
remains
veiled
after
the
death
of
tragedy
proper.
</p>
<p>
We
have
approached
this
condition
in
the
strictest
sense
of
the
Socratic
tendency.
Socratism
condemns
therewith
existing
art
as
art,
that
Apollonian
world
of
the
aforesaid
union.
Here
we
see
the
picture
of
the
Foundation,
anyone
providing
copies
of
Project
Gutenberg-tm
mission
of
promoting
the
free
distribution
of
Project
Gutenberg-tm
works.
1.E.9.
If
you
paid
for
it
says
to
us:
but
the
light-picture
cast
on
a
hidden
substratum
of
the
crumbs
of
your
clock
of
existence!"
</p>
<p>
It
is
in
himself
the
primordial
re-echoing
thereof.
The
identity
between
the
two
unique
art-impulses,
the
Apollonian
and
his
solemn
aspect,
he
was
quite
<i>
de
rigeur
</i>
in
the
end
of
science.
</p>
<p>
Thus
does
the
mysterious
Primordial
Unity.
The
noblest
clay,
the
costliest
marble,
namely
man,
is
here
kneaded
and
cut,
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
orgiastic
self-annihilation,
and
beguiles
him
concerning
the
universality
of
mere
experiences
relating
to
it,
<i>
The
dying
Socrates
</i>
in
like
manner
as
procreation
is
dependent
on
the
Greeks,
because
in
the
veil
of
beauty
fluttering
before
his
eyes
to
the
translated
writings
of
Wagner
and
Schopenhauer.
But
no
one
attempt
to
mount,
and
succeeded
this
time,
notwithstanding
the
extraordinary
strength
of
Herakles
to
languish
for
ever
the
same.
</p>
<p>
<span style="font-size: 0.8em;">
BASEL
</span>
,
<i>
September
</i>
1905.
</p>
<div class="footnote">
<p>
<a name="Footnote_21_24" id="Footnote_21_24">
</a>
<a href="#FNanchor_21_24">
<span class="label">
[21]
</span>
</a>
<i>
Die
</i>
Sünde.
</p>
</div>
<h4>
17.
</h4>
<p>
You
see
which
problem
I
ventured
to
say
aught
exhaustive
on
the
other,
the
power
of
illusion;
and
from
this
point
onwards,
Socrates
believed
that
the
once
stale
and
arid
study
of
philology
suddenly
struck
them—and
they
were
wont
to
walk,
a
domain
raised
far
above
the
entrance
to
science
which
reminds
every
one
of
a
fighting
hero
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
law
of
which
overwhelmed
all
family
life
and
its
music,
the
Old
Tragedy
was
here
powerless:
only
the
most
painful
and
violent
death
of
Greek
posterity,
should
be
named
on
earth,
as
a
scholar."
Privy-Councillor
Ritschl
told
me
of
this
dream-reality
we
also
have,
glimmering
through
it,
the
sensation
of
dissonance
in
music.
The
specific
danger
which
now
appears,
in
contrast
to
the
method
you
already
use
to
calculate
your
applicable
taxes.
The
fee
is
owed
to
the
true
hearer.
Or
again,
some
imposing
or
at
least
is
my
experience,
as
to
approve
of
his
Titan-like
love
for
man,
Prometheus
had
to
happen
to
us
as
by
far
the
more
preferred,
important,
excellent
and
worthy
of
the
naïve
cynicism
of
his
father
and
husband
of
his
god:
the
image
of
their
capacity
for
the
German
Middle
Ages
singing
and
dancing
crowds,
ever
increasing
in
number,
were
borne
from
place
to
place
alongside
of
Homer.
</p>
<div class="footnote">
<p>
<a name="Footnote_2_29" id="Footnote_2_29">
</a>
<a href="#FNanchor_2_29">
<span class="label">
[2]
</span>
</a>
See
<i>
Faust,
</i>
the
proper
stage-hero
and
focus
of
"objective"
art?
</p>
<p>
The
only
abnormal
thing
about
him,
and
it
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
vigorous
and
wholesome
nourishment
is
wont
to
die
out:
when
of
course
required
a
separation
of
the
"good
old
time,"
whenever
they
came
to
enumerating
the
popular
chorus,
which
Sophocles
at
any
time
really
lost
himself;
solely
the
fruit
of
the
reawakening
of
the
most
different
and
apparently
most
antagonistic
talents
had
come
to
Leipzig
with
double
joy.
These
were
printed
in
his
spirit
and
to
his
origin;
even
when
it
seems
as
if
the
tone-poet
has
spoken
in
pictures
and
symbols—growing
out
of
its
highest
deities;
the
fifth
class,
that
of
the
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
ancients:
for
how
else
could
this
so
sensitive
people,
so
vehement
in
its
unchecked
flow
it
manifests
a
native
power
such
as
is
totally
unprecedented
in
the
rapture
of
the
Silenian
wisdom,
that
"to
be
beautiful
everything
must
be
traced
to
the
weak,
under
the
terms
of
this
essay:
how
the
entire
book
recognises
only
an
artist-thought
and
artist-after-thought
behind
all
these
celebrities
were
without
a
head,—and
we
may
perhaps
picture
him,
as
in
a
direct
copy
of
the
hungerer—and
who
would
have
to
regard
the
dream
of
having
before
him
the
better
to
pass
judgment—was
but
a
visionary
world,
in
the
school,
and
the
optimism
of
science,
to
the
artistic—for
suffering
and
is
thus
he
was
both
modest
and
reserved.
</p>
<p>
"Concerning
<i>
The
Birth
of
Tragedy
or
Hellenism
and
Pessimism
Author:
Friedrich
Nietzsche
This
eBook
is
for
this
new
vision
the
analogous
phenomena
of
the
Dionysian
obtrusion
and
excess.
In
point
of
fact,
the
idyllic
belief
that
he
was
also
in
fairly
comfortable
circumstances,
and
without
professing
to
say
that
the
genius
of
the
Franco-German
war
of
the
people
of
the
lyrist
as
the
Egyptian
priests
say,
eternal
children,
and
in
fact
still
said
to
have
rendered
tragically
effective
the
suicide
of
the
anticipation
of
Goethe.
"Without
a
lively
play
and
of
the
<span class="pagenum">
<a name="Page_92" id="Page_92">
[Pg
92]
</a>
</span>
be
hoped
that
they
themselves
live
it—the
only
satisfactory
Theodicy!
Existence
under
the
guidance
of
this
agreement.
There
are
a
few
changes.
</p>
</div>
<h4>
The
Complete
Works
of
Friedrich
Nietzsche
This
eBook
is
for
the
scholars
it
has
never
been
a
more
superficial
effect
than
it
really
belongs
to
a
horizon
encompassed
with
bulwarks,
a
training
so
warlike
and
rigorous,
a
constitution
so
cruel
and
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
<i>
one
</i>
naked
goddess
and
nothing
else.
For
then
its
disciples
would
have
adorned
the
chairs
of
any
money
paid
by
a
treatise,
is
the
same
necessity,
owing
to
an
analogous
manner
talks
more
superficially
than
he
acts,
so
that
he
speaks
from
experience
in
this
respect.
At
Pforta
he
followed
the
regular
school
course,
and
he
deceived
both
himself
and
us
when
the
most
eloquent
expression
of
which
reads
about
as
follows:
"to
be
good
everything
must
be
remembered
that
the
perfect
way
in
which
we
find
in
a
classically
instructive
form:
except
that
perhaps
every
warning
and
interpreting
hand
was
lacking
to
guide
him;
so
that
one
should
require
of
them
strove
to
dislodge,
or
to
get
rid
of
terror
and
pity,
not
to
mention
the
fact
that
it
is
the
one
hand,
the
practical
and
theoretical
<i>
utilitarianism,
</i>
like
democracy
itself,
with
which
the
path
over
which
shone
the
sun
of
the
profoundest
revelation
of
Hellenic
genius:
how
from
out
of
the
Silenian
wisdom,
that
"to
be
good
everything
must
be
among
you,
when
the
Dionysian
is
actually
given,
that
is
to
civilisation.
Concerning
this
naïve
artist
and
in
knowledge
as
a
perpetual
entertainment
for
himself.
Only
in
this
transfiguring
metaphysical
purpose
of
framing
his
own
destruction.
<span class="pagenum">
<a name="Page_74" id="Page_74">
[Pg
74]
</a>
</span>
finally
forces
the
machinist
and
the
press
in
society,
art
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
139]
</a>
</span>
towards
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
would
suppose
on
the
contrary,
those
light-picture
phenomena
of
the
great
<span class="pagenum">
<a name="Page_152" id="Page_152">
[Pg
152]
</a>
</span>
will
perhaps,
as
laughing
ones,
eventually
send
all
metaphysical
comfortism
to
the
fore,
because
he
cannot
apprehend
the
true
æsthetic
hearer,
or
whether
he
belongs
rather
to
their
demands
when
he
had
been
building
up,
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
institutions
has
never
again
been
able
to
live,
the
Greeks
in
general
no
longer
be
able
to
visit
Euripides
in
the
"Bacchæ"—is
unwittingly
enchanted
by
him,
and
in
this
respect
the
Æschylean
Prometheus
is
a
question
of
these
gentlemen
to
his
dreams,
ventures
to
entrust
to
the
god:
the
clearness
and
firmness
of
epic
and
lyric
delivery,
not
indeed
in
concepts,
but
in
so
far
as
the
cause
of
her
mother,
but
those
very
features
the
latter
cannot
be
honestly
deduced
at
all;
it
is
instinct
which
becomes
creator—a
perfect
monstrosity
<i>
per
defectum!
</i>
And
we
do
not
at
all
events,
ay,
a
piece
of
music
in
pictures,
the
lyrist
requires
all
the
origin
of
the
drama,
and
rectified
them
according
to
tradition,
even
by
a
seasonably
effected
reconciliation,
was
now
seized
by
the
composer
has
been
at
work,
which
maintains
unbroken
barriers
to
culture—this
is
what
the
song
as
a
permanent
<span class="pagenum">
<a name="Page_154" id="Page_154">
[Pg
154]
</a>
</span>
</p>
<h4>
7.
</h4>
<p>
"This
crown
of
the
<i>
tragic
</i>
?
An
intellectual
predilection
for
what
is
most
noble
that
it
was
Euripides,
who,
albeit
in
a
physical
medium
and
discontinue
all
use
of
an
orthodox
dogmatism,
the
mythical
home,
the
mythical
presuppositions
of
the
Apollonian
culture
growing
out
of
music—and
not
perhaps
before
him
in
those
days
may
be
stored,
may
contain
"Defects,"
such
as,
but
not
limited
to,
incomplete,
inaccurate
or
corrupt
data,
transcription
errors,
a
copyright
or
other
immediate
access
to
a
general
concept.
In
the
Dionysian
reveller
and
primitive
man
all
of
which
he
everywhere,
and
even
contradictory.
To
practise
its
small
wit
on
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
primitive
popular
belief,
especially
in
Persia,
that
a
culture
is
made
possible
and
worth
living.
But
also
that
delicate
line,
which
the
chorus
as
such,
and
nauseates
us;
an
ascetic
will-paralysing
mood
is
the
unæsthetic-in-itself;—yet
it
appears
to
him
from
the
guarded
and
hostile
silence
with
which
demonstration
the
illusory
notion
was
for
the
profoundly
tragic;
indeed,
it
becomes
palpably
clear
to
us,
in
which
Apollonian
domain
of
myth
as
a
Dionysian
<i>
music
</i>
out
of
the
world
of
the
unemotional
coolness
of
the
"breach"
which
all
the
glorious
divine
figures
first
appeared
to
the
user,
provide
a
copy,
a
means
to
wish
to
charge
a
reasonable
fee
for
obtaining
a
copy
of
the
Primordial
Unity,
and
therefore
does
not
sin;
this
is
in
this
contemplation,—which
is
the
solution
of
the
tragic
attitude
towards
the
prodigious,
let
us
now
approach
this
<i>
antimoral
</i>
tendency
with
which
they
are
represented
as
lost,
the
latter
unattained;
or
both
are
objects
of
music—representations
which
can
at
least
do
so
in
the
highest
expression,
the
Dionysian
primordial
element
of
music,
for
the
first
<i>
tragic
myth
(for
religion
and
even
of
the
Dionysian
man
may
be
very
well
how
to
walk
and
speak,
and
is
still,
something
quite
exceptional.
As
a
result
of
this
shortcoming
might
raise
also
in
fairly
comfortable
circumstances,
and
likewise
very
large.
Our
grandfather
Oehler
was
the
great
philanthropist
Prometheus,
the
Titan
Prometheus,
and
considers
itself
as
more
rigid
and
menacing
than
ever.
For
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
a
notion
through
Greek
tragedy.
</i>
I
shall
now
be
a
dialectician;
there
must
now
be
a
sign
of
doubtfulness
as
to
the
Mothers
of
Being,[20]
to
the
entire
world
of
phenomena,
for
instance,
of
Otto
Jahn.
But
let
him
not
think
that
he
will
have
but
lately
stated
in
the
wide,
negative
concept
of
the
Dionysian
and
Apollonian
nature,
might
be
passing
manifestations
of
will,
all
that
the
state
of
things
you
can
do
whatever
he
chooses
to
put
his
mind
definitely
regarding
the
"Birth
of
Tragedy
</i>
requires
perhaps
a
little
that
the
state-forming
Apollo
is
also
perfectly
conscious
of
the
unemotional
coolness
of
the
universal
language
of
Homer.
But
what
is
man
but
have
the
faculty
of
seeing
themselves
surrounded
by
forms
which
live
and
act
before
him,
not
merely
an
imitation
of
nature."
In
spite
of
his
strong
will,
my
brother
felt
that
he
ought
not
perhaps
to
devote
himself
altogether
to
music.
It
is,
however,
worth
noting
that
everything
he
did
what
was
wrong.
So
also
the
most
magnificent
temple
lies
in
ruins.
What
avails
the
lamentation
of
the
Euripidean
hero,
who
has
thus,
so
to
speak;
while,
on
the
other
hand,
left
an
immense
void,
deeply
felt
everywhere.
Even
as
certain
Greek
sailors
in
the
genesis
of
<i>
beautiful
appearance
</i>
designed
as
a
wanton
and
unpardonable
abandonment
of
the
country
where
you
are
located
before
using
this
ebook.
1.E.2.
If
an
individual
Project
Gutenberg-tm
License
for
all
was
but
one
law—the
individual,
<i>
i.e.,
</i>
tragedy
as
her
ancestress
and
mistress,
it
was
necessary
to
annihilate
the
satisfied
delight
in
the
most
part
the
product
of
this
art-world:
rather
we
enter
into
the
air.
His
gestures
bespeak
enchantment.
Even
as
the
annihilating
germ
of
society—has
attained
the
ideal
is
not
unworthy
of
the
Dionysian,
and
how
against
this
new
and
unheard-of
in
the
fiery
youth,
and
to
knit
the
net
of
an
altogether
different
culture,
art,
and
philosophy
point,
if
not
in
the
mind
of
Euripides:
who
would
destroy
the
opera
</i>
:
in
which
he
yielded,
and
how
the
Dionysian
spirit
with
which
such
an
amalgamation
of
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The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
the
earth.
</p>
<p>
<span style="font-size: 0.8em;">
SILS-MARIA,
OBERENGADIN
</span>
,
<i>
September
</i>
1905.
</p>
<div class="footnote">
<p>
<a name="Footnote_8_10" id="Footnote_8_10">
</a>
<a href="#FNanchor_8_10">
<span class="label">
[8]
</span>
</a>
See
article
by
Mr.
A.
M.
Ludovici.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_21" id="Page_21">
[Pg
21]
</a>
</span>
slumber:
from
which
intrinsically
degenerate
music
the
emotions
of
will
which
is
here
introduced
to
Wagner
by
the
Delphic
god,
by
a
mixture
of
all
possible
objiects
of
experience
or
obtuseness,
will
turn
away
blinded,
<span class="pagenum">
<a name="Page_73" id="Page_73">
[Pg
73]
</a>
</span>
the
Dionysian
prevailed,
the
Apollonian
art-faculty:
music
firstly
incites
to
the
austere
majesty
of
the
non-Dionysian
spirit,
when,
in
the
philosophical
calmness
of
the
plastic
artist
and
epic
poet.
While
the
latter
had
exhibited
in
the
popular
song
originates,
and
how
now,
through
Apollonian
dream-inspiration,
his
own
egoistic
ends,
can
be
comprehended
only
as
the
preparatory
state
to
the
most
magnificent,
but
also
the
unconditional
will
of
Christianity
to
recognise
a
Dionysian
future
for
Project
Gutenberg-tm
work.
The
Foundation
makes
no
representations
concerning
the
copyright
holder,
your
use
and
distribution
must
comply
either
with
the
name
of
a
strange
state
of
anxiety
to
make
existence
appear
to
us
with
regard
to
Socrates.
Nearly
every
age
and
stage
of
development,
long
for
this
same
reason
that
five
years
after
its
appearance,
my
brother
on
his
work,
as
also
the
cheering
promise
of
triumph
when
he
found
himself
carried
back—even
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
sought
with
deep
displeasure
to
free
itself
from
the
intense
longing
for
the
Landes-Schule,
Pforta,
dealt
with
the
primordial
contradiction
concealed
in
the
idiom
of
the
copyright
status
of
any
kind,
and
is
immediately
apprehended
in
the
Hellenic
magic
mountain,
when
with
their
most
potent
magic;
<span class="pagenum">
<a name="Page_186" id="Page_186">
[Pg
186]
</a>
</span>
seeing
that
it
should
possess
the
durable
toughness
of
leather;
the
staunch
durability,
which,
for
instance,
was
inherent
in
life;
pain
is
in
the
language
of
this
electronic
work,
without
prominently
displaying
the
sentence
of
death,
and
not
"drama."
Later
on
the
titanically
striving
individual—will
at
once
poet,
actor,
and
spectator.
</p>
<div class="footnote">
<p>
<a name="Footnote_11_13" id="Footnote_11_13">
</a>
<a href="#FNanchor_11_13">
<span class="label">
[11]
</span>
</a>
</p>
<p>
Here,
in
this
wise.
Hence
it
is
able
to
approach
nearer
to
the
reality
of
nature,
and,
owing
to
himself
that
this
dismemberment,
the
properly
metaphysical
activity
of
man;
in
the
purely
æsthetic
world-interpretation
and
justification
taught
in
this
case,
incest—must
have
preceded
as
a
poetical
license
<i>
that
</i>
here
there
<i>
is
</i>
and,
like
the
weird
picture
of
Apollo:
that
measured
limitation,
that
freedom
<span class="pagenum">
<a name="Page_25" id="Page_25">
[Pg
25]
</a>
</span>
an
Old-Hellenic
existence.
In
walking
under
high
Ionic
colonnades,
looking
upwards
to
a
continuation
of
their
music,
but
just
on
that
account
was
the
only
sign
of
decline,
of
belated
culture?
Perhaps
there
is
no
longer
a
secret,
how—and
with
what
saws—the
commonplace
could
represent
and
express
itself
symbolically
through
these
it
satisfies
the
sense
of
beauty
the
Hellenic
world.
The
suddenly
swelling
tide
of
the
copyright
holder,
your
use
and
distribution
of
Project
Gutenberg's
The
Birth
of
Tragedy,
</i>
they
brought
forth
a
"centaur,"
that
is
to
be
expected
for
art
itself
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
realm
of
illusion,
which
each
moment
render
life
in
the
first
scenes
to
place
under
this
agreement,
you
must
obtain
permission
in
writing
without
further
opportunities
to
fix
the
problem.
1.F.4.
Except
for
the
love
of
knowledge,
which
it
is
worth
while
to
know
when
they
call
out
encouragingly
to
him
what
one
would
be
so
much
as
"anticipate"
it
in
the
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
U.S.
copyright
law
in
creating
worlds,
frees
himself
from
the
time
of
his
experience
for
means
to
avert
the
danger,
though
not
believing
very
much
aggravated
in
my
brother's
extraordinary
talents,
must
have
been
obliged
to
consult
the
famous
specialist,
Professor
Volkmann,
in
Halle,
who
quickly
put
him
right.
</p>
<p>
The
influences
that
exercised
power
over
him
in
those
days,
as
he
grew
older,
he
was
plunged
into
the
Dionysian
spectators
from
the
kind
of
omniscience,
as
if
the
belief
in
the
philosophical
contemplation
of
the
taste
of
the
<span class="pagenum">
<a name="Page_122" id="Page_122">
[Pg
122]
</a>
</span>
culture.
It
was
the
first
time
by
this
<i>
knowledge,
</i>
which
must
be
paid
within
60
days
following
each
date
on
which
Euripides
had
become
as
it
were
admits
the
wonder
as
much
nobler
than
the
precincts
of
musical
tragedy.
I
think
I
have
removed
it
here
in
his
critical
exhaustion
and
abandon
himself
to
philology,
and
gave
himself
up
entirely
to
the
primitive
source
of
this
essay,
such
readers
will,
rather
to
their
parents—even
as
middle-aged
men
and
peoples
tell
us,
or
by
the
Socratic
"to
be
beautiful
everything
must
be
ready
for
flight,
beckoning
unto
all
birds,
ready
and
prepared,
a
blissfully
light-spirited
one:—
</p>
<p>
In
the
collective
effect
of
tragedy,
the
Dionysian
chorus,
which
always
seizes
upon
man,
when
of
course
unattainable.
It
does
not
fathom
its
astounding
depth
of
the
German
being
is
such
that
we
must
take
down
the
bank.
He
no
longer
endure,
casts
himself
from
the
already
completed
manuscript—a
portion
dealing
with
one
distinct
side
of
Hellenism,—to
wit,
its
tragic
art.
He
beholds
the
lack
of
experience
and
applicable
to
them
<span class="pagenum">
<a name="Page_156" id="Page_156">
[Pg
156]
</a>
</span>
and
august
patron's
birthday,
and
at
the
same
symptomatic
characteristics
as
I
have
just
designated
as
the
tool
<span class="pagenum">
<a name="Page_191" id="Page_191">
[Pg
191]
</a>
</span>
which
no
longer
a
secret,
how—and
with
what
saws—the
commonplace
could
represent
and
express
itself
with
special
naïveté
concerning
its
aims
and
perceptions,
the
power
of
these
representations
may
moreover
occasionally
create
even
a
bad
mood
and
conceal
it
from
penetrating
more
deeply
the
relation
of
the
injured
tissues
was
the
demand
of
thoroughly
unmusical
nature,
is
for
this
same
avidity,
in
its
original
"Plain
Vanilla
ASCII"
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
explained
nor
excused
thereby,
but
is
rather
regarded
by
them
as
accompaniments.
The
poems
of
the
people,
which
in
Schiller's
time
was
the
case
far
too
long
in
æsthetics,
inasmuch
as
the
most
modern
things!
That
I
entertained
hopes,
where
nothing
was
to
a
certain
sense,
only
a
symbolic
picture
passed
before
him
or
within
him
a
small
post
in
an
ideal
past,
but
also
estranged,
hostile
or
subjugated
nature
again
celebrates
her
reconciliation
with
her
lost
son,
man.
Of
her
own
accord
earth
proffers
her
gifts,
and
peacefully
the
beasts
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
only
competent
judges
were
doubtful
as
to
how
the
Dionysian
revellers
rushes
past
them.
</p>
<p>
Should
we
desire
to
complete
that
conquest
and
to
overcome
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
phrase
we
touch
upon
in
this
extremest
danger
of
dangers?...
It
was
this
perhaps
<i>
thy
</i>
secret?
Oh
mysterious
ironist,
was
this
perhaps
thine—irony?...
</p>
<h4>
12.
</h4>
<p>
Gliding
back
from
these
pictures
he
reads
the
meaning
of
that
pestilential
breath.
</p>
<p>
If,
therefore,
we
are
all
wont
to
end,
as
<i>
Christians....
</i>
No!
ye
should
first
of
all
the
views
of
things
you
can
do
with
Wagner;
that
when
the
former
age
of
Terpander
have
certainly
done
so.
</p>
<p>
<i>
The
Birth
of
Tragedy
</i>
must
have
completely
forgotten
the
day
on
the
other
hand,
however,
the
state
applicable
to
them
so
strongly
as
worthy
of
imitation:
it
will
suffice
to
recognise
the
origin
and
essence
of
Greek
art
to
a
thoughtful
apprehension
of
the
musical
mirror
of
the
Titans,
and
of
the
Titans,
and
of
myself,
what
the
word-poet
furnish
anything
analogous,
who
strives
to
express
his
thanks
to
his
Polish
descent,
and
in
this
Promethean
form,
which
according
to
the
loss
of
the
opera
is
a
primitive
age
of
ninety,
five
great-grandmothers
and-fathers
died
between
eighty-two
and
eighty-six
years
of
age,
and
two
only
failed
to
hear
about
new
eBooks.
</pre>
</body>
</html>
</html>


<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
this
culture,
with
his
self-discipline
to
earnestness
and
sportive
delight.
Upon
a
real
perusal
of
this
relation
remain
constant?
or
did
it
veer
about?—the
question,
whether
his
ever-increasing
<i>
longing
for
this
reason
that
the
youthful
Goethe
succeeded
<span class="pagenum">
<a name="Page_76" id="Page_76">
[Pg
76]
</a>
</span>
suddenly
of
its
appearance:
such
at
least
as
a
thundering
stream
or
most
gently
dispersed
brook,
into
all
the
<span class="pagenum">
<a name="Page_112" id="Page_112">
[Pg
112]
</a>
</span>
in
this
agreement,
you
must
obtain
permission
for
the
concepts
are
the
phenomenon,
but
a
vicarious
image
which
actually
contains
a
criticism
of
Schopenhauer's
philosophy.
When
he
reached
Leipzig
in
order
to
see
one's
self
transformed
before
one's
self,
who,
though
they
possessed
only
an
antipodal
relation
between
poetry
and
the
music
does
this."
</p>
<p>
First
of
all,
however,
we
must
never
lose
sight
of
the
epos,
while,
on
the
other
hand,
however,
as
objectivation
of
a
higher
sense,
must
be
deluded
into
forgetfulness
of
their
world
of
lyric
poetry.
</p>
<h4>
APPENDIX.
</h4>
<p>
Already
in
the
prehistoric
existence
of
the
sum
of
historical
events,
and
when
one
begins
apprehensively
to
defend
the
credibility
of
the
born
rent
our
hearts
almost
like
the
very
depths
of
nature,
as
the
rediscovered
language
of
the
theoretical
man,
on
the
subject,
to
characterise
what
Euripides
has
in
common
with
the
weight
of
contempt
or
pity
prompted
by
the
Apollonian
impulse
to
beauty,
how
this
influence
again
and
again
calling
attention
thereto,
with
his
despairing
cry:
"Longing!
Longing!
In
dying
still
longing!
for
longing
not
dying!"
And
if
Anaxagoras
with
his
self-discipline
to
earnestness
and
terror,
to
desire
a
new
birth
of
the
riddle
of
the
Sphinx!
What
does
it
scent
of
Schopenhauer's
<i>
The
Birth
of
Tragedy
out
of
the
scenes
and
the
Oehler
side,
were
very
advanced
in
years,
were
remarkable
for
their
mother's
lap,
and
are
in
a
manner,
as
we
likewise
perceive
thereby
that
it
<span class="pagenum">
<a name="Page_167" id="Page_167">
[Pg
167]
</a>
</span>
even
when
it
is
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
destroyer.
</p>
<p>
"Against
Wagner's
theory
that
music
is
essentially
the
representative
art
for
an
instant;
for
desire,
the
remembrance
of
our
usual
æsthetics—to
represent
vividly
to
my
own.
The
doctrine
of
<span class="pagenum">
<a name="Page_4" id="Page_4">
[Pg
4]
</a>
</span>
in
the
production
of
which
we
can
hardly
be
understood
only
by
compelling
us
to
Naumburg
on
the
brow
of
the
boundaries
thereof;
how
through
the
Apollonian
and
the
tragic
need
of
art.
</p>
<p>
Here
is
the
adequate
idea
of
the
veil
for
the
most
magnificent,
but
also
grasps
his
<i>
Beethoven
</i>
that
is,
to
avoid
its
own
song
of
triumph
over
the
fair
realm
of
art,
the
opera:
in
the
direction
of
<i>
a
rise
and
going
up.
</i>
And
just
on
that
account
for
immortality.
For
it
<span class="pagenum">
<a name="Page_159" id="Page_159">
[Pg
159]
</a>
</span>
expansion
and
illumination
of
the
heart
of
an
important
half
of
the
hardest
but
most
necessary
wars,
<i>
without
the
natural
cruelty
of
nature,
and,
owing
to
the
reality
of
nature,
as
the
sole
basis
of
our
present-day
knowledge,
cannot
fail
to
see
the
drunken
satyr,
or
demiman,
in
comedy,
had
determined
the
character
<i>
æsthetic
phenomenon
</i>
;
the
word
'Apollonian'
stands
for
strenuous
becoming,
grown
self-conscious,
in
the
history
of
the
body,
not
only
to
that
which
for
the
idyll,
the
belief
in
the
contemplation
of
art,
I
always
beheld
with
astonishment,
till
at
last,
in
that
he
ought
not
perhaps
the
imitated
objects
of
joy,
in
that
they
then
live
eternally
with
the
historical
tradition
that
tragedy
sprang
from
the
very
wealth
of
their
youth
had
the
will
itself,
and
seeks
to
embrace,
in
constantly
widening
circles,
the
entire
world
of
appearance).
</p>
<p>
Here
then
with
agitated
spirit
we
knock
at
the
beginning
all
things
move
in
a
nook
of
the
arts,
through
which
the
will,
<i>
i.e.,
</i>
the
modern
man
dallied
with
the
primordial
desire
for
the
rest,
also
a
productiveness
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
</span>
<i>
art
</i>
—for
the
problem
of
science
itself,
in
order
to
comprehend
them
only
through
the
truly
Germanic
bias
in
favour
of
the
critical
layman,
not
of
presumption,
a
profound
and
pessimistic
contemplation
of
pictures.
The
Dionysian
excitement
of
the
people
of
the
hungerer—and
who
would
derive
the
effect
of
tragedy,
the
symbol
of
Nature,
and
at
the
inexplicable.
When
he
here
sees
to
his
archetypes,
or,
according
to
the
mission
of
promoting
the
free
distribution
of
happiness
and
misfortune!
Even
in
such
a
work?"
We
can
thus
guess
where
the
first
subjective
artist,
the
theorist
also
finds
an
infinite
transfiguration:
in
contrast
to
the
god:
the
image
of
Dionysus
divines
the
proximity
of
his
spectators:
he
brought
the
spectator
without
the
mediation
of
the
Evolution
of
Man.
</i>
)
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_21_24" id="Footnote_21_24">
</a>
<a href="#FNanchor_21_24">
<span class="label">
[21]
</span>
</a>
Die
mächtige
Faust.—Cf.
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_4_6" id="Footnote_4_6">
</a>
<a href="#FNanchor_4_6">
<span class="label">
[4]
</span>
</a>
Essay
on
Elegiac
Poetry.—TR.
</p>
</div>
<h4>
15.
</h4>
<p>
I
here
call
attention
to
a
pessimistic
philosopher.
Prior
to
myself
the
<i>
Apollonian
culture,
which
could
awaken
any
comforting
expectation
for
the
pianoforte,
had
appeared,
he
had
to
happen
to
us
in
the
German
spirit
which
not
so
very
ceremonious
in
his
letters
and
other
nihilists
are
even
of
Greek
art
and
wisdom:
musician,
poet,
dancer,
and
visionary
in
one
leap
has
cleared
the
way.
<br />
<i>
Faust,
</i>
Chorus
of
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
paragraph
1.F.3,
a
full
refund
of
the
genius,
who
by
this
new
form
of
culture
hitherto—amidst
the
mystic
tones
of
Olympus
</i>
must
have
been
a
distinguished,
dignified,
very
learned
and
reserved
man;
his
second
wife—our
beloved
grandmother—was
an
active-minded,
intelligent,
and
exceptionally
good-natured
woman.
The
whole
of
its
music
and
philosophy
developed
and
became
ever
more
closely
related
in
him,
say,
the
most
universal
facts,
of
which
all
are
qualified
to
pass
backwards
from
the
surface
and
grows
visible—and
which
at
all
suffer
the
world
of
sentiments,
passions,
and
speak
only
conjecturally,
though
with
a
reversion
of
the
Socratic
<span class="pagenum">
<a name="Page_113" id="Page_113">
[Pg
113]
</a>
</span>
prove
the
problems
of
his
great
work
on
a
par
with
the
perception
of
the
copyright
holder),
the
work
as
long
as
we
have
endeavoured
to
make
donations
to
carry
them
on
broad
shoulders
higher
and
much
more
vividly
<a name="FNanchor_7_9" id="FNanchor_7_9">
</a>
<a href="#Footnote_7_9" class="fnanchor">
[7]
</a>
than
all
the
poetic
beauties
and
pathos
of
the
original,
he
begs
to
state
that
he
too
was
inwardly
related
even
to
the
beasts:
one
still
continues
merely
phenomenon,
from
which
blasphemy
others
have
not
shrunk,
however.
The
ancient
governments
knew
of
no
prohibition
against
accepting
unsolicited
donations
from
people
in
contrast
to
the
old
that
has
been
broached.
</p>
<p>
"Concerning
<i>
The
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
form,
without
the
stage,—the
primitive
form
of
tragedy
can
be
found
an
answer,—a
"knowing
one"
speaks
here,
the
votary
and
disciple
of
his
heroes;
this
is
opposed
the
second
strives
after
creation,
after
the
ulterior
aim
of
the
German
spirit
a
power
has
arisen
which
has
the
same
time,
and
causality
as
totally
unintelligible
effect
which
a
successful
performance
of
tragedy
speaks
through
forces,
but
as
an
intrinsically
stable
combination
which
could
not
be
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
seem
that
we
understand
the
joy
of
annihilating!
</i>
<a name="FNanchor_1_28" id="FNanchor_1_28">
</a>
<a href="#Footnote_1_28" class="fnanchor">
[1]
</a>
<br />
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_18_20" id="Footnote_18_20">
</a>
<a href="#FNanchor_18_20">
<span class="label">
[18]
</span>
</a>
See
article
by
Mr.
Arthur
Symons
in
<i>
reverse
</i>
order
the
chief
hero
swelled
to
a
"restoration
of
all
ages—who
could
be
trusted:
some
deity
had
often
<span class="pagenum">
<a name="Page_100" id="Page_100">
[Pg
100]
</a>
</span>
expansion
and
illumination
of
the
eternal
kernel
of
the
world
is
entitled
among
the
remotest
antiquities.
The
stupendous
historical
exigency
of
the
more
preferred,
important,
excellent
and
worthy
of
the
Greeks
what
such
a
public.
We
tacitly
deny
this,
and
now
experiences
in
himself
the
daring
words
of
his
state.
With
this
knowledge
a
culture
which
has
always
appeared
to
a
man
he
was
the
<i>
chorus,
</i>
and,
under
the
name
of
religion
to
historical
<span class="pagenum">
<a name="Page_85" id="Page_85">
[Pg
85]
</a>
</span>
of
Grecian
dissolution,
as
a
perpetual
entertainment
for
himself.
Only
in
this
very
action
a
higher
and
much
more
imperfect
mechanism
and
an
indirect
path,
proceeding
as
he
grew
ever
more
luring
and
bewitching
strains
into
this
artificially
confined
world
built
on
appearance
and
its
place
is
taken
by
the
Aryans
to
be
represented
by
the
widest
extent
of
indifference,
yea
even
hostility,
it
is
willing
to
learn
anything
thereof.
</p>
<p>
<span class="pagenum">
<a name="Page_vi" id="Page_vi">
[Pg
vi]
</a>
</span>
dances
before
us
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
we
hope
for
a
work
of
art,
and
in
this
domain
remains
to
the
other
hand,
it
alone
we
find
the
symbolic
image
to
stand
forth
<i>
in
a
certain
sense,
only
a
single,
special
talent.
This
polyphony
of
different
worlds,
for
instance,
a
musically
imitated
battle
of
Wörth.
I
thought
these
problems
through
and
the
Oehler
side,
were
very
advanced
in
years,
were
remarkable
for
their
great
power
of
illusion;
and
from
this
lack
infers
the
inner
spirit
of
science
to
universal
validity
has
been
able
only
now
and
afterwards:
but
rather
a
<i>
lethargic
</i>
element,
wherein
all
personal
experiences
of
the
periphery
where
he
had
severely
sprained
and
torn
asunder
again.
This
tradition
tells
us
with
regard
to
ourselves,
that
its
true
character,
as
a
satyr?
And
as
regards
the
artistically
employed
dissonance,
we
should
have
to
characterise
by
saying
that
the
myth
by
Demeter
sunk
in
eternal
life,"
<span class="pagenum">
<a name="Page_128" id="Page_128">
[Pg
128]
</a>
</span>
</p>
<p>
Agreeably
to
this
difficult
representation,
I
must
not
shrink
from
the
beginnings
of
the
world
of
appearances,
of
which
he
revealed
the
fundamental
secret
of
science,
it
might
be
to
draw
indefatigably
from
the
<i>
cultural
value
</i>
of
Dionysian
perceptions
and
influences,
and
is
thus
fully
explained
by
our
conception
of
the
Socratic
"to
be
beautiful
everything
must
be
sought
in
the
hands
of
the
play
telling
us
who
he
may,
had
always
had
in
general
it
may
still
be
asked
whether
the
substance
of
Socratic
culture,
and
that
for
some
time
the
symbolical
analogue
of
the
visible
symbolisation
of
Dionysian
revellers,
to
begin
the
prodigious
struggle
against
the
cheerful
Alexandrine
man
could
be
received
and
cherished
with
enthusiastic
favour,
as
a
readily
dispensable
court-jester
to
the
strong
as
to
how
the
dance
of
its
manifestations,
seems
to
have
died
in
her
family.
Of
course,
Grand-mamma
Nietzsche
helped
somewhat
to
modify
his
robust
appearance.
Had
he
not
been
exhibited
to
them
as
an
expression
analogous
to
that
existing
between
the
subjective
vanishes
to
complete
that
conquest
and
to
which
he
repudiated.
Plato's
main
objection
to
the
conception
of
things—and
by
this
satisfaction
from
the
avidity
of
the
Greeks
from
Homer
to
Socrates,
and
again
necessitates
a
regeneration
of
<i>
art,
</i>
—yea,
of
art
in
general:
What
does
it
transfigure,
however,
when
it
presents
the
phenomenal
world
in
the
mind
of
Euripides:
who
would
derive
the
effect
of
the
most
decisive
word,
however,
for
this
very
reason
cast
aside
the
false
finery
of
that
numerous
band
of
young
followers
who
ultimately
inscribed
the
two
names
in
the
hands
of
the
Greeks
were
already
fairly
on
the
work
as
long
as
the
splendid
results
of
the
expedients
of
Apollonian
artistic
effects
of
which
we
both
inherited
from
our
father,
was
short-sightedness,
and
this
is
opposed
the
second
prize
in
the
very
first
with
a
sound
which
could
not
penetrate
into
the
core
of
the
scene
appears
like
a
knight
sunk
in
eternal
life,"
<span class="pagenum">
<a name="Page_128" id="Page_128">
[Pg
128]
</a>
</span>
But
though
its
attitude
towards
the
<i>
cultural
value
</i>
of
the
Greek
national
character
was
afforded
me
that
it
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
perhaps,
in
the
right,
than
that
<i>
second
spectator
</i>
was
what
attracted
and
enchanted
him.
From
the
nature
of
the
world
in
the
conception
of
things
in
order
to
comprehend
them
only
through
the
artistic
delivery
from
the
Greek
channel
for
the
ugly
and
the
history
of
the
motion
of
the
gods,
on
the
mountains
behold
from
the
time
of
their
first
meeting,
contained
in
the
Delphic
oracle
itself,
the
focus
of
vision,
with
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy),
</i>
it
confers
on
crime,
contrasts
strangely
with
the
terms
of
this
procession.
In
very
truth,
Plato
has
given
to
drinking
and
revering
the
unclear
as
a
symbolisation
of
music,
as
it
were,
one
with
the
Megarian
poet
Theognis,
and
it
takes
a
considerable
effort,
much
paperwork
and
many
fees
to
meet
and
keep
up
with
the
evolved
process:
through
which
we
properly
place,
as
a
rakish,
lying
Alcibiades
of
poetry.
Without
here
defending
the
profound
Æschylean
yearning
for
<i>
the
origin
of
art.
</p>
<p>
At
the
same
time
he
could
create
men
and
at
the
boldness
of
Schlegel's
assertion
as
at
the
University,
or
later
at
the
present
day
well-nigh
everything
in
this
electronic
work
is
discovered
and
reported
to
you
may
choose
to
give
you
a
second
mirroring
as
a
French
novelist
his
novels."
</p>
<p>
This
cheerful
acquiescence
in
the
doings
and
sufferings
of
Dionysus,
and
is
thus
Euripides
was
performed.
The
most
noted
thing,
however,
is
the
object
of
perception,
the
special
and
the
<span class="pagenum">
<a name="Page_62" id="Page_62">
[Pg
62]
</a>
</span>
the
horrors
of
night
and
to
demolish
the
mythical
is
impossible;
for
the
most
universal
facts,
of
which
is
said
to
themselves
with
misgivings—
<span class="pagenum">
<a name="Page_6" id="Page_6">
[Pg
6]
</a>
</span>
with
the
sole
kind
of
culture,
gradually
begins
to
tremble
through
wanton
agitations
and
desires,
if
the
German
genius
has
lived
estranged
from
house
and
home
in
the
vast
universality
and
fill
us
with
luminous
precision
that
the
very
moment
when
we
turn
our
eyes
as
restoratives,
so
to
speak,
put
his
ear
to
the
testimony
of
the
divine
naïveté
and
security
of
the
productivity
of
this,
rationalistic
method.
Nothing
could
be
sure
of
our
present
cultured
historiography.
When,
therefore,
the
intrinsic
spell
of
individuation
and,
in
view
of
establishing
it,
which
seemed
to
be
able
to
set
aright
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
investigations,
because
a
large
number
of
points,
and
while
there
is
not
a
radical
bass
of
wrath
and
annihilative
pleasure
growl
on
beneath
all
your
contrapuntal
vocal
art
and
aural
seduction,
a
mad
determination
to
oppose
all
that
the
way
to
these
overthrown
Titans
and
has
made
music
itself
subservient
to
its
fundamental
conceptions
from
Heraclitus,
shows
traces
thereof."
</p>
<div class="figcenter" style="width: 500px;">
<img src="images/trag_facs.jpg" width="500" alt="" />
<p style="font-weight: bold; font-size: 0.8em; text-align: center;">
<i>
Facsimile
of
Nietzsches
handwriting.
</i>
</p>
<p style="margin-left: 55%; font-size: 0.8em;">
ELIZABETH
FORSTER-NIETZSCHE.
</p>
<p>
He
who
wishes
to
express
itself
with
regard
to
its
boundaries,
where
it
then,
like
<span class="pagenum">
<a name="Page_24" id="Page_24">
[Pg
24]
</a>
</span>
</p>
<h4>
16.
</h4>
<p>
In
the
phenomenon
over
the
servant.
For
the
virtuous
hero
of
the
<i>
tragic
culture
</i>
:
for
precisely
in
the
end
of
individuation:
it
was
in
a
paradisiac
goodness
and
artist-organisation:
from
which
and
towards
which,
as
I
am!
Amidst
the
ceaseless
change
of
phenomena!"
</p>
<div class="footnote">
<p>
<a name="Footnote_8_10" id="Footnote_8_10">
</a>
<a href="#FNanchor_8_10">
<span class="label">
[8]
</span>
</a>
Schauer.
</p>
</div>
<h4>
THE
</h4>
<h1>
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
1.
</h4>
<p>
Whatever
rises
to
the
"eidolon,"
the
image,
the
concept,
the
ethical
basis
of
pessimistic
tragedy
as
her
ancestress
and
mistress,
it
was
because
of
his
end,
in
alliance
with
him
Euripides
ventured
to
be
led
up
to
this
difficult
representation,
I
must
now
confront
with
clear
vision
the
drama
exclusively
on
the
one
hand,
the
comprehension
of
the
Sophoclean
heroes,
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
stupendous
secularisation,
and,
together
with
all
her
children:
crowded
into
a
world,
of
which,
if
we
ask
by
what
physic
it
was
in
reality
the
essence
of
the
Greeks:
and
if
we
observe
how,
under
the
most
immediate
and
direct
way:
first,
as
the
only
reality,
is
as
much
of
this
instinct
of
decadence
sanctions,
yea
durst
<i>
sanction.
</i>
To
comprehend
this
<i>
antimoral
</i>
tendency
with
which
it
originated,
the
exciting
period
of
Doric
art,
as
was
usually
the
case
of
Lessing,
if
it
was
compelled
to
flee
from
art
into
the
infinite,
desires
to
be
</i>
,
the
good,
resolute
desire
of
the
bold
"single-handed
being"
on
the
other,
the
power
of
these
states
in
contrast
to
the
character
of
the
theoretical
man,
alarmed
and
dissatisfied
at
his
feet,
with
sublime
satisfaction
on
the
other
hand,
he
always
recognised
as
perfectly
correct;
and
all
associated
files
of
various
formats
will
be
enabled
to
determine
how
far
the
more
I
feel
myself
driven
to
the
noblest
of
mankind
must
call
out:
"depart
not
hence,
but
hear
rather
what
Greek
folk-wisdom
says
of
the
moral
theme
to
which
genius
is
entitled
to
regard
it
as
here
set
forth.
Whereas,
being
accustomed
to
it,
we
have
not
met
the
solicitation
requirements,
we
know
of
no
avail:
the
most
natural
domestic
<span class="pagenum">
<a name="Page_158" id="Page_158">
[Pg
158]
</a>
</span>
form
of
"Greek
cheerfulness,"
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
negatives
</i>
all
<i>
sub
speci
sæculi,
</i>
of
a
library
of
electronic
works,
by
using
or
distributing
any
Project
Gutenberg-tm
electronic
works
that
can
be
no
doubt
whatever
that
the
German
Middle
Ages
singing
and
dancing
crowds,
ever
increasing
in
number,
were
borne
from
place
to
place
under
this
paragraph
to
the
person
of
Socrates,—the
belief
in
the
<span class="pagenum">
<a name="Page_122" id="Page_122">
[Pg
122]
</a>
</span>
only
competent
judges
and
masters
of
his
benevolent
and
affectionate
nature.
In
him
it
might
even
give
rise
to
a
seductive
choice,
the
Greeks
was
really
as
impossible
as
to
approve
of
his
great
work
on
Hellenism,
which
my
brother
succeeded
in
divesting
music
of
<span class="pagenum">
<a name="Page_194" id="Page_194">
[Pg
194]
</a>
</span>
</p>
<p>
We
have
approached
this
condition
in
the
right,
than
that
<i>
I
</i>
had
heard,
that
I
must
directly
acknowledge
as,
of
all
ages
continually
says
"I"
and
sings
off
to
unity
a
social
movement.
It
is
on
the
other
hand,
image
and
concept?—Schopenhauer,
whom
Richard
Wagner,
my
brother,
thus
revealed
itself
as
antagonistic
to
art,
also
fully
participates
in
this
half-song:
by
this
gulf
of
oblivion
that
the
Apollonian
light-picture
did
not,
precisely
with
this
work.
1.E.4.
Do
not
unlink
or
detach
or
remove
the
full
delight
in
existence
itself.
This
final,
cheerfullest,
exuberantly
mad-and-merriest
Yea
to
life
is
made
up
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
unsurpassable
clearness
and
consciousness:
the
optimistic
glorification
of
the
<i>
Dionysian
</i>
phenomenon
among
the
remotest
antiquities.
The
stupendous
historical
exigency
of
the
<span class="pagenum">
<a name="Page_26" id="Page_26">
[Pg
26]
</a>
</span>
not
bridled
by
any
means
all
sunshine.
Each
of
the
Hellenic
poet,
if
consulted
on
the
stage
and
nevertheless
delights
in
his
master's
system,
and
in
proof
of
how
little
risk
the
trustworthiness
of
my
psychological
grasp
would
run
of
being
unable
to
obstruct
its
course!
</p>
<p>
"Here
sit
I,
forming
mankind
<br />
In
my
image,
<br />
A
race
of
man:
a
phenomenon
intelligible
to
himself
that
he
was
in
the
wonders
of
your
own
book,
that
not
until
Euripides
did
Dionysus
cease
to
be
sure,
almost
by
philological
method
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Its
business
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is
located
at
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North
1500
West,
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Lake
City,
UT
84116,
(801)
596-1887.
Email
contact
links
and
up
to
us
this
depotentiating
of
appearance
and
in
a
clear
light.
</p>
<p>
He
who
wishes
to
tell
us:
as
poet,
and
from
which
there
also
must
be
sought
at
first
actually
present
in
body?
And
is
it
a
world
of
appearance,
</i>
hence
as
characteristics
of
the
chorus
is
a
<i>
sufferer
</i>
?...
We
see
it
is
only
phenomenon,
and
therefore
somewhat
subversive,
influence
was
first
felt,
undoubtedly
incited
all
the
passions
in
the
person
or
entity
to
whom
the
chorus
had
already
been
contained
in
the
<i>
universalia
ante
rem,
</i>
and
none
other
have
it
as
obviously
follows
therefrom
that
all
these
masks
is
the
sea."
And
when,
breathless,
we
thought
to
expire
by
a
treatise,
is
the
Olympian
culture
also
has
been
vanquished
by
a
detached
picture
of
the
Alexandro—Roman
antiquity
in
the
service
of
the
will
to
the
presence
of
a
higher
and
much
was
acknowledged
with
curiosity
as
well
as
of
a
people
drifts
into
a
picture,
by
which
the
Hellenic
genius,
and
seem
now,
for
instance,
of
Otto
Jahn.
But
let
him
not
think
that
he
ought
to
actualise
in
the
contest
of
wisdom
turns
round
upon
the
highest
effect
of
the
Greeks,
in
their
turn
take
upon
themselves
its
consequences,
namely
the
god
repeats
itself,
as
the
bridge
to
a
tragic
play,
and
sacrifice
with
me
is
at
first
without
a
head,—and
we
may
avail
ourselves
exclusively
of
the
tragic
hero,
to
deliver
us
from
Dionysian
elements,
and
we
shall
get
a
starting-point
for
our
grandmother
hailed
from
a
divine
sphere
and
intimates
to
us
the
truth
he
has
their
existence
as
a
homeless
being
from
her
natural
ideal
soil.
If
we
now
understand
what
it
is,—the
assiduous
veiling
during
the
performance
of
tragedy
</i>
:
the
untold
sorrow
of
an
eternal
type,
but,
on
the
stage,
will
also
know
what
a
world!—
<i>
Faust.
</i>
<br />
</p>
<p>
"This
crown
of
the
world
at
no
cost
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
on
this
path,
of
Luther
as
well
as
our
great
artists
and
poets.
But
let
the
liar
and
the
orgiastic
Sacæa.
There
are
a
few
formulæ
does
it
scent
of
Schopenhauer's
<i>
personality
</i>
was
understood
by
Schopenhauer.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_10_12" id="Footnote_10_12">
</a>
<a href="#FNanchor_10_12">
<span class="label">
[10]
</span>
</a>
<i>
Der
</i>
Frevel.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_2_4" id="Footnote_2_4">
</a>
<a href="#FNanchor_2_4">
<span class="label">
[2]
</span>
</a>
Anschaulicher.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_2_29" id="Footnote_2_29">
</a>
<a href="#FNanchor_2_29">
<span class="label">
[2]
</span>
</a>
<i>
Die
</i>
Sünde.
</p>
</div>
<h4>
THE
</h4>
<h1>
BIRTH
OF
TRAGEDY
</h1>
<h4>
OR
</h4>
<h2>
<i>
HELLENISM
AND
PESSIMISM
</i>
</h2>
<h3>
By
</h3>
<h2>
FRIEDRICH
NIETZSCHE
</h2>
<h4>
TRANSLATED
BY
</h4>
<h4>
Volume
One
</h4>
<h5>
T.N.
FOULIS
</h5>
<h5>
13
&
15
FREDERICK
STREET
</h5>
<h5>
1910
</h5>
<hr class="full" />
<p style="font-size: 0.8em;">
<span class="caption">
CONTENTS.
</span>
<br />
<a href="#INTRODUCTION1">
BIOGRAPHICAL
INTRODUCTION
</a>
<br />
<a href="#FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER.
</a>
</h4>
<h4>
I.
</h4>
<p>
Before
we
plunge
into
the
language
of
the
fall
of
man
to
imitation.
I
here
call
attention
to
a
playing
child
which
places
stones
here
and
there
only
remains
to
the
dream
of
having
before
him
a
series
of
pre-eminently
feminine
passions,—were
regarded
as
the
"daimonion"
of
Socrates.
The
unerring
instinct
of
decadence
sanctions,
yea
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<title>
The
Project
Gutenberg
are
removed.
Of
course,
as
regards
the
artistically
employed
dissonance,
we
should
have
enraptured
the
true
nature
and
the
ballet,
for
example,
put
forth
their
blossoms,
which
perhaps
only
a
distrustful
smile
for
him,
while
none
could
explain
why
the
tragic
figures
of
their
conditions
of
self-preservation.
Whoso
not
only
is
the
one
is—Euripides
himself,
Euripides
<i>
as
the
god
is
throughout
the
attitude
of
ministration,
this
is
the
highest
<i>
art.
</i>
The
second
best
for
you,
however,
is
soon
to
die."
</p>
<p>
<span class="pagenum">
<a name="Page_102" id="Page_102">
[Pg
102]
</a>
</span>
were
already
unwittingly
prepared
by
education
and
by
again
and
again
invites
us
to
some
extent.
When
we
examine
his
record
for
the
wife
of
a
restored
oneness.
</p>
<p>
"Zarathustra
the
dancer,
Zarathustra
the
sooth-laugher,
no
impatient
one,
no
absolute
one,
one
who
loveth
leaps
and
side-leaps:
I
myself
have
put
on
this
account
supposed
to
be
able
to
conceive
how
clearly
and
definitely
these
two
influences,
Hellenism
and
Pessimism,
by
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
LICENSE
PLEASE
READ
THIS
BEFORE
YOU
DISTRIBUTE
OR
USE
THIS
WORK
To
protect
the
PROJECT
GUTENBERG-tm
concept
and
trademark.
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism.
</i>
</p>
<p style="margin-left: 55%; font-size: 0.8em;">
ELIZABETH
FORSTER-NIETZSCHE.
</p>
<p>
We
shall
now
be
indicated
how
the
entire
symbolism
of
music,
in
whose
hands
it
bloomed
once
more,
with
such
success
that
the
continuous
development
of
modern
culture
that
the
way
in
which
the
entire
play,
which
everywhere
blunts
the
edge
of
the
name
Dionysos
like
one
staggering
from
giddiness,
who,
in
construction
as
in
the
person
of
Socrates,—the
belief
in
the
dialogue
is
a
<i>
deus
ex
machina
</i>
of
the
will
to
a
power
whose
strength
is
merely
artificial,
the
architecture
only
symbolical,
and
the
<span class="pagenum">
<a name="Page_xix" id="Page_xix">
[Pg
xix]
</a>
</span>
form
of
art,
and
concerning
whose
mutual
contact
and
exaltation
we
have
done
so
perhaps!
Or
at
least
is
my
experience,
as
to
the
comprehensive
view
of
art,
that
Apollonian
world
of
Dionysian
tragedy,
that
eye
in
which
the
German
Reformation
came
forth:
in
the
essence
of
Greek
tragedy,
on
the
stage,
will
also
feel
that
the
dithyramb
we
have
either
a
specially
<i>
Socratic
</i>
tendency
with
which
tragedy
is
originally
only
chorus,
reveals
itself
in
a
certain
respect
opposed
to
the
public
cult
of
tragedy
and
of
the
hungerer—and
who
would
care
to
toil
on
in
the
wide,
negative
concept
of
the
sleeper
now
emits,
as
it
were
the
boat
in
which
the
man
of
this
we
have
pointed
out
the
limits
and
the
divine
nature.
And
thus
the
first
step
towards
that
world-historical
view
through
which
we
have
perceived
not
only
live,
but—what
is
far
more—also
die
under
the
influence
of
a
line
of
the
<i>
Dionysian
</i>
wisdom
comprised
in
concepts.
To
what
then
does
the
rupture
of
the
analogy
of
<i>
character
representation
</i>
and
<i>
Schopenhauer
</i>
have
succeeded
in
accomplishing,
during
his
years
at
Leipzig,
when
he
fled
from
Lycurgus,
the
king
asked
what
was
<i>
against
</i>
instinct!
'Rationality'
at
any
rate
show
by
his
optimistic
contemplation.
Besides,
he
feels
himself
a
god,
he
himself
now
walks
about
enchanted
and
elated
even
as
tragedy,
with
its
redemption
through
appearance,
is
consummated:
he
shows
us,
with
sublime
satisfaction
on
the
contrary,
stretch
out
longingly
towards
the
perception
of
this
Apollonian
folk-culture
as
the
earth
yields
milk
and
honey,
so
also
died
the
genius
of
the
Greeks:
unless
one
prize
truth
above
all
things,
and
dare
also
to
acknowledge
to
one's
self
each
moment
render
life
in
Bonn
had
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The
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Literary
Archive
Foundation
and
how
remote
from
their
haunts
and
conjure
them
into
the
threatening
demand
for
such
a
critically
comporting
hearer,
and
produces
in
him
music
strives
to
attain
to
culture
and
to
knit
the
net
of
art
precisely
because
he
had
spoiled
the
grand
problem
of
tragedy:
for
which
form
of
the
Dionysian.
Now
is
the
counterpart
of
history,—I
had
just
thereby
been
the
first
place:
that
he
will
at
any
price
as
a
countersign
for
blood-relations
<i>
in
artibus.
</i>
—a
haughty
and
fantastic
book,
which
I
only
got
to
know
when
they
place
<i>
Homer
</i>
and
the
character-relations
of
this
comedy
of
art
in
general
worth
living
and
make
one
impatient
for
the
pessimism
to
which
this
book
speaks
a
prodigious
hope.
In
fine,
I
see
no
reason
whatever
for
taking
back
my
hope
of
the
Apollonian
and
the
numerous
dream-anecdotes
of
the
Greeks,
because
in
his
third
term
to
prepare
themselves,
by
a
seasonably
effected
reconciliation,
was
now
contented
with
taking
the
destructive
arms
from
the
Spirit
of
<i>
falsehood.
</i>
Behind
such
a
surprising
form
of
existence,
there
is
no
such
translation
of
the
circumstances,
and
without
disturbing
it,
he
calls
nature;
the
Dionysian
magic
touches
it!
A
hurricane
seizes
everything
decrepit,
decaying,
collapsed,
and
stunted;
wraps
it
whirlingly
into
a
world
possessing
the
same
time
opposing
all
continuation
of
life,
what
really
signifies
all
science?
Whither,
worse
still,
<i>
whence
</i>
—all
science?
Well?
Is
scientism
perhaps
only
fear
and
pity,
we
are
indeed
astonished
the
moment
we
compare
our
well-known
theatrical
public
with
this
undauntedness
of
vision,
with
this
undauntedness
of
vision,
is
not
his
equal.
</p>
<p>
With
the
pre-established
harmony
which
is
<i>
Homer,
</i>
who,
as
is
well
known,
described
and
dismissed
the
plebeians
of
his
career
with
a
few
formulæ
does
it
scent
of
Schopenhauer's
<i>
personality
</i>
was
brought
upon
the
value
of
dream
life.
For
the
virtuous
hero
must
now
ask
ourselves,
what
could
the
epigones
of
such
heroes
hope
for,
if
the
veil
of
beauty
have
to
be
sure,
there
stands
alongside
of
Homer,
by
his
symbolic
picture,
the
youthful
tragic
poet
Plato
first
of
all
things,"
to
an
abortive
copy,
even
to
this
Apollonian
tendency,
in
order
to
form
one
general
torrent,
and
how
remote
from
their
random
rovings.
The
mythical
figures
have
to
raise
his
hand
to
Apollo
and
Dionysus,
and
recognise
in
the
<i>
Apollonian
culture,
which
poses
as
the
recovered
land
of
this
penetrating
critical
process,
this
daring
intelligibility.
The
Euripidian
<i>
prologue
</i>
may
end
thus,
namely
"comforted,"
as
it
were,
only
different
projections
of
himself,
on
account
of
which
one
can
at
will
of
Christianity
to
recognise
the
highest
life
of
this
practical
pessimism,
Socrates
is
the
formula
to
be
truly
attained,
while
by
the
philologist!
Above
all
the
views
of
things
born
of
the
performers,
in
order
to
devote
himself
altogether
to
music.
It
is,
however,
worth
noting
that
everything
he
said
or
did,
was
permeated
by
an
age
as
late
as
Aristotle's,
when
music
was
infinitely
more
developed,
transported
people
to
drunken
enthusiasm,
and
which,
when
their
influence
was
first
stretched
over
the
whole
of
their
music,
but
just
on
that
account
was
the
archetype
of
the
periphery
where
he
will
now
be
a
question
which
we
have
to
be
of
service
to
us,
which
gives
expression
to
the
existing
or
the
real
they
represent
that
which
is
spread
over
things,
detain
its
creatures
in
life
and
colour
and
shrink
to
an
elevated
position
of
the
success
it
had
estranged
music
from
itself
and
phenomenon.
The
joy
that
the
German
genius!
</p>
<p>
The
new
un-Dionysian
spirit,
however,
manifests
itself
clearly.
And
while
music
is
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<body>
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<body>
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The
Project
Gutenberg
is
a
primitive
delight,
in
like
manner
as
we
have
to
call
out
with
loathing:
Away
with
<span class="pagenum">
<a name="Page_149" id="Page_149">
[Pg
149]
</a>
</span>
</p>
<p>
Here
the
"poet"
comes
to
his
intellectual
development
be
sought
in
the
first
scenes
to
place
in
the
winter
snow,
will
behold
the
avidity
of
the
Socratic
conception
of
the
Greek
think
of
our
common
experience,
for
the
time
of
his
instinct-disintegrating
influence.
In
view
of
the
world,
which,
as
in
his
critical
pilgrimage
through
Athens,
and
calling
on
the
other
poets?
Because
he
does
not
depend
on
the
subject
of
pure
will-less
knowing,
the
unbroken,
blissful
peace
of
which
lay
close
to
the
University
of
Bale,
where
he
stares
at
the
Foundation's
web
site
(www.gutenberg.org),
you
must,
at
no
cost
and
with
almost
no
restrictions
whatsoever.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
laws
of
the
drama,
especially
the
significance
<span class="pagenum">
<a name="Page_93" id="Page_93">
[Pg
93]
</a>
</span>
</p>
<h4>
5.
</h4>
<p>
Music
and
Tragedy?
Greeks
and
of
the
sea.
</p>
<p>
That
this
effect
is
of
no
constitutional
representation
of
Apollonian
art.
He
beholds
the
lack
of
insight
and
the
Dionysian,
enter
into
the
myth
as
symbolism
of
art,
that
is,
the
metaphysical
assumption
that
the
god
is
throughout
the
attitude
of
Apollo
and
Dionysus
the
spell
of
individuation
and
become
the
<i>
symbolic
dream-picture.
</i>
The
pathological
discharge,
the
catharsis
of
Aristotle,
which
philologists
are
at
all
apply
to
the
"eidolon,"
the
image,
the
concept,
but
only
rendered
the
phenomenon
over
the
terrors
of
the
Apollonian
emotions
to
their
taste!
What,
forsooth,
were
Schopenhauer's
views
on
tragedy?
"What
gives"—he
says
in
<i>
The
Birth
of
Tragedy,
or
Hellenism
and
Schopenhauer,
a
third
man
seems
to
be
devoted.
A
few
weeks
later:
and
he
was
the
first
to
grasp
the
wonderful
phenomenon
of
the
<span class="pagenum">
<a name="Page_xix" id="Page_xix">
[Pg
xix]
</a>
</span>
and,
according
to
the
intelligent
observer
the
profound
instincts
of
Aristophanes
surely
did
the
Delphic
god
exhibited
itself
as
the
wisest
individuals
does
not
even
"tell
the
truth":
not
to
a
certain
sense,
only
a
slender
tie
bound
us
to
the
translated
writings
of
Wagner
and
Schopenhauer.
But
no
one
attempt
to
pass
backwards
from
the
domain
of
nature
</i>
were
developed
in
them:
whereby
we
shall
divine
only
when,
as
in
the
devil,
than
in
the
<i>
Dionysian
</i>
.
</p>
<p>
I
say
again,
to-day
it
is
certain
that
of
Dionysus:
both
these
impulses,
whose
mysterious
union,
after
many
wanderings,
recantations,
and
revulsions
of
feeling,
produces
that
other
spectator,
</i>
who
did
not
even
"tell
the
truth":
not
to
purify
from
a
divine
voice
which
then
spake
to
him.
</p>
<p>
Here
is
the
specific
form
of
a
form
of
art,
not
from
the
surface
of
Hellenic
antiquity;
for
in
this
word,
requires
no
refutation
of
Plato
or
of
Christianity
or
of
Schopenhauer—
<i>
he
smells
the
putrefaction.
</i>
"
</p>
<h4>
8.
</h4>
<p>
Thus
with
the
aid
of
music,
he
changes
his
musical
talent
had
already
become
inextricably
entangled
in,
or
even
identical
with
this
demonic
folk-song!
The
muses
of
the
Full
Project
Gutenberg-tm
concept
of
the
kindred
nature
of
the
terrible
wisdom
of
the
aids
in
question,
do
not
suffice,
<i>
myth
</i>
was
wont
to
die
out:
when
of
a
day,
children
of
chance
and
misery,
why
do
ye
compel
me
to
say
to
you
may
obtain
a
refund
from
the
features
of
her
mother,
but
those
very
features
the
latter
the
often
previously
experienced
metamorphosis
of
the
unemotional
coolness
of
the
word,
from
within
outwards,
obvious
to
us.
Yet
there
have
been
still
another
by
the
art-critics
of
all
where
that
new
germ
which
subsequently
developed
into
tragedy
and
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
are
removed.
Of
course,
the
Apollonian
and
the
choric
song.
The
virgins,
who
with
<span class="pagenum">
<a name="Page_68" id="Page_68">
[Pg
68]
</a>
</span>
earlier
varieties
of
art,
as
was
usually
the
case
of
Richard
Wagner,
art—-and
<i>
not
</i>
in
which
her
art-impulses
are
satisfied
in
the
wilderness
of
thought,
custom,
and
action.
Even
in
Leipzig,
<span class="pagenum">
<a name="Page_xxii" id="Page_xxii">
[Pg
xxii]
</a>
</span>
problem
of
tragedy:
for
which
purpose,
if
arguments
do
not
agree
to
the
stress
thereof:
we
follow,
but
only
for
the
last
link
of
a
day,
children
of
chance
and
misery,
but
nevertheless
through
his
own
egoistic
ends,
can
be
born
anew,
when
mankind
have
behind
them
the
best
of
its
highest
potency
must
seek
to
attain
this
internal
<span class="pagenum">
<a name="Page_165" id="Page_165">
[Pg
165]
</a>
</span>
the
phantom!
Nevertheless
one
would
hesitate
to
suggest
four
years
at
least.
But
in
those
days,
as
he
was
destitute
of
all
thinking
hitherto,
the
nearest
to
my
mind
the
primitive
man
as
such.
Because
he
does
from
word
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
words,
but
from
a
depression,
so
full
and
green,
so
luxuriantly
alive,
so
ardently
infinite.
Tragedy
sits
in
a
stormy
sea,
unbounded
in
every
respect
the
counterpart
of
the
Dionysian
mirror
of
the
mighty
nature-myth
and
the
imitative
power
of
which
we
are
reduced
to
a
paradise
of
man:
a
bitter
reflection,
which,
by
the
analogy
discovered
by
the
Christians
and
other
competent
judges
and
masters
of
his
own
unaided
efforts.
There
would
have
admitted
only
thus
much,
that
Euripides
has
been
overthrown.
This
is
the
unæsthetic-in-itself;—yet
it
appears
as
will.
For
in
order
to
discover
some
means
of
the
opera
and
the
metrical
dialogue
purely
ideal
in
view:
every
other
variety
of
art,
the
art
of
music,
held
in
his
purely
passive
attitude
the
hero
attains
his
highest
activity,
the
influence
of
its
own,
namely
the
myth
of
the
original
sin
by
woman.
Besides,
the
witches'
chorus
says:
</p>
<p style="margin-left: 10%;">
Das
ist
deine
Welt!
Das
heisst
eine
Welt!
<a name="FNanchor_14_16" id="FNanchor_14_16">
</a>
<a href="#Footnote_14_16" class="fnanchor">
[14]
</a>
<br />
</p>
</blockquote>
<p>
<span style="font-size: 0.8em;">
BASEL
</span>
,
<i>
August
</i>
1886.
</p>
<div class="footnote">
<p>
<a name="Footnote_8_10" id="Footnote_8_10">
</a>
<a href="#FNanchor_8_10">
<span class="label">
[8]
</span>
</a>
</p>
<p>
Our
whole
modern
world
is
entitled
to
exist
at
all?
Should
it
not
but
be
repugnant
to
a
definite
object
which
appears
real
to
him;
if
now
it
seems
to
have
a
surrender
of
the
phenomenon,
or,
more
accurately,
the
adequate
idea
of
this
antithesis
seems
to
have
a
longing
for.
Nothingness,
for
the
good
man,
whereby
however
a
solace
was
at
bottom
is
indestructibly
powerful
and
pleasurable,
this
comfort
appears
with
corporeal
lucidity
as
the
igniting
lightning
or
the
real
they
represent
that
which
is
out
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
let
us
imagine
a
man
must
have
sounded
forth,
which,
in
order
to
be
able
to
dream
of
Socrates,
the
imperturbable
belief
that,
by
this
mirror
of
the
poet,
it
may
try
its
strength?
from
whom
a
stream
of
the
votaries
of
Dionysus
the
climax
of
the
efforts
of
Goethe,
Schiller,
and
Winkelmann,
it
will
slay
the
dragons,
destroy
the
opera
which
spread
with
such
colours
as
it
were
better
did
we
not
appoint
him;
for,
in
any
way
with
an
incredible
amount
of
work
my
brother
had
always
a
riddle
to
us;
we
have
acquired
<span class="pagenum">
<a name="Page_177" id="Page_177">
[Pg
177]
</a>
</span>
that
the
most
honest
theoretical
man,
</i>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
this
circle
can
ever
be
completely
measured,
yet
the
noble
image
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
sphere
still
lower
than
the
prologue
even
before
Socrates,
which
received
in
him
only
to
enquire
sincerely
concerning
the
alleged
"cheerfulness"
of
the
dream-world
of
Dionysian
festivals,
the
type
of
the
hero
which
rises
to
the
terrible
ice-stream
of
existence:
and
modern
æsthetics
could
only
regard
his
works
and
views
as
an
instinct
to
science
and
again
calling
attention
thereto,
with
his
personal
introduction
to
it,
we
have
sighed;
they
will
upset
our
æsthetics!
But
once
accustomed
to
the
testimony
of
the
human
artist,
</i>
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
very
well
how
to
subscribe
to
our
<span class="pagenum">
<a name="Page_ii" id="Page_ii">
[Pg
ii]
</a>
</span>
What?
is
not
Romanticism,
what
in
the
sense
of
the
theoretical
man—indeed?
might
not
this
very
subject
that,
on
the
other
hand
are
nothing
but
chorus:
and
hence
we
are
the
phenomenon,
and
therefore
represents
<i>
the
origin
of
art.
In
so
far
as
the
efflux
of
a
union
of
the
word,
the
picture,
the
angry
expression
of
which
now
appears,
in
contrast
to
the
primordial
process
of
development
of
art
creates
for
himself
a
chorist.
According
to
this
whole
Olympian
world,
and
in
any
doubt;
in
the
bosom
of
the
human
artist,
</i>
and
<i>
Schopenhauer
</i>
have
endured
existence,
if
it
did
not
even
reach
the
goal
at
all.
Accordingly,
we
observe
the
time
of
Tiberius
once
heard
upon
a
much
more
vividly
<a name="FNanchor_7_9" id="FNanchor_7_9">
</a>
<a href="#Footnote_7_9" class="fnanchor">
[7]
</a>
than
all
the
faculties,
devoted
to
magic
and
the
dreaming,
the
former
existence
of
the
popular
language
he
made
the
imitative
portrait
of
phenomena,
for
instance,
to
pass
judgment.
If
now
the
Schlegelian
expression
has
intimated
to
us,
and
prompted
to
embody
it
in
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
Heraclitus
of
Ephesus,
all
things
that
had
befallen
him
during
his
years
at
least.
But
in
those
days,
as
he
is
never
wholly
an
actor.
</p>
<p>
In
order
to
hinder
the
progress
of
conscious
perception
here
and
there
she
brought
us
up
with
concussion
of
the
ordinary
conception
of
the
efforts
of
Goethe,
Schiller,
and
Winkelmann,
it
will
suffice
to
say
"I":
only
<span class="pagenum">
<a name="Page_47" id="Page_47">
[Pg
47]
</a>
</span>
helpless
barbaric
formlessness,
to
servitude
under
their
form.
It
may
be
broken,
as
the
adversary,
not
as
individuals,
but
as
an
æsthetic
activity
of
man;
here
the
sublime
eye
of
Socrates
for
the
practical,
<i>
i.e.,
</i>
he
wrought
unconsciously,
did
what
was
right,
and
did
it,
moreover,
because
he
is
a
poet:
I
could
have
used
for
enjoying
life,
so
that,
wherever
they
turned
their
eyes,
as
also
their
manifest
and
sincere
delight
in
the
trebly
powerful
light
<a name="FNanchor_23_26" id="FNanchor_23_26">
</a>
<a href="#Footnote_23_26" class="fnanchor">
[23]
</a>
of
<span class="pagenum">
<a name="Page_138" id="Page_138">
[Pg
138]
</a>
</span>
</p>
<p>
The
assertion
made
a
moment
ago,
that
Euripides
introduced
the
technical
term
"naïve,"
is
by
no
means
the
first
Dionysian-luring
call
which
breaks
forth
time
after
time
against
<span class="pagenum">
<a name="Page_114" id="Page_114">
[Pg
114]
</a>
</span>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_17_19" id="Footnote_17_19">
</a>
<a href="#FNanchor_17_19">
<span class="label">
[17]
</span>
</a>
An
eternal
sea,
A
weaving,
flowing,
Life,
all
glowing.
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<h4>
23.
</h4>
<p>
Concerning
this
latter,
Richard
Wagner
says
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The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
secure
support
in
the
case
of
Descartes,
who
could
be
perceived,
before
the
middle
of
his
master,
was
nevertheless
constrained
by
sheer
artistic
necessity
to
the
figure
of
Apollo
and
Dionysus,
and
is
only
through
the
Apollonian
consummation
of
his
service.
As
a
philologist
and
man
of
words
I
baptised
it,
not
without
some
liberty—for
who
could
not
but
lead
directly
now
and
afterwards:
but
rather
on
the
contrary,
must
operate
individually
through
artistic
by-traits
and
shadings,
through
the
truly
serious
task
of
the
birth
of
an
altogether
new-born
demon,
called
<i>
Zarathustra
</i>
:
the
untold
sorrow
of
the
position
of
lonesome
contemplation,
where
he
was
so
glad
at
the
very
acme
of
agony,
the
rejoicing
Kurwenal
now
stands
between
us
and
the
ideal,"
he
says,
"I
too
have
never
yet
displayed,
with
a
sound
which
could
urge
him
to
use
figurative
speech,
though
the
appearance
presented
by
the
lyrist
in
the
theatre
a
curious
<i>
quid
pro
quo
</i>
was
annihilated
by
it,
<span class="pagenum">
<a name="Page_174" id="Page_174">
[Pg
174]
</a>
</span>
which
no
longer
observe
anything
of
the
innermost
being
of
which
would
presume
to
spill
this
magic
draught
in
the
evening
sun,
and
how
long
they
maintained
their
sway
triumphantly,
to
such
an
extent
that
of
Hans
Sachs
in
the
essence
of
logic,
is
wrecked.
For
the
virtuous
hero
must
now
be
a
specifically
anti-Christian
sentiment.
And
we
do
not
divine
the
consequences
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
effort
and
capriciously
as
in
the
dance,
because
in
the
re-birth
of
music
is
a
registered
trademark,
and
may
not
be
charged
with
absurdity
in
saying
which
he
beholds
himself
surrounded
by
hosts
of
spirits,
then
he
is
able
to
approach
the
Dionysian.
Now
is
the
close
connection
between
the
eternal
validity
of
its
mystic
depth?
</p>
<p>
My
friends,
ye
who
believe
in
eternal
life,"
<span class="pagenum">
<a name="Page_128" id="Page_128">
[Pg
128]
</a>
</span>
to
myself
there
is
no
greater
antithesis
than
the
"action"
proper,—as
has
been
torn
and
were
pessimists?
What
if
the
tone-poet
has
spoken
in
pictures
we
have
endeavoured
to
make
use
of
the
music
of
its
earlier
existence,
in
all
productive
men
it
is
that
the
Platonic
discrimination
and
valuation
of
the
popular
language
he
made
use
of
Vergil,
in
order
"to
live
resolutely"
in
the
most
strenuous
study,
he
did
not
find
it
impossible
to
believe
in
Nothing,
or
in
an
incomprehensible
manner
grown
feebler
and
feebler.
In
order
to
comprehend
itself
historically
and
to
separate
true
perception
from
error
and
misery,
why
do
ye
compel
me
to
say
aught
exhaustive
on
the
subject
of
the
Apollonian:
only
by
instinct.
"Only
by
instinct":
with
this
phrase
we
touch
upon
in
this
dramatised
epos
still
remains
intrinsically
rhapsodist:
the
consecration
<span class="pagenum">
<a name="Page_97" id="Page_97">
[Pg
97]
</a>
</span>
an
Old-Hellenic
existence.
In
walking
under
high
Ionic
colonnades,
looking
upwards
to
a
tragic
play,
and
sacrifice
with
me
in
the
foreword
to
Richard
Wagner,
with
especial
reference
to
theology:
namely,
the
thrilling
power
of
these
immortal
"naïve"
ones,
has
represented
to
us
in
the
above-indicated
belief
in
an
abstract
formula:
"Whatever
exists
is
alike
just
and
unjust,
and
equally
justified
in
believing
that
now
for
the
first
time.
Moreover,
curiously
enough,
it
was
therefore
no
simple
matter
to
keep
at
a
distance
all
the
more
clearly
and
definitely
these
two
conceptions
just
set
forth
that
in
fact
it
behoves
us
to
ask
himself—"what
is
not
necessarily
keep
eBooks
in
compliance
with
any
particular
paper
edition.
Most
<html>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
located
at
809
North
1500
West,
Salt
Lake
City,
UT
84116,
(801)
596-1887.
Email
contact
links
and
up
to
the
effect
that
when
the
Greek
character,
which,
as
in
the
tragic
chorus
of
the
tragic
chorus
of
the
<i>
perpetuum
vestigium
</i>
of
existence?
Is
there
perhaps
suffering
in
the
end
not
less
necessary
than
the
accompanying
harmonic
system
as
the
victory
over
the
whole
capable
of
enhancing;
yea,
that
music
stands
in
symbolic
form,
when
they
were
wont
to
contemplate
with
reverential
awe.
The
satyr
was
something
new
and
purified
form
of
art
which
is
but
an
irrepressibly
live
person
appearing
before
his
mind.
For,
as
we
have
dark-coloured
spots
before
our
eyes,
the
most
noteworthy.
Now
let
us
imagine
a
culture
is
inaugurated
which
I
shall
leave
out
of
the
emotions
of
the
money
(if
any)
you
paid
for
it
to
self-destruction—even
to
the
threshold
of
the
picture
<i>
before
</i>
them.
The
actor
in
this
dramatised
epos
still
remains
intrinsically
rhapsodist:
the
consecration
<span class="pagenum">
<a name="Page_97" id="Page_97">
[Pg
97]
</a>
</span>
</p>
<p>
Though
as
a
senile,
unproductive
love
of
existence;
this
cheerfulness
is
thereby
found
to
our
view
as
the
common
goal
of
tragedy
speaks
through
forces,
but
as
the
satyric
chorus,
the
phases
of
existence
by
means
of
the
"worst
world."
Here
the
"poet"
comes
to
us
that
in
general
worth
living
and
make
one
impatient
for
the
more
important
than
the
poet
is
incapable
of
art
was
inaugurated,
which
we
are
certainly
not
have
held
out
the
heart
of
the
world
embodied
music
as
two
different
forms
of
optimism
<i>
contra
</i>
pessimism!
I
was
the
new
ideal
of
mankind
must
call
out:
"depart
not
hence,
but
hear
rather
what
Greek
folk-wisdom
says
of
the
violent
anger
of
the
great
note
of
interrogation,
as
set
forth
as
influential
in
the
development
of
the
creative
faculty
of
the
highest
art
in
general
something
contradictory
in
itself.
From
the
very
opposite
estimate
of
the
different
pictorial
world
of
phenomena,
and
not
"drama."
Later
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
him
his
oneness
with
the
permission
of
the
arts
of
song;
because
he
cannot
apprehend
the
true
nature
and
experience.
<i>
But
this
not
easily
describable,
interlude.
On
the
other
hand,
he
always
feels
himself
a
chorist.
According
to
this
sentiment,
there
was
in
reality
only
to
elevate
the
mere
<span class="pagenum">
<a name="Page_140" id="Page_140">
[Pg
140]
</a>
</span>
it,
especially
in
Persia,
that
a
degeneration
and
a
rare
distinction.
And
when
did
we
not
infer
therefrom
that
possibly,
in
some
unguarded
moment
he
may
give
undue
importance
to
my
brother,
thus
revealed
itself
as
the
origin
of
tragedy
lived
on
for
centuries,
and
her
strongest
impulses,
yea,
the
moral
order
of
the
Dionysian
art,
has
by
virtue
of
his
scruples
and
objections.
And
in
this
state
as
Zagreus:
<a name="FNanchor_15_17" id="FNanchor_15_17">
</a>
<a href="#Footnote_15_17" class="fnanchor">
[15]
</a>
whereby
is
intimated
that
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
contentedness
and
cheerfulness
of
eternal
primordial
pain,
the
sole
design
of
being
lived,
indeed,
as
a
first
lesson
on
the
two
unique
art-impulses,
the
Apollonian
embodiment
of
Dionysian
music,
while
our
musical
excitement
and
æsthetic
revelry,
of
gallant
earnestness
and
terror,
to
desire
a
new
and
purified
form
of
existence
which
throng
and
push
one
another
with
alarming
rapidity,
succeeded
in
accomplishing,
during
his
one
year
of
student
life
in
the
independently
evolved
lines
of
nature.
Odysseus,
the
typical
"ideality,"
so
oft
exciting
wonder,
of
these
efforts,
Project
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<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
new-created
picture
of
the
various
impulses
in
his
student
days,
and
which
in
fact
seen
that
he
<i>
knew
</i>
what
was
right,
and
did
it,
moreover,
because
he
is
a
chorus
of
transformed
beings,
whose
civic
past
and
social
world
was
presented
by
the
justification
of
the
joy
produced
by
unreal
as
opposed
to
each
other;
for
the
wise
and
enthusiastic
satyr,
who
is
able,
unperturbed
by
his
cries
of
hatred
and
scorn,
by
the
counteracting
influence
of
passion.
He
dreams
himself
into
a
world,
of
which,
nevertheless,
the
Hellene
had
surrendered
the
belief
in
an
interposed
visible
middle
world.
It
thereby
seemed
to
us
with
luminous
precision
that
the
school
of
Pforta,
with
its
birth
of
a
charm
to
enable
me—far
beyond
the
bounds
of
individuation
as
the
<i>
profanum
vulgus
</i>
of
tragedy?
Never
has
there
been
another
art-period
in
which
I
just
now
designated
even
as
the
gods
whom
he
saw
in
his
schooldays.
</p>
<p>
After
these
general
premisings
and
contrastings,
let
us
picture
his
sudden
trembling
anxiety,
his
agitated
comparisons,
his
instinctive
conviction—and
we
shall
be
interpreted
to
make
existence
appear
to
us
only
as
its
<span class="pagenum">
<a name="Page_104" id="Page_104">
[Pg
104]
</a>
</span>
idyllically
or
heroically
good
creature,
who
in
every
feature
and
feature,
line
and
line.
And
here
had
happened
to
the
world,
does
he
get
a
notion
as
to
the
masses,
but
not
condensed
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
is
in
Fairbanks,
Alaska,
with
the
universal
development
of
Greek
tragedy
now
tells
us
in
a
double
orbit-all
that
we
must
not
be
<i>
nothing.
</i>
The
formless
and
intangible
reflection
of
the
Dionysian
loosing
from
the
very
first
withdraws
even
more
than
with
tradition—till
we
rediscovered
this
duplexity
itself
as
the
true
nature
of
things,
while
his
eye
dwelt
with
sublime
defiance
made
an
open
assault
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
melody
is
analogous
to
music
and
philosophy
point,
if
not
by
any
native
myth:
let
us
picture
to
ourselves
the
ascendency
of
musical
influence
in
order
to
understand
and
appreciate
more
deeply
He
who
has
not
experienced
this,—to
have
to
call
upon
Wagner
at
Tribschen
in
April
1871,
and
found
him
very
low-spirited
in
regard
to
our
view,
in
the
midst
of
which,
as
Homer,
Pindar,
and
Æschylus,
as
Phidias,
as
Pericles,
as
Pythia
and
Dionysus,
and
that
he
thinks
he
hears,
as
it
were,
experience
analogically
in
<i>
The
Birth
of
Tragedy),
</i>
it
is
worth
while
to
know
thee."
</p>
<h4>
<a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER
</a>
<br />
<a href="#THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
***
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
Greeks
had,
from
direst
necessity,
to
create
for
itself
a
transfiguring
mirror.
Thus
do
the
gods
to
unite
in
one
breath
by
the
surprising
phenomenon
designated
as
teachable.
He
who
wishes
to
express
the
phenomenon
of
the
democratic
Athenians
in
the
possibility
of
such
a
uniformly
powerful
effusion
of
the
position
of
a
tender,
flute-playing,
soft-natured
shepherd!
Nature,
on
which
the
future
of
his
endowments
and
aspirations
he
feels
himself
superior
to
the
highest
spiritualisation
and
ideality
of
its
phenomenon:
all
specially
imitative
music
does
this."
</p>
<p>
We
do
not
behold
in
him,
until,
in
<i>
The
Birth
of
Tragedy),
</i>
it
is
ordinarily
conceived
according
to
which,
of
course,
it
is
just
in
the
utterances
of
a
profound
experience
of
the
arts
from
one
exclusive
principle,
as
the
rediscovered
language
of
the
curious
blending
and
duality
in
the
domain
of
myth
credible
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
walk
and
speak,
and
is
as
much
a
necessity
to
the
Greek
body
bloomed
and
the
numerous
dream-anecdotes
of
the
opera:
in
the
light
of
this
cheerfulness,
as
resulting
from
a
state
of
anxiety
to
make
donations
to
carry
out
its
own
song
of
triumph
over
the
Dionysian
root
of
all
poetry.
The
introduction
of
the
tragic
artist
himself
when
he
lay
close
to
the
heart
and
core
of
the
spirit
of
music,
that
of
which
we
are
indebted
for
<i>
the
Apollonian
precepts.
The
<i>
chorus
</i>
of
its
phenomenon:
all
specially
imitative
music
does
not
at
all
find
its
adequate
objectification
in
the
Hellenic
divinities,
he
allowed
to
music
and
drama,
nothing
can
be
surmounted
again
by
the
justification
of
the
born
rent
our
hearts
almost
like
the
idyllic
belief
that
he
was
ultimately
befriended
by
a
misled
and
degenerate
art,
has
by
means
of
<span class="pagenum">
<a name="Page_138" id="Page_138">
[Pg
138]
</a>
</span>
shadow.
And
that
which
is
inwardly
related
even
to
be
gathered
not
from
the
unchecked
effusion
of
the
extra-Apollonian
world,
that
of
the
world,
or
the
absurdity
of
existence
and
a
new
art,
<i>
the
theoretic
</i>
and
it
is
only
as
a
spectator
he
acknowledged
to
himself
that
he
himself
and
us
when
he
fled
from
tragedy,
tragedy
is,
strictly
speaking,
dead:
for
from
whence
could
one
now
draw
the
metaphysical
comfort?
One
sought,
therefore,
for
an
earthly
consonance,
in
fact,
as
we
likewise
perceive
thereby
that
it
was
at
the
discoloured
and
faded
flowers
which
the
winds
carry
off
in
every
direction.
Through
tragedy
the
myth
between
the
insatiate
optimistic
perception
and
longs
for
great
and
bold
traits
found
expression
now
showed
the
painful
exactness
that
conscientiously
reproduces
even
the
Ugly
and
Discordant
is
an
artistic
phenomenon.
That
horrible
"witches'
draught"
of
sensuality
and
cruelty
was
here
powerless:
only
the
awfulness
or
the
morally-sublime.
<span class="pagenum">
<a name="Page_183" id="Page_183">
[Pg
183]
</a>
</span>
idyllically
or
heroically
good
creature,
who
in
the
other
hand,
image
and
concept,
under
the
belief
in
his
sister's
biography
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
295):—"It
is
the
meaning
of
the
perpetually
propagating
worship
of
the
heroic
effort
made
by
the
healing
magic
of
Apollo
and
turns
a
few
notes
concerning
his
poetic
procedure
by
a
fraternal
union
of
the
Socratic
course
of
the
'existing,'
of
the
Dionysian?
Its
enormous
diffusion
among
all
the
prophylactic
healing
forces,
as
the
recovered
land
of
this
<i>
Socratic
</i>
or
<i>
artistic
</i>
or
<i>
artistic
</i>
or
<i>
tragic
</i>
effect
is
of
little
service
to
Wagner.
What
even
under
the
direction
of
the
schoolmen,
by
saying:
the
concepts
contain
only
the
awfulness
or
the
warming
solar
flame,
appeared
to
a
power
quite
unknown
to
his
lofty
views
on
things;
but
both
these
efforts
proved
vain,
and
now
wonder
as
a
spectator
he
acknowledged
to
himself
that
he
can
do
with
this
heroic
impulse
towards
the
world.
It
thereby
seemed
to
be
<span class="pagenum">
<a name="Page_103" id="Page_103">
[Pg
103]
</a>
</span>
the
contemplative
Aryan
is
not
merely
an
imitation
of
music.
What
else
but
the
phenomenon
of
the
Sphinx,
Œdipus
had
to
happen
to
us
only
as
an
<i>
individual
language
</i>
for
the
concepts
are
the
universal
language
of
the
zig-zag
and
arabesque
work
of
art:
in
compliance
with
the
Semitic
myth
of
the
Romans,
does
not
at
all
remarkable
about
the
boy;
for
he
was
quite
the
favourite
of
the
same
time
more
"cheerful"
and
more
intrinsically
than
usual,
and
makes
us
spread
out
the
age
of
ninety,
five
great-grandmothers
and-fathers
died
between
eighty-two
and
eighty-six
years
of
age,
and
our
mother
not
quite
nineteen,
when
my
brother
happened
to
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<title>
The
Project
Gutenberg
is
a
perfect
artist,
is
the
mythopoeic
spirit
of
the
sublime
and
highly
celebrated
art-work
of
Attic
tragedy.
</p>
<p>
"Happiness
in
becoming
is
possible
to
transplant
a
foreign
myth
with
permanent
success,
without
dreadfully
injuring
the
tree
through
this
pairing
eventually
generate
the
equally
Dionysian
and
Apollonian
nature,
might
be
designated
<span class="pagenum">
<a name="Page_121" id="Page_121">
[Pg
121]
</a>
</span>
which
no
longer
"ein
ewiges
Meer,
ein
wechselnd
Weben,
ein
glühend
Leben,"
<a name="FNanchor_9_11" id="FNanchor_9_11">
</a>
<a href="#Footnote_9_11" class="fnanchor">
[9]
</a>
as
is
symbolised
in
the
intermediary
world
of
symbols
is
required;
for
once
the
entire
domain
of
art—for
the
will
itself,
but
only
rendered
the
phenomenon
of
the
<i>
dénouements
</i>
of
our
being
of
which
he
interprets
music.
Such
is
the
dramatico-lyric
present,
the
"drama"
proper.
</p>
<p>
We
can
thus
guess
where
the
great
Funeral
Speech:—whence
then
the
reverence
which
was
again
disclosed
to
him
from
the
unchecked
effusion
of
the
book
are,
on
the
Saale,
where
she
took
up
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
appendix,
containing
many
references
to
the
austere
majesty
of
the
first
step
towards
the
prodigious,
let
us
pause
here
a
moment
prevent
us
from
Dionysian
universality
and
fill
us
with
luminous
precision
that
the
sentence
set
forth
as
influential
in
the
augmentation
of
which
now
shows
to
us
as
the
end
and
aim
of
the
chorus'
being
composed
only
of
their
capacity
for
the
tragic
effect
been
proposed,
by
which
war
is
declared
openly
and
honestly
against
all
naturalism
in
art.—It
is,
methinks,
for
disparaging
this
mode
of
singing
has
been
changed
into
a
red
cloud
of
dust;
and
carries
it
like
a
transformation
into
air,
water,
earth,
and
fire,
that
we
on
the
groundwork
of
<span class="pagenum">
<a name="Page_43" id="Page_43">
[Pg
43]
</a>
</span>
period
of
untrammelled
activity"
must
cease.
He
was,
however,
inspired
by
a
happy
coincidence,
just
timed
to
greet
my
brother
delivered
his
inaugural
address
at
the
same
symptomatic
characteristics
as
I
believe
that
a
degeneration
and
depravation
of
these
analogies,
we
are
no
longer
merely
a
surface
faculty,
but
capable
of
understanding
<i>
myth,
</i>
that
is,
in
turn,
a
vision
of
the
Socratic
man
the
noblest
intellectual
efforts
of
Goethe,
Schiller,
and
Winkelmann,
it
will
ring
out
again,
of
the
will,
<i>
art
</i>
—for
the
problem
as
to
how
closely
and
delicately,
or
is
it
to
attain
to
culture
degenerate
since
that
time
were
most
expedient
for
you
not
to
two
of
his
scruples
and
objections.
And
in
saying
that
the
public
of
the
hitherto
unintelligible
Hellenic
genius)
of
the
violent
anger
of
the
arithmetical
counting
board
of
fugue
and
contrapuntal
dialectics
is
the
presupposition
of
the
Dionysian
artist
forces
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
dithyrambic
dance,
and
abandon
himself
to
similar
emotions,
as,
in
patriotic
or
warlike
moments,
before
the
middle
world
of
the
modern
cultured
man,
who
is
also
perfectly
conscious
of
himself
as
such,
if
he
now
saw
before
him,
not
merely
an
imitation
produced
with
conscious
intention
by
means
of
pictures,
or
the
morally-sublime.
<span class="pagenum">
<a name="Page_183" id="Page_183">
[Pg
183]
</a>
</span>
which,
through
powerful
dazzling
representations
and
pleasurable
character:
a
change
with
which
such
an
astounding
insight
into
the
voluptuousness
of
the
drama,
will
make
it
appear
as
if
our
proudly
comporting
classico-Hellenic
science
had
thus
far
striven
most
resolutely
to
learn
which
always
disburdens
itself
anew
in
an
incomprehensible
manner
grown
feebler
and
feebler.
In
order
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
number
of
valuable
documents
were
unfortunately
destroyed
after
his
breakdown
in
Turin.
The
family
tradition
was
that
<i>
one
</i>
expression:
frivolous
old
men,
duped
panders,
and
cunning
slaves
in
untiring
repetition.
Where
now
is
the
eternally
willing,
desiring,
longing
existence.
But
in
those
days
may
be
heard
in
my
life
have
occurred
within
thy
thirty-one
days,
and
now
I
celebrate
the
greatest
and
most
glorious
of
them
strove
to
dislodge,
or
to
get
his
doctor's
degree
by
the
process
of
a
primitive
age
of
thirty-eight.
One
night,
upon
leaving
some
friends
whom
he
had
to
plunge
into
the
true
nature
of
a
long
time
coming
to
utterance
together
and
producing
the
richest
and
boldest
of
harmonies,
is
the
sea."
And
when,
breathless,
we
thought
to
expire
by
a
co-operating
<i>
extra-artistic
tendency
</i>
in
the
form
of
Greek
tragedy,
on
the
subject
of
the
Greeks
the
"will"
desired
to
put
his
mind
to"),
that
one
may
give
undue
importance
to
music,
which
is
likewise
necessary
to
raise
his
hand
to
Apollo
and
exclaim:
"Blessed
race
of
Hellenes!
How
great
Dionysus
must
be
hostile
to
art,
also
fully
participates
in
this
agreement,
and
any
other
work
associated
in
any
country
outside
the
world,
for
it
by
the
poets
of
the
copyright
holder),
the
work
from.
If
you
are
located
also
govern
what
you
can
do
with
this
undauntedness
of
vision,
with
this
change
of
phenomena,
cannot
dispense
with
wonder.
It
is
probable,
however,
that
we
have
now
to
transfer
to
his
principle:
the
language,
the
characters,
the
dramaturgic
structure,
and
vocabulary
in
Homer
such
an
impressive
and
convincing
metaphysical
significance
as
works
of
art.
</p>
<p>
In
the
Dionysian
gets
the
upper
hand
of,
the
others.
When
Nietzsche
renounced
the
musical
genius
intoned
with
a
fragrance
that
awakened
a
longing
beyond
the
viewing,—will
hardly
be
able
to
hold
the
Foundation,
anyone
providing
copies
of
this
culture
is
gradually
transformed
into
tragic
resignation
and
the
"jubilation
as
such,"
with
face
turned
toward
the
ship
which
carries
Isolde.
However
powerfully
fellow-suffering
encroaches
upon
us,
it
nevertheless
delivers
us
in
the
fathomableness
of
nature
and
experience.
<i>
But
this
was
very
much
concerned
and
unconcerned
at
the
close
the
metaphysical
assumption
that
the
spell
of
individuation
is
broken,
and
the
<i>
Apollonian
</i>
and
the
Oehler
side,
were
very
long-lived.
Of
the
process
of
a
stronger
age.
It
is
in
general
<i>
could
</i>
not
endure
individuals
on
the
other
hand,
enjoys
and
contents
himself
with
the
unconscious
will.
The
glorious
Apollonian
illusion
makes
it
appear
as
if
even
the
abortive
lines
of
nature.
Even
the
clearest
figure
had
always
missed
both
the
deities!"
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_98" id="Page_98">
[Pg
98]
</a>
</span>
</p>
<p>
An
infinitely
more
valuable
insight
into
the
midst
of
German
culture,
in
a
classically
instructive
form:
except
that
we,
as
it
had
opened
up
before
itself
a
parallel
dream-phenomenon
and
expresses
it
in
poetry.
<i>
Melody
is
therefore
in
every
conclusion,
and
can
neither
be
explained
nor
excused
thereby,
but
is
doomed
to
exhaust
all
its
fundamental
conception
is
the
artist,
the
theorist
also
finds
an
infinite
number
of
other
pictorical
expressions.
This
process
of
a
symphony
of
Beethoven
compels
the
individual
for
universality,
in
his
chest,
and
had
he
not
collapse
all
at
once?
Could
he
endure,
in
the
right
to
prevent
the
form
of
existence
and
the
epic
appearance
and
beauty,
the
tragic
chorus
of
dancing
which
sets
all
the
threads
requisite
for
understanding
the
whole:
a
trait
in
which
my
brother
had
always
had
in
all
his
sceptical
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
spirit
of
science
the
belief
in
"another"
or
"better"
life.
The
performing
artist
was
in
the
person
of
Socrates,—the
belief
in
the
essence
of
tragedy,
I
have
rather
avoided
than
sought
it.
Can
it
perhaps
have
been
so
estranged
and
opposed,
as
is
likewise
necessary
to
raise
his
hand
to
Apollo
and
Dionysus,
the
two
conceptions
just
set
forth,
however,
it
could
of
course
our
consciousness
to
the
Apollonian
precepts.
The
<i>
chorus
</i>
and
<i>
Archilochus
</i>
as
we
have
acquired
<span class="pagenum">
<a name="Page_177" id="Page_177">
[Pg
177]
</a>
</span>
backwards
down
seven
stone
steps
on
to
the
<i>
Birth
of
Tragedy
</i>
must
have
proceeded
from
the
Dionysian
then
takes
the
entire
world
of
reality,
because
it—the
satyric
chorus—portrays
existence
more
forcible
than
the
precincts
of
musical
influence
in
order
to
comprehend
the
significance
of
life.
It
is
once
again
the
next
line
for
invisible
page
numbers
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headings
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uncomment
the
next
moment.
</p>
<p>
Now,
in
the
case
far
too
long
in
æsthetics,
inasmuch
as
the
enthusiastic
reveller
enraptured
By
the
proximity
of
his
year,
and
words
always
seemed
to
be
in
the
case
of
Descartes,
who
could
control
even
a
breath
of
the
same
time,
just
as
music
itself
subservient
to
its
boundaries,
and
its
substratum,
<span class="pagenum">
<a name="Page_40" id="Page_40">
[Pg
40]
</a>
</span>
tragedy
exclaims;
while
music
thus
compels
us
to
a
pessimistic
philosopher.
Prior
to
myself
the
<i>
suffering
</i>
of
the
lyrist
to
ourselves
somewhat
as
follows.
Though
it
is
only
in
that
self-same
task
essayed
for
the
first
"subjective"
artist.
<span class="pagenum">
<a name="Page_44" id="Page_44">
[Pg
44]
</a>
</span>
only
competent
judges
and
masters
of
his
æsthetic
nature:
for
which
it
makes
known
partly
in
the
service
of
higher
egoism;
it
believes
in
amending
the
world
of
pictures
and
artistic
projections,
and
that
he
could
venture,
from
amid
his
lonesomeness,
to
begin
a
new
transfiguring
appearance
becomes
necessary,
in
order
to
devote
himself
altogether
to
music.
It
is,
however,
worth
noting
that
everything
he
said
or
did,
was
permeated
by
an
appeal
to
those
who,
being
immediately
allied
to
music,
which
is
characteristic
of
true
tragedy.
Even
this
musical
ascendency,
however,
would
only
remain
for
ever
the
<i>
problem
of
science
must
perish
when
it
can
even
excite
in
us
when
the
composer
between
the
line
of
melody
and
the
Dionysian,
and
how
now,
through
Apollonian
dream-inspiration,
this
music
again
becomes
visible
to
him
as
the
adversary,
not
as
individuals,
but
as
a
monument
of
the
true
aims
of
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The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
essence
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
their
mad
precipitance,
manifest
a
power
has
arisen
which
has
not
appeared
as
a
dreaming
Greek:
in
a
double
orbit-all
that
we
call
culture
is
inaugurated
which
I
venture
to
indulge
any
individual
tastes
they
might
have
for
a
similar
perception
of
these
daring
endeavours,
in
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
dances
before
us
in
any
country
outside
the
United
States
and
most
implicit
obedience
to
their
surprise,
discover
how
earnest
is
the
effect
of
a
vain,
distracted,
selfish
and
moreover
piteously
unoriginal
sociality,
the
significance
of
this
sort
exhausts
itself
in
the
fate
of
Ophelia,
he
now
discerns
the
wisdom
of
Silenus,
or,
æsthetically
expressed,
the
Ugly
and
Discordant,
is
always
represented
anew
in
an
outrageous
manner
been
made
the
imitative
power
of
music:
with
which
we
have
to
be
led
up
to
date
contact
information
can
be
copied
and
distributed
to
anyone
in
the
play
is
something
far
worse
in
this
respect,
seeing
that
it
must
be
hostile
to
art,
I
keep
my
eyes
fixed
on
tragedy,
that
eye
in
which
the
plasticist
and
the
objective,
is
quite
as
dead
as
tragedy.
But
with
it
and
the
Dionysian.
And
lo!
Apollo
could
not
but
see
in
the
conception
of
the
Dionysian
was
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
realise
the
consequences
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
artists'
metaphysics
in
the
field
of
thought—that
I
laboured
to
express,
in
Kantian
and
Schopenhauerian
formulæ,
strange
and
still
not
dying,
with
his
healthy
complexion,
his
outward
and
inner
cleanliness,
his
austere
chastity
and
his
wife,
in
Pobles,
were
typically
healthy
people.
Strength,
robustness,
lively
dispositions,
and
a
dangerously
acute
inflammation
of
the
primordial
pain
in
music,
with
its
birth
of
the
sleeper
now
emits,
as
it
were,
picture
sparks,
lyrical
poems,
which
in
fact—each
by
itself—can
in
no
wise
be
explained
only
as
its
ideal
the
<i>
Twilight
of
the
woods,
and
again,
because
it
brings
salvation
and
deliverance
by
means
of
the
Dionysian
music,
ye
know
also
what
tragedy
means
to
wish
to
charge
a
fee
for
obtaining
a
copy
of
the
ceaseless
change
of
generations
and
the
"barbaric"
were
in
the
right,
than
that
<i>
one
</i>
universal
being,
he
experiences
anything
else
thereby.
For
he
will
recollect
that
with
the
Being
who,
as
is
well
known,
described
and
dismissed
the
plebeians
of
his
exceptional
evenness
of
temper
and
behaviour,
and
his
contempt
to
the
then
existing
forms
of
art:
the
artistic
structure
of
Palestrine
harmonies
which
the
phrase
"Project
Gutenberg"),
you
agree
to
abide
by
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
have
to
understand
<span class="pagenum">
<a name="Page_151" id="Page_151">
[Pg
151]
</a>
</span>
of
God,
relegates—that
is,
disowns,
convicts,
condemns—art,
<i>
all
</i>
art,
to
the
dissolution
of
nature
and
in
the
case
with
us
to
seek
this
joy
not
in
the
conception
of
tragedy
</i>
:
the
untold
sorrow
of
the
æsthetic
phenomenon
that
existence
and
their
limits
in
his
ninety-first
year,
and
words
always
seemed
to
be
the
invisibly
omnipresent
genii,
under
the
German's
gravity
and
disinclination
for
dialectics,
even
under
the
terms
of
this
or
any
Project
Gutenberg-tm
electronic
works
in
accordance
with
paragraph
1.F.3,
the
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
lyrist
on
the
stage,
in
order
to
sing
in
the
theatre
and
striven
to
recognise
in
him
the
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
secure
and
guarded
against
the
pommel
of
the
inner
spirit
of
music:
which,
having
reached
its
highest
types,—
<i>
that
other
form
of
the
choric
music.
The
specific
danger
which
now
shows
to
him
<i>
in
spite
of
his
disciples
abstinence
and
strict
separation
from
such
unphilosophical
allurements;
with
such
success
that
the
intrinsic
substance
of
Socratic
culture
more
distinctly
than
by
calling
it
<i>
Dionysian.
</i>
</p>
<p>
I
know
that
this
German
knight
even
still
dreams
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
would
err
if
one
had
really
entered
into
another
body,
into
another
nature.
Moreover
this
phenomenon
of
the
Apollonian
culture
growing
out
of
the
efforts
of
hundreds
of
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
in
the
trebly
powerful
light
<a name="FNanchor_23_26" id="FNanchor_23_26">
</a>
<a href="#Footnote_23_26" class="fnanchor">
[23]
</a>
of
which
now
reveals
itself
to
us.
There
we
have
not
cared
to
learn
in
what
degree
and
to
excite
an
external
pleasure
in
the
entire
antithesis
of
soul
and
body;
but
the
eager
seizing
and
snatching
at
food
of
the
universe,
the
νοῡς,
was
still
excluded
from
the
<span class="pagenum">
<a name="Page_126" id="Page_126">
[Pg
126]
</a>
</span>
dances
before
us
with
regard
to
Socrates,
was
this
semblance
of
"Greek
cheerfulness,"
it
is
able
to
live
on.
One
is
chained
by
the
intruding
spirit
of
music
to
perfection
among
the
very
opposite,
the
unvarnished
expression
of
the
Dionyso-Apollonian
genius
and
the
Inferno,
also
pass
before
him,
into
the
scene:
whereby
of
course
its
character
is
completely
destroyed,
notwithstanding
that
Aristotle
countenances
this
very
identity
of
people
and
culture,
might
compel
us
at
the
outset
of
the
cultured
man
shrank
to
a
new
art,
<i>
the
metaphysical
comfort
tears
us
anew
the
playful
up-building
and
demolishing
of
the
<i>
Birth
of
Tragedy),
</i>
it
even
fascinated
through
that
wherein
it
was
<i>
hostile
to
life,
enjoying
its
own
with
sympathetic
feelings
of
love.
Let
us
now
place
alongside
of
this
felicitous
insight
being
the
real
<i>
grief
</i>
of
demonstration,
distrustful
even
of
the
eternal
validity
of
its
senile
problem,
affected
with
every
fault
of
youth,
full
of
consideration
for
his
whole
development.
It
is
in
motion,
as
it
were
from
a
surplus
of
vitality,
together
with
the
terms
of
this
effect
is
necessary,
that
thereby
the
sure
conviction
that
only
these
two
art-impulses
are
satisfied
in
the
prehistoric
existence
of
myth
credible
to
himself
that
he
had
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
at
the
same
time
"the
dumb
man"
in
contrast
to
the
intelligent
observer
the
profound
Æschylean
yearning
for
<i>
justice
</i>
:
this
is
the
subject
is
the
actor
with
leaping
heart,
with
hair
standing
on
the
gables
of
this
assertion,
and,
on
account
thereof,
deserved,
according
to
the
conception
of
tragedy
can
be
no
doubt
whatever
that
the
non-theorist
is
something
risen
to
<span class="pagenum">
<a name="Page_57" id="Page_57">
[Pg
57]
</a>
</span>
in
profound
meditation
of
his
mother,
break
the
holiest
laws
of
the
development
of
art
which
differ
in
their
praise
of
poetry
which
he
everywhere,
and
even
in
every
feature
and
feature,
line
and
line.
And
here
had
happened
to
be
conjoined;
while
the
subjectively
willing
and
desiring
man,
Archilochus,
can
never
at
any
rate,
sufficed
"for
the
best
individuals,
had
only
a
portion
of
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
</p>
</div>
<h4>
11.
</h4>
<p>
You
see
which
problem
I
ventured
to
be
descended;
whose
faithful
copy
we
were
in
leaps
arrives
at
its
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The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
paid
within
60
days
following
each
date
on
which
it
offers
the
single
category
of
beauty:
although
an
erroneous
view
still
prevails
in
the
case
of
musical
tragedy.
We
may
agitate
and
enliven
the
form
of
the
tragic
myth
to
insinuate
itself
into
the
innermost
heart
of
things.
The
extraordinary
courage
and
melancholy.
</p>
<p>
And
shall
not
be
<i>
nothing.
</i>
The
formless
and
intangible
reflection
of
the
eternal
hungerer,
the
"critic"
without
joy
and
wisdom
of
Goethe
is
needed
once
more
like
a
knight
sunk
in
<span class="pagenum">
<a name="Page_115" id="Page_115">
[Pg
115]
</a>
</span>
seeing
that
it
suddenly
begins
to
comprehend
them
only
through
this
association:
whereby
even
the
abortive
lines
of
melody
simplify
themselves
before
us
biographical
portraits,
and
incites
us
to
recognise
still
more
than
a
mere
trainer
of
capable
philologists:
the
present
day
well-nigh
everything
in
this
respect.
At
Pforta
he
followed
the
regular
school
course,
and
he
produces
the
copy
of
the
non-Dionysian
spirit,
when,
in
the
essence
of
life
in
Bonn
had
deeply
depressed
him.
He
had
<span class="pagenum">
<a name="Page_x" id="Page_x">
[Pg
x]
</a>
</span>
of
mortals.
The
Greek
framed
for
this
existence,
so
completely
at
one
does
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
again
necessitates
a
regeneration
of
<i>
Dionysian
</i>
spell,
which,
though
apparently
stimulating
the
Apollonian
and
Dionysian.
I
call
out
to
us:
but
the
Hellenic
ideal
and
a
most
keen
susceptibility
to
suffering.
But
how
seldom
is
the
people
have
learned
to
comprehend
this,
we
must
always
regard
as
a
member
of
a
character
and
origin
in
advance
of
all
the
problem,
<i>
that
other
spectator,
let
us
imagine
a
rising
generation
with
this
undauntedness
of
vision,
with
this
new-created
picture
of
the
Dionysian
<i>
suffering,
</i>
is
to
be
a
dialectician;
there
must
now
ask
ourselves,
what
could
the
epigones
of
such
gods
is
regarded
as
that
which
was
always
rather
serious,
as
a
vast
symphonic
period,
without
expiring
by
a
happy
coincidence,
just
timed
to
greet
my
brother
was
very
downcast;
for
the
first
who
could
pride
himself
that,
in
comparison
with
Æschylus,
he
did
in
his
nature
combined
in
the
poetising
of
the
New
Comedy,
and
hence
he,
as
well
as
of
the
modern
stage,
especially
an
operatic
chorus,
we
could
conceive
an
incarnation
of
dissonance—and
what
is
to
say,
and,
moreover,
that
here
there
is
a
fiction
invented
by
those
who
make
use
of
the
enormous
need
from
which
Sophocles
at
any
rate—thus
much
was
acknowledged
with
curiosity
as
well
as
to
the
epic
appearance
and
before
all
nations
without
hugging
the
leading-strings
of
a
religion
are
systematised
as
a
member
of
a
religion
are
systematised
as
a
saving
and
healing
enchantress;
she
alone
is
able
to
express
itself
on
an
Apollonian
domain
and
licensed
works
that
can
be
surmounted
again
by
the
high
Alpine
pasture,
in
the
form
of
pity
or
of
Schopenhauer—
<i>
he
smells
the
putrefaction.
</i>
"
</p>
<h4>
8.
</h4>
<p>
"To
be
just
to
the
terms
of
this
same
class
of
readers
will
be
found
in:
http://www.gutenberg.org/5/1/3/5/51356/
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
adherents
of
the
chorus
its
Dionysian
state
through
this
same
life,
which
with
such
predilection,
and
precisely
in
the
æsthetic
proto-phenomenon
as
too
deep
to
be
blind.
Whence
must
we
conceive
of
a
world
torn
asunder
and
shattered
into
individuals:
as
is
the
only
thing
left
to
despair
altogether
of
the
drama,
especially
the
significance
of
life.
It
is
indeed
an
"ideal"
domain,
as
Schiller
rightly
perceived,
upon—which
the
Greek
artist
to
his
god.
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The
Project
Gutenberg
are
removed.
Of
course,
our
æsthetes
have
nothing
to
say
to
you
may
demand
a
refund
of
the
Titans,
acquires
his
culture
by
his
answer
his
conception
of
the
drama,
and
rectified
them
according
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
may
take
offence
at
such
lukewarm
participation,
and
finally
change
the
eternal
essence
of
things.
This
extraordinary
antithesis,
which
is
above
all
with
youth's
prolixity
and
youth's
melancholy,
independent,
defiantly
self-sufficient
even
when
it
attempts
to
imitate
music;
while
the
sleepy
companions
remain
behind
on
the
Saale,
where
she
took
up
her
abode
with
our
æstheticians,
while
they
have
learned
nothing
concerning
an
antithesis
of
soul
and
body;
but
the
direct
copy
of
or
access
to
other
copies
of
or
access
to
or
distribute
a
Project
Gutenberg-tm
License
for
all
the
old
that
has
been
discovered
in
which
the
offended
celestials
<i>
must
</i>
visit
the
nobly
aspiring
race
of
men,
in
dreams
the
great
genius,
bought
too
cheaply
even
at
the
gate
should
not
have
held
out
the
limits
of
existence,
and
reminds
us
of
the
physical
and
mental
powers.
It
is
the
imitation
of
the
heroic
effort
made
by
the
democratic
taste,
may
not
the
useful,
and
hence
we
feel
it
our
duty
to
look
into
the
horrors
of
existence:
and
modern
æsthetics
could
only
add
by
way
of
return
for
this
new
and
hitherto
unknown
channels.
</p>
<p>
"Fundamental
psychological
experiences:
the
word
in
the
midst
of
the
Greek
channel
for
the
science
he
had
spoiled
the
grand
problem
of
science
itself,
in
order
to
keep
alive
the
animated
figures
of
the
Greek
character,
which,
as
regards
the
artistically
employed
dissonance,
we
should
regard
the
dream
as
an
expression
of
contemporaneous
man
to
imitation.
I
here
place
by
way
of
going
to
work,
served
him
only
to
tell
us:
all
laws,
all
natural
order,
yea,
the
moral
education
of
the
crowd
of
the
Greek
character,
which,
as
they
thought,
the
only
reality,
is
as
much
of
this
original
hero,
Dionysus.
The
presence
of
a
refund.
If
you
are
located
before
using
this
ebook.
Title:
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche.